<p>The Augustus and Augusta Gerhart House is a historic house at 321 Iowa Street in Highmore, South Dakota. It is a two-story wood frame structure, built in 1889 by Christina Grant. It was purchased in 1896 by Augustus "Gus" and Augusta Gerhart, who lived there until her death  and his move to Pierre after remarrying . Gus Gerhart was a leading citizen of Highmore and South Dakota, arriving in 1882, and starting its first business, a lumber yard, soon thereafter. The house originally featured a Folk Victorian front gable, and was enlarged by the Gerharts soon after their purchase to make a cross gable plan. The house was damaged by lightning in 1928, resulting in some alterations, including the construction of an enclosed porch on the east  facade.</p><br>
<p>The house was listed on the National Register of Historic Places in 1997.</p><br>
<p>The Hyde County Courthouse is located at 412 Commercial Street SE in Highmore, the county seat of Hyde County, South Dakota. It is a rectangular masonry structure, two stories in height, set on a high basement. The foundation is sandstone, while the main walls are Indiana limestone. The center portion of the front and rear facades project slightly, framed by pilasters. The front facade has a portico supported by four columns, two square and two unfluted Doric round columns. The building was designed by the Black Hills Company of Deadwood and built in 1911. It has served since then as the county courthouse, and is the county&#39;s most prominent example of Classical Revival architecture.</p><br>
<p>The building was listed on the National Register of Historic Places in 1978.</p><br>
<p>Jenini was a slave camp in Ghana during Samory Toure’s reign c. 1870 - 1895 AD. Archaeological excavations at Jenini began in July 2004, with a goal to better understand the lives of its enslaved occupants.</p><br>
<h2>The occupants of Jenini</h2><br>
<p>Enslaved peoples were brought to Jenini from different areas.</p><br>
<p>Enslaved people would live in their master’s compound (in a special section), while some may have lived in a separate village/hamlet.</p><br>
<p>In some cases, enslaved people could receive religious education (a few prayers if they were Muslim) and enough education to participate in the community’s religious life. He built an empire covering parts of Bamako, Mali, Burkina Faso, La Coté d’Ivoire, and Ghana, and Sudan. His military operations affected large areas that encompassed different ecological, ethnic and linguistic zones. Toure’s activities took place alongside during the Trans-Atlantic slave trade.</p><br>
<h2>Archaeology</h2><br>
<p>Sourcing of ceramics found during archaeological investigations at Jenini was done using instrumental neutron activation analysis and Compton suppression spectrometry. The team, B.J.B Nyarko et al., used 26 pottery sherds for samples from tombs, excavated in July 2004. The pottery sherds, that were used to analyze, were taken from three spots from the site, Trench 1, Trench 2, and Pit 1. Their geochemical signatures are similar, demonstrating they are made of the same raw material or of raw material with similar geochemical compositions. Evidence suggests that the enslaved people, held at the camp, used clay from the same source for their pottery.</p><br>
<p>The neutron activation analysis supports though the enslaved people came from many different regions, they made pottery from a similar geographical source. This study is important to understand the lives of the occupiers at Jenini. It is one of the first steps to understand the ceramic production of the occupants. Also, this study helped inspire other archaeological research, for example looking at ancient pottery from the Accra region of Ghana. The researcher used 40 pottery sherds to identify pottery types or groups that can be differentiated from other groups to reveal meaningful archaeological interpretation. Because of this method, the researchers were able to deduce that their designated sites, Ayawaso and Shai, produced their own pots while Wullf, another site, purchased their pots from the two sites.</p><br>
<p>Though there has been little other research at Jenini thus far, archaeological research on the history of slavery in western Africa has expanded greatly in recent years. Jenini&#39;s preservation and excavation can thus be compared to that at Elmina, a port on the Ghanaian coast central to the West African slave trade. Fifteen years of archaeological research have been conducted at Elmina. Goals have been to understand everyday life in the African settlement, as well as to contextualize Elmina in broader terms of European expansion and social change. Much of the excavation was focused on the peninsula, and though the site has been impacted by recent development many areas are well preserved. Unlike at Jenini, over 6,000 sherds of imported ceramics were recovered at the site, along with a large number of locally produced ceramics. There are documentary records that made references to cloth, showing trade in this region, though cloth does not survive well archaeologically in humid climates. Though the Portuguese were the first European colonizers in the area, the settlement expanded under Dutch rule. Though documentary sources help mark the boundaries of the settlement, it is difficult to determine the social, economic, and cultural variables that influenced the organization of the settlement.</p><br>
<h2>Preservation and issues surrounding the camps</h2><br>
<p>Slave camps and markets in the Bolgatanga region of the western African interior serve as a reminder of the slave trade. Perbi stated that people have found human bones lying outside houses that had been built on the site: "As people sweep their compounds, they could see frames of skulls on the ground, and whenever it rains, a lot of bones are washed away." Perbi and archaeologist Yaw Bredwan-Mensah are seeing through the preservation of the burial mounds.</p><br>
<p>The topic of domestic slavery in Africa is not often talked about among local populations but is well known in academic work. There is a controversial silence about some Africans’ involvement in the Atlantic slave trade. Descendants of individuals involved are often stigmatized and many have changed their names to bury the past. The colonial period in Africa is still recent, and the effects and memories are still fresh. There were, however, African societies that resisted internal and external forces and protected their communities from the trade.</p><br>
<h2>Another place named Jenini</h2><br>
<p>Sir Philip Brocklehurst mentioned a town named Jenini (today Geneina) in Darfur, Sudan.</p><br>
<p>Swansons Rail Bridge is a heritage-listed railway bridge at 6 km north of Toowoomba at Ballard, Lockyer Valley Region, Queensland, Australia on the Main Line railway. It was designed by William Pagan and built from 1899 to 1900 by day labour. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Following separation from New South Wales in 1859, the first Queensland Parliament met in May 1860. It was almost precisely three years later, in May 1863, that the bill to authorise construction of the first railway was introduced. It was passed in September of that year and provided for the construction of a line by the government from Ipswich to Toowoomba, Dalby and Warwick - the Southern and Western Railway as it was first called.</p><br>
<p>Construction of Swansons Bridge was commenced in 1899 and was completed in 1900. The new Swansons Bridge replaced a former bridge of deck-type metal truss construction built in 1867 with the initial construction of the Main Range railway now known as the Main Line railway. As built, the Main Range railway had a considerable number of bridges which over the years were replaced by embankments and culverts so that the number of original bridges became fewer. But in 1899 an official three-year program was commenced to ease curves on the railway and replace high timber bridges with concrete culverts due to the increasing weight of rolling stock. The construction of Swansons Bridge was a part of this program. The Commissioners Annual Report for 1900 (p 76) notes:Deviations on the Main Range for the purpose of easing curves and substituting earth embankments and concrete works for the iron bridges, which have been condemned as being too light for the increasing weight of rolling stock, have been carried on continuously by day labour. Several have been opened for traffic, including a three-concrete-arch viaduct.Swansons Bridge was the first of six concrete-arch bridges built for the Queensland Railways between 1900 and 1913. The drawing for the bridge was dated 1899 although the stress diagram is dated 1905. Professor OConnor acknowledges Queensland and South Australia as distinctive in Australia for their concrete arch bridges. He attributes the design of Swanson&#39;s Bridge to William Pagan, Chief Engineer at the time.</p><br>
<p>The bridge does not appear to have been altered since construction and is still in use.</p><br>
<h2>Description</h2><br>
<p>Swanson&#39;s Bridge is located on the Main Range railway, 1.5 km south-south-west of Blue Mountain Heights and 6 km north of Toowoomba, over an unnamed gully near the top of the Toowoomba Range. It is precisely located at the 154.960 km mark on the Brisbane - Toowoomba railway.</p><br>
<p>The bridge is an unreinforced concrete arch construction. The bridge carries a single 1.07 metre gauge railway and is built on a steep slope. It is curved in plan and consists of three 10.1 metre circular concrete arches, two concrete piers and two abutments. It is built to a 12-ton axle load. It is 99 feet in length.</p><br>
<p>It is detailed with prominent cornices at the bases of the arches and incised lines on the spandrel walls of a form similar to the joints that would occur in a stone bridge.</p><br>
<p>The bridge is in a remote location accessible only by rail staff. It commands a vast view over the Toowoomba Range. The bridge is still in use, is in good condition as well as being in its original state.</p><br>
<h2>Heritage listing</h2><br>
<p>Swansons Rail Bridge was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Swanson&#39;s Bridge is important in demonstrating the evolution of mainline engineering practice and more importantly the pioneering use of concrete as a form of construction material on the Queensland Railways.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The bridge is the first of six concrete arch bridges built for the Queensland Railways between 1900 and 1913 and as such is an important and good example of its type as well as being an uncommon work of railway technology of the time.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The bridge is the first of six concrete arch bridges built for the Queensland Railways between 1900 and 1913 and as such is an important and good example of its type as well as being an uncommon work of railway technology of the time.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Swanson&#39;s bridge has aesthetic value for its pleasing viaduct design as well as its position in the midst of the bush of the Toowoomba Range giving it a dramatic outlook from the escarpment it is built upon. The bridge has been used as a photographic location for photographers since after its construction.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>Swanson&#39;s Bridge is important in demonstrating a high degree of technical achievement in the pioneering technique of concrete bridge construction. It is the first substantial unreinforced concrete arch rail bridge built in Queensland.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It also has special association with the work of William Page, Chief Engineer, who was responsible for the design of the bridge.</p><br>
<p>Lockyer Creek Railway Bridge  is a heritage-listed railway bridge on the Toowoomba - Helidon railway line over Lockyer Creek at Lockyer, Lockyer Valley Region, Queensland, Australia. It was designed by William Pagan and built from 1909 to 1910. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>This bridge was built in 1910 as part of the Brisbane–Toowoomba railway and was one of three railway bridges constructed over Lockyer Creek.</p><br>
<p>The railway opened for traffic between Helidon and Toowoomba on 1 May 1867. From the 1870s there has been a continuing process of improving the Main Line between Brisbane and Toowoomba because of its importance as a major arterial route. As part of that process, which required the replacement of original bridges to carry heavier loads, construction work began in 1908 on a new bridge and deviation over the Lockyer Creek tributary at 75m 48c. The design for the innovative reinforced concrete arch bridge was completed and signed by Chief Engineer, William Pagan on 2 February 1909. The bridge and deviation were completed and brought into use on 18 July 1910.</p><br>
<p>The use of concrete arches for railway bridges is a distinctive feature in Queensland and South Australia. The first concrete bridge in Queensland was constructed at Petrie Terrace in 1897. Between 1900 and 1913, six arch concrete railway bridges were constructed in Queensland approximating with the term in office of William Pagan as Chief Engineer of Railways and it is believed that he was responsible for their design. The first two, at Rangeview, near Toowoomba and at Deep Creek, Chowey, followed the form of a stone arch bridge. Later bridges were more innovative in design and this bridge was the second reinforced concrete arch rail bridge in Australia, following the 1906 bridge built at Steep Rocky Creek near Gayndah. The Lockyer bridge has a single main span of 27.4 metres, about the same as the maximum span of Lockyer Creek, which was the third largest span of Australian arch bridges built at the time of construction.</p><br>
<h2>Description</h2><br>
<p>The Lockyer Creek Railway Bridge spans a dry gully on the eastern bank of Lockyer Creek, 1 kilometre south south east of Lockyer. It is a concrete arch bridge aligned on a 12 chain curve and carrying a single track on a ballasted deck. Its spans are:</p><br>
<p>2x14 foot (4.3m) reinforced concrete arches, concrete abutment, common concrete piers</p><br>
<p>1x90 foot (27.4m) reinforced concrete arch supporting 2x13 foot (4.0m) and 2x10 foot (3.0m) reinforced concrete spandrel arches, common concrete piers.</p><br>
<p>2x14 foot (4.3m) reinforced concrete arches, common concrete piers, concrete abutment.</p><br>
<p>The spandrel columns are arranged in pairs, one for each arch rib, with crossbracing in concrete. The arch ribs are parabolic of rectangular section. There is a concrete balustrade. The whole structure is in cast-in-situ concrete.</p><br>
<h2>Heritage listing</h2><br>
<p>Lockyer Creek Railway Bridge (Lockyer) was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Lockyer Creek railway bridge at Lockyer demonstrates the development of railways in Queensland, being an example of the way in which this important early railway line was upgraded to meet the requirements of the early 20th century. It illustrates the skill with which the technology of the era was used to solve the problems of climatic conditions and terrain encountered in this process.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The design of the bridge is aesthetically pleasing as well as functional and its arches form an attractive contrast with the vegetation of its setting over a gully.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>This Lockyer Creek Railway Bridge at Lockyer was built to an innovative design, being only the second reinforced concrete arched bridge designed in Australia. It was one of a series of concrete arch bridges built for the Queensland railways between 1900 and 1913 and is unusual in construction for an Australian bridge, having separate twin parabolic arch ribs and braced concrete spandrel columns.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The bridge is an important example of the work of William Pagan, Chief Engineer for Railways and a major figure in the early history of engineering in Queensland.</p><br>
<p>Ma Ma Creek War Memorial is a heritage-listed memorial on the Gatton-Clifton Road, Ma Ma Creek, Queensland, Australia. It was completed in 1920. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Ma Ma Creek War Memorial was erected in 1920 for Fleurine Elsie Andrews. It was designed and produced by A. L. Petrie and Son of Toowong, Brisbane.</p><br>
<p>After losing three sons in the First World War, Fleurine Elsie Andrews commissioned a memorial and donated an organ to the church in memory of her sons. The three sons were:</p><br>
<p>Private James Martin Andrews (killed on 5 August 1916, aged 26 years)</p><br>
<p>Private George Henry Andrews (killed on 9 June 1917, aged 28 years)</p><br>
<p>Private Bertie Reginald Andrews (killed on 10 June 1918, aged 20 years)</p><br>
<p>All were killed in France.</p><br>
<p>The district of Ma Ma Creek probably takes its name from the aboriginal name for the creek which flows through the area, the Mia Mia. The area was one of the earliest settled parts of West Moreton, valued for its rich fertile lands and abundant water supply. The first settlers were mostly European and cleared both the ridges and the flats for grazing. Cotton growing was attempted in the 1870s, and again, more successfully, in the 1890s when Ipswich established a cotton mill. The area survives as a small township in the centre of a primarily agricultural area.</p><br>
<p>The cemetery at Ma Ma Creek was consecrated in April 1896 and small wooden church was erected to service to local Anglican community. In 1912, the existing church, designed by Brisbane architect, W C Voller, was erected.</p><br>
<p>The First World War Memorial is situated in the St Stephens cemetery, directly behind the Andrews family plot. Although privately owned, it became the focus of public Anzac Day memorial services.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although there are many different types of memorials in Queensland, the digger statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity. The digger was a phenomenon peculiar to Queensland, perhaps due to the fact that other states had followed Britain&#39;s lead and established Advisory Boards made up of architects and artists, prior to the erection of war memorials. The digger statue was not highly regarded by artists and architects who were involved in the design of relatively few Queensland memorials</p><br>
<p>Most statues were constructed by local masonry firms, although some were by artists or imported.</p><br>
<p>A L Petrie and Sons of Toowong were the largest monumental masonry firm in Queensland at this time and produced many war memorials throughout the state.</p><br>
<p>The memorial at Ma Ma Creek is a Petrie design on a standard base, also evident at Biggenden and Southport in Queensland and in New South Wales. This is the only remaining digger in Queensland to be depicted wearing a cap instead of a slouch hat. The only other known example was at Biggenden, which now has a replacement statue.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated in St Stephens cemetery on the Gatton-Clifton Road next to the State School. It is a small country cemetery located on the northern side of a cement block church and enclosed by a wire mesh fence. The site is elevated and all headstones, and the memorial, face east.</p><br>
<p>The memorial is located in the Andrews family plot at the front of the cemetery and is a prominent element in the setting from the roadway. It comprises a pedestal surmounted by a digger statue.</p><br>
<p>The sandstone memorial sits on a double stepped sandstone base with smooth faces. Surmounting this is a plinth with rough-cut faces, margined and chiselled around and a chamfered top. At the centre of each face is a smooth-faced sandstone plaque with a triangular top that projects into the chamfered surface. A L PETRIE is carved onto the front chamfered surface.</p><br>
<p>The pedestal comprises a smooth-faced square pillar with marble plaques on the front and side faces. The front plaque bears a leaded ivy leaf motif, inscriptions and the names and details of the three Andrews brothers killed in the First World War. At the top and bottom of the pier are rough-faced blocks, margined and chiselled around. The digger stands on a smooth-faced double step which surmounts a cornice with triangular pediments to each face. These are also rough-cut, margined and chiselled around.</p><br>
<p>The digger statue is depicted as life-sized with his head bowed and hands resting on a reversed rifle. Unusually for this type of the statue, the digger wears a cap instead on a slouch hat. He is supported by a tree stump at the rear.</p><br>
<h2>Heritage listing</h2><br>
<p>Ma Ma Creek War Memorial was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War.</p><br>
<p>The memorial is significant as evidence of the extent of personal impact experienced by families throughout Queensland after the First World War.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>This particular digger statue is uncommon in that it is portrayed wearing a cap rather than the usual slouch hat. It is also a rare example of a privately erected memorial situated in a graveyard.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>Erected in 1920 the memorial at Ma Ma Creek demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The memorial is of aesthetic significance as a distinctive landmark in an otherwise typical country churchyard and also for its high degree of workmanship and design.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>It has special association with the Andrews family, who erected the memorial after losing three members in the First World War and also with the local community, as the focal point for public remembrance services.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It has special association with the Andrews family, who erected the memorial after losing three members in the First World War and also with the local community, as the focal point for public remembrance services.</p><br>
<p>The memorial also has special association with monumental masonry firm A L Petrie and Son as an intact example of their workmanship.</p><br>
<p>Nindooinbah Homestead is a heritage-listed homestead at Nindooinbah Connection Road, Nindooinbah, Scenic Rim Region, Queensland, Australia. It was built from to 1907. It is also known as Nindooinbah House. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The first stage of this one-storeyed timber house was L-shaped and built about 1860. After extensions by Robin Dods in 1906-7 the house was E-shaped. The homestead included a woolshed, stables, quarters and other out buildings and yards.</p><br>
<p>In 1842 Paul and Clement Lawless held the depasturing license for Nindooinbah. They sold it to Alfred William Compigne in 1847 when the run was about 16 square miles (41.44 square kilometres) and carried over 4,000 sheep.</p><br>
<p>In 1858 Compigne purchased, by pre-emptive right, 640 acres (259 hectares). He used his lease holdings and freehold land to raise large mortgages and with some security of tenure, it is probable that the L-shaped homestead and outbuildings were constructed about this period.</p><br>
<p>Compigne was a member of the first legislative council and at the time of his death in 1909 was the last remaining original member of the council.</p><br>
<p>In 1862 Robert Towns held the mortgage for Nindooinbah and in 1867 he foreclosed on Compigne and soon after sold Nindooinbah to William Duckett White whose son Ernest was living on the property. At this stage the house was valued at £2,000 and there was £1,000 of improvements.</p><br>
<p>In 1901 William Collins, son of John Collins of Mundoolun, renewed his Nindooinbah lease. William and his bride honeymooned in Japan and on their return took up residence at Nindooinbah, though the house was in a very dilapidated state. Collins purchased the property, in 1906, and employed the eminent Brisbane architect, Robin Dods, to extend the house. His alteration were sympathetic to the original house, he changed the French doors and added an en-suite to the master bedroom but altered little else. In 1918 the entrance porch was extended.</p><br>
<p>The detached kitchen was moved about 1906 and became the gate house. Adjacent to the house are bush houses and fernery. A bamboo bush house was demolished in the 1950s though the irrigation system that feeds water from the laundry to it remains. A play house built in the 1950s has been adapted for use as a garage.</p><br>
<p>About 1984 a Japanese tea house in a man-made lagoon was constructed, the house repainted externally and much of the Edwardian garden designed by Dods replanted. The gardens include a grotto, tennis court, and garden sheds.</p><br>
<p>Other buildings on site but beyond the homes enclosing fence includes an artists studio and flag pole, the managers house, garages, men&#39;s quarters, woolshed, cattle yards and remains of the stables, butchers shop, cold-room and icemaking room.</p><br>
<p>The woolshed was built as a permanent structure by 1857. It probably included shearers quarters and a dining room. From about 1863, the weather and other factors led most of the local squatters to utilise their runs for depasturing cattle rather than sheep, hence the woolshed has been used as men&#39;s quarters and storage for many years.</p><br>
<p>Of the original local squatter homesteads only Nindooinbah and Mundoolun remain and both have been and remain the homes of the Collins family or their descendants. The woolshed is probably one of the oldest in Queensland and its quality and intactness make it very rare.</p><br>
<h2>Description</h2><br>
<p>Nindooinbah house, located in extensive gardens on a rural property, has distant views to the southeast across a lagoon and valley towards the surrounding hills. Buildings and structures related to the pastoral activities of the property are located to the northwest of the house.</p><br>
<p>A single-storeyed timber construction set on low timber stumps, the house is clad in wide chamferboards and has painted corrugated iron roofs. It has an E-shaped plan consisting of three rectangular wings around a northwest courtyard and a central entry porch. A timber pergola leads to the semi-enclosed entry porch which adjoins the verandah. Most rooms are accessed from the continuous verandah through wide French doors. The original L-shaped building now forms the eastern corner of the house and contains the main bedroom and attached bathroom, drawing room, smaller bedrooms and the "telephone" room, once the original dining room. The 1906 addition copies many of the details of the original house including balustrading and external wall cladding.</p><br>
<p>The northeast wing contains bedrooms and bathrooms. The addition is clearly separated from the original house by a corridor that links the courtyard verandah with the northeast verandah. The southeast wing, facing the garden and the view, houses the original drawing room and dining room and the new dining room, guest room and toilets. The Dods&#39; designed dining room, adjacent to the 1858 building, has features not found elsewhere in the house; silky oak panelling, a vaulted ornamental plaster ceiling, bay windows protruding onto the verandah and other decorative details including an inscription over the fireplace. The guest room, next to the dining room, has original carpets, wallpapers, fabrics and furniture made from a bunya pine felled to make way for the extension. The south west wing, narrower than the other two wings with a verandah only on the courtyard side, contains the kitchen, ancillary rooms and servants quarters. A bedroom has been built into the northern corner of the verandah.</p><br>
<p>The roof of the house, hipped at the eastern and southern corners, is terminated by a double gable on the northern corner and a single gable on the western corner. The gables are decorated with oval shaped ventilation panels. Three brick chimney stacks protrude above the roof.</p><br>
<p>The large gardens and sweeping lawns that surround the house, based on the original planting schemes, are a mixture of a formal and picturesque layout. Avenues of palms mark paths to the house and specimen trees such as figs and bunya pines frame distant views. Formal flower beds are planted close to the house on the southeast and northwest sides. The garden contains a tennis court, fish pond and various pavilions. These include recent additions of a studio on the knoll in front of the house, once a cottage attached to the managers house, a tea house built over a new pond to the south of the house and a new fernery replacing a demolished bush house near the pond. The kitchen gardens, greenhouse, laundry and water tanks are on the southwest side of the house adjacent to the service wing. The boundaries of the garden are marked by a timber fence and elaborate timber gateways that show the influence of the fashionable taste for chinoiserie.</p><br>
<p>Buildings related to the pastoral and agricultural activities of the property are located outside the formal gardens. These include a single-storeyed timber manager&#39;s house, storage sheds, an old timber wool shed, the remains of a stable and butchers shop and associated machinery and timber cattle and horse yards. A residence located beside the entry to the property is a single-storeyed weatherboard building with enclosed verandahs on three sides.</p><br>
<p>The wool shed is a single-storeyed building, clad in weatherboards and set on timber stumps. The large hipped roofed central space or nave has attached skillion roofed wings on three sides. Beneath the corrugated iron roof are remains of the earlier shingled roof. In the northwest part of the building are remnants of the original slatted timber floor. Most of the space under the skillions has been converted into bedrooms and a dining room lined with tongue-in-groove boards. The northern end of the building has subsided and parts of the fabric are in poor condition.</p><br>
<p>The house, especially the fragile interiors and furnishings are remarkably intact. The garden is well maintained. Outbuildings related to the activities of the property continue to be used and maintained.</p><br>
<h2>Heritage listing</h2><br>
<p>Nindooinbah Homestead was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Nindooinbah House is an example of a homestead as country residence displaying the changing affluent lifestyle and tastes of the squattocracy.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>Nindooinbah House is an example of rare surviving fabric of an 1850s squatter dwelling and woolshed.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The sheds, out buildings and other remains provide evidence of the continuing pastoral and agricultural activities of the property.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Nindooinbah House is significant for the superbly maintained gardens, which are an accomplished design, providing an appropriate setting for the house in the landscape.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>Adding to the significance of Nindooinbah House is the intactness of the interior, including furniture and fittings, and the high quality of the materials, craftsmanship and detailing of the house.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The property has associations with squatters AW Compigne, R Towns, WD and E White and the Collins family.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It is an important example of the work of the architect RS Dods, which demonstrates his skill in adapting an older building.</p><br>
<p>Beaudesert War Memorial is a heritage-listed memorial at William Street, Beaudesert, Queensland, Australia. It was built from 1919 to 1921. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Beaudesert War Memorial was erected between 1919 and 1921. It was designed by Standard Masonry Works of Melbourne and constructed under the supervision of Brisbane architect, A H Conrad. The stone memorial records the names of the 524 local men who enlisted during the First World War, including the 91 who died as well as the names of those who died in the Second World War. It cost £1,340 and was the fourth most expensive memorial in Queensland.</p><br>
<p>The cost of the monument and the number of enlistments is reflective of the strong patriotism of the district. The number of enlistments is above both the state and national averages and the cost is comparatively high for a rural district.</p><br>
<p>The memorial is situated on a triangular piece of land at the centre to town. This site was originally part of William Duckett White and George Robinson&#39;s Beaudesert Run and was at the intersection formed where the roads from Nindooinbah Homestead, Telemon and Kerry Stations met the Brisbane Road. Beaudesert was one of the few private Queensland towns. It was never gazetted, and buildings were erected before surveying and subdivision occurred. This corner site has always been triangular in form.</p><br>
<p>By 1908 the site was a fenced grass enclosure on a road reserve and in about 1913 a tree was planted on the site, in honour of William Tutin Walker, a local businessman. Walker arrived in the district in 1865 and established a sugar plantation with Captain Robert Towns. He became an important member of the community, sitting on both the Divisional Board and the local Council.</p><br>
<p>In May 1918 a public meeting was held and the Beaudesert and District Soldiers&#39; Memorial Fund Committee was formed to raise money for the construction of a district war memorial.</p><br>
<p>The committee acquired the use of the triangular site from the Council in 1918 and arranged for the Walker tree to be moved. By February 1919, £786 had been subscribed and design tenders were advertised in Brisbane, Sydney and Melbourne papers.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although there are many different types of memorials in Queensland, the digger statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC Spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity. The digger was a phenomenon peculiar to Queensland, perhaps due to the fact that other states had followed Britain&#39;s lead and established Advisory Boards made up of architects and artists, prior to the erection of war memorials. The digger statue was not highly regarded by artists and architects who were involved in the design of relatively few Queensland memorials.</p><br>
<p>Most statues were constructed by local masonry firms, although some were by artists or imported.</p><br>
<p>The design for the Beaudesert memorial was open to a nationwide competition. Brisbane architect A H Conrad of Atkinson and Conrad was employed to examine the designs and supervise the memorial&#39;s erection. The designs were also subject to public scrutiny.</p><br>
<p>Arnold Henry Conrad was born in Melbourne in 1887. He came to Queensland and worked for the Government as a draftsman and architect. In 1918 he entered a partnership with Henry Atkinson which continued in various forms until 1939. It is not known to what extent he contributed to the design of the Beaudesert War Memorial, although it is known that he made slight alterations.</p><br>
<p>The successful design was submitted by Standard Masonry Works of Melbourne however they were not able to carry out the construction and in June 1920 Brisbane masons W E Parsons accepted the construction tender.</p><br>
<p>On 10 December 1919, the foundation stone was laid by the Mayoress of Beaudesert, Mrs H L McDonald and the completed work was unveiled by the Governor, Sir Matthew Nathan on 28 September 1921. A flagpole, trench mortar and field gun were subsequently installed but the military hardware disappeared during the Second World War. Since 1922 plaques for ensuing military conflicts have been added.</p><br>
<p>The site is regarded as a reserve and in 1925 three trustees were appointed, the Mayor of the Town of Beaudesert and the Chairmen of Beaudesert and Tambourine Shire Councils. In 1953 the Beaudesert Shire Council was appointed the Trustee and has been responsible for the maintenance of the memorial since.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated on a traffic island in the intersection of Brisbane and William Streets in the centre of Beaudesert. The island is enclosed by a fence comprising rough-cut porphyry blocks, margined and chiselled, with pyramidal tops. These are linked by decorative metal chains. A narrow garden bed is located outside the fence line.</p><br>
<p>The sandstone memorial stands 33 feet high and comprises a substantial pedestal surmounted by a digger statue and an obelisk. Sandstone lions on rough-cut porphyry bases are located at two corners of the triangle, facing outwards. In front of the east facing lion is a metal drinking fountain.</p><br>
<p>The monument sits on a sloping rough-cut step with a flat top plate with semi-circular edges. Surmounting this is a smooth-faced step with chamfered top, above which is the pedestal dado. This is smooth-faced, rectangular in plan and divided into five bays of equal height and varying width. The end and central bays project outward, with the central bay of the front face projecting further to form a pedestal for the digger statue. The whole of the pedestal is capped by a shallow cornice.</p><br>
<p>The front face of the pedestal dado displays marble plates bearing the leaded names of the local men who served in the First World War. Additional plates bear the names of those who died in the Second World War, creating a total of 557 names. Small bronze plaques attached to the second step commemorate the Malayan, Korean, Borneo and Vietnam conflicts. The foundation stone is located on the lower section of the rear central bay.</p><br>
<p>Surmounting the front central bay is a life-sized digger statue. He stands completely at ease, with his collar unbuttoned and a pipe in his right hand. The left hand holds a rifle which is slung over the left shoulder. He is described as "just released from duty".</p><br>
<p>The digger statue stands in front of an obelisk which rises from a smooth-faced square plinth with a shallow cornice. On either side of the plinth rest stylised scrolls with bronze AIF badges on the front faces. The obelisk tapers sharply to a pyramidal apex and has bronze wreaths positioned on each face. Below the wreath on the front face, the words THE GREAT WAR 1916 TO 1919 appear in bronze.</p><br>
<h2>Heritage listing</h2><br>
<p>Beaudesert War Memorial was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>This particular memorial is also of aesthetic significance, as one of the most elaborately and unusually designed monuments in Queensland still surviving in its intact surrounds. It is of uncommonly large scale and forms a dominant landmark within the townscape</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Erected between 1919 and 1921, the memorial at Beaudesert demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland although the digger is unusual as it is portrayed in an unusually relaxed stance.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>This particular memorial is also of aesthetic significance, as one of the most elaborately and unusually designed monuments in Queensland still surviving in its intact surrounds. It is of uncommonly large scale and forms a dominant landmark within the townscape.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The memorial has a strong association with the community as evidence of the impact of a major historic event and with monumental mason W E Parsons as a good example of his work.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The memorial has a strong association with the community as evidence of the impact of a major historic event and with monumental mason W E Parsons as a good example of his work.</p><br>
<p>All Saints Memorial Church is a heritage-listed Anglican church at Tamrookum Church Road, Tamrookum, Scenic Rim Region, Queensland, Australia. It was designed by Robin Dods and built in 1915. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>This family owned timber church designed by Robin Dods, was erected by August 1915 when it was dedicated by the Anglican Archbishop of Brisbane, St Clair Donaldson, in memory of Robert Martin Collins (1843-1913).</p><br>
<p>The first Tamrookum squatter was John Campbell and the lessee from 1848 was William Barker. In 1872 he paid £325 for portion 343 and was issued with a Deed of Grant for 1,000 acres (404.69 hectares) which included the homestead (demolished in 1931) and church site.</p><br>
<p>Pastoralist John Collins of Mundoolun acquired the land in 1878 and in 1879 his eldest son Robert Martin Collins took up residence after his marriage to Arabella Smyth. RM Collins became the owner in 1886.</p><br>
<p>RM Collins and his brothers established vast pastoral interests in Queensland and the Northern Territory. He was a founding partner in the North Australian Pastoral Company and a pioneer of the frozen meat industry. He was a parliamentarian from 1896 to 1913 and was responsible for the establishment of Lamington National Park, proclaimed in 1915 after his death.</p><br>
<p>The site for the church and family graves overlooking Tamrookum homestead was selected by RM Collins just prior to his death. The church was built for RM Collins family at a cost of £2,098, by William Bywater of Brisbane. The sand, gravel and stone used to construct the 3 foot foundation wall came from the property as did all the timber except for that employed for the pews and altar triptych.</p><br>
<p>This church includes many memorial gifts such as the triptych, carved altar rails, fonts and communion utensils. The stained glass windows were designed by English church architect, Sir Richard Lorimer, and made by Una Adamson.</p><br>
<p>The double entrance gates hewn by broadaxe, the flagpole and sundial all come from the homestead which was demolished when Arabella Collins died. The yards and some of Tamrookum&#39;s outbuildings remain.</p><br>
<p>Electricity probably replaced gas for illumination during the 1950s. The original split shingle roof was replaced by tiles in 1964. A plaque, the gift of the Queensland Women&#39;s Historical Association, giving a brief history of the church was unveiled in 1967.</p><br>
<p>The grounds include two burial areas. The oldest contains graves for station employees, family friends and locals. The other burial area is the family enclosure and RM Collins was the first to be buried here. The oldest monuments are Susan Goodwin&#39;s (1895) a servant, Grenville Arthur Kingsley (1898) son of novelist Charles Kingsley and friend of RM Collins and the grave of Constable George Doyle and Albert Dahlke, an employee, who were killed by the Kenniff brothers in 1902.</p><br>
<p>A section of the back row in the older area contains unmarked graves for non-Europeans including the 1913 grave of Salingo, a Kanaka, and the graves of William (1928) and Emily Williams (1927), local aborigines employed by the Collins. A memorial stone (1991) that names the William&#39;s descendants is located outside the nearby Tamrookum Memorial Hall.</p><br>
<p>The timber chapels at Yandilla and Cressbrook Homestead and the stone St John the Evangelist Church at Mundoolun are the only remaining privately owned Anglican churches in Queensland. Both St Johns and All Saints are memorial churches and both Cressbrook and All Saints are Dods designs.</p><br>
<h2>Description</h2><br>
<p>This single storeyed timber chapel, located on a hill with views to the surrounding countryside, is situated in well maintained grounds containing mature trees, flower gardens and a cemetery. The entry to the site is through a heavy timber gateway hung with double timber entry gates.</p><br>
<p>The building, a traditional Latin cross plan, has a hardwood frame set on a concrete base and is clad in oiled hardwood weatherboards. The construction is characterised by the use of massive timber structural elements and delicate detailing. The steep concrete tiled gable roof consists of a main roof over the nave and chancel and smaller gables over the transepts and the two entry porches.</p><br>
<p>These entry porches are located at the western end of the northern and southern elevations and are linked to the transept by narrow verandahs. Two additional entries, accessed via the verandah, open into the transepts. Verandah posts and balustrades are simple sturdy timbers adorned by an undulating timber beam. The beam is positioned below the top plate and supported on splayed brackets attached to the verandah posts. Decorative timberwork on the verandahs and the gable ends is painted white providing a strong contrast to the dark walls and the plain form of the roof.</p><br>
<p>At the western end, the roof, extended to cover the verandah, dominates the low walls. An effect that is emphasised by the low head height of timber casement windows on the north, south and west elevations. On the eastern end the roof steps back, stained glass windows are placed high in the eastern facade and the wall appears tall relative to the roof.</p><br>
<p>At the entry porches steps that are cut into the concrete base lead to double timber doors opening onto the north and south sides of the entry vestibule. This vestibule, an extension of the nave, is separated from it by an ornamental timber screen. Decorative timber screens also define the entries from the transept into the nave. The interior of the church, furnished with the original timber pews, is lined with unpainted cedar and has a coloured concrete floor. The raked timber lined ceiling, truncated at the peak, is supported on timber trusses that are a combination of a queen and king post system. The bottom chord of the trusses is a heavy tie beam supported on timber wall brackets.</p><br>
<p>The interior is dimly lit through domestic scaled casement windows with diamond patterned glazing bars and green glass. The only natural light that falls from above, illuminating the ceiling space, is through the stained glass windows behind the altar. The altar and altar screen positioned against the rear wall of the chancel are on a raised floor behind an ornamental timber rail. Rooms in the transepts contain disused rainwater tanks.</p><br>
<p>North of the building is a rectangular fenced area that contains the tombstones of the Collins family. The most prominent of these, a centrally located cross on a pedestal, is that of RM Collins and his immediate family. The fence is wire mesh on a pipe frame sitting on a concrete upstand with gates located under arched trellises. The burial area of locals and friends of the family consists of 4 rows of graves situated in the lawn adjacent to the western boundary of the grounds. Monuments are in good condition.</p><br>
<p>The grounds are bounded by a timber post and rail fence. A caretaker&#39;s cottage and outbuildings are located to the east, just outside the fence. The building and grounds are in excellent condition.</p><br>
<h2>Heritage listing</h2><br>
<p>All Saints Memorial Church was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The commemorative structures in both the church and cemetery add to the significance of All Saints Memorial Church.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>All Saints Memorial Church is significant due to the landmark quality of the gardens and the siting of the chapel and is a rare example of a privately owned chapel.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>All Saints Memorial Church is an important work of significant Australian architect RS Dods, demonstrating his skill at designing in timber and his personal style.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The accomplished design, the high quality of the materials and workmanship and inventive detailing combine to produce a unique aesthetic achievement.</p><br>
<p>All Saints Memorial Church is significant due to the landmark quality of the gardens and the siting of the chapel and is a rare example of a privately owned chapel.</p><br>
<p>The quality of the stained glass work and association with R Lorimer and U Adamson contribute to the significance of the All Saints Memorial Church.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The accomplished design, the high quality of the materials and workmanship and inventive detailing combine to produce a unique aesthetic achievement.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>All Saints Memorial Church is significant due to its close association with the Collins family and RM Collins.</p><br>
<p>Coochin Coochin Homestead is a heritage-listed homestead at J Bell Road, Coochin, Scenic Rim Region, Queensland, Australia. It was built from 1840s circa to 1920s circa. It was added to the Queensland Heritage Register on 21 August 1992.</p><br>
<h2>History</h2><br>
<p>In 1842, the area known as Delhunty&#39;s Plain was settled as a pastoral run by David Hunter and his partner James Fyffe. In 1844, the lease was transferred to John Kent, who was first to re-use the traditional name of Coochin Coochin, an anglicised version of ga-jin-ga-jin ("red stones"). The main section of the homestead was constructed some time in the 1840s.</p><br>
<p>A report in the North Australian, Ipswich and General Advertiser in 1858 by the Coochin Coochin superintendent, Mr. Willis, reported a breach of the Master and Servant Act at Coochin Coochin by two men, Ironmonger and Foreman, who were subsequently fined £1 and £2 6s. 6d. respectively. Newspaper reports, in February 1861, briefly detailed an incident involving approximately sixty aborigines attacking the station being repelled by a revolver used by wife of station owner L.E. Lester. At a later inquiry into the Native Police Force, that investigated this occasion, heard evidence from Dr Henry Challinor, that "attributed the deprecations committed by the blacks to their having been deprived of their hunting ground". The position of the homestead being positioned too close of dense scrub was commented in the report as aiding the attack.</p><br>
<p>The homestead was moved to its current position in 1871. In 1883, the property sold to James Thomas Marsh Bell, part owner of Camboon Station in the Dawson Valley acquired the property in partnership with F C Hyde.</p><br>
<p>In the 1920s, Coochin Coochin Homestead became the social focus of the area, hosting many large parties and entertaining many notable visitors. From the end of the Second World War until 1965, Coochin Coochin operated as a small dairy with a maximum of sixty milking cows. The property is currently owned by the Bell family.</p><br>
<h2>Heritage listing</h2><br>
<p>Coochin Coochin Homestead was listed on the Queensland Heritage Register on 21 August 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Coochin Coochin, established in 1842 as Dulhunty&#39;s Plain, was one of the earliest pastoral runs of the Moreton region. The earliest fabric at Coochn Coochin homestead dates to the 1840s. The place has strong historical significance as important evidence of the first wave of pastoral activity in Queensland (at that time the Moreton district of New South Wales), and is important in illustrating the evolution of the pastoral way of life in Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Coochin Coochin Homestead is a sprawling complex of structures, forms and landscaping elements, which retains a high degree of integrity and intactness. It is well maintained and is important in demonstrating the principal characteristics of a particular class of cultural places: early and evolving pastoral homesteads in Queensland. The main house (consisting of connected pavilions dating mainly from the 1840s, 1880s and the early 1900s), extensive garden, meat house and hay sheds, and the physical relationships between these elements, are important in illustrating a particular way of life associated with pastoral activity. Of special interest is a tree yard, famous for a series of plantings by distinguished 20th century visitors, initiated by Lord and Lady Chelmsford when they visited in 1907.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The homestead complex occupies a picturesque setting amidst national parks, and the house sits within an attractive established garden. The homestead has been enhanced over 150 years of working life and is of strong aesthetic significance, engendered by its setting, its rustic forms and materials, and the juxtaposition of forms.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>Coochin Coochin has a special association for the Queensland community as one of the earliest stations established in Queensland. The place is well known in Queensland, and has been described in numerous heritage and history publications.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The place is important for its association with the Bell family, who have owned Coochin Coochin since 1883, and have made a significant contribution to the development of Queensland pastoralism and agriculture. Ernest Bell was a prominent member of the community, serving as Member for Fassifern in the Queensland Legislative Assembly from 1913 to 1930, and on numerous boards. The Bells were renowned for their hospitality, attracting many distinguished visitors to Coochin Coochin through much of the 20th century.</p><br>
<p>Boonah War Memorial and Memorial Park is a heritage-listed memorial at Park Street, Boonah, Scenic Rim Region, Queensland, Australia. It was built from 1920 to 1922. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Boonah War Memorial is a major regional war memorial and was unveiled on 31 July 1920 as part of the visit to Boonah by the Prince of Wales (later King Edward VIII) who was visiting with Mrs G A Bell of nearby Coochin Coochin Station (whose three sons served in the First World War). The marble and granite memorial was designed and executed by F Williams and Company and honours the 374 local men who served during the First World War, including the 69 dead.</p><br>
<p>The town of Boonah was established as support for the pastoral runs in the area, of which Coochin Coochin was the first. Prior to the establishment of the town, all stores were brought by bullock dray from Ipswich twice yearly. After the extension of the railway to Dugandan in 1887, the surrounding district was rapidly populated and the town of Boonah prospered.</p><br>
<p>On 19 May 1920, the foundation stone for the memorial was laid by General Sir William Birdwood. The monument was erected at a cost of £600 which was raised by public subscriptions organised by a memorial committee. The specifically designed memorial park was opened on Anzac Day in 1922 with the unveiling of the fence by war hero and politician Captain Arnold Wienholt.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although there are many different types of memorials in Queensland, the digger statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC Spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity. The digger was a phenomenon peculiar to Queensland, perhaps due to the fact that other states had followed Britain&#39;s lead and established Advisory Boards made up of architects and artists, prior to the erection of war memorials. The digger statue was not highly regarded by artists and architects who were involved in the design of relatively few Queensland memorials.</p><br>
<p>Most statues were constructed by local masonry firms, although some were by artists or imported.</p><br>
<p>The Boonah memorial was designed and executed by well known and highly regarded Ipswich masonry firm, F Williams and Company.</p><br>
<p>The digger statue on the Boonah Memorial is represented in the casual stance synonymous with Williams diggers.</p><br>
<h2>Description</h2><br>
<p>The First World War Memorial is situated in a Memorial Park in Boonah, addressing the intersection of Park and Yeates Streets. The park is enclosed by a substantial brick and wrought iron fence with concrete dressings painted white. Wrought iron gates are located at the front and rear corners and are flanked by white painted pillars with ball finials. All wrought iron has been painted silver. The park is laid out formally on a diagonal axis running from the intersection of Park and Yeates Streets to the opposite corner. A central red painted concrete path with white painted concrete kerbing leads to the memorial which is surrounded by symmetrical tiered garden beds, also kerbed. The memorial is flanked by two war trophies and a flagstaff is located on the south western side.</p><br>
<p>The memorial is mainly of coarse Ulam marble and comprises a pedestal surmounted by an obelisk and a digger statue.</p><br>
<p>It sits on a marble base comprising two shallow steps and a third, deeper one, all smooth-faced. The foundation stone is located on the front face of the top step.</p><br>
<p>Surmounting the base is the pedestal. It sits on a marble step which has square projections at each corner. These each form a base for free-standing columns of red polished granite with marble Doric Order capitals and bases. The columns support a large cornice which is surmounted by four marble corner urns. In the centre of the columns are recessed marble plates, the leaded names of the 374 local men who served in the First World War. The names of the 69 dead are located on the north east face and the rear face is reserved for the names of nurses and chaplains.</p><br>
<p>Projecting from the centre of the pedestal is the marble obelisk, approximately 20 feet high and slightly tapered. It has stop chamfers to each corner and stands on a marble base with cyma recta mouldings. It is capped by a marble Ionic order capital and has a wreath carved around the leaded dates of the war on the lower section of the front face.</p><br>
<p>Surmounting the obelisk is the digger statue, which is slightly smaller than life-sized. The soldier is standing at ease with his head bowed and his hands resting on his reversed rifle, which rests by his right foot and is held by his body. A tree stump is located behind the left leg for support.</p><br>
<h2>Heritage listing</h2><br>
<p>Boonah War Memorial and Memorial Park was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Erected in 1920, the major regional memorial at Boonah demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The memorial in its setting is of aesthetic significance both for its high level of workmanship, design and materials and as a dominant landmark within the townscape. It is an uncommon example of a war memorial that survives as part of a specifically designed and intact memorial setting.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The memorial has a strong association with the community as evidence of the impact of a major historic event and has special association with Ipswich masonry firm F Williams and Company as evidence of their work.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The memorial has a strong association with the community as evidence of the impact of a major historic event and has special association with Ipswich masonry firm F Williams and Company as evidence of their work.</p><br>
<p>Maroon War Memorial & Memorial Enclosure is a heritage-listed memorial at Boonah - Rathdowney Road, Maroon, Scenic Rim Region, Queensland, Australia. It was designed and built in 1920 by Frank Williams and Co. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Maroon War Memorial was constructed and unveiled in the grounds of the Maroon State School in 1920, to honour and memorialise the men from the Maroon district who had served in the armed forces during World War One (1914-1918).</p><br>
<p>Maroon in 1920 was a farming district in the Burnett Creek catchment, extending from approximately 30 kmsouth of Boonah southwest to the Queensland-New South Wales border. The district was taken up for pastoral settlement in the early 1840s, when the 20,000 acre Melcombe run was established in 1843 by WO Haly. The lease on this run changed hands a number of times in the ensuing decade, until acquired by James Carden Collins in 1853. Collins&#39; wife changed the name of the run to Marroon (now spelt Maroon), which is derived from the indigenous name for Mt Maroon, "Murrun", which means "sand goanna". In 1864 Marroon was purchased by Thomas Lodge Murray-Prior and a substantial proportion of this land was retained by the Murray-Prior family for nearly half a century.</p><br>
<p>In the late 1880s, following the opening in 1887 of the extension of the branch railway south from Ipswich to Dugandan (1 kilometre south of what later became the town of Boonah), part of Maroon run was resumed and surveyed for closer agricultural settlement. As a consequence of the subsequent influx of farming families into the district, the Maroon Provisional School was established on the Maroon flats in 1891. In a farming community without a town centre, the Maroon school soon became a district focus.</p><br>
<p>In 1914 the remaining 10,000 acres of Maroon Station was subdivided into 27 dairy farms, which then were sold at public auction.</p><br>
<p>At the outbreak of war in Europe in August 1914 Maroon was a small, isolated agricultural community without an urban focus, engaged principally in dairying. Forty-two men from the 35 families resident in the district enlisted and of these, 17 made the supreme sacrifice. This represented a mortality rate for the Maroon community of approximately 40%, compared with the average nationally of 20%.</p><br>
<p>Maroon was not alone in experiencing the devastating impact of this war. Australia-wide, over 300,000 volunteers from a national population of 4 million served overseas and one fifth, approximately 60,000, made the supreme sacrifice. Virtually every community in every state was affected in some fashion by the "war of attrition" in Europe and Asia Minor.</p><br>
<p>In the aftermath of the war, and in some instances prior to the cessation of hostilities, memorials honouring those who served in the war were erected in nearly every city, town and community in Australia. They were the expression of a grateful and grieving nation. Maroon was no exception. In 1919 a local committee (composed principally of the local Maroon school committee members) was formed to raise funds by public subscription for a memorial and honour stone to express the community&#39;s gratitude to the men from the district who had served during the Great War. In September 1919 the committee requested permission from the Department of Public Instruction to erect a memorial, flagpole and honour avenue of trees within the Maroon State School grounds.</p><br>
<p>The memorial committee commissioned the Ipswich firm of F Williams & Co., sculptors and stonemasons, to design, sculpt and construct the memorial. This firm was established at Ipswich in 1901. Its founder, Frank Williams, promoted the use of local marble and became noted for his ecclesiastical marblework in the Ipswich and Darling Downs areas. In the wake of the Great War, Williams designed a significant number of war memorials in southeast Queensland, including "digger" statues at Ipswich&#39;s Western Suburbs (1917), Mount Alford (1918), Booval (1919), Bundamba (1919), Boonah (1920), Maroon (1920), Oxley (1920) and Toombul Shire (1921). Williams also designed the mausoleum and Weeping Mother Memorial at Gatton, obelisks at Toogoolawah (1917) and West Ipswich (1917) and a stone honour board at Colinton (1918).</p><br>
<p>The design for the Maroon War Memorial consisted of a "digger" statue atop a tall column, which in turn rested on a substantial pedestal and plinth. The whole was executed in sandstone, with Queensland marble inscription panels, and stood 17 ft in height. The cost of the monument (£130) plus foundations and extras, totalled £300. A surrounding timber fence was constructed by voluntary labour.</p><br>
<p>After the war General Sir William Birdwood, who had commanded the Australian Imperial Force during the war, toured many Australian and New Zealand communities, honouring both those who had made the supreme sacrifice and returned soldiers. During his tour General Birdwood unveiled the Maroon War Memorial on 21 May 1920 and presented Maroon Patriotic Committee medals to 14 of the district&#39;s returned servicemen.</p><br>
<p>At a later date an honour board was added to the memorial to honour the 42 men and women of the district who served during World War Two.</p><br>
<p>The Maroon War Memorial remains the focus for annual Anzac Day commemorations and maintenance of the memorial and enclosure is undertaken by local volunteers. Repairs are funded by an Anzac Day collection.</p><br>
<p>On 21 September 1991 a time capsule was placed at the base of the memorial to celebrate the centenary of the Maroon State School, 1891-1991.</p><br>
<h2>Description</h2><br>
<p>The Maroon War Memorial is located within a small enclosure just inside the grounds of Maroon State School on the Maroon flats, along the Boonah-Rathdowney Road in southeast Queensland. The memorial is a tall structure composed of a sandstone pedestal, column and "digger" statue, resting on a stepped concrete plinth.</p><br>
<p>The sandstone pedestal is substantial. It has a two-tiered base on which rests a narrower 4-sided shaft with decorative flanking scrolls. Tall marble plaques are attached to the front (north) and back (south) faces of the shaft. The front plaque contains an honour roll bearing the names of the 42 local men who served in World War One. Beneath this, on the lowest tier of the pedestal, is another plaque bearing the names of the 42 local men and women who served in World War Two. The plaque on the back face of the shaft bears the inscription: This memorial was erected by the residents of Maroon as a tribute of gratitude and respect to the local volunteers in the Great War 1914-19.</p><br>
<p>Attached to the lowest tier of the pedestal, on separate faces, are two small oblong marble plaques with the inscriptions: "Unveiled by General Sir William Birdwood, May 21, 1920" and "Time capsule placed 21-9-91 commemorating the Maroon State School centenary 1891-1991". With the exception of the latter, the other commemorative inscriptions are leaded.</p><br>
<p>Above the pedestal a small plinth with the carved lettering "King & Empire" on the front face supports a tall, plain column which in turn supports the statue of an Australian infantry soldier or "digger", standing at ease in a pose favoured by sculptor Frank Williams in his war memorial "digger" statues. A carved tree stump immediately behind the left leg, often seen in soldier figure memorials, appears to be a structural device to give stability to the standing figure. The statue is lifelike but slightly smaller than life-size.</p><br>
<p>Within the enclosure there is a concrete path leading toward the memorial and some tree plantings. Two small but mature trees, possibly Cupressus sp., flank the path and frame the approach to the memorial. Pines or Cypresses traditionally are associated with first world war memorials, symbolising the August 1915 battle of Lone Pine Ridge, one of the most savage in the Gallipoli campaign.</p><br>
<p>A tall metal flagstaff is located directly behind the memorial, within the enclosure. A perimeter fence of extruded galvanised iron pipe has replaced an earlier timber fence and is not of cultural heritage significance. Mount Maroon towers in the distance to the southeast and forms a dramatic visual background to the memorial.</p><br>
<h2>Heritage listing</h2><br>
<p>The Maroon War Memorial & Memorial Enclosure was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Maroon War Memorial is important in demonstrating part of the pattern of Queensland&#39;s history, being associated with the national outpouring of grief at the loss of 60,000 Australians during the Great War of 1914-1918. During an era of strong and widespread Australian patriotism and nationalism most Queensland communities erected a public memorial to honour local participation in the war. Each monument is a unique historical documentary record and as a group, first world war memorials, especially those with "digger" statues, are demonstrative of popular taste in the period. The Maroon War Memorial is of particular interest for its dominating scale and presence in the landscape, a reflection of the magnitude of the loss suffered in the Maroon district. It is also exemplifies the work of Ipswich stonemason and sculptor, Frank Williams, who designed and constructed a significant number of southeast Queensland World War One memorials.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Maroon War Memorial is important in demonstrating the principal characteristics of its class of cultural places, being a substantial and highly intact commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The setting of the memorial enclosure within the grounds of the local school and fronting the Boonah-Rathdowney Road emphasises the social and landmark (aesthetic) significance of the place.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The Maroon War Memorial and Enclosure is of social and spiritual significance for the local community, having a strong and continuing association with that community as evidence of the impact of a major historical event and as the focus for annual remembrance of that event in local Anzac Day commemorative ceremonies.</p><br>
<p>Cotswold Cottage is a heritage-listed homestead at Boonah Road, Maroon, Scenic Rim Region, Queensland, Australia. It was built from 1888 to 1890s by Frederick William Cook. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Frederick William Cook built Cotswold Cottage in the Maroon district in stages between 1888 and the late 1890s, as his family&#39;s home. The former six-roomed stone and slab house is now a ruin.</p><br>
<p>According to family descendants, Cook was a carpenter by trade who in 1878 emigrated to Australia from the Cotswolds in England under assisted passage. By 1883 he was working as a joiner in South Brisbane. In 1888 he took up selection 690 (160 acres) in the Maroon district near Boonah in southeast Queensland. Cook&#39;s brother, Thomas, took up several adjoining selections around the same time.</p><br>
<p>The area had been long recognized for its fertile soil, but had been locked up in pastoral leases prior to the 1868 Crown Lands Act, which opened the land to closer settlement. The first selectors had arrived in the Boonah region in the 1870s and by the late 1880s Maroon had emerged as an agricultural community. Cook moved his wife, Elizabeth, and their three children from Brisbane to Maroon in June 1888. According to family descendants Cook built a slab hut close to the present location of the stone ruins to house the family while the stone and slab cottage was under construction, which also was commenced in 1888.</p><br>
<p>Named Cotswold Cottage after Cooks home district in England, the walls of the residence were constructed from iron bark slabs and stone obtained from the property. To bind the stones, he used a mortar mix of clay and cow manure. Three open fireplaces were built into the stone walls. The cottage was constructed over a number of years beginning with the southern end of the house, now completely destroyed. A Bailiff of Crown Lands report dated 20 October 1893 notes that the house comprised four rooms. Further additions were built after this date, including a semi-detached living room. The extant wall is the remains of an internal southern wall of this room. C Gillies, FW Cooks great-granddaughter, described the house in its final form:</p><br>
<p>In all the house measured 18.3 metres x 7.6 metres. It consisted of two bedrooms, dining room, kitchen, sitting room and workshop. With the exception of the kitchen, all interior walls were painted with white wash, mixed with milk and tinted to the required colour. Fred painted a lino pattern on the floor of the dining room - this section of the house has now been demolished. The house was completely roofed with shingles, hand cut from timber standing on the property each one carefully trimmed and fitted into position. They measured 46 cm x 13 cm and were 1.3 cm thick.</p><br>
<p>The most unusual feature of the stone house was its windows. The glass used in many of them consisted of 15 cm x 10 cm lantern slide plates. Each plate was fitted into a miniature frame and these were then joined together to form a complete window.</p><br>
<p>The above is consistent with an oral description provided by Cook&#39;s grandson, Lemuel Cook, and with the physical remnants on the site.</p><br>
<p>On his selection FW Cook cultivated maize, potatoes and fruit, but was unable to support his family solely from the property. He also worked as a builder in the Maroon district, constructing many community buildings including the provisional school and its furniture.</p><br>
<p>By February 1899 Cook was able to apply to purchase his selection and in June a Deed of Grant was issued in his name for Portion 72v, being agricultural selection 690.</p><br>
<p>The property was transferred to Cooks son, Edgar, in June 1922. After FW Cooks death in 1937 the cottage fell into disrepair. In 1954, title to the property was transferred to James Weatherall, whose family had resided in the Maroon district since the late 19th century. No further use was made of the cottage.</p><br>
<h2>Description</h2><br>
<p>The ruins of Cotswold Cottage are located in the Maroon district of Boonah Shire. They comprise the remains of a cottage constructed largely of squared rubble uncoursed.</p><br>
<p>Very little of the formerly six-roomed structure survives. Still standing is the southern thick rubble wall of a former small square room (a former living area) at the northern end of the cottage, and part of the eastern wall of this room. The southern wall is 600mm thick, consisting of two external layers of squared rubble with a hearting or core of smaller rubble off-cuts and mortar. In this wall there is a low doorway, which has a lintel of three thick timber slabs.</p><br>
<p>Parts of the lower sections of the other three walls of this room survive. The internal stones are extant to a height of up to one metre, but the outer layers have collapsed. The position of a window opening in each side wall is discernible. There are indications that the collapsed northern wall formerly incorporated a chimneystack.</p><br>
<p>External to this room are a number of hardwood posts, two each to the east, south and western sides respectively. They are tenoned at the top. Their layout is suggestive of their having supported a veranda roof extending around three sides of the living space at the northern end of the house.</p><br>
<p>South of the principal standing wall are remnants of the eastern external wall of the southern section of the cottage, reduced to approximately 500mm in height, and of similar materials and construction as the standing wall.</p><br>
<p>The cottage ruins are located on an elevated site in a cleared paddock close to Cotswold Road. Stones that appear to be part of the former walls are scattered over a wide area surrounding the ruins. A number of native trees including Flindersia australis (Crows Ash) and Flindersia collina (Leopard Ash), some probably dating from the construction of the cottage, are growing nearby. There is evidence that some of these trees may have originally formed a windbreak near the western edge of the homestead paddock. A copse is located to the southwest of the ruins and a Crows Ash tree about 50 metres to the north. A fallen tree is located between these. A further mature Crow&#39;s Ash is located to the east of the ruins close to a boundary fence. South of the property, Mount Maroon forms a dramatic backdrop to the ruins.</p><br>
<h2>Heritage listing</h2><br>
<p>Cotswold Cottage was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Selector FW Cook constructed Cotswold Cottage in stages between 1888 and the late 1890s. The ruins of this place are important in demonstrating the transplantation and adaptation of traditional English stone construction techniques using local materials. Cook was a builder from the Cotswold district in England and at his Maroon property he used locally obtained iron bark slabs, stone and a mortar mix of clay and cow manure for the walls of the house. He used a range of flooring techniques and finishes, including stone paving, bitumen and floorboards hand-painted to resemble linoleum. The place contributes to our understanding of early house construction techniques employed by small-scale immigrant selectors in rural Queensland, especially the use of local and recycled materials, and to our understanding of past lifestyles.</p><br>
<p>The place has potential to yield information that will contribute to an understanding of Queensland&#39;s history.</p><br>
<p>The remains of the cottage have the potential to yield further information that will contribute to an understanding of the evolution of and external influences on, vernacular Queensland buildings. This potential is enhanced by surviving documentary evidence, including a family history written by the great-granddaughter of the builder of the cottage and recorded recollections of the builder&#39;s grandson. These sources provide details of finishes and how the place functioned. This information combined with remnant fabric has the potential to contribute further to our understanding of a way of life no longer common.</p><br>
<p>Normanby Homestead is a heritage-listed homestead at Cunningham Highway, Warrill View, Queensland, Australia. It was designed by Charles Balding and built from 1866 to 1867. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Normanby Homestead was constructed in 1866-67 for the George Thorn family of Ipswich, to a design by Ipswich architect and surveyor, Charles Balding.</p><br>
<p>The Normanby Plains south of Ipswich, on which the homestead is located, were named by government surveyor Robert Dixon in 1839, and occupied by European pastoralists from the 1840s. Initially, Normanby was part of Rosebrook, a 10,000 hectare run on the western side of the Normanby Plains, taken up by NSW pastoralist Donald McIntyre. In 1845 the Rosebrook lease was transferred to George Thorn of Ipswich. He was the former superintendent of the government cattle station at Limestone from 1838, and one of the earliest free settlers at Moreton Bay. Whilst still a government employee, he had obtained permission to operate a small general store at Limestone, and in 1842 resigned from government service to establish Ipswichs first hotel, the Queens Arms. Known as the "father of Ipswich", Thorn represented West Moreton in the first Queensland Legislative Assembly. His sons George, Henry, John and William followed their father into Queensland politics, with son George becoming the Premier of Queensland.</p><br>
<p>In mid-1848, Thorn&#39;s property on the Normanby Plains was referred to as Rosebrook. Later, his son Charles took over a portion of the run, retaining the name Rosebrook; the remainder, about 8,000 hectares, was named Normanby.</p><br>
<p>By 1855, George Thorn had made improvements to the property worth about £500; the present house was erected after he acquired the freehold to the homestead block in 1861. In September 1866, Ipswich architect Charles Balding called tenders for the construction of a villa residence and outbuildings at Normanby for George Thorn, and it is believed the house was completed in 1867.</p><br>
<p>In the early 1870s John Thorn managed Normanby Station for his father until the latters death in 1876. In 1875, the homestead was described as a "pine palace" with a lofty, spacious, splendidly polished, and lined interior. The property was running 20,000 sheep and 2,000 heads of cattle at the time. In 1878, when Normanby station was put up for auction, the homestead consisted of a roomy house with a wrap-around verandah, kitchen, servants rooms, stables, coachhouse, outbuildings, garden and orchard. The auction was unsuccessful.</p><br>
<p>In 1881 the property was transferred to Donald Smith Wallace of Melbourne, who had married Thorns daughter Ida Australia in 1876. The station was run from 1883 to 1893 by managing partner Reginald Gardiner Casey, who in 1888 married Thorns granddaughter, Evelyn Jane Harris. Casey was the Member of the Queensland Legislative Assembly for Warrego from 1888 to 1893. Their son, Richard Gavin Gardiner Casey, was to become Governor-General of Australia. Normanby was still running sheep during the Wallace-Casey period.</p><br>
<p>In 1893, the Wallace-Casey partnership was dissolved and the property passed in 1894 to the Union Mortgage & Agency Co., Ltd, of Australia, and then in 1901 to Australian Estates, who subdivided and sold off the run in the following decade; the first subdivisional sale took place in November 1906. During this period the station was run by a series of managers, and cattle became the principal interest. John Bligh Nutting, a station inspector for Australian Estates, resided in the homestead for some years until acquiring the house and about 360 hectares in 1911.</p><br>
<p>George Hunt purchased the homestead of about 13 hectares in 1931, and the present owners have occupied the building since the early 1960s.</p><br>
<p>The original gateway to the property still stands, opposite the Warrill View State School. None of the earlier outbuildings or the former kitchen wing remains, but some vestiges of the 19th century formal garden are discernible. The house was renovated in the 1960s.</p><br>
<h2>Description</h2><br>
<p>Normanby Station is located on an eastern slope overlooking Warroolaba Creek and is accessed from the west via a driveway from the town of Warril View. The single-storeyed chamferboard building has a double hipped corrugated iron roof with a central box gutter and is encircled by a skillion roofed verandah. The building has a concrete block and stump base with brick steps.</p><br>
<p>The east verandah has cast iron balustrade and brackets with a fibrous cement lined raked ceiling and timber floor. French doors with fanlights and screens open onto the verandahs. The northern verandah has been enclosed with weatherboards and casement windows to form a sunroom, kitchen and bedroom. The southern verandah has been enclosed to form a bathroom and office with fibrous cement partitions.</p><br>
<p>Internally, walls are of painted tongue and groove boards with stained timber doors and architraves. Ceilings are of fibrous cement and floors are covered in carpet and linoleum. Large sliding stained timber doors separate the lounge and dining rooms. The dining room has a fireplace with a timber surround and an arched sash window on either side.</p><br>
<p>A hall has been inserted behind the southeast bedroom to give access to the bathroom on the south, and the southwest bedroom has been divided into two rooms. The guest room has an ensuite added on the west verandah and the kitchen has been modernised.</p><br>
<p>A double carport is located to the south, a tennis court to the north and an inground concrete swimming pool to the northeast. The west facade is screened by a vine covered trellis and a twin tankstand is located to the west.</p><br>
<p>Exclusion of Furniture: The furniture contained within the homestead is expressly excluded from the cultural heritage significance of this place</p><br>
<h2>Heritage listing</h2><br>
<p>Normanby Homestead was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Normanby Homestead is important in demonstrating the pattern of Queensland&#39;s history because of its association with the early development of pastoralism in the Moreton Bay region, and in West Moreton in particular.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>It demonstrates rare surviving evidence of 1860s timber construction and plan form in a substantial rural residence.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>Normanby Homestead has a special association with the Thorn family and their contributions, pastoral, political and commercial, to the growth of Queensland in the 19th century.</p><br>
<p>Wiss House is a heritage-listed detached house at 7 Ann Street, Kalbar, Queensland, Australia. It was built from to 1940s. It was added to the Queensland Heritage Register on 26 August 1993.</p><br>
<h2>History</h2><br>
<p>This large timber house was erected for Lionel Ainger Wiss and his family following the mid-1912 acquisition of the Ann Street site in his wife&#39;s name.</p><br>
<p>LA Wiss had arrived in Queensland from Germany with his brothers Campbell and Alfred, c.1887. They were German-born sons of English parents. After a short time in northern Queensland, Alfred returned to England and Lionel and Campbell moved to Ipswich, where they worked for grocers W Siemon & Sons for about three years.</p><br>
<p>In mid-1890 the brothers acquired an acre of land at Engelsburg, in the heart of the Fassifern Scrub district, south of Ipswich, which had been settled in the 1870s by immigrant German farmers. At this time, the township of Engelsburg comprised a general store, two saddlers, a cabinetmaker and glazier, a hotel and store, a butcher&#39;s shop, timber yard and blacksmith. The Engelsburg State School had been established in 1885. There were two Lutheran churches in the district, a Baptist church, a Primitive Methodist church, a Catholic church, and a small Salvation Army meeting hall. Much of the brigalow scrub had been cleared, and the surrounding district was dotted with small farm selections of 60, 80 or 120 acres.</p><br>
<p>On their Engelsburg property, adjacent to Heinrich Welge&#39;s Fassifern Hotel on the principal road from Ipswich to the Fassifern head station, the Wiss brothers erected a small store and adjacent dwelling. In August 1890, Ipswich architect Henry Edmund Wyman called tenders for a store and dwelling to be erected at Engelsburg, and by September 1890, a store for Lionel Wiss was being constructed there.</p><br>
<p>Lionel married Danish immigrant Maria Elise Wiuff at Ipswich in late 1890, and in the same year joined Campbell in partnership as Wiss Bros, storekeepers, at Engelsburg. Wiss Bros was one of the earliest businesses in the town, which was emerging as a district centre following the closer settlement of the Fassifern Scrub for dairying and agriculture. Campbell Wiss had left the partnership by c.1904, but the name Wiss Bros was retained.</p><br>
<p>The firm prospered, a new store was erected in 1909, and Wiss Bros became one of the most important businesses in the district. Lionel (Daddy) Wiss was a highly respected local identity, who took a prominent role in the community and the local Methodist church. In 1910, he acquired 56 acres in the centre of Engelsburg. About half of this he subdivided in 1916 into residential allotments, thereby creating most of the western half of the town of Engelsburg (renamed Kalbar in 1916 when the railway reached the town).</p><br>
<p>Despite owning acreage on the western side of George Street, when selecting a site for a more substantial family residence, Lionel Wiss chose four allotments in Annie Krause&#39;s 1912 residential subdivision of the eastern half of Engelsburg. The site at the corner of Ann and William Streets, on the small rise overlooking the township centre, was a prime location, and the house was amongst the first erected on the hill.</p><br>
<p>Lionel Wiss died in 1932. His wife, Maria Elise, resided in the Ann Street house until her death in 1957, and his daughters Adeline and Phyllis remained there until the mid-1970s, when the property was sold. Adeline ran Wiss Bros until the business was sold in 1947.</p><br>
<p>An underground air-raid shelter was constructed in the backyard during the Second World War. It is not clear whether remnants of this are extant.</p><br>
<h2>Description</h2><br>
<p>This single-skin timber house with chamferboard clad rear wing sits on a northwest sloping corner site and has a corrugated iron hipped roof with two projecting gables above the east entry porch and to the north. The building is almost square in plan with verandahs to three sides and a kitchen wing extending to the southwest. The building sits on timber stumps with timber batten infill.</p><br>
<p>The building is embellished by the use of decorative timber elements including eave brackets, bargeboards, batten gables, arch brackets, balustrade and tapering chamfered verandah posts. A large lattice spandrel panels to the triple arched entry porch has a pressed metal sheet backing with the arches having a rope pattern pressed metal edge.</p><br>
<p>The east elevation is symmetrical, having a central entry with sidelights and fanlight and two bays with sash windows. The north elevation has a large bay below the projecting gable and the verandahs to the kitchen wing have been enclosed. French doors with fanlights open onto the verandahs, the walls of which are single skin VJ boards. A corrugated iron stove recess is located on the western end of the kitchen wing and window hoods are located on the south.</p><br>
<p>Internally, the building has single skin VJ pine walls, cedar joinery and pressed metal and boarded ceilings. Some of the rooms, including the hallway, are unpainted hoop pine. The plan consists of a central hall with four bedrooms at the front and the drawing room and dining room towards the rear. The drawing room on the northern elevation, designed to overlook the town to the northwest, has a large bay window which is expressed as a gable in the roof.</p><br>
<p>The grounds include a fenced in-ground concrete pool to the northwest and mature trees to the northern boundary.</p><br>
<h2>Heritage listing</h2><br>
<p>Wiss House (former) was listed on the Queensland Heritage Register on 26 August 1993 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Wiss House is important in demonstrating part of the pattern of Queensland&#39;s history, illustrating the residential expansion of Engelsburg (Kalbar) in the 1910s, and the economic growth of both the town and the Fassifern district in this period.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The former Wiss House is important in demonstrating the principal characteristics of a substantial, largely intact, finely detailed and constructed residence of the late federation era, situated in a small country town.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The former Wiss House is important in exhibiting a range of aesthetic characteristics valued by the local community, including the buildings siting and its contribution through scale, form and materials, to the townscape of Kalbar and its rural setting, the quality of the buildings timber work and pressed metal details and the quality of the building&#39;s interior layout and detailing, including the relationship of the principal room to the view of the town centre and beyond, and unpainted pine walls and cedar joinery.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The former Wiss House has a strong and special association with the Kalbar community, contributing to the identity of Kalbar through its physical presence and location, and as the residence of one of Kalbar&#39;s most prominent citizens of the late 19th and early 20th centuries.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The former Wiss House has a special association with Lionel Ainger Wiss and the Wiss family, who played an important role in the commercial, social and physical development of the Kalbar town, community and district from the 1890s to the 1940s.</p><br>
<p>Wiss Brothers Store is a heritage-listed shopping centre at 99 George Street, Kalbar, Queensland, Australia. It was built from 1890 to 1909. It was added to the Queensland Heritage Register on 29 October 1992.</p><br>
<h2>History</h2><br>
<p>This large timber store was erected in 1909 for Lionel Ainger Wiss of Wiss Bros, a prominent Engelsburg (Kalbar) general store and trading firm. It replaced a smaller store built in 1890.</p><br>
<p>LA Wiss had arrived in Queensland from Germany with his brothers Campbell and Alfred, c.1887. They were German-born sons of English parents. After a short time in northern Queensland, Alfred returned to England and Lionel and Campbell moved to Ipswich, where they worked for grocer W Siemon & Sons for about three years.</p><br>
<p>In mid-1890 the brothers acquired an acre of land at Engelsburg, in the heart of the Fassifern Scrub district, south of Ipswich, which had been settled in the 1870s by immigrant German farmers. At this time, the township of Engelsburg comprised a general store, two saddlers, a cabinetmaker and glazier, a hotel and store, a butcher&#39;s shop, timber yard and blacksmith. The Engelsburg State School had been established in 1885. There were two Lutheran churches in the district, a Baptist church, a Primitive Methodist church, a Catholic church, and a small Salvation Army meeting hall. Much of the brigalow scrub had been cleared, and the surrounding district was dotted with small farm selections of 60, 80 or 120 acres.</p><br>
<p>On their Engelsburg property, adjacent to Heinrich Welge&#39;s Fassifern Hotel on the principal road from Ipswich to the Fassifern head station, the Wiss brothers erected a small store and dwelling. In August 1890, Ipswich architect Henry Edmund Wyman called tenders for a store and dwelling to be erected at Engelsburg, and by September 1890, a store for Lionel Wiss was being constructed there.</p><br>
<p>Lionel married Danish immigrant Maria Elise Wiuff at Ipswich in late 1890, and in the same year joined Campbell in partnership as Wiss Bros, storekeepers, at Engelsburg. They established one of the most important businesses in the town, which was emerging as a district centre following the closer settlement of the Fassifern Scrub for dairying and agriculture. They provided a general store which not only sold a great variety of goods, but also traded farm produce, acted as agent for major farm equipment suppliers, and offered substantial credit, doing much to assist local farmers. As early as 1892, Wiss Bros were the local agents for the United, Fire and Marine Insurance Co., and from 1894 to 1897 held the Engelsburg postal receiving office, until construction of an official post office in 1897. Until the railway came to Kalbar in 1916, Wiss Bros transported local produce to the nearest railhead at Munbilla on behalf of the local farmers. The firm was a principal employer in the town, with 8 to 10 employees by the 1920s.</p><br>
<p>In 1903, their premises consisted of the small store and a separate dwelling fronting George Street, and bulk store and large stables at the rear. Lionel Wiss&#39;s property had been extended with the acquisition of an adjacent acre to the south in 1898, and a further adjoining 2 roods in 1901. Campbell Wiss had left the partnership by c.1904, but the name Wiss Bros was retained.</p><br>
<p>When the new store was erected in 1909, the original store was moved a little to the north in George Street, and operated for many years as Surawski&#39;s Fassifern Cafe. In the 1980s this building was shifted to the Cunningham Highway.</p><br>
<p>Lionel (Daddy) Wiss was a highly respected local identity, who took a prominent role in the community and the local Methodist church. In 1910, he acquired 56 acres in the centre of Engelsburg. About half of this he subdivided in 1916 into residential allotments, thereby creating most of the western half of the town of Engelsburg (renamed Kalbar in 1916 when the railway reached the town).</p><br>
<p>Following Lionel Wiss&#39;s death in 1932, the business was managed by his family under the supervision of his daughter Adeline Wiss. In 1947 the business was sold to Holmes Bros, and remained a general store until 1966, when transferred to Chemical & Air Services Pty Ltd, who occupied the buildings for over twenty years.</p><br>
<h2>Description</h2><br>
<p>This store is located on a corner site fronting George Street, the main street of Kalbar. The rectangular chamferboard building, sits on timber stumps, and has a corrugated iron gabled roof with a skillion awning over the footpath. Four decorative metal ventilators are located along the ridge of the roof.</p><br>
<p>The street facade is a virtuoso assemblage of sheet metal in imitation of classical masonry detail. It has three arched windows above the awning, the central one being the largest and crowned by a pediment with the inscription WISS BROS. Pilasters feature to either side of the pediment, with the dates 1890 and 1909, and to the corners of the facade, and are surmounted by finials.</p><br>
<p>The building is embellished by the use of decorative pressed metal sheets, depicting a brickwork pattern to the front facade and floral and geometric patterns to the verandah awning, window display ceiling and sections of the store ceiling. The shopfront has three glass display bays with cast-iron columns at each corner of the central bay. There are French doors with fanlights, between each of the bays.</p><br>
<p>The building has high level, centrally pivoting hopper windows to both sides and rear. The rear has a corrugated iron skillion roofed verandah with two entry doors and sash windows.</p><br>
<p>Internally, the building has exposed timber trusses with diagonally boarded raked ceilings with a central flat pressed metal ceiling. The trusses are supported by central timber columns with timber arch brackets and some of the original timber partitioning, with turned timber balustrade capping, remains.</p><br>
<p>To the south of the store is the original residence, consisting of two small timber and iron dwellings connected by an enclosed verandah. A bulk store, constructed of timber with twin hipped corrugated iron roofs and lean-to awnings, is located at the rear of the store.</p><br>
<h2>Heritage listing</h2><br>
<p>Wiss Brothers Store & Dwelling (former) was listed on the Queensland Heritage Register on 29 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Wiss Bros Store and Dwelling is important in demonstrating part of the pattern of Queensland&#39;s history, illustrating the growth of Engelsburg (Kalbar) as the centre of a thriving dairying and agricultural district in the early years of the 20th century.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The former Wiss Bros Store and Dwelling is important in demonstrating the principal characteristics of an intact, early 20th century general purpose country store, with associated early bulk store and c.1890 dwelling.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The former Wiss Bros Store and Dwelling is important in exhibiting a range of aesthetic characteristics valued by the local community, being a self-conscious element in the townscape, employing lavish and accomplished workmanship in sheet and pressed metal to imitate a classical masonry facade.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The former Wiss Bros Store and Dwelling has a special association with Engelsburg (Kalbar) storekeeper Lionel Ainger Wiss and the firm of Wiss Bros, who played an important role in the commercial, social and physical development of the Kalbar town, community and district from the 1890s to the 1940s.</p><br>
<p>Binna Burra Cultural Landscape is a heritage-listed holiday resort at Binna Burra Road, Binna Burra, Scenic Rim Region, Queensland, Australia. It was built from 1934 to. It was added to the Queensland Heritage Register on 31 December 2002.</p><br>
<h2>History</h2><br>
<p>In 1930 Romeo Lahey, who had played a significant role in having Lamington National Park gazetted in 1915, met Arthur Groom, a freelance journalist 17 years his junior. It was a meeting destined to form an association for nature conservation in and of national parks. At the meeting the National Parks Association of Queensland (NPAQ) was established. This was the first National Parks Association in Australia and Romeo Lahey was the driving force behind it, both before its formation and for almost the rest of his life. Romeo Lahey was voted in as president and Arthur Groom the secretary.</p><br>
<p>During their discussions within the NPAQ the two men found they shared similar ideas for the provision of lodges, guest houses or huts close to national parks throughout Queensland, but particularly Lamington. A partnership began between 42-year-old Romeo Lahey and 25-year-old Arthur Groom. Lahey attempted to buy property owned by George D Rankin at Mount Roberts (now Binna Burra) in 1920. In December 1932 an option was obtained from George Rankin at a cost of £1 for three months. He ended up extending his offer, without extra cost, for one year. In 1933 Lahey, Groom and four others formed a limited company, Queensland Holiday Resorts Ltd, to provide tourist facilities and accommodation in beauty spots throughout Queensland and as far as possible to assist in preserving such in their natural state in accordance with the ideals of the NPAQ. As shares sold slowly due to the Depression it was decided to organise camps at Binna Burra in order to promote the company.</p><br>
<p>One camp was arranged for one month over the Christmas period of 1933. Accommodation was in tents, a cook supplied meals and there were daily guided picnics into the National Park - all for five shillings a day. The directors hoped that if attendance was good the company would be floated. The limit of 40 was booked out within days so the number was raised to 80. The problem of carting luggage was overcome with the help of Walter Muller (Old Bill) who was to become an identity at Binna Burra for many years. He also worked for the Lahey family company in the Canungra sawmill and on associated roadwork. The weather was mild on the first few days of the camp, however on Boxing Day there was a cyclonic storm that did not let up until after the New Year. Although everything became sodden the campers would not hear of closing the camp down. The camp was extended a further two weeks to a total of six allowing for a week or two of fine weather. During the first Christmas camp a hoop pine tree was planted by Romeo Lahey and used as a Christmas tree. The ceremony was repeated at the 50th anniversary of the camp at Christmas 1983.</p><br>
<p>On 3 March 1934 Queensland Holiday Resorts Limited, with 97 subscribers and 1880 allotted shares, was incorporated. A flying fox was erected soon afterwards using the engineering knowledge of Romeo Lahey and fellow director Lewis Day and Old Bill&#39;s previous experience in the coalmining valleys of New South Wales. It consisted of a huge wheel, the whim, laid horizontally at the top of the rise, pulled round by draughthorse to draw a heavy-duty cable on which baggage was strung for its ascent, about 150 metres. At night it was festooned with lanterns. The base of the flying fox was a large tallow wood tree, which is still extant, near the Mains Road toilet facilities, about 1.6 kilometres down the road from the lodge. The top pulley and loading/unloading point was right at the (now) concrete edging just west of recent barbecue facilities. A large eucalypt pointing north-west is thought to be the anchor for the top pulley. The flying fox operated until March 1947 when a road was completed to the lodge, largely by the efforts of Queensland Holiday Resorts Ltd after two years of discussion with the Main Roads Commission. The road became all weather in 1951 when it was taken over by the Main Roads Commission and it was laid with bitumen in 1969.</p><br>
<p>In 1934, Romeo Lahey bought Leighton House, a boarding house built by the family company in 1902 in Canungra. It was dismantled and brought up to Binna Burra by packhorse and became the dining and recreation room. It is currently used as the reception room. By Easter 1934, the first hut was nearly finished. It had tallow-wood slab walls and a stringybark shingle roof. The 56 guests who arrived for Easter were housed in tents.</p><br>
<p>Building was difficult as most supplies had to be brought up from Brisbane or Canungra without the benefit of a vehicle road. However, by the first shareholders meeting in October 1934 the lodge consisted of a dining room, kitchen, store, staff dining room, bathrooms and lavatories, flooring and tables for the tents and one dormitory slab cabin. By November staff quarters were built and the first slab cabin constructed for guests. By the second annual shareholders meeting in November 1935, two more slab cabins accommodating 22 people had been completed. By 1939 there was cabin accommodation for 54.</p><br>
<p>Romeo Lahey based his slab hut design on buildings he had seen in Victoria. They were cheap to build because all materials came from the property. They followed an early style of Australian housing and fitted in with the natural environment, consistent with the philosophy of Binna Burra.</p><br>
<p>In 1935 Arthur Groom sought permission to build a home on the far side of the saddle from the lodge. It was ready for habitation the following year. Following his divorce from his wife Marjorie, Groom married Isla in 1949, and they continued to live in the cottage. After Groom&#39;s death in 1953, the cottage was predominantly used as a staff cabin until 1980.</p><br>
<p>A sawmill was constructed for cutting timber for firewood used to heat water for the lodge. It operated in the early 1950s and during this time two slab cabins were also built (Cabins 30 and 31 - one building that was originally three rooms, made into two much later). Ensuite facilities were also later provided. The mill was run by Wallace McIntyre who was to be appointed manager on Arthur Groom&#39;s death. A Rustin Hornsby diesel engine powered the generator and the sawmill. The sawmill is currently being renovated and reconstructed as an interpretative device for guests.</p><br>
<p>Approximately half a hectare was cleared for a vegetable garden to service the lodge in the early years of its operation. To the west of the vegetable garden was an area known Bellbird Clearing. Adjacent to Bellbird Clearing is an area now used as a ropes course as part of the guest activities. The flying fox also passes through Bellbird Clearing.</p><br>
<p>On 3 February 1957, a memorial to Arthur Groom was unveiled by Mr Victor Grenning, Director of Forests. Supporters of Binna Burra had donated funds which enabled the memorial to be built on a grassy slope immediately in front of the entrance to the main border track at the Binna Burra end of Lamington National Park. Professor Robert Percy Cummings of the University of Queensland designed the basalt stone wall and the seat of rosewood, obtained from the property and adzed by Gus Kouskos, and Romeo Lahey designed the brass plaque. The memorial rests close to Arthur Grooms original home overlooking Nixons Creek and the Numinbah Valley.</p><br>
<p>One of the features of Binna Burra is the Friends of Binna Burra (FOBBs). Almost since its inception the loyal lodge guests have been keen to improve the site by donating their own time. In many instances this has been rewarded by free accommodation, such as a weekend stay where the guest works one day and has the other for recreation. One such guest, Winifred (Win) Bristow, has been involved with the lodge for over 40 years of her life. She first came to the lodge as a guest in 1940 with her husband and two children. Following her husbands death in 1957, Win visited Binna Burra frequently. Her keen interest in plants led to Tony Groom approaching her in 1967 with a view to establishing a garden in between the terraces of cabins which, for many years, had been a repository for workmens rubbish from building projects and items some guests no longer wanted. Win used her own garden tools until 1980 when Binna Burra purchased a set. She attended to the garden four times a year on specific occasions and for part of her Christmas holiday visit. By 1982 the overall plants in the garden had reached 672. Win Bristow received recognition for her efforts with a presentation in March 1984, and a plaque has been placed by the FOBBs in the walkway between the terraces of cabins, commemorating her efforts.</p><br>
<p>In 1980 Arthur Grooms former house was refurbished and extended for use as the headquarters of the Environmental Study Centre. The Lamington Natural History Association (LNHA) was created in 1975, a combined operation of Binna Burra, OReilly&#39;s and the National Parks and Wildlife Service. Eventually it split into two chapters, one at each resort.</p><br>
<p>The LNHA headquarters is located at the Environmental Study Centre. Officially opened in 1977, the Centre used an innovations grant from the Schools Commission to provide facilities for school camps. In 1980 the Centre occupied Arthur Grooms former house, renovated to allow for the directors office, a workroom and accommodation for 36 children. In the same year, a full-time teacher was appointed to run the Centre and to develop special teaching programmes for study of the national park. The LNHA became the first such association in Australia to employ full-time staff.</p><br>
<p>In 1997 an unusual adventure playground was constructed to help children interact with the natural environment. The playground was devised by specialist toy and play equipment designer, Kate Bishop, who had worked extensively with blind and visually impaired children. The playground is divided into six main activity centres which radiate from a central entry point (designed to represent the sun) along pathways simulating the sun&#39;s rays. The first area is a micro-environment for children up to five years with a sensory path, a scratch-and-sniff forest, a cubby house and logs and trees to climb on. For children up to 12 years there is a predator-and-prey activity area. There is also a three-dimensional nutrients maze where children take on the role of a nutrient, moving up and down or backwards and forwards over bridges, ladders and on swings, until they find their way to the central tree and travel up the trunk to nourish leaves and flowers. Other activity centres include a water cycle area which demonstrates how poisons impact on the environment; an area of logs, caves and tree stumps where they can create their own games; and an outdoor stage for games which illustrate what has been learnt in the other areas.</p><br>
<p>Aesthetic responses to Binna Burra have captured its distinctive physical features. Works evoke the feeling of being deep within the rainforest amidst any of the numerous waterfalls or looking out from mountain to mountain. Icons of the region are Egg Rock and Turtle Rock and the McPherson Range all of which have inspired aesthetic works for more than six decades. Internationally acclaimed poet Rodney Hall wrote his 1970 poem about Binna Burra and important Queensland-born artists such as Vida Lahey depicted this region as did the international artist Lois Beumer in her watercolour Rainforest Tangle 1986. Artists camps were held in the 1930s in order to take advantage of the inspiration afforded by the scenic views. Arthur Groom wrote his 1949 work One Mountain After Another about Binna Burra.</p><br>
<p>The adjacent McPherson Range which contains Cavern Falls, Triple Falls and Tooloona Creek inspired a number of well known photographers including Arthur Groom, Doug Spowart and the early intrepid photographer, Charles Ernest Stanley Fryer. Romeo Lahey also took plate glass photographs at the outset of World War I, as an adjunct to his campaign for the area to be reserved as a national park. The nationally acclaimed landscape paintings of the area by William Robinson further illustrate the significance of this whole Lamington region in terms of aesthetic value as does Raymond Curtis&#39; 1989 orchestral work Journey Among Mountains.</p><br>
<h2>Description</h2><br>
<p>Binna Burra is located at Beechmont surrounded by the Lamington National Park. Binna Burra comprises a number of components, listed below.</p><br>
<h3>Binna Burra Mountain Lodge</h3><br>
<p>A large building that was dismantled in Canungra and rebuilt on the site in 1934. Initially it was the dining and recreation room, then the games room. It is currently being used as a reception/lounge/shop. A large kitchen/dining room and upstairs lounge have been added. The accommodation is of slab cabins made from horizontal tallow-wood slabs with massive bedlogs and corner posts with stringybark shingle roofs. There are also cabins, dating from the 1970s, made from prefabricated kits.</p><br>
<h3>Binna Burra Mountain Lodge Cabins</h3><br>
<p>The older cabins have tallow wood drop slab walls with shingle roofs. The original roofs were stringybark but when renovations have been necessary pre-cut shingles have been used. Some of the slabs, which are up to three feet high and four inches thick, have been carefully dismantled and re-erected as renovations become necessary. Interior designs have changed over the years to meet contemporary needs.</p><br>
<h3>Christmas Camp 1933</h3><br>
<p>An area of maintained lawn, known as the Saddle, of approximately one hectare, some 250 metres south of Binna Burra Mountain Lodge.</p><br>
<h3>Commemorative Hoop Pines</h3><br>
<p>Two hoop pines situated on the western side of the maintained lawn bordering the forest edge 250 metres south of Binna Burra Mountain Lodge adjacent to the Christmas Camp 1933 site.</p><br>
<h3>Goat Track</h3><br>
<p>The goat track is no longer visible. The track ran from the front of the lawn of the lodge steeply down the crest of the ridge to the west. It was used as a short cut between the lodge and the dump. At its top end it started around about where a survey mark is located on the north-west corner of Mt Roberts. It ran approximately north-west downhill and crossed the loop track. It then turned due west and down, very steeply, zig zagging until it crossed the bitumen on the apex of a sharp corner below Barry&#39;s Track. The bottom section of the track then disappeared into rainforest below the bitumen and down to the dump.</p><br>
<h3>Flying Fox</h3><br>
<p>The only remaining evidence of the flying fox is an old wheel near the northern end of the dining room. The flying fox ran from the dump, at the end of the then main road, where the Information Centre is now, up to the present dining room. The distance from bottom to top was approximately 200 metres.</p><br>
<h3>Win Bristow Garden Walk</h3><br>
<p>The area situated between the terraces of cabins and the lounge/reception, containing a native garden.</p><br>
<h3>Engine Room</h3><br>
<p>Corrugated iron shed with random rock wall.</p><br>
<h3>Arthur Groom Memorial</h3><br>
<p>A basalt stone wall and a rosewood seat with a brass plaque dedicated to the memory of Arthur Groom, a man who loved and understood the bush. It is situated immediately in front of the entrance to the main border track at the Binna Burra end of Lamington National Park.</p><br>
<h3>Old Vegetable Garden</h3><br>
<p>Located to the east of Binna Burra Mountain Lodge, this area was originally used to grow vegetables to supply the lodge, however all that remains are some citrus tree plantings, passionfruit vines and some garden fencing. Binna Burra&#39;s first water supply was drawn via a powerful pump from a single well sunk in the bed of the western tributary of Bellbird Creek. A second well was sunk in the late 1940s. Both wells are clearly visible in the old pump shed located in the area. Partially restored engines are also located in the old pump shed.</p><br>
<p>Another remnant of earlier activities in this area, is a hessian and corrugated iron bird hide derived from what was originally a garden shed. Inside is an "L" shaped timber bench seat and a bird identification chart. The old shed was used to create the bird hide when Jenny and Glenn Holmes spent time working as naturalists for Binna Burra around 1990.</p><br>
<h3>Bellbird Clearing</h3><br>
<p>An activity area for lodge guests who undertake ropes courses and abseiling activities is located adjacent to Bellbird Clearing. The flying fox also passes through Bellbird Clearing.</p><br>
<h3>Bellbird Lookout</h3><br>
<p>Located approximately one kilometre east of Binna Burra Mountain Lodge. The view from this barrier free natural rock formation sweeps across the Nixons Creek Valley, taking in Ships Stern, Turtle Rock and Egg Rock.</p><br>
<h3>Environmental Playground</h3><br>
<p>The recently constructed playground is located approximately 150 metres along the road leading from the lodge on the left hand side and covers an area of approximately 600 square metres.</p><br>
<h3>Environmental Study Centre</h3><br>
<p>Once the home of Arthur Groom, the building is located about six hundred metres south of the lodge on the slope rising to the entrance of Lamington National Park. The original slab hut was refurbished and extended in 1980.</p><br>
<h2>Heritage listing</h2><br>
<p>Binna Burra Cultural Landscape was listed on the Queensland Heritage Register on 31 December 2002 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Binna Burra is important in the course of Queensland&#39;s natural and cultural history. The lodge buildings and guest cabins exhibit a high integrity of features significant to the development of a nature-based tourism resort. The design and structure of the resort conform to its aims of providing tourist facilities and accommodation within an area of outstanding beauty, while assisting in preserving such in its natural state. Binna Burra is important in the consolidation and expansion of tourism to Lamington National Park.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Binna Burra is part of the World Heritage listed Central Eastern Rainforest Reserves of Australia (CERRA) and contains the internationally famous Binna Burra Mountain Lodge which takes advantage of spectacular panoramic views of the surrounding countryside. Aesthetic responses to this place capture its distinctive physical features. Artistic works evoke the feeling of being deep within the rainforest amidst any of the numerous waterfalls or looking out from mountain to mountain. Icons of the region are Egg Rock and Turtle Rock and the McPherson Range all of which have inspired aesthetic works for more than six decades.</p><br>
<p>Internationally acclaimed poet Rodney Hall wrote his 1970 poem about Binna Burra and important Queensland-born artists such as Vida Lahey depicted this region as did the international artist Lois Beumer in her watercolour Rainforest Tangle (1986). Artists camps were held in the 1930s in order to take advantage of the inspiration afforded by the scenic views. The internationally acclaimed writer and photographer Arthur Groom wrote his 1949 work One Mountain After Another about Binna Burra. The adjacent McPherson Range which contains Cavern Falls, Triple Falls and Tooloona Creek inspired a number of well known photographers including Arthur Groom, Doug Spowart and the early intrepid photographer, Charles Ernest Stanley Fryer. Romeo Lahey also took glass plate photographs at the outset of World War I, as an adjunct to his campaign for the area to be reserved as a national park.</p><br>
<p>The nationally acclaimed landscape paintings of the area by William Robinson further illustrate the significance of this whole Lamington region in terms of aesthetic value as does Raymond Curtis&#39;s 1989 orchestral work Journey Among Mountains. This region has a very high profile in tourist literature covering the area - its aesthetic value widely recognised by tourists and the local community.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>There is a long and strong association of the place with Romeo Lahey who was significant not only in establishing Binna Burra but in having Lamington National Park gazetted in 1915, following early work begun by RM Collins.</p><br>
<p>The Waggoner Mansion  is a historic mansion in Decatur, Texas. The sixteen room mansion was built in 1883 by the Waggoner Family. It was purchased in 1942 by Mr. and Mrs. Phil Luker.</p><br>
<h2>Location</h2><br>
<p>The mansion is located at 1003 East Main in Decatur, a town in Wise County, Texas. It spans thirteen and a half acres of land.</p><br>
<h2>History</h2><br>
<p>The mansion was built in 1883 for Daniel Waggoner, owner of the Waggoner Ranch. It was designed in the Victorian architectural style. It comprises sixteen rooms and six bathrooms, with two bedrooms on the ground floor and four bedrooms on the first floor.</p><br>
<p>The house was inherited by Daniel Waggoner&#39;s son, William Thomas Waggoner. In 1942, it was purchased by Mrs and Mr Phil Luker.</p><br>
<p>It is listed on the National Register of Historic Places.</p><br>
<p>Tamborine Mountain Road is a heritage-listed road at Geissmann Drive, North Tamborine, Scenic Rim Region, Queensland, Australia. It was built from 1922 to 1925. It is also known as Tamborine Station-Tamborine Mountain Road and Geissmann Drive. It was added to the Queensland Heritage Register on 5 August 2003.</p><br>
<h2>History</h2><br>
<p>Tamborine Mountain Road was constructed in 1922-1925 to link the small farming community of North Tamborine on the Tamborine Mountain plateau to Tamborine railway station. Linking North Tamborine to the railway system enabled greater tourist access to the mountain, and greater market access for Tamborine Mountain produce. Tamborine Mountain Road was one of the first construction projects undertaken by the newly formed Main Roads Board and was one of the first declared Main Roads and one of the first bitumened roads in Queensland. It remains a main access and tourist road for North Tamborine.</p><br>
<p>North Tamborine is situated on a plateau 548m in altitude and 10 km by 3.5 km in area, with steep escarpments around most sides with only a few areas where the slope is gentle enough to allow the construction of a road. The first wave of non-indigenous settlers on Tamborine Mountain in the 1870s and 1880s established walking and bridle tracks through the rainforest to reach their selections, where they cleared the land to grow bananas and fruit (and later dairy produce) for the Brisbane markets. Farmers used the same tracks to take their produce down to the valleys. The early track makers had problems with the steep gradients and high rainfall and any track in the area was difficult to make and hard to maintain.</p><br>
<p>The Tamborine Plateau was recognized early as a tourist and health destination because of its elevation, rain forest vegetation, waterfalls and landscape values. In 1898, the Geissmann family moved to North Tamborine and built a large boarding house, Capo di Monte, and advertised it as a Health Resort. It became very popular and visitors included Lord and Lady Lamington and Sir William MacGregor, Governors of Queensland. Later the house was converted to holiday flats and the family acquired other interests in the area. The Geissmann family was also involved in sawmilling and was very prominent in the area even after Capo di Monte was destroyed by fire in 1932. The upper section of Tamborine Mountain Road was renamed Geissmann Drive about 1982 to honour their contribution to the community.</p><br>
<p>In July 1918 the Tamborine Mountain Progress Association, anxious to improve access to markets for the increasing number of dairy farmers and fruit growers on the mountain, urged Tamborine Shire Council to construct a good road down the mountain to link North Tamborine with the Tamborine Railway Station. Land was resumed and a route with a reasonable gradient was surveyed in 1920.</p><br>
<p>The request was timely. By 1920 the need to provide all-weather roads was a priority for all Queenslanders - a response to the increased number of motor vehicles on the roads, and to the need to provide suitable infrastructure for an expanding economy. Queensland roads were in a deplorable condition, the result of haphazard planning by under-funded local authorities. In response, the Queensland Government established the Main Roads Board in 1920 to oversee the construction of connecting roads and bridges and to provide funding to the local authorities involved. The first Board Chairman, JR Kemp, reported that earlier roads failed because they had not been surveyed properly, had too steep gradients, had insufficient drainage for heavy rain areas, had insufficient foundations and carried too heavy loads. These roads often needed expensive maintenance. To reduce the cost of construction and maintenance, Kemp specified standards for the design of road beds, drainage systems, bridge design and other critical areas of road making. In 1925 the Main Roads Board became the Main Roads Commission under JR Kemp as Commissioner and continued the overseeing of road and bridge construction throughout Queensland.</p><br>
<p>In 1922 a National Main Roads Policy was proclaimed, providing funds for main roads construction on a one for one subsidy basis. Road costs were apportioned as ? Commonwealth funded, 3/8 State and 1/8 local authority. The Commonwealth funding was intended also to provide employment for returned First World War servicemen.</p><br>
<p>Under the provisions of the Main Roads Act 1920, Tamborine Mountain Road was gazetted on 16 December 1921 as one of Queensland&#39;s first seven Main Roads, and the Main Roads Board subsequently made funds available to Tamborine Shire Council for its construction. The Board also specified engineering standards for many aspects of the construction, including road beds, culverts and dry stone rock retaining walls. Some of the retaining walls on the lower side of the road were reputedly 15 feet high. A crushing plant was set up at Sandy Creek in 1923 to provide the road metal, the stone being obtained from a quarry below Curtis Falls.</p><br>
<p>During 1922-23, its first year of operation, the largest expenditure on permanent road works by the Main Roads Board was on the construction of the Tamborine Mountain Road.</p><br>
<p>The mountainous upper (southern) part of the road from Sandy Creek to North Tamborine rose to a height of 1800 feet, and was one of the most difficult works undertaken in the period 1922-24. It was completed in 1924 at a cost of £32,158. The road linking Sandy Creek to the Tamborine Railway Station was completed in 1925. Tamborine Shire Council then asked the Main Roads Commission to bitumen the road surface to reduce maintenance costs and this was done. It was one of the first bitumen roads in Queensland. The total cost of the road by 1925 was £42,500.</p><br>
<p>As funding for the Tamborine Mountain road was partly the responsibility of the local authority, North Tamborine residents in the "benefited area" were levied increased rates. In 1925, the rates increased to 1s 8d in the £, three times that of the surrounding area. This was a hardship for many so in 1930, when changes to the Main Roads Act permitted the levying of tolls on roads with high maintenance costs, Tamborine Shire Council paid £500 to have a toll keeper&#39;s house erected at Sandy Creek. Tamborine Mountain Road was one of the first three Queensland main roads/bridges to have a toll imposed under the provisions of the Act. It was anticipated that tolls from tourist vehicles would contribute to the repayments to the local authority but the toll was uneconomic and disliked and was removed in 1945.</p><br>
<p>Tamborine Mountain Road remained the principal access road to North Tamborine for many years and continues to be a main tourist and access road to the plateau and North Tamborine. The upper (southern) section still winds through subtropical rainforest which for decades has provided an aesthetic portal to the plateau.</p><br>
<p>The road has had continuous maintenance over its life but still retains many of the original features such as the alignment, culverts and retaining walls.</p><br>
<h2>Description</h2><br>
<p>The Sandy Creek to North Tamborine Mountain section of the Tamborine Mountain Road descends from North Tamborine to the valley to the north west. It is two lanes wide, 7.7 km long, and follows the original alignment. It has been widened in the less steep areas for safety reasons as it is still a major access road, but it retains many of its original features such as culverts, cuttings and rock embankment walls. The alignment includes two large "S" bends, a feature that enabled the road makers to wind up steep pitches while maintaining a gradual gradient. These are not found in modern roads as modern vehicles can climb much steeper gradients. The original bitumen road surface remains, but has been re-surfaced many times.</p><br>
<p>The Cedar Creek to North Tamborine section traverses very steep hillsides and deep gullies and retains its original alignment with a large "S" bend winding up the hill. As it has a steep gradient, the road has been made by cutting into the hillside and depositing the spoil down hill to make a wider road bed and ease construction problems. Where the cliff has been cut back, some rock walls have been built to stop the bank eroding onto the road and blocking it. Below the road dry stone rock walls, i.e. walls that have no mortar joining the stones, cover the steep embankments to prevent the road surface sliding downhill. To prevent the heavy rainfall washing the road away, culverts under the road direct the water away from the road surface. In some sections these original culverts were not adequate in very heavy rain.</p><br>
<p>The lower part of the road from Cedar Creek to Sandy Creek traverses more gentle slopes so there are fewer retaining walls, embankments and sharp curves. The road has been widened in several places but it still retains original culverts and walls. It goes through dry sclerophyll forest down to the valley.</p><br>
<p>Cuttings and embankments are found mainly in the upper section. Many of the embankments are clad in dry stone walling many metres deep and can be seen from the road but many have been covered by the abundant vegetation. Some early dry stone walls can be seen on the upper bank of the road alongside more modern rock walls. One of the original stone embankment walls is found near the Sandy Creek Bridge between the road and the creek. It is about 1.5m high and approximately 16m long and protects the road embankment from erosion from the flooding of Sandy Creek and from road surface run-off.</p><br>
<p>Twelve culverts were noted and they vary in date and design. They include circular concrete pipes, larger rectangular pipes and modern rectangular section pipes. Some are single, some double depending on the expected water flow. Around each of the inlets is a rock channel and wings to guide the water into the mouth of the pipe and these have been individually designed for the particular site. Many have concrete end walls and loose concrete added to the surface. On the outlet side there is mostly a rock surround around the pipe and, if space, a concrete apron to prevent erosion. As with any functional road, there is evidence of a continuous upgrade of surface and culverts as required for safety but many of the original culverts survive.</p><br>
<p>The roadside vegetation is dry sclerophyll for much of its length changing to subtropical vine rainforest in the upper areas. This rainforest area with the Bangalow Palms in Cedar Creek Valley has retained its original characteristics and forms an important part of the landscape of this site. Another feature of the road reserve is the Sentinel, a piece of basalt, standing beside the upper S bend. It has stood beside the road since its construction as part of a larger bolder, too heavy to move, and as such has become a local landmark.</p><br>
<h2>Heritage listing</h2><br>
<p>Tamborine Mountain Road/Geissmann Drive was listed on the Queensland Heritage Register on 5 August 2003 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The road is important historically as it was one of the first Main Roads in Queensland gazetted by the Main Roads Board. The road demonstrates achievement in road building in difficult terrain in the 1920s and the early use of asphaltic concrete as a road surface. It also demonstrates the application of scientific and engineering standardized approaches to road construction as advocated by the first Main Roads Board, to reduce costs and produce better roads. The road is important also in demonstrating the success of the co-operative effort of a small community to improve their means of access, and is significant for its contribution to the development of Tamborine Mountain farming and tourism.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Tamborine Mountain Road has survived with a number of original elements, including 1920s culverts and rock walls. These demonstrate the principal characteristics of the Main Roads Board&#39;s standardized requirements for the construction of important early Queensland roads. These elements are particularly evident in the upper one third of the road.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>This upper section (Geissmann Drive), which winds through subtropical rainforest and which for decades has provided an aesthetic portal to the plateau, is valued by local residents and tourists alike for its aesthetic qualities. It is from the Tamborine Mountain Road approach that most visitors, since the 1920s, have obtained their first experience of the mountain&#39;s subtropical rainforest environment, which is highly valued for its natural heritage qualities.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The place is important to the community for its continuing social and cultural connections. In renaming the upper (southern) part of the road as Geissmann Drive, the local community has honoured the work of the pioneering Geissmann family, early guesthouse owners and sawmillers who did much to promote Tamborine as a health resort and tourist destination and were active in the local community for many years.</p><br>
<p>Lahey&#39;s Canungra Tramway Tunnel is a heritage-listed tunnel on Laheys Tramway at Canungra, Queensland, Australia. It was built from 1901 to 1903 by Mr Clark. It was added to the Queensland Heritage Register on 11 April 2005.</p><br>
<h2>History</h2><br>
<p>The Laheys Canungra Tramway Tunnel represents part of a large scale, privately constructed and operated tramway used between 1903 and 1930. The tramway tunnel was cut through solid sandstone, thereby negating any requirements for lining or support structures.</p><br>
<p>European settlement of the area surrounding the Coomera River commenced in 1843 with the establishment of the Tambourine holding. Early timber harvesting began in the 1860s by Hugh Mahony, who cut and hauled cedar logs to mills in Ipswich.</p><br>
<p>The Lahey family emigrated from their native Ireland to Australia in 1862. Francis Lahey, his wife and eleven children arrived in Sydney, but immediately travelled north to Brisbane. The family began farming in the Pimpama region in 1870. In 1875 Francis Lahey purchased a sugar mill and sawbench at Tygum, Waterford for his sons.</p><br>
<p>After being informed of the "good timber" in the region, David Lahey commenced work on the construction of the first sawmill in Canungra on 2 October 1884. During the same year David, John, Isaiah, Thomas and Evangeline Lahey all applied for and were granted selections of land around Canungra totaling over 3,000 acres.</p><br>
<p>The mill at Canungra flourished during the first sixteen years of operation with timber readily obtained from the immediate area. The Lahey family expanded their business during this time, establishing an office in Brisbane in 1887, saw and planing mills at Beaudesert in 1888, the construction of a new mill at Canungra in 1897 after the original mill was destroyed by fire, and the construction of another mill at Widgee near Hill View in 1898.</p><br>
<p>By the turn of the 20th century, transportation of timber to the Canungra mill was becoming a problem. By this time the Laheys had acquired timber leases amounting to over 16,000 acres in the Canungra and Pine Creek Valleys, thereby requiring the slow and expensive bullock teams to haul logs over ever-increasing distances.</p><br>
<p>The Laheys saw mechanisation as the solution to their transportation problems. After a failed experiment with a steam traction engine, it was decided to build a tramway into the Pine Creek Valley to help keep transportation costs down. Steep grades and rugged terrain were an early problem in the design of the tramway. Various means of propulsion to cope with the steep grades and potentially heavy haulage weights were considered. A geared Climax locomotive, claimed to be capable of operating on grades as steep as 1 in 10, depending on haulage weight, was selected. A narrow gauge of 3 feet 6 inches was also chosen to match that of the growing Queensland Government Railways, as it was hoped that the government line would eventually extend to Canungra (this finally occurred in 1914).</p><br>
<p>Tom Lahey and a Mr Clark were responsible for the selection of the tramway route. George Phillips, a celebrated civil engineer, was then engaged to make a detailed survey of the route, which was completed in February 1900. A contract was then let to Mr Clark for the initial construction. An immediate problem he faced was a ridge of the Darlington Range that separated the mill in Canungra from the timber leases in the Coomera Valley. After considering an expensive long circuitous route around the ridge formation, a tunnel cutting through the ridge was chosen with an approach grade of 1 in 12½ with short radius curves. The tunnel was pierced on 1 January 1901. First use of the tunnel was in September 1903.</p><br>
<p>The grade against loaded trains heading to the mill was kept to 1 in 16½. The downhill grade from the tunnel to the mill was steeper and considered dangerously steep. To overcome this, a safety switch was laid. During actual operations, no serious accidents occurred, though there are reports of "some exciting moments", being "due to greasy rails".</p><br>
<p>The tramway was extended over time. By 1910, the main line was 13.5 km long, with a branch 2 km up Flying Fox Creek and a sub-branch 500 m up Little Flying Fox Creek to service a new aerial ropeway on Beech Mountain. Eventually, the total length of track laid amounted to 26.5 km.</p><br>
<p>Usage of the tramway continued to increase so that during 1915 alone, 15,000 ST of logs were hauled to the mill.</p><br>
<p>With the construction of the tramway came the preservation of belts of native vegetation alongside the tracks. The line "curved among waterfalls, ferns and thick scrub", and it was used by the locals for everyday transportation needs, with reports of locals sitting atop the logs, children using the tramway for rides to school and for picnickers hitching a ride to their destinations.</p><br>
<p>By 1920 much of the timber had been removed from the Canungra area. In 1920, the War Service Homes Commission purchased the whole milling operation and before long, closed the mill. David Lahey&#39;s company Brisbane Timbers Ltd, however, took over the remaining timber harvesting operations and the tramway was used sporadically for a few more years. Trips along the tramway by sightseers are recorded up till 1930. By June 1933, the line was being dismantled. In 1935, the rails and bogies were sold for scrap. During its period of use, the tramway collectively hauled approximately 130 million super feet of timber.</p><br>
<p>During the Second World War, the tunnel was used for the storage of ammunition for the nearby Kokoda Barracks at Canungra. Following the war the tunnel fell out of use, but has since been cleared out through work conducted under a Centenary of Federation grant project. The tunnel was officially re-opened for pedestrian and visitor use on 21 January 2001.</p><br>
<h2>Description</h2><br>
<p>The tunnel was originally meant to be 88 yd in length. However, its actual overall length is 91 m plus an approach cutting at each end. The tunnel is straight, unlined and rectangular in section and cut through solid sandstone. On the walls of the tunnel is etched graffiti. The majority of graffiti is concentrated near the well-lit southeastern and northwestern entrances. Each entrance has an open approach cutting that extends from the tunnel. The northwestern entrance features two interpretive signs, one outlining the history of the tramway and tunnel, the other identifying the use of the tunnel during the Second World War.</p><br>
<p>Both entrances also feature waist high steel entrance barriers added to the site as part of the Centenary of Federation project. Neither of the modern interpretive signs or modern entrance barriers are of cultural heritage significance.</p><br>
<h2>Heritage listing</h2><br>
<p>Lahey&#39;s Canungra Tramway Tunnel was listed on the Queensland Heritage Register on 11 April 2005 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Laheys Canungra Tramway Tunnel is important in demonstrating the pattern of Queensland&#39;s history as an example of a privately built, owned and operated tramway. It is also important as a product of the development of the early timber getting and milling industries in Queensland.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The place demonstrates uncommon aspects of Queensland&#39;s cultural heritage as an early example of one of the few tramway tunnels built in Queensland not requiring lining or support.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>The tunnel is important in demonstrating the high degree of creative and technical achievement required to solve complex engineering problems associated with the construction of Queensland&#39;s early railways in challenging environments and through the use of new and untried technologies.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The tunnel holds strong social significance for the community for its landmark values and for the contribution that the early timber industry and subsequent tramway operations had for the economic and cultural development of the Canungra region. The tunnel is also of social significance to the community as demonstrated by the installation of interpretive signing and the opening of the tunnel as a local tourist attraction.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The place has a special association with the life and work of several generations of the Lahey family, who have been influential in the development of the timber industry in southeastern Queensland, and in the general development of the Canungra area.</p><br>
<p>Wonglepong QCWA Hall is a heritage-listed community hall at 2779 Beaudesert-Nerang Road, Wonglepong, Scenic Rim Region, Queensland, Australia. It was built in 1935 by EJ Franklin. It was added to the Queensland Heritage Register on 11 November 2005.</p><br>
<h2>History</h2><br>
<p>Wonglepong Queensland Country Women&#39;s Association (QCWA) hall is a small, one roomed weatherboard structure in a rural setting. It is situated on a leasehold block in the district of Wonglepong north of Canungra in Beaudesert Shire (now Scenic Rim Region). The hall was built specifically for the Wonglepong branch of QCWA in 1935. The branch continues to use the hall and it remains largely unchanged from the time of its construction.</p><br>
<p>The decision to form QCWA was made at an open conference for country women hosted by the Brisbane Women&#39;s Club at Albert Hall in Brisbane in August 1922. At the time, Queensland was suffering severe drought and the conference was prompted by a desire to alleviate some of the problems being experienced by rural women. QCWA aimed to improve the quality of life of country women and children by providing opportunities for social interaction and recreation and by improving rural education and health. The Governor of Queensland, Sir Matthew Nathan, strongly supported the formation of the QCWA and accepted the position of Patron.</p><br>
<p>QCWA soon became an important part of rural communities. It grew rapidly with branches opening at Kingaroy, Warwick, Roma, Chinchilla and Allora in the four months after its foundation in August 1922. QCWA addressed specific needs of rural families with practical measures such as the provision of beachside holiday accommodation, mothers rest rooms, bush nurse centers and student hostels. They worked to improve the knowledge and skills of rural women by hosting lectures, teaching handicrafts and home industries and maintaining libraries in their halls and meeting places. They lobbied government on a range of rural issues. Their halls were often focal points of the local community and their members were frequently active in other local organizations. QCWA was one of the most influential Australian womens organizations of the 20th Century.</p><br>
<p>In 1925 when the Wonglepong branch of the QCWA was formed, Beaudesert Shire was a prosperous district of small farmers and timber workers. Closer settlement of the district began in the 1860s after the opening of the Logan Agricultural Reserve. From the early 1900s to the 1930s, the district boomed, sustained by dairying, cattle grazing and the timber industry. Dairying and grazing continued through the mid-20th Century although restructuring of the dairy industry led to diversification and the development of larger properties.</p><br>
<p>QCWA was arguably the most significant womens organisation in the Upper Logan River and Albert Rivers district. The Wonglepong branch was among the first to be formed in the area, meeting for the first eight years in the home of the founding president, Ann Franklin. By the 1930s, Anns health problems led members to take turns hosting meetings in their homes. However, transport presented a problem for many and membership had increased so the decision was made to build a hall. A building fund was started and by 1935, £58 had been raised. The hall was built on land leased to the branch by the Franklin family on a 99-year term. The timber for the hall, believed to have originated from the Franklins property, was milled at Geo Franklins hardwood mill at Canungra. E. J. Franklin, the son of Ann, was the supervising carpenter and members husbands assisted him on a voluntary basis. The hall was opened on 4 December 1935 by Mrs Buchanan, President of Central Division, QCWA. The branch started a library in the year of the halls construction. In 1937, the hall was lined and a library cabinet was built with matching hardwood boards sourced from the property.</p><br>
<p>Members donated the furnishings of the hall. These include a number of pews that were made for the branch by E. J. Franklin. The original pattern for the pews is stored in the hall. The President&#39;s chair was donated by a member of the Franklin family in memory of his mother, Jane. The creed and motto were painted by Frank Tunley, the brother of the founding Secretary, A. G. Campbell.</p><br>
<p>The hall remains largely intact from the date of its construction and it is comprehensively documented. The library cabinet and lining of the hall have never been painted. The cabinet contains a collection of books most of which date from the period when the library was established. The only substantial changes to the hall have been the addition of a kitchen and the restumping of the hall in 1965, the painting of the exterior in 1975 and the replacement of the corrugated iron roof in 1983. The branch has preserved all of the minutes of meetings since its inception and it is one of the few QCWA branches to have preserved its records for this length of time.</p><br>
<p>From the late 20th Century, the Wonglepong area began to change from a farming community to a rural residential area and since the 1960s membership of QCWA throughout Queensland has declined. However, the Wonglepong Branch remains active and is one of the few QCWA branches that still function in the Scenic Rim Region.</p><br>
<h2>Description</h2><br>
<p>The QCWA hall is situated in a grassy paddock about 35 metres back from Beaudesert - Nerang Road at Wonglepong. It is on a small leasehold block within a forty-five hectare farm.</p><br>
<p>The hall is rectangular in plan, about nine metres long and six metres wide. There are few decorative features apart from the QCWA symbol on the gable above the entrance. The structure is timber framed and clad with weatherboard. Access at the front of the building is via a small porch and a set of double, framed doors. Each door has a square frosted glass window fitted near the top. The building has an unpainted corrugated iron gabled roof pitched at about 30 degrees. Concrete stumps have been used to replace the original timber.</p><br>
<p>The entrance porch is centred on the eastern side of the building. Access to the porch is gained via a small set of steps on the southeastern side. The external sides of the porch are partially clad with weatherboards with about two-thirds of each side open to the roof.</p><br>
<p>All of the windows are centre opening casements. Each window is divided into five lights arranged as a large rectangle bracketed with two small square lights at the top and bottom.</p><br>
<p>Three windows open into the northwestern side and two into the southeastern side. Each window is covered with a curved metal hood.</p><br>
<p>Rear access is via a wooden ledged and braced door at the southwestern end of the rear elevation. A metal awning projects from the top of the door opening and the door is approached via a set of steps. A corrugated iron water tank with a timber tank stand is positioned near the center of the rear elevation.</p><br>
<p>The interior of the hall comprises a single room with a polished timber floor, lined with unpainted hardwood. The library cabinet is built into the wall to the right of the main entrance. It is made from vertical hardwood boards that match the lining of the hall. A pair of hinged doors also made from vertical hardwood boards gives access to the interior of the cabinet.</p><br>
<p>The hall is furnished with a number of tables, four wooden pews, a bench and an upright piano. A selection of photographs and printed material including the QCWA creed and motto and a World War I memorial are hung on the walls.</p><br>
<p>The kitchen cupboards, constructed in 1965 are located against the wall opposite the main entrance. These are not heritage-listed.</p><br>
<h2>Heritage listing</h2><br>
<p>Wonglepong QCWA Hall was listed on the Queensland Heritage Register on 11 November 2005 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Wonglepong QCWA Hall is important in demonstrating the pattern of Queenslands history. QCWA was one of the most influential womens organisations of the 20th Century. It was formed as a response by country women to the hardships and isolation experienced historically by families in Queenslands rural districts. The organization was, and remains, an important part of the States rural communities. The Wonglepong Branch is a typical example of a small country QCWA branch and its history is among the best documented in Queensland. It has preserved the minutes of its meetings since its inception in 1925, just three years after the foundation of QCWA. Its hall is highly intact and largely unchanged from the date of its construction in 1935.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The building demonstrates the principal characteristics of a small QCWA hall from the first half of the 20th Century. Located in a rural district, it is set well back from the road in a paddock on a small rural property. The QCWA symbol is displayed prominently above the entrance. The QCWA creed and motto are hung in frames on the walls together with a World War I honour roll. The small library in the hall is a typical feature of many QCWA branches that maintained libraries for the education of their members.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The building has a special association with the local members of QCWA and the branch is well known within QCWA throughout the State. The land on which the hall is situated was leased to QCWA by the founding president and her son supervised the halls construction with members husbands assisting him on a voluntary basis. Members donated the furnishings of the hall including a number of pews made by the son of the founding president. The brother of the founding secretary painted the creed and motto.</p><br>
<p>St Patrick&#39;s Church is a heritage-listed Roman Catholic church at Rosewood - Aratula Road, Rosevale, Scenic Rim Region, Queensland, Australia. It was designed by Father Andrew Horan and built from 1888 to 1889. It was added to the Queensland Heritage Register on 11 December 2009.</p><br>
<h2>History</h2><br>
<p>St Patrick&#39;s Church, a modest timber building in a picturesque rural setting, was opened in November 1889 to serve the small farming community of Rosevale, south of Ipswich in south-east Queensland. The adjacent graveyard was blessed at the same time as the church. Both remain in use, although church services are now restricted to an annual mass.</p><br>
<p>The Rosevale district was taken up as part of John Ross&#39;s sheep run (known variously as Rosa Ville, Rosa Vista, Rose Valley, Rose Vale, or Rosevale) during the earliest phase of free settlement and pastoral occupation in Queensland. The run extended over the lightly timbered plains of the Bremer River, with the head station situated near the present township of Rosevale. By 1848, when the lease was taken up by G John Brewster, Rosevale (Rosa Vista) comprised an estimated area of 25,600 acres with a grazing capability of 3,700 sheep. Franklin Valley (later Franklyn Vale) and Laidley runs to the north and north-west of Rosevale were owned by Joseph Robinson and together covered an area of 150,000 acres. In 1849, the Laidley and Franklyn Vale runs were acquired by partners Henry Mort and James Laidley.</p><br>
<p>Between 1848 and 1865, Rosevale was leased by a variety of early figures in Queensland history (including Charles Rolleston and Patrick Leslie in 1856, Charles Macarthur King in 1858 and Patrick Mayne in 1862) until acquired by Henry Mort in the mid-1860s to counter impending resumptions on his Laidley and Franklyn Vale properties.</p><br>
<p>The first farm blocks resumed from the Rosevale run were offered for sale in 1868, but were cancelled and re-offered in 1876. Most of these blocks were situated between the Bremer River and the road from Grandchester to Rosevale Station. In 1882, Henry Mort and partner surrendered the remainder of their Rosevale property in exchange for freehold land at Mount Mort, and this land also was subdivided into farms.</p><br>
<p>Selections on the resumed Rosevale land were taken up rapidly during the second half of the 1870s and first half of the 1880s, selectors being attracted by the rich alluvial farmland and promise of a future railway line from Rosewood through the Bremer River Valley to Rosevale and on to Warwick. The first wave of selectors comprised mainly Irish immigrants, followed within a few years by German settlers.</p><br>
<p>In the 1880s development of Rosevale as a community gathered momentum. A school was erected on a central site (approximately 500m north-east of the later site of St Patrick&#39;s Church) and opened in late November 1884 with 42 students. In July 1885, portions 83 to 86, Rosevale old head station, were reserved for township purposes. Although a town survey was never made, some businesses were attracted to the district, including a general store, butcher, baker, blacksmith, and in the 1890s a cheese factory and the Rosevale Co-operative Dairy Company.</p><br>
<p>As settlement in the Rosevale district expanded, the community&#39;s spiritual needs were met with the construction of a number of denominational buildings, including a Catholic church, Anglican church and Lutheran church.</p><br>
<p>In the 1870s, Irish Catholic families were among the first to take up agricultural land in the Rosevale district. Here they created a "little Ireland" centred on St Patrick&#39;s Church and the Catholic faith, which was sustained well into the 1930s.</p><br>
<p>Initially the Rosevale district was part of the Catholic parish of Ipswich established on 1 January 1849 within the Diocese of Sydney. This was a vast parish extending from Brisbane west to Warwick, south to Tenterfield and the Clarence and Richmond rivers districts, north to Maryborough, and north-west to Gayndah. In August 1852 the first parish priest, Father William McGinty, arrived and was stationed at Ipswich. In the 1850s and early 1860s he held masses in the Rosevale area in private homes. In December 1859 the colony of Queensland separated from New South Wales and the Roman Catholic Diocese of Brisbane, covering the whole of Queensland, was established. The parish of Ipswich was reduced at this time but was still a vast area extending from near Brisbane to the foot of the Great Dividing Range in the west and north to Nanango. Later, many smaller parishes were excised from the parent Ipswich parish.</p><br>
<p>The expansion of facilities in the Ipswich parish in the last quarter of the nineteenth century is closely associated with the 44 years of service by Father Andrew Horan as parish priest (1873-1917). Andrew Horan and his brothers Matthew and James - respectively parish priests of Gympie (1868-1923) and Warwick (1876-1905) - were nephews of James Quinn, first Bishop of Brisbane (1861-1881). All three closely identified with Quinn&#39;s desire to encourage Irish Catholic immigration to rural Queensland, and to establish Catholic churches, schools, convents and presbyteries throughout the Diocese of Brisbane.</p><br>
<p>Andrew Horan served the Ipswich parish during a period of rapid immigration to Queensland and extensive agricultural settlement. All the pastoral runs in the Ipswich parish that had been taken up in the 1840s were subdivided into smaller grazing and agricultural blocks between the 1860s and the early 1900s, populated by small farming communities served by tiny rural towns. In encouraging the establishment of rural churches throughout his parish and initiating construction of the very fine St Marys Church at Ipswich (opened in 1904) and St Brigids Church at Rosewood (opened in 1910), Father Horan ensured that Ipswich gained renown as one of the best equipped parishes in Australia. He chose prominent, elevated, extensive sites in the belief that a Catholic display of solidarity and capability would do much to elevate the social standing of Irish Catholic immigrants. By 1904 he had encouraged construction of 14 timber churches in the districts surrounding the city of Ipswich, some of which he designed (including St Brigids at Rosewood and St Patricks at Rosevale).</p><br>
<p>Prior to construction of a Catholic church at Rosevale, Father Horan travelled by horseback or buggy (a journey of about five hours from Ipswich) to conduct mass in the homes of local farmers, including Patrick Quirk, Michael Kelly and Hugh Ahearn. As the Irish Catholic community at Rosevale became more established, Father Horan encouraged his parishioners to erect a local church. A block of 26 acres (10.5ha) (portion 79, parish of Rosevale, county of Churchill) selected by William ONiell in 1878, was acquired in Andrew Horans name in mid-1888, having cost about £80. The site was centrally located among the earliest Rosevale selections. Surrounding blocks were held by local parishioners, including Patrick, Michael and John Quirk, Hugh and Julia Ahearn, James Tierney, and James and Patrick Hogan.</p><br>
<p>The foundation stone for the new church was laid by Father Horan on 18 November 1888. The building was erected by Ipswich contractor John Madden and his son, to plans prepared by Father Horan, and was completed by early November 1889 when church and altar were blessed by Archbishop Robert Dunne, who had replaced Bishop Quinn in 1882 and who in 1887 was appointed Archbishop of Brisbane and head of the Catholic Church in Queensland. About 200 persons attended the opening ceremony and the luncheon that followed.</p><br>
<p>Built on a slight rise west of the Bremer River and on what was by then the main road to Ipswich (now the Rosewood-Aratula Road), the church overlooked farming flats from Mount Wright to the Great Dividing Range. It was a hardwood weatherboard building, 48 ft (14.6m) long by 28 ft (8.5m) wide and 12 ft (3.65m) from floor to ceiling, set on stumps, and with a galvanised iron roof. The floor was four-inch wide tongue-and-groove hardwood boards. The building was ventilated by four pairs of lancet windows along each side, two doors in the rear wall, and the front entry doors. Simple pine forms served as seating, and there was a "very pretty" altar at the sanctuary end of the nave. There was a small vestry in the south-west corner of the interior, near the altar, created by timber partitions lower than ceiling height. The building had cost over £400 to erect and furnish.</p><br>
<p>At the opening the Archbishop also blessed the adjacent graveyard within the churchyard. In the nineteenth century it was not unusual for denominational graveyards to be established within churchyards, particularly in south-east Queensland, where a number of Catholic, Anglican and Lutheran communities consecrated graveyards alongside their church buildings. A number of these are entered in the Queensland heritage register, including St Matthews Anglican Church, Grovely at Mitchelton in Brisbane (1869); Christ Church at Tingalpa (1868) and the Lutheran Cemetery at Carbrook (1875).</p><br>
<p>With the opening of a local church, regular masses were conducted at Rosevale by visiting clergy from Ipswich. From at least the mid-1880s, Father Horan had the assistance of a number of young curates. Most prominent was James Duhig (1897-1905), who succeeded Dunne as Archbishop of Brisbane in 1917. Duhigs biographer, Father TP Boland, later wrote:"Rosevale was the scene of Duhigs happiest associations. He enjoyed the feel of a community both Catholic and Irish growing into being Australian. All his hopes were in such a community. He wanted to recreate it everywhere. Here was the Irish race, immemorial and Catholic, emerging from the shadows into bright prosperity. The brilliant Australian sunlight on flourishing farms seemed to figure the future. The Irish were stirring and Duhig was getting the feel of their movement. Consciously or unconsciously, he was preparing to be their leader."When the parish of Rosewood was formed in 1915, Rosevale was included as part of the new parish, in which it remains.</p><br>
<p>At an unknown period a small porch was added to the front of St Patricks Church at Rosevale and in 1921-1922 the building was renovated with the construction of a lancet-arched sanctuary canopy and a sacristy within the building. At the same time the interior was lined, and the linings and pews were stained and varnished. The work was carried out by a local parishioner, Mr Dwyer. The renovations and additions were blessed in late January 1922 by His Grace, Archbishop James Duhig, who as a curate of the Ipswich parish at the turn of the century had conducted mass often at the Rosevale church. Archbishop Duhig also attended St Patricks golden jubilee celebrations in 1939. Despite some of the early Irish families having moved to other centres by this time, the celebrations were well attended.</p><br>
<p>Some small changes to the interior of the church were made in the 1960s following Vatican II, when the communion rail was taken up and stored elsewhere in the building and the decorative timber altar was cut lengthwise in half, so that the front could be moved forward for the priest to stand behind and face the congregation.</p><br>
<p>The number of local parishioners gradually declined through the twentieth century, but at the time of assessment in 2009, the place was still being maintained by families descended from the original Irish Catholic settlers.</p><br>
<p>In the early 1990s the church land at Rosevale was subdivided, creating a local road through the property. The land north of this road was sold off, the church retaining 2.562ha south of the newly created road. This subdivision did not affect the churchyard, which was located in the south-east corner of the original portion.</p><br>
<h2>Description</h2><br>
<p>St Patrick&#39;s Church and graveyard is located approximately two kilometres north-west of the small township of Rosevale, in a farming district to the south-west of Ipswich. Built in 1889 at the instigation of the local Catholic community, this small timber building - with gabled roof, porch and simple gothic windows - has changed very little on its exterior. The church, graveyard and all other associated features are found at the cleared, eastern end of a long, rectangular block that slopes down towards the Rosewood-Aratula Road, which forms the eastern boundary of the property. A gate here provides vehicular access. The remainder of the property is covered in ironbark scrub and fenced off by a timber post and barbed wire fence. The northern boundary is defined by Dawson Road (unsealed) and lined with trees, while the southern boundary adjoins open farmland.</p><br>
<p>The church is a simple single-storey timber building measuring approximately fifteen metres long by nine metres wide, raised on timber ant-capped stumps. Orientated north-south, it has a gable roof and a small, gabled porch on the northern facade. It is positioned approximately one third of the way up the slope of the cleared area adjacent to two cypress (possibly Cupressus sempervirens or Italian Cypress) trees, a pine tree (possibly Pinus elliottii or Slash Pine) and a smal timber outhouse behind it to the west and south-west. The middle third of the site is open grass with no visible features, while the western third at the top of the slope contains the grouped, marked graves of the burial ground and three separate graves in the far south-west corner. The only other tree within the fenced churchyard is a mature ironbark, near the northern boundary.</p><br>
<p>The church is timber-framed and clad with painted weatherboards. The gable roof is clad in corrugated iron with the ridge at each end having a simple wooden cross attached to it, one of the few decorative features found on the exterior. The church sits on a regular grid of timber stumps which, due to the slope of the site, vary in height so that the western edge of the building sits closest to ground level. The main entrance is through a small timber porch on the northern facade. A third timber cross, Celtic in style, decorates the top, outer end of the porch gable.</p><br>
<p>The main northern facade has few decorative features, apart from the small porch addition, which has a single window with a fixed, pointed-arch top light in the centre of its north-facing wall. The east and west facades are identical, featuring four sets of tall paired casement windows spaced equally along their length. Each window has four rectangular lights and a fixed pointed-arch top light. The south (rear) facade has two doors at each end that are accessed by timber steps with timber handrails. A recent PVC water tank sits on an old timber tank stand between these two doors.</p><br>
<p>The entry porch has openings facing east and west, accessed by timber steps. A timber pew has been placed along the northern wall as a seat. The large main door into the church itself is made from red cedar boards. Opening inwards, its two leaves have tops that form a pointed arch. Beyond this door, the central aisle runs through the nave towards the altar at the far end and is formed by rows of pews placed on either side. Two small rooms (a vestry and a sacristy) have been enclosed by timber-framed partitions on either side of the altar, with a pointed-arch ceiling spanning between them and forming a canopy above the sanctuary. Floors throughout are lined with timber boards with a single strip of red carpet running down the central aisle.</p><br>
<p>The ceiling over the nave is lined with wide, beaded timber boards painted white. Various members of the timber roof trusses project through the lining, including the tie beams and scissor braces. Brackets on the walls and black stains on the underside of the scissor braces that extend to meet the walls indicate the former use of kerosene lamps to light the church. Light fittings now hang from overhead tie beams. Wall linings in the nave date from the 1922 renovation. From floor level to waist height, they are lined with narrow vertical boards, topped with a dado rail. All are stained. Above this, they are lined with plywood sheets with cover strips, stained an orange-brown. Framed Stations of the Cross are spaced along the east, north and west walls, each with a small plaque naming the family that donated it. In the north-west corner is a stand-alone confessional made from dark-stained silky oak. In the north-east corner is a small timber pedal organ (no longer in use) that was manufactured by Mason & Hamlin, Boston, USA The early timber pews are made from pine and stained a dark brown.</p><br>
<p>The altar sits upon a raised platform in the sanctuary in the centre of the southern wall. Made from polished silky oak, intricately carved with floral patterns and religious motifs in relief, the altar was adapted to the liturgical changes brought about by Vatican II in the mid to late 1960s by being cut in two; allowing the priest to face his congregation using the front half shifted forward. The communion rail was also removed and is stored in the eastern side room (sacristy). Attached to the wall behind the rear portion of the altar is original wall ornamentation, namely a timber pointed arch surmounted by a plain cross, painted in white. A small statue of St Patrick sits on a narrow ledge at the front of the altar. The lower, arched ceiling over the altar is made from plywood sheets with cover strips and was added in 1922.</p><br>
<p>Facing the sanctuary on either side are doorways that open into the vestry and sacristy. Both rooms have doors to the exterior in the rear wall of the building. Their walls are clad in vertical timber boards (single-beaded for the vestry walls but narrower and without beading for the sacristy) and have an open frieze of vertical battens above door height. Semi-circular alcove shrines are built into the northern walls of both these rooms, facing the congregation. The western alcove houses a statue of the Virgin Mary. The eastern alcove contains a statue of the Sacred Heart of Jesus, while next to it is a statue of St Joseph on a separate triangular shelf.</p><br>
<p>Most of the marked graves in the church graveyard are grouped together in rows and aligned east-west. Approximately 68 names are recorded and dates range from the earliest in 1887 (an infant, Willy Hogan, whose name is included on a headstone with other family members) to the most recent in 2009. Dates on the headstones indicate that burials were taking place consistently from when the graveyard was first opened, peaking in the 1920s and 1930s, before declining in use after World War II; however since the 1990s burial numbers have been increasing. Headstones are made in a variety of styles and materials, some elaborate. Of note are an elaborately carved Celtic cross and several plots enclosed with wrought iron fencing. Older headstones tend to be made from marble and several have been broken. Families are generally buried together in a family plot or adjacent separate plots. Stonemasons recorded on some of the headstone include Ziegler of Toowoomba and F Williams of Ipswich. Recent burials are located along the western edge of the graveyard or in reserved family plots, and are usually marked with sandstone or concrete blocks with a granite plaque attached.</p><br>
<p>In the far south-west corner of the fenced churchyard are three graves marked by timber crosses and iron grave markers, said to be members of the Quirk family. The graves were once enclosed by a timber fence which has since collapsed leaving only the vertical corner posts.</p><br>
<p>Extensive and picturesque views of farmland and distant mountain ranges to the east and south are obtained from all over the site. The church itself, fronted by sloping grass lawns and set against a dark background of trees, also has picturesque qualities, especially when glimpsed in passing along the Rosewood-Aratula Road.</p><br>
<h2>Heritage listing</h2><br>
<p>St Patrick&#39;s Church and Graveyard was listed on the Queensland Heritage Register on 11 December 2009 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>St Patricks Church and Graveyard, established in 1889 at Rosevale in south-east Queensland, is of particular significance for its association with a strongly Irish Catholic community which, at the turn of the nineteenth century and twentieth century, inspired in Ipswich curate Father James Duhig, later the influential Archbishop of Brisbane and head of the Catholic Church in Queensland (1917-1965), a vision for the future of Irish Catholic settlement in this State. Although this largely Irish community was established as early as the 1870s, unlike many other Irish groups which by the twentieth century had dispersed into the wider community, Rosevales sense of being an Irish enclave and a successful "little Ireland" transplanted to Queensland was sustained well into the 1930s. According to his biographer, for James Duhig the Rosevale Catholic community, centred on its simple timber church, epitomised the successes and possibilities of rural Irish Catholic enterprise. The church and its accompanying graveyard remain strong testimony of early Irish rural settlement in Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>St Patrick&#39;s Church and Graveyard remains highly intact and is important in demonstrating the principal characteristics of a modest, late nineteenth century rural church complex comprising a simple timber church building, a separate outside earth closet, fenced churchyard with wide grassed areas and some trees, and graveyard. Set picturesquely on a slight rise overlooking a farming district, the place retains its early setting, extent, form, fabric and function, and is an excellent example of its type. The interior of the church building retains most of its early fixtures, fittings and furniture (1880s-1920s).</p><br>
<p>Fassifern Homestead is a heritage-listed homestead at 1008B Boonah-Fassifern Road, Kalbar, Scenic Rim Region, Queensland, Australia. It was built circa 1880. It was added to the Queensland Heritage Register on 13 November 2008.</p><br>
<h2>History</h2><br>
<p>Fassifern Homestead is a single-storeyed timber residence erected to replace an earlier homestead on the same site. The Fassifern run, first taken up by John Cameron in 1841-1842, was one of the earliest licensed runs in the Moreton pastoral district, which was proclaimed on 10 May 1842. In 1857 Fassifern became part of the Wienholt familys complex and ultimately extensive Queensland pastoral empire and in 1869 was amalgamated with the adjacent runs of Moogerah and Tarome as the consolidated Fassifern run. Although from the 1870s used principally to fatten cattle from the Wiehnolt familys western Queensland properties, Fassifern was renowned also for its Clydesdale horse stud.</p><br>
<p>The Fassifern district is located in south-east Queensland, south of Flinders Peak, between the Great Dividing Range and the Teviot Range. In late 1841/early 1842 John Cameron occupied about 50,000 acres here centred on the junction of Warrill and Reynolds creeks and which he named Fassifern. In 1844 his brother-in-law Robert Coulson took up Kingbah (later Moogerah) - about 46,800 acres on the Reynolds Creek watershed, to the south of Fassifern; and in 1845 another brother-in-law, William Turner, took up an adjacent run to the west, which he called Cunningham&#39;s Gap (later Tarome) - about 41,500 acres on the Warrill Creek watershed. On each run a head station and a number of subsidiary out-stations were established. By May 1848 John Cameron had transferred the lease of Fassifern to William Kent.</p><br>
<p>In the mid-nineteenth century four young Wienholt brothers, sons of a wealthy London merchant, arrived in Australia: Arnold, Edward and Arthur in 1853, and Daniel. In 1849, backed by family money, Arnold Wienholt purchased the lease to Strathmillar run (which he renamed Maryvale) on the Darling Downs. In 1852 he acquired the neighbouring run, Gladfield, which he incorporated into Maryvale. These runs were situated on the southern Downs on the western side of the Main Range. In 1853 Edward and Arthur Wienholt acquired Moogerah Station south-west of Fassifern, on the eastern side of the Dividing Range from Arnolds Maryvale run. The two Wienholt runs were linked via the new road over Spicers Peak that the Downs squatters had constructed following Henry Alphen&#39;s "discovery" of a gap in the Main Range in 1847. In the early 1850s this was the preferred route between Ipswich and Warwick for teamsters.</p><br>
<p>In 1857 Edward and Arthur Wienholt acquired the Fassifern lease from William Kent, establishing a connection between Fassifern and the Wienholt family and their substantial Queensland pastoral empire, which was sustained for over half a century.</p><br>
<p>In 1859 Edward relinquished his interest in Fassifern and entered into partnership with William Kent in Rosalie Plains run on the Darling Downs. About this time, or possibly as early as 1858, Kent and Edward Wienholt also leased Jondaryan station from Robert Tooth, and in February 1863 purchased both the leasehold and the freehold. Jondaryan became the showpiece of the Kent and Weinholt/Wienholt family pastoral acquisitions. By 1876, 48 Queensland pastoral runs were leased by Edward Wienholt, Wienholt Brothers, J W E A & A Wienholt, or Kent and Wienholt. By 1877, Edward Wienholt and the trustees of William Kent were the largest owners of freehold land in Queensland and Jondaryan was the largest freehold run. Edward Wienholt further took advantage of the Exchanged Land Act 1879 whereby pastoralists could exchange agricultural land taken up as pre-emptive right for twice the amount of pastoral country.</p><br>
<p>Edward Wienholt, who served as Member of the Queensland Legislative Assembly for the Western Downs 1870-1873 and for the Darling Downs 1873-1875, is generally recognised as the driving force in the creation of the familys pastoral empire. By 1888 he and his partners held 289,966 acres in the Moreton and Darling Downs districts alone, and in 1889 The Wienholt Estates Company of Australia Ltd was formed to manage the Wienholt familys Queensland acquisitions. Their land dealings were complex, extensive, and largely managed from outside Australia. Arnold Wienholt retired to Switzerland in the late 1870s. Arthur Wienholt returned to England with his family in the 1870s, as did Edward Wienholt with his family in 1880. However, Edward continued to make regular trips to Australia to oversee the family&#39;s property interests.</p><br>
<p>In 1860 William Kent and Edward Wienholt re-purchased Fassifern Station from Arthur Wienholt but Arthur soon entered into partnership with John Hardie as lessees of Fassifern, Moogerah and Tarome runs. In November 1861 they acquired a pre-emptive purchase of 53 acres around the Fassifern head station on Reynolds Creek. Hardie was the senior partner, and in the early 1860s appears to have been resident at Fassifern, where he accrued substantial debt. In 1864 Hardie and Wienholt were declared insolvent, with the liquidation of their assets resulting in Fassifern Station (including about 1,300 acres of freehold) being acquired by their mortgagees, the Bank of Australasia. In January 1865 title to the pre-empted Fassifern head station passed to the Bank.</p><br>
<p>In June 1868 the Bank applied for the runs of Fassifern, Moogerah and Tarome to be consolidated under the provisions of The Crown Lands Alienation Act of 1868, the consolidation to be known as Fassifern. At this period most of the improvements were located on the original Fassifern run, and comprised the Fassifern Head Station and adjacent cultivation paddocks, four out-stations, a wash pool, wash pool paddock, and bull paddock. The Tarome improvements comprised a head station and two out-stations; and on Moogerah improvements included the head station, three out-stations, and an inn near Spicer&#39;s Peak.</p><br>
<p>The nature of the association between the Bank of Australasia and the Wienholt family in connection with Fassifern is not clear. Arthur Wienholt and his family appear to have been residing at Fassifern in the late 1860s and early 1870s. Early in 1873 the Bank transferred the lease of the consolidated Fassifern run to William, John, Edward, Arnold and Arthur Wienholt. Title to pre-emptive portion 1a, the Fassifern Head Station, was issued to the Wienholt brothers in March 1874.</p><br>
<p>From 1875 the Queensland government began resuming land for closer settlement from the consolidated Fassifern run, and during the 1870s and 1880s the Wienholts took advantage of this to gradually transform Fassifern into a freehold estate of about 44,000 acres (17,806 hectares), stocked with shorthorn cattle, including a stud herd, and a stud of Clydesdale horses. In 1889 Fassifern was included among the Wienholt family&#39;s pastoral properties floated as The Wienholt Estates Company of Australia Limited with a company capital of £500,000. Other properties in this conglomerate included Maryvale near Warwick, Warenda near Boulia, and Saltern Creek and Katandra in south-west Queensland.</p><br>
<p>From at least the late 1880s and until his death in March 1893, Fassifern was managed by the Wienholt&#39;s cousin, Henry Edward Hill. A sketch of the Fassifern Station Homestead, which appeared in the 1889 Brisbane publication The Jubilee History of Queensland, shows the homestead in the same form as its present L-shaped configuration with its two chimneys, but with what appears to be a shingled roof, and separately-roofed verandahs. Whether the residence was erected for HE Hill has not been established, but the core fabric suggests a construction date.</p><br>
<p>Photographs of Fassifern Homestead dated and indicate that by the turn of the nineteenth and twentieth centuries the residence had been renovated but the essential form had been retained. The earlier roof had been replaced with the present hipped, bungalow-style roof of corrugated iron, extending over the verandahs. The southern end of the roof of the north-south wing had been truncated as a half-hip, and a small covered porch had been created centrally in this elevation. All the present stairs to the verandahs were extant by this period, as were the curved window hoods with the decorative timber infill to the sides, over the double-hung sashes.</p><br>
<p>Following HE Hill&#39;s death in 1893 John Daniel Wienholt (only son of Daniel Wienholt) took over management of Fassifern, residing at the head station. Renovations to the main residence may have occurred during his occupancy in the late 1890s.</p><br>
<p>In the late nineteenth century the Wienholt family began to rationalise its Queensland interests. Arthur had died in England in 1892 and Arnold in Switzerland in 1895. By this period the huge freeholds that pastoralists such as the Wienholts had amassed under earlier selection Acts (via various "peacocking" and "dummying" practices), and which tied up much valuable agricultural land, were proving expensive to sustain. Under the provisions of the Agricultural Lands Purchase Act 1894, pastoralists were encouraged to relinquish land through repurchase by the government for re-sale as farm selections. By 1902 the Wienholt Estates Company of Australia Ltd retained Fassifern, Katandra, Maryvale and Stamfordham stations, and the Jondayran Estates Company of Australia Ltd had been formed to hold Degilbo, Jondaryan, Rosewood and Tarampa.</p><br>
<p>From early 1902 to mid-1904 Daniel Wienholt (eldest son of Arthur Wienholt) took on the management of Fassifern, taking up residence at the head station. He left in mid-1904, prior to the Fassifern freehold of 41,406 acres (16,756 hectares) being offered for sale by public auction on 8 August 1904. At this time the Fassifern freehold comprised 3 blocks: Kents Lagoon (2,361 acres (955 hectares)); Fassifern (37,351 acres (15,115 hectares)); and Moogerah (1,694 acres (686 hectares)) - the whole divided into 32 paddocks "with a good homestead and out Station, besides outbuildings and yards" (Dalgety & Co. Ltd auction map, 1904). Like Maryvale, for many years Fassifern had been used for fattening cattle from the Wienholt familys western stations, and was noted for its Clydesdale horse stud.</p><br>
<p>Very little of the Fassifern freehold was sold at the August auction and in September 1904 the Wienholt Estates Company offered the Fassifern Estate to the Queensland government for repurchase. The Land Commissioners who inspected the property in May 1905 found the estate well-suited to agricultural settlement, being close to the railway, with good soil, the fences in good repair, well watered, and free of noxious weeds and ticks. The manager resided in a "good building" (i.e. Fassifern Homestead) seven miles from the rail head at Munbilla.</p><br>
<p>Despite the favourable report the Queensland Government took no action. In January 1906 the Wienholt Estates Company again put up the Kent&#39;s Lagoon and Moogerah paddocks for sale at auction, and offered the balance of the estate to the government at £3 per acre. Again, the estate proved difficult to sell at auction to farmers who believed that the bulk of the estate would be repurchased soon, and again the government took no action in this matter. Finally, in December 1908 a deputation of MLAs in support of the Fassifern repurchase approached the Minister for Lands (Digby Denham), but in January 1909 the Queensland government wrote to the Wienholt Estates Company firmly rejecting the offer.</p><br>
<p>In 1908 the Queensland government did repurchase the Wienholt&#39;s Maryvale estate and the manager of Maryvale for nearly 40 years, Edward Ormond Waters Hill, then took up the management of Fassifern. EOW Hill was another Wienholt cousin and brother of HE Hill who had managed Fassifern in the 1880s and early 1890s; he was also a shareholder in and director of The Wienholt Estates Company.</p><br>
<p>Also in 1908, Arnold Wienholt (son of Edward Wienholt) and his cousin Daniel Wienholt (son of Arthur Wienholt) were appointed respectively General Manager and Company Secretary of The Wienholt Estates Company of Australia Ltd, with instructions to oversee the winding up of the Company&#39;s estates in Queensland. In September 1909 they offered the bulk of the Fassifern estate for sale at auction, at which time EOW Hill acquired the Fassifern Homestead on 457 acres (185 hectares), together with about 3,000 acres (1,214 hectares) of grazing land.</p><br>
<p>In 1916 the homestead, located on Reynolds Creek about 4 miles from Engelsburg (later Kalbar), was described as having "replaced the original house some years ago" and as "a comfortable wooden building, with water and gas laid on. It is surrounded with lawns and flower- beds, and has an orchard, vineyard, and vegetable garden attached" (Fox 1919:325).</p><br>
<p>EOW Hill resided at Fassifern Homestead until. In 1927 title to the homestead on about 316 acres (128 hectares) was transferred to Timothy Dwyer. Changes to the homestead made during Mr Dwyers occupancy include the removal s of an adjacent early kitchen and staff building and the extension of the south-east corner of Fassifern Homestead to accommodate an internal kitchen. Following Mr Dwyers death in 1939, the property passed to his son, Patrick Francis Dwyer, who with his wife Joie ran a grazing farm from Fassifern Homestead until his death in 1980. Patrick was buried in the Fassifern Homestead yard. Until 2014, the house, on a substantially reduced parcel of land of just over 6,000 sq.m, remained the property of his widow, Joie Elwyn Dwyer (a former long-term Boonah Shire Councillor).</p><br>
<p>During the 1970s changes were made to the north-facing wing of the house. The timber arch dividing its two rooms was removed to create one long room and the entire corresponding length of northern verandah was enclosed. The French doors opening out onto this verandah were removed and replaced with timber-framed sliding doors with large single lights. The interior spaces were lined with fibrous-cement sheeting, but the original timber linings were retained beneath this. Other changes to the house made by Patrick and Joie Dwyer include later linings to other rooms in the house; the enclosure of part of the western verandah on the north-south wing as a bathroom and laundry; the enclosure of the north-east corner of the verandahs as an office; and the insertion of an ensuite in one of the bedrooms.</p><br>
<h2>Description</h2><br>
<p>Fassifern Homestead on an allotment of approximately 6,000 sq m is sited on an area of slightly elevated land on the western bank of Reynolds Creek, approximately 2 km south of where it joins Warrill Creek. About 1.5 km to the west of the homestead, the Boonah-Fassifern Road branches off from the Cunningham Highway, very near to where the town of Fassifern had been surveyed in 1856. The small extant townships of Kalbar and Boonah lie to the north-east and east respectively. To the south-east the escarpment of Mount French and the volcanic landscape of the northern section of the Moogerah Peaks National Park overlook the site.</p><br>
<p>Built to an L-shaped plan the outer faces of which are oriented to the north and east, Fassifern Homestead has a bungalow-style hipped roof clad in corrugated iron. The southern projection of the L ends in a half-hip centred beneath which is a small gabled porch with timber framing, later lattice infill, and timber stairs. Two brick chimneystacks (one of which is a double chimney) pierce the roof ridge running parallel with the north-facing wing of the house. Four decorative sheet metal roof ventilators straddle the two roof ridges, two along each line. They consist of two cylinders surmounted by an overhanging low-pitched cone with a highly decorative edge and capping piece. Timber-framed, with exterior walls clad variously with two widths of chamferboard and weatherboards, the house is raised off the gently sloping ground on ant-capped timber stumps. The spaces between the perimeter stumps have been in-filled with painted, slatted timber screens.</p><br>
<p>The earliest discernible plan of the homestead provided for two perpendicular wings of single rooms bordered by verandahs approximately two and a half metres wide. Over time the verandahs were enclosed at various locations. A small room was enclosed on the southern corner of the north-facing wing on its western end opposite what is known as the maids or governess room; leaving a narrow gap to allow access between the remaining verandah spaces, which are accessed by timber stairs and bounded by balustrades consisting of top and bottom rails and dowel balusters. The verandah on the western side of the southern projection was enclosed; making what is now a laundry and bathroom that are separated from the original outer face of the house by a narrow corridor less than a metre wide. Extensive changes have been made to the north-facing wing of the house. Its two rooms focused on each fireplace are now one long room and the entire corresponding length of verandah is enclosed.</p><br>
<p>The patchwork of exterior wall cladding also gives some indication of how the house has been altered over time. The larger chamferboards, approximately 20 centimetres wide, mostly line what were the exterior wall faces and are visible on the eastern verandah looking to Reynolds Creek, on the southern facade under the half-hip, and to the corridors created by the partial enclosure of the west-facing verandahs. Narrower, more recent, chamferboards clad the enclosed verandah on the north-facing wing of the house. Elsewhere there are a number of facades finished with weatherboards: on the exterior walls of the small room on the westernmost projection of the north-facing wing of the house, along the western elevation of the wing projecting south, and to the kitchen on the eastern side.</p><br>
<p>A number of original exterior French doors and windows remain in the house; these were timber-framed double doors with low waists and upper lights, and timber-framed double-hung sash windows. The double doors opening out onto the length of enclosed verandah facing north have been removed and replaced with timber-framed sliding doors with large single lights. The double doors at either end of this space have been removed, the openings widened and similar timber-framed sliders inserted. Original double doors open out of the two central rooms sandwiched between the north-facing wing and the end room of the southern projection of the plan, but there is evidence that some have been moved from their original locations. Over the remaining double-hung sashes are a number of decorative curved hoods, the sides of which are formed by timber boards with rounded ends pierced with small holes.</p><br>
<p>Inside there are three rooms where the original beaded tongue-in-groove timber wall and ceiling lining is visible: at the end of the southern projection of the plan and beside this to the north, as well as in the small room formed at the joint of the two wings of the house. The first two rooms are painted, while the third is not. It is reputed to be the lumber room and would have provided access between the western length of verandah and the formal living and dining rooms of the north-facing wing. Where the original lining remains there are simple timber cornices and picture rails, however later lengths of timber beading have replaced the skirting boards. The wall and ceiling linings are largely fibrous cement sheeting in the private and utilitarian rooms, with an area of more recent vertical timber tongue-in-groove boarding to the west-facing laundry and bathroom. The rooms changed during the 1970s renovation are lined with unpainted sheeting held within a framework of flat metal. The floors are lined with carpet, vinyl or tiles. Only on the unenclosed verandahs is the original timber boarding visible. The ceiling on the western verandah is unlined.</p><br>
<p>The homestead is centrally located within the allotment, the boundary of which is marked on all sides except the northern one with a low, painted post-and-rail fence. The block is grassed and features a number of mature trees, as well as more recent shrubs, mostly around the perimeter, and a number of garden beds close to the house, most particularly in front of the east-facing verandah. In the garden bed adjacent to the northern elevation of the house is an early grape vine, which possibly dates to the early 1900s. On the northern edge of the site, toward the western corner of the block, is a Bunya pine (Araucaria bidwillii), which is one of three visible in a number of photographs dating from the late nineteenth and very early twentieth centuries. In the south-west corner is the grave of Patrick Dwyer marked with a stone/concrete memorial and surrounded by a number of trees. There are two garages sited at the edges of the allotment: one entered off the easement near the grave and another near the south-eastern corner of the house accessed from the east. Both have gable roofs; one is clad with vertical timber boarding and the other with vertical steel cladding. The latter garage is later and is not considered to be of cultural heritage significance. There is a fenced pool in the north-east corner of the site (also not of cultural heritage significance). Four painted iron gates open through the perimeter fence line: a wide double one near the north-western corner of the site, two single ones that align with the doors opening out of either end of the north-facing wing of the house and the respective verandah stairs, and another that aligns with the south-facing porch. The single gate that opens through the eastern boundary fence sits near a large stand of mature bougainvillea, which is on an adjoining allotment. The 1846 grave of Margaret Coulson, marked with an engraved headstone, is located approximately 15m to the south of the single gate that opens through the southern boundary fence, again on a separate allotment to the homestead block.</p><br>
<h2>Heritage listing</h2><br>
<p>Fassifern Homestead was listed on the Queensland Heritage Register on 13 November 2008 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Fassifern Homestead, constructed by the late 1880s with late 1890s renovations, is important in demonstrating the pattern of pastoral consolidation in Queensland as pastoral lessees gradually gained freehold title to large blocks of prime grazing and agricultural land, especially in southern Queensland. The simply-adorned but substantially-constructed timber residence replaced an earlier Fassifern Homestead on the same site (established by 1846) and demonstrates the transformation from the mid-1870s of the consolidated Fassifern run, established under occupation license in the 1840s as the runs of Fassifern, Moogerah and Tarome, into a substantial freehold of approximately 44,000 acres (17,806 hectares).</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>From 1857 the Fassifern run was associated with the prominent Wienholt family (pastoralists, business persons and politicians) and became an integral element in a chain of Queensland pastoral properties acquired by them and their business partners from 1849. From the 1870s the consolidated Fassifern run was used principally to fatten cattle from the familys western Queensland properties, and along with the neighbouring Maryvale run on the Darling Downs (the first of the Wienholt acquisitions in Queensland), was renowned for its Clydesdale horse stud. As the principal residence on an extensive freehold estate, Fassifern Homestead has a special association with the Wienholt familys consolidation of their wealth in Queensland. Of the 48 Queensland runs held by the family by 1876, Fassifern was situated closest to Brisbane, and was home to a number of the Wienholt family over two generations, and to their cousins, Henry Edward Hill and Edward Ormond Waters Hill, who managed Fassifern and Maryvale stations for many years.</p><br>
<p>Kutikina Cave  is a rock-shelter located on the Franklin River in the South West Wilderness World Heritage Area of the Australian state of Tasmania.</p><br>
<p>Originally referred to as Fraser Cave, it was important in the establishment of the antiquity and range of Aboriginal occupation in Tasmania during the Pleistocene.</p><br>
<h2>Archaeological results</h2><br>
<p>The cave was discovered in 1977 by geomorphology student, Kevin Kiernan and investigated by a team led by archeologists Don Ranson and Rhys Jones in the 1980s. Excavations were undertaken in 1981 by Jones and Kiernan at the height of the protests over the proposed Franklin Dam construction. The cave has important archaeological deposits relating to human occupation in the Pleistocene, with evidence of wallaby hunting at a time the landscape was an open tundra and it was the most southerly human occupation in the world during the last ice-age. The archaeological evidence showed that this was one of the richest artefact deposits ever found, in Tasmania and in Australia. over 250,000 fragments of bone and 75,000 stone artefacts were recovered from a relatively small excavation area comprising only 1% of the artefact bearing deposit in the cave. The bone fragments were predominantly Bennets Wallaby long bones which had been split along their length to extract the marrow.</p><br>
<h2>Politics and conservation</h2><br>
<p>Kutikina played an important role in the Franklin Dam controversy. It was initially named by Kieran Fraser Cave after the then prime minister, Malcolm Fraser, with the aim of drawing attention to the significance of the Tasmanian wilderness and Franklin River, which were under threat from a dam proposed by the Tasmanian Hydro-Electric Commission.</p><br>
<p>The Marion Colored High School is a historic school building at the northwest corner of Arkansas Highway 77 and Gannt Street in Sunset, Arkansas. It is a single-story brick structure, roughly in an H shape, with hipped roofs on the wings. The oldest portion of the building, a U-shaped section, was built in 1924 with funding from the Rosenwald Fund, and was extended to its present shape sometime before 1940. The original construction is of load-bearing brick, while the added wings are frame construction finished in a matching brick veneer. It was the first school built for African-American students in the area, originally serving grades 1-8. In 1937 the school acquired high school status, and served students from four states in the region, prompting its enlargement. In 1955 it was remodeled for use exclusively as a high school. It is now closed, and only used for special events.</p><br>
<p>The building was listed on the National Register of Historic Places in 1995.</p><br>
<p>The US Coast Guard and Geodetic Survey Seismological and Geomagnetic House, also known as the Forest Service House, is a historic house at 210 Seward Street in Sitka, Alaska. It is a two story wood frame structure, resting on a concrete foundation, with a gambrel roof. The house was built in 1916 by the United States Department of Commerce to house employees of the USA National Geodetic Survey working at the Sitka Geomagnetic Observatory. In 1929 modifications were made in its basement to house seismological instruments here, instead of in the observatory buildings to the north. The observatory was moved in 1940 to a new site further northwest; this house was acquired by the United States Forest Service, which has used it in a variety of ways, including office space and housing, since then.</p><br>
<p>The house was listed on the National Register of Historic Places in 1986.</p><br>
<p>The Seven towers of Kharoun are located in the south-east of Najafabad in the Isfahan province, Iran. They are the largest recreational center in the west of the Isfahan province.</p><br>
<h2>Characteristics</h2><br>
<p>The seven towers of Kharoun are surrounded by a garden with an area of 3000 m². Six of the seven towers are dovecotes. The towers are 14 m in height and are connected with each other by a cob wall with the height of 4 m. After the conversion of towers to a recreational center, some facilities have been added to them. These facilities and equipments include a fountain, a traditional coffeehouse an entertainment area, a space for cultural activities and a park.</p><br>
<p>The seven towers of Kharoun have been built in the safavid era for providing manure and for agricultural purposes.</p><br>
<p>They have been repaired in 2003 by the local government of Najafabad.</p><br>
<p>West End Historic District is a national historic district located at Winston-Salem, Forsyth County, North Carolina. The district encompasses 508 contributing buildings and 7 contributing structures, in a predominantly residential section of Winston-Salem. It was a planned picturesque streetcar suburb developed at the turn of the 20th century. The buildings date from about 1887 to 1930, and include notable examples of Classical Revival, Colonial Revival, Queen Anne, and Bungalow / American Craftsman style architecture. Located in the district are the separately listed H. D. Poindexter Houses and Zevely House. Other notable buildings include the St. Pauls Episcopal Church  designed by Ralph Adams Cram, Augsburg Lutheran Church , Friends Meeting House , the First Church of Christ, Scientist , and Joyners West End Grocery.</p><br>
<p>It was listed on the National Register of Historic Places in 1986.</p><br>
<p>The Gehring Clinic is a historic house and medical facility at the south end of Broad Street Historic District in Bethel, Maine. Built in 1896 for Doctor John George Gehring, it is a fine local example of Queen Anne architecture. It is recognized, however, for its association with Gehring, a nationally-known psychotherapist who was an early proponent of the use of hypnosis to treat nervous disorders. Gehring opened his large home as a rest home for those who traveled to Bethel to receive his treatment. The property was listed on the National Register of Historic Places in 1976.</p><br>
<h2>Description and history</h2><br>
<p>The Gehring House is a 2-1/2 story wood frame house with a rambling structure. Its main block is rectangular, with two large ells extending from its rear at angles. The main (northern) facade is divided into three bays, with a centered entrance sheltered by a portico supported by Ionic columns. The entry is flanked by sidelight windows and topped by a wide fanlight of frosted glass. The facade is asymmetrically fenestrated, with two windows in the left bay and one in the right on the first level, and rounded bay windows in the center and left bays on the second level, with a single sash window in the right bay. A round turreted projecting section is attached to the house at the northwest corner, two stories in height and topped by a conical roof.</p><br>
<p>The eastern of the two rear wings served as a service ell, while that on the west side was where Doctor Gehring had his office and saw his patients. The two wings frame a lawn area that the doctor landscape, and where, along with much of the rest of the property and parts of Broad Street, he engaged in his hobby of gardening.</p><br>
<p>The Gehrings moved to Bethel in 1887. Gehring, a medical doctor by training, had had to abandon a career as a surgeon due to a nervous disorder. He learned of the activities of Dr. Frederick Gerrish, based at Bowdoin College, who advocated the use of hypnosis in the treatment of such problems. After studying the methods with Gerrish in Portland, Gehring received the treatment himself, and was cured. He returned to Bethel and began offering the treatment from the clinic in his home. He and his wife opened their home to patients, housing as many as fourteen at a time while they received treatment. The Bethel Inn Resort was built in 1913 with funding from his patients and dedicated to him. Dr. Gehring retired from practice in 1925 and died in 1932. The property has since seen use as a medical facility, but is presently (2014) vacant.</p><br>
<p>Waughtown–Belview Historic District is a national historic district located at Winston-Salem, Forsyth County, North Carolina. The district encompasses 1,137 contributing buildings, 1 contributing site, and 1 contributing object in a largely residential section of Winston-Salem. The buildings date from about 1834 to 1955, and include notable examples of Greek Revival, Colonial Revival, Queen Anne, and Bungalow / American Craftsman style architecture. Located in the district is the separately listed Shell Service Station. Other notable resources include the Clodfelter House , Fiddler House , Nissen Wagon Works smokestack, Triangle Body Works , Waughtown Baptist Church , Waughtown Presbyterian Church , Southside Christian Church , and Waughtown Cemetery.</p><br>
<p>It was listed on the National Register of Historic Places in 2005.</p><br>
<p>The Royal Cemetery at Ur is an archaeological site in modern-day Dhi Qar Governorate in southern Iraq. The initial excavations at Ur took place between 1922 and 1934 under the direction of Leonard Woolley in association with the British Museum and the University of Pennsylvania Museum of Archaeology and Anthropology in Philadelphia, Pennsylvania.</p><br>
<h2>Discovery</h2><br>
<p>The process was begun in 1922 by digging trial trenches, in order for Woolley to get an idea of the layout of the ancient city. In one trench where initially nothing was discovered, head archaeologist Leonard Woolley decided to dig deeper. There, clay vases, limestone bowls, small bronze objects and assorted beads were found. Woolley thought that there may have been gold beads and, to entice the workers to turn them in when found, Woolley offered a sum of money—this led to the discovery of the gold beads after the workers repurchased them from the goldsmiths they sold them to.</p><br>
<p>Dishonesty of the workers was an issue, but not the only in the preliminary digs. The locals hired to help had no previous experience in archaeology, leading Woolley to abandon what they referred to as the "gold trench" for four years, until the workers became more well versed in archaeological digs. In addition, archaeology was still in the beginning stages as a field. As a result, gold objects were identified by an expert who dated them to the "Late Babylonian" (c. 700 BC), when in fact they dated back to the reign of Sargon I (c. 2300 BC).</p><br>
<p>The cemetery at Ur included just over 2000 burials. Amongst these burials were sixteen tombs identified by Woolley as "royal" terms based on their size and structure, variety and richness of grave goods as well as the existence of artifacts associated with mass ritual.</p><br>
<h2>The site</h2><br>
<p>The ruins of the ancient city of Ur can be found in the desert of southern Iraq. The city remained abandoned after the Euphrates River changed its course more than two millennia ago. Early archaeologists, however, dug into the surface and recovered graves, some of which had royal names inscribed on them. Woolley began his excavation in 1922 on behalf of the British Museum and the University of Pennsylvania Museum of Archaeology and Anthropology. However, the actual discovery of the cemetery and its royal tombs was four years later after the excavation started. The large cemetery was in operation for at least three centuries during the second half of the third millennium BC. Most of the graves were individual burials that had cut into one another. Male and female corpses were found with their belongings that identified them as either rich or poor.</p><br>
<p>Woolley initially unearthed 1850 graves but later identified 260 additional ones. Nevertheless, sixteen were unique to him, because they stood out from all the rest in terms of their wealth, the structure of their burial grounds, and rituals. He thought that the stone-built chambers and the immense value of riches belonged to the dead that came from royal lineage. Such cadavers inside their respective stone chambers were the only ones to have abundant provisions in order to meet their needs in the afterlife. Having that said, the subordinates were not treated in the same manner and had nothing of the aforementioned goods. They were treated in the same manner as other provisions and supplies, because the funeral was solely for the principal corpse. When the main body was buried, the rest of the people would have been sacrificed in that person’s honor and buried thereafter.</p><br>
<p>When Woolley found the Great Death Pit, it was in extremely poor conditions. What remained of the chamber were a few stones and some gold, lapis lazuli, and carnelian beads in fine conditions. The Great Death Pit was an open square-shaped space, serving as the graveyard for the bodies of armed men that were laid out inside along with other corpses thought to belong to women or young girls. The introduction of massive death pits at Ur is usually associated to Meskalamdug, one of the kings of Ur that was also known as the paramount ruler of all the Sumerians. He started the practice of such a massive entombment with the sacrifice of soldiers and an entire choir of women to accompany him in the afterlife.</p><br>
<h3>Puabi</h3><br>
<p>In contrast to the Great Death Pit, one of the royal tombs at Ur survived practically in its entirety, which was most notably due to its treasures left largely unscathed on the body of royal lineage. Such a body belonged to Queen Puabi and was easy to identify due to her jewelry made out of beads of gold, silver, lapis lazuli, carnelian, and agate. Nevertheless, the biggest clues that denoted her title as queen was a cylinder seal with her name on the inscription and her crown, which was made out of layers of gold ornaments shaped in intricate floral patterns. Once more, Woolley uncovered an earth ramp leading down to the death pit of the well-preserved tomb, which was twelve by four meters approximately, and found a menagerie of corpses that ranged from armed men to women wearing headdresses with elaborate details. In his descent toward the pit, he found traces of reed matting, and they covered the artifacts and bodies in order to avoid contact with the soil that had filled the royal grave. Two meters below the level of the pit laid a tomb chamber built of stone that had no doorway in its walls, and its only accessible entrance was through its roof. Once inside, four bodies rested inside the tomb, but the most important one was evidently that of the queen.</p><br>
<h3>Burial practices</h3><br>
<p>The bodies at the Royal Cemetery underwent certain burial practices. In the tombs, the primary inhumation is placed inside the tomb chamber usually accompanied by attendants. More bodies or victims are buried too often in separate chambers or, more commonly, in ‘death pits’, an open, sunken court. The amount of sacrificed bodies in one tomb can range from a small amount of six to between seventy and eighty bodies. The attendants are usually lying in neat rows within the death pits or chambers. It is not entirely known if the attendants died placed in that manner or were positioned after death. The principal body was always laid on a mat made of reeds which also lined the floor and walls of the pit where the attendants are located. In some tombs the bodies are arranged in very specific ways. Some tombs were found with male skeletons with helmets and spears positioned in front of the entrance as guards and then contained female attendants inside.</p><br>
<p>It is not known for sure who the primary inhumations are but it is generally assumed that they are royalty. The occupants are possibly related either by blood or marriage. Additionally, there is little textual evidence available to explain the tombs at the cemetery and the practices of the people but it is thought that the burials of the royalty consisted of multi-day ceremonies. Some of the bodies have evidence of heating or smoking which could have been an attempt at preserving the bodies to last through the ceremony. Additionally mercury has been found on some skulls which could also indicate an attempt of preservation. Music, wailing, and feasting took place in addition to the burial with the possibility of the attendants joining in. In the first part of the ceremony the body was laid in the tomb, along with the offerings, and then sealed with brick and stone. In the next part of the ceremony the death pits are filled with guards, attendants, musicians, and animals, such as ox or donkeys.</p><br>
<p>How the attendants ended up buried with the royalty is somewhat unknown. All of the bodies are arranged in an ordered fashion and appear peaceful. The elaborate headdresses worn by women are undisturbed which lends to the assumption they were lying or sitting down when they died. Woolley thought initially that the attendants were human sacrifices and were killed to show the kings power and put on a public show. Later he speculated that the attendants voluntarily consumed poison to continue serving their head in death. Each attendant was found with a small cup nearby which they could drink the poison from. The poison could have been a sedative with the cause of death being suffocation from having the chamber sealed. Some research has found that some of the skulls had received blunt force trauma indicating that, rather than voluntarily serving their head in death, they were forcibly killed.</p><br>
<h2>Grave goods</h2><br>
<p>The cemetery at Ur contained more than 2000 burials alongside a corresponding wealth of objects. Many items come from the handful of royal burials. Many of these grave goods were likely imported from various surrounding regions including Afghanistan, Egypt, and the Indus valley. Objects of significance varied from cylinder seals, jewelry and metalwork, to pottery, musical instruments, and more.</p><br>
<h3>Cylinder seals</h3><br>
<p>Cylinder seals found amongst the grave goods in the cemetery at Ur were often inscribed with the names of the deceased. Excavators retrieved three cylinder seals near queen Puabi’s remains, one with her name written in cuneiform.</p><br>
<h3>Jewelry and metalwork</h3><br>
<p>The various female personages and attendants buried at the cemetery of Ur were adorned with jewelry made from gold, silver, lapis lazuli and carnelian including a variety of necklaces, earrings, headdresses, and hair rings. The presence of Carnelian beads present amongst the grave goods at the cemetery indicated trade with the Indus Valley. Hair ornaments included hair combs with floral elements made of gold, lapis, shell, and pink limestone. In addition, hair ribbons of gold and silver and inlaid combs with rosettes were also found amongst the human remains at Ur.</p><br>
<p>Many of the jewels contained some sort of botanical reference. Amongst them are vegetal wreaths fashioned with gold leaves. Notably, Puabi’s headdress consists of four botanical wreaths including rosettes or stars and leaves.</p><br>
<p>Other precious metals were found in the form of helmets, daggers, and various vessels in copper, silver, and gold. A gold helmet, whose ownership is attributed to Meskalamdug was found in a grave that Woolley believed to be an elite, but not necessarily a king. The helmet was made from a single piece of gold and fashioned to resemble a wig.</p><br>
<p>The presence of fully developed casting practices is assumed from the discovery of another weapon made from electrum. At the same time, another weapon, referred to as the “Daggar of Ur,” was, according to Woolley, the first significant grave good discovered at Ur. The sheath and blade are both made from gold with a handle of lapis lazuli with gold decoration. Other examples of metal work include a variety of golden goblets and vessels made with handles of twisted wire. Some of these vessels included relief decoration or patterning. Hammered work in various metals was also discovered. This included a shield ornament containing an Assyrian style subject of lions and men being trampled. Other objects included a silver fluted bowl with engravings and a silver model of a sea faring vessel.</p><br>
<h3>Pottery</h3><br>
<p>The pottery types at Ur included mostly jar forms and bowls with limited variety in style. Conical bowls, as recorded by the excavators, fall into two categorical types based on their rim diameters. Woolley identified 24 different pottery types at the Royal Cemetery based on the excavation of 238 graves. In order to date the pottery and burials at Ur, some scholars have looked to the pottery to compare to similar types from other sites in Mesopotamia and then checked using cylinder seals.</p><br>
<p>Pollock, Susan. “Chronology of the Royal Cemetery of Ur.” Iraq 47 (1985): 129-158</p><br>
<h3>Musical instruments</h3><br>
<p>Amongst the finds at Ur were the remains of highly decorated musical instruments. Several lyres were discovered in the main pit associated with four women. Most of these instruments were wooden with silver overlay alongside other details. One lyres sound box was made from silver with blue and white mosaic detail and engraved shell with pictorial engravings on the front created in using a similar technique to niello work. This particular lyre also included a silver cast cows head and silver tuning rods. Another lyre was shaped like a seafaring vessel supporting the statue of a stag. Yet another lyre incorporated various materials including wood, shell, lapis lazuli, red stone, silver and gold. The lyres found at Ur often included the representation of animals including a cow, stag, bearded bull, and a calf. Of particular note is the Bull-headed lyre from PG 789, also referred to as the "King&#39;s Grave". Woolley theorized that each animal might have corresponded to the tone of the instrument itself.</p><br>
<h3>Ram in a Thicket</h3><br>
<p>The discovery of two goat statues in PG 1237 are just two examples of polychrome sculpture at Ur. These objects, referred to as “rams in the thicket” by Woolley, were made of wood and covered in gold, silver, shell and lapis lazuli. The Ram in a Thicket uses gold for the tree, legs, and face of the goat, silver for the belly and parts of the base alongside pink and white mosaics. The back of the animal is constructed using shell attached with bitumen. Other details such as the eyes, horns, and beard are fashioned from lapis lazuli.</p><br>
<h3>The Standard of Ur</h3><br>
<p>Discovered in PG 779 was a, as yet, unidentified object referred to as the Standard of Ur. The Standard of Ur is a trapezoidal wooden box incorporating lapis lazuli, shell and red limestone into the depiction of various figures on its surface. Its function is debated, although Woolley believed it to be a military standard, explaining this object’s current name. On each side of the standard, the pictorial elements are considered part of a narrative sequence divided formally into 3 registers with all figures on a common ground. The standard uses hierarchy of scale to identify important figures in the compositions. Read from left to right, bottom to top on one side of the standard, starting with the lowest registers, there are men carrying various goods or leading animals and fish towards the top register where larger seated figures take part in a feast accompanied by musicians and attendants. The other side depicts a more militaristic subject where men in horse-drawn chariots trample over prostrate bodies and soldiers and prisoners process up towards the top frieze where the central personage is designated by his large scale, punctuating the border of the upper most frieze.</p><br>
<h2>Present day</h2><br>
<h3>New theories</h3><br>
<p>Analyses of the findings of Sir Leonard Woolley have led to new theories concerning the royal tombs.</p><br>
<p>In 1998, Paul Zimmerman wrote a masters thesis while at the University of Pennsylvania on the Royal Cemetery at Ur. Graves PG789 and PG800, the king and queens graves, according to Woolley, were complete burials with attendants and worldly possessions. Zimmerman analyzed the layout and formulated the hypothesis that the two tombs were in fact three. Pit PG800 had two rooms that were on two different levels, something that Zimmerman found inconsistent with grave PG789 (the rooms were connected). In addition, Woolley claimed that Puabis grave was built after the kings in order to be close to him. Zimmerman posits that, because Puabis grave was 40 cm lower than that of the kings, her grave was actually built first. With these in mind, Zimmerman claimed that the death pit assigned to Queen Puabi was actually a death pit from a different grave that is unknown</p><br>
<h3>State of the royal tombs</h3><br>
<p>Looting of archaeological sites was a common occurrence brought under control during the reign of Saddam Hussein, whose government declared the act a capital offense. Due to the Iraq War, however, looting has occurred more frequently. Entire archaeological sites have been destroyed, with as many as tens of thousands of holes dug by looters.</p><br>
<p>The "Royal Cemetery At Ur", however, has remained largely preserved. The site was located in the boundaries of the Tallil Air Base, controlled by allied forces. It was damaged during the first Gulf War, when the air base was bombed. As a result, in 2008, a team of scholars, including Elizabeth Stone of Stony Brook University, found that the walls of the royal tombs were beginning to collapse. Deterioration was also recorded in the team&#39;s findings, due to the occupation of the military.</p><br>
<p>Neglect, however, was cited as most harmful to the site. Stone stated that for 30 years the "Iraq Department of Antiquities" lacked the resources to properly inspect and conserve the site, along with others that the team examined. As a result, sites like the Royal Cemetery at Ur have begun to erode.</p><br>
<p>In May 2009, "Iraq&#39;s State Board of Antiquities" regained control of the site, helping with the conservation of the ancient site.</p><br>
<p>The Buchkamm, wrongly also called the Buchkamp, is a forested ridge south of Oberwildenthal in the western Saxon Ore Mountains of Germany. Its highest point is 951 metres above sea level and it runs from southwest to northeast, not far from the Czech border. The old Reichsstraße 93 from Leipzig, which makes its way over the Hirschenstander Pass to Karlsbad, runs past the foot of the Buchkamm by the Nasse Bridge. Today it is only used as a forest road. Until the 1990s there was also a royal Saxon milestone here. An old smuggler&#39;s path, the Butter Way , runs past the Buchkamm to the southeast. It was used to smuggle butter and other goods between Bohemia and Saxony. It is now a hiking trail.</p><br>
<p>The Große Bockau rises not far south of the Buchkamm on the Czech border.</p><br>
<p>In 1839 there was a mine, the Pfingstfest in operation on the Buchkamm.</p><br>
<h2>Literature</h2><br>
<p>Wander- und Wintersportkarte des Erzgebirges, Blatt 3 - Auersberg, im Auftrag des Sächs. Finanzministeriums herausgegeben vom Reichsamt für Landesaufnahme, 1928.</p><br>
<p></revision></p><br>
<p>Lahey&#39;s Canungra Sawmill is a heritage-listed former sawmill at 10-26 Finch Road, Canungra, Scenic Rim Region, Queensland, Australia. It was built in 1884. It was added to the Queensland Heritage Register on 6 March 2009.</p><br>
<h2>History</h2><br>
<p>The Canungra Sawmill operated between 1884 and c.1935. The mill was wholly owned and operated by the Lahey family until 1921. Timber from throughout the Canungra region was brought to the mill from the companys timber stands via their private tramway (Laheys Canungra Tramway Tunnel) and transported out of Canungra on the Government railway line. The mill was rebuilt after major fires in 1897 and 1906 and modernised with new milling equipment and updates to processing techniques were made regularly. The mill and all associated equipment, infrastructure and timber stands were finally sold by the Lahey&#39;s in 1921. The mill changed hands twice more (in 1923 and 1933) as the viability of the timber industry in the region waned, before closing for a final time c.1935.</p><br>
<p>European settlement of the area surrounding the Coomera River commenced in 1843 with the establishment of the Tambourine holding. Early timber harvesting commenced in the 1860s by Hugh Mahony who cut and hauled cedar logs to mills in Ipswich.</p><br>
<p>The Lahey family emigrated from their native Ireland to Australia in 1862. Francis Lahey, his wife and eleven children arrived in Sydney, but immediately travelled north to Brisbane. The family began farming in the Pimpama region in 1870. In 1875 Francis Lahey purchased a sugar mill at Tygum, near Waterford, for his sons. Francis expanded the operations at Tygum to include sawmilling, an industry that would dominate the working lives of the next generation of the Lahey family.</p><br>
<p>After being informed of quality timber in the region, David Lahey commenced construction of a sawmill at Canungra on 2 October 1884. During the same year David, John, Isaiah, Thomas and Evangeline Lahey all applied for and were granted selections of land around Canungra totalling over 3,000 acres. Lahey&#39;s Canungra Sawmill was established on Portion 61, Canungra on land leased from Robert Christie and beside what is now known as Christie Street. With the construction of the mill, David Lahey also had a number of small cottages built on site for mill workers while others were established in and around what would become the township of Canungra.</p><br>
<p>Machinery for Lahey&#39;s Canungra Sawmill was brought up the Logan River by steamer to a location near Logan Village, and hauled to the sawmill site by bullock teams. Production at the mill steadily increased from 1885 onwards. Much of the timber produced was used for the construction of housing throughout southeast Queensland.</p><br>
<p>The Lahey family was hard working, innovative, and often experimental, eager for change and mindful of market forces and demands. During the 1880s, the Lahey family expanded their business, establishing an office in Brisbane in 1887, additional saw and planing mills at Beaudesert in 1888, and another mill at Widgee near Hill View in 1898. The economic downturn of the 1890s forced the Lahey&#39;s into stave-shaping and casking to provide enough income to keep the business alive. Staves are narrow strips of wood placed edge to edge to form the sides, covering, or lining of a vessel or structure.</p><br>
<p>On the night of 9 July 1897, the Canungra mill burnt down and 20,000 super feet of sawn and dressed pine in the mill yards was destroyed. The mill was re-built but at a larger scale and was more modern in layout than the original mill, with the planing machine and other machinery separated from the main milling activities.</p><br>
<p>By the turn of the twentieth century, transportation of timber to Laheys Canungra Sawmill was becoming a problem. By this time the Laheys had acquired timber leases amounting to over 16,000 acres in the Canungra and Pine Creek Valleys, thereby requiring the slow and expensive bullock teams to haul logs over ever-increasing distances. The Lahey&#39;s viewed mechanisation as the solution to their transportation problems and it was decided a tramway be built into the Pine Creek Valley. A narrow gauge of 3 feet 6 inches was chosen for the tramway to match the gauge of the growing Queensland Government Railways, as it was hoped that the government line would eventually extend to Canungra (this finally occurred in 1914).</p><br>
<p>Lahey&#39;s Canungra Sawmill was again badly damaged by fire in the early hours of 13 January 1906. The main building which housed the sawing operations was completely destroyed. Up-to-date equipment recently imported from the United States of America was lost, including a broom handle machine, sand-papering machine and butter box printing machine. Several new additions to the mill operations, including a new drying kiln and planning machine shed were, however, saved. The fire forced the closure of the mill for three months.</p><br>
<p>The rebuild following this fire was complemented by improvements between 1907 and 1908. Electric log-hauling machinery was installed. The tramway servicing the mill was extended over time and by 1910 the main line was 13½ km long with a branch 2 km up Flying Fox Creek and a sub-branch 500m up Little Flying Fox Creek to service a new aerial ropeway on Beech Mountain. Eventually, the total length of track laid amounted to 26½ km. Usage of the tramway continued to increase so that during 1915 alone, 15,000 tons of logs were being hauled to the mill along the tramway.</p><br>
<p>In 1913, Tom Lahey left Australia on an inspection of milling operations in the United States of America. The Laheys were interested in purchasing new milling machinery and keen to stay abreast of the latest trends in sawmilling practice. A range of new equipment was purchased, and once installed, the capacity of the mill doubled and the cost of labour greatly reduced. The introduction of an eight-foot band mill and steam log turner made the Laheys Canungra Sawmill the biggest softwood mill in Queensland. In its heyday, the mill was producing Australia&#39;s largest output of softwood timber. In the process, the township of Canungra was established because of the presence and success of the mill.</p><br>
<p>By 1920 much of the timber had been removed from the Canungra area. The War Services Homes Commission, established at the end of World War One, purchased the milling operation from the Lahey family, taking possession of the site on 1 January 1921. Timber processed at the mill was to be used in the construction of housing for returned World War One servicemen. The mill, however, closed three months later due to a change in policy by the Commission for their acquisitions of timber and was put up for sale. In 1923, Brisbane Timbers Ltd (part of which was owned by the Lahey family) purchased the mill by tender. The sale included all plant equipment, 10,412 acres of freehold land of which 4,393 acres carried pine, the timber tramway and branch lines totalling 16 miles of track, the locomotives and all rolling stock. In 1933, the Standply Timber Company purchased the mill and added an advanced veneer and plywood plant. The timber industry in the Canungra area had largely collapsed, however, by c.1935. That same year the last of the tramway rails and equipment was sold to a milling venture in Cardwell, North Queensland and the mill was dismantled.</p><br>
<h2>Description</h2><br>
<p>The archaeological remains of Lahey&#39;s Canungra Sawmill are located within the western half of Lot 2 on RP200758, located north of Christie Road and west of Finch Road, in the township of Canungra. The land on which the site is situated has been cleared and is an undeveloped paddock. An abandoned caravan park occupies the eastern portion of Lot 2 on RP200758. There are also a number of temporary enclosures, presumably for horses, consisting of wire and star-picket fences. The abandoned caravan park and remaining wire and star-picket fence lines are not considered to be of cultural heritage significance.</p><br>
<p>The main sawmill remains are concentrated in the centre of the western portion of the lot. Numerous concrete machinery foundations are present across this area, including the supporting pillars for the mills steam engine and concrete steam water pits. A 7m x 7m concrete slab located in this area may also be the base for the crane used to lift logs from the trams bringing logs to the mill. The terminal end of the old tramway line is evident in the form of the cut ends of the rails embedded in a large concrete foundation. A number of broken bricks were recorded on the surface, including those from Campbell&#39;s Brickworks, Brisbane or Redbank, as well as other elliptical frogged but unlettered types possibly used as insulation for the two boilers known to have been on site. There are a limited number of metal artefacts visible, including the remains of a metal storage bin. Potential exists for substantial and extensive subsurface archaeological deposits in the vicinity of these surface remains as it was noted that the area shows limited subsurface disturbance, except for two easements which dissect the site. A services pipe (Easement A on RP150196) is exposed in the south-west of the lot adjoining the bowls club, and runs underground diagonally across the lot to the north-east towards Canungra Creek. A second easement (Easement B on RP181573) also runs from the south-west corner of the lot to its northern boundary with Canungra Creek.</p><br>
<p>A second concentration of concrete machinery and building foundations is located in the northern section of Lot 2 on RP200758. These remains straddle a wide intermittent creek which runs from the south-west corner of Lot 2 on RP200758 and terminates on the northern boundary of the lot, and Easement B on RP181573. These foundations are located immediately adjacent to the remains of the former Lahey&#39;s railway siding and are interpreted as part of the infrastructure used to load timber onto trains heading from the mill on the government Canungra-Logan Village branch line and also possibly related to the later Standply Timber Company veneer and plywood operations. There are potentially substantial subsurface archaeological deposits located in the vicinity of these surface remains as the area shows little evidence of recent subsurface disturbance though it may have been affected by works associated with the construction of Easement B on RP181573.</p><br>
<h2>Heritage listing</h2><br>
<p>Lahey&#39;s Canungra Sawmill was listed on the Queensland Heritage Register on 6 March 2009 having satisfied the following criteria.</p><br>
<p>Laheys Canungra Sawmill Site is important in demonstrating part of the pattern of Queenslands history as remnant evidence of an early, substantial and enduring timber processing operation between 1884 and 1921, and again from 1933 until c.1935. Lahey&#39;s Canungra Sawmill Site is important in demonstrating the pattern of settlement and land use in south-east Queensland. During its peak period of operation after 1913, the mill was the largest softwood mill in Queensland and the largest processor of softwood timber in Australia.</p><br>
<p>Archaeological investigations of the Laheys Canungra Sawmill have potential to reveal important aspects of Queenslands history, including early and long enduring timber processing practices, influences on the development of Queensland by the prominent Lahey family in its history, and the daily lives and conditions faced by workers in late 19th and early 20th century timber industry.</p><br>
<p>The Lahey&#39;s Canungra Sawmill provides an opportunity to examine, through its archaeological remains, an important early and long enduring timber processing operation. Although timber processing operations were widespread across Queensland by the late 19th century, archaeological investigations into the mill layout and composition have potential to yield additional information on the changing and often innovative workplace practices that occurred at the Canungra Sawmill. The archaeological remains at the Canungra Sawmill provide important comparative information on sawmilling practices, mill layouts and configurations for other sawmill sites found across Queensland.</p><br>
<p>Archaeological investigations at Lahey&#39;s Canungra Sawmill provide a rare opportunity to examine issues of continuity and change to milling operations in late 19th and early 20th century Queensland. The sawmill has historical associations with the influential Lahey family, who ran the milling operations at Canungra until 1921. Analysis of subsurface archaeological deposits may provide new information on previously unknown or little documented timber manufacturing processes, particularly as the Lahey family were well known for embracing change and for innovative workplace practices.</p><br>
<p>Additional archaeological artefacts are anticipated to occur across the site, especially within the area of the main sawmill site and the concentration of building and machinery foundations adjacent to the former Lahey&#39;s siding.</p><br>
<p>Analysis of archaeological features at the Canungra Sawmill site will develop our understanding of the Lahey timber operations throughout the Canungra area, and provide comparative and supporting information for other related timber heritage places across the state.</p><br>
<p>Archaeological investigations of subsurface archaeological materials will help in our understanding of working conditions and daily life within the mill and possibly the life of the mill&#39;s first employees through potential relocation of artefacts and features associated with the first workers cottages for the mill.</p><br>
<p>The mill complex has the potential to help us answer a range of archaeological research questions including, but not limited to, early timber-processing practices in Queensland, life at an early mill operation in Queensland, the material culture of the Lahey family and their impact on timber getting practices, processes and operations in Queensland.</p><br>
<p>Wyambyn is a heritage-listed homestead at Tabragalba House Road, Tabragalba, Scenic Rim Region, Queensland, Australia. It was designed in 1908 by Robin Dods and built by Warren and Morgan from 1908 to 1909. It was added to the Queensland Heritage Register on 9 August 2013.</p><br>
<h2>History</h2><br>
<p>Wyambyn (1909), located 6.5 km east of Beaudesert, was designed by eminent architect Robert Smith (Robin) Dods as a large homestead for pastoralist and businessman De Burgh Bannatyne Bentinck Persse.</p><br>
<p>Moreton pastoral district, in present-day south-east Queensland, was settled in 1841 as part of the pastoral expansion from the south that had resulted in the occupation of the Darling Downs in 1840. Early runs included Nindooinbah and Mundoolun on the Albert River. The Moreton and Darling Downs pastoral districts, with sufficient rainfall, nutritious natural pastures and nearby markets, were the most viable of Queensland&#39;s pastoral districts. Both were opened for selection of small agricultural and pastoral blocks from the 1860s. This resulted in the progressive freehold purchase, after resumption, of large pastoral properties, often by their lessees as well as other selectors.</p><br>
<p>Early pastoralists in the Beaudesert district, the Collins and the De Burgh Persse families, selected land in this manner. The Collins family took up Mundoolun station in the 1840s and became wealthy pastoralists with many properties throughout Queensland including Tamrookum and Nindooinbah near the town of Beaudesert. De Burgh Fitzpatrick Persse purchased the nearby Tabragalba station in 1865 and by the late 1880s had freeholded an extensive tract of land.</p><br>
<p>Both the De Burgh Persse and Collins families were important in the development of Queensland. They were active in public life, serving in the Queensland Parliament and in local government, and held positions on important company boards, many with a pastoral influence. The families had mutual interests and, over time, friendship and intermarriage created an interconnected and influential dynastic pastoral empire.</p><br>
<p>Wyambyn was built on land selected in Jane Collins&#39; name, approximately halfway between the De Burgh Persse and Collins homesteads. The land, comprising 419 acres and 20 perches (169.61 ha), was purchased in June 1908 by De Burgh Persse in anticipation of his marriage to Fannie Martin Collins on 21 April 1909. The design of Wyambyn commenced soon after the land purchase, and in July 1908 a tender notice was placed by Dods for its construction; a job won by local builders, Warren and Morgan.</p><br>
<p>Dods (1868–1920) was a New Zealand-born architect who lived briefly in Britain before coming to Brisbane in the 1870s. He later trained as an architect in Scotland and England under a number of esteemed architects who were working in the Arts and Crafts idiom. His architectural career began in Edinburgh in 1886, articled with architects Hay & Henderson. He attended evening classes at the Edinburgh Architectural Association until 1890 and formed a lasting friendship with (Sir) Robert Lorimer (1864–1929), eminent Scottish architect and fellow proponent of Arts and Crafts. In 1890 Dods moved to London, where he worked with the Fortifications Branch of the War Office and in the office of notable architect (Sir) Aston Webb. In 1891 he was admitted to the Royal Institute of British Architects and travelled in Italy. In 1894 Dods visited his mother in Brisbane and while there won a competition for a nurses home at the Brisbane General Hospital (see also Royal Brisbane Hospital Nurses&#39; Homes). He returned to Brisbane in 1896 and started in practice with architect Francis Richard Hall as Hall & Dods. Dods has been acknowledged as "one of the most significant early 20th century Australian architects" and as a rare practitioner of the Arts and Crafts style in Queensland.</p><br>
<p>Arts and Crafts was an international design movement flourishing between 1860 and 1910, its influence continuing into the 1930s. It was led by artist and writer William Morris and architect Charles Voysey and was inspired by the writings of John Ruskin and Augustus Pugin. The style championed traditional craftsmanship using simple forms and often applied medieval, romantic or folk styles of decoration. Importantly, it valued local variations in traditions so that good design would have relevance within its context. Arts and Crafts architecture is characterised by solidity and heaviness through well-proportioned solid forms, wide porches and prominent steep roofs. The texture of ordinary materials is expressed in the detailing and building composition is asymmetrical.</p><br>
<p>The practice of Hall & Dods was the most influential source of modern design in Brisbane, producing a wide range of accomplished buildings, and was credited with achieving an "architectural revolution" in Brisbane. Dods was responsible for most of the design within the firm, integrating contemporary British design philosophies with the traditions of Queensland housing and the requirements of a subtropical climate, and producing practical, attractive, and finely detailed houses. The partnership ended in 1913, when Dods left to practice in Sydney. Dods died prematurely in 1920.</p><br>
<p>Dods residential work employed local building techniques combined with a sophisticated discipline and a common-sense response to climate. Dods houses were mostly built of timber with detailing that was a celebration of craftsmanship. The most noticeable characteristic of his Queensland houses (built between 1896 and 1917) was a general feeling of solidity and substance. This was the result of a number of design decisions, including designing a generous roof (often the largest element) continuous over the verandah and over a lower, rear washhouse. The roof was always simple in geometry and often finished with terracotta tiles, flat shingles or pan-and-tile profile, flat iron sheeting with a prominent rolled joint. Corrugated iron was only used where it was necessary to reduce the cost. Generally low-set, the houses often had an enclosed or screened understorey to give the house a visually solid base. Individual elements were oversized to appear substantial as if under heavy loads. Bold, dark, earthy colours, darkly stained timber, rough-sawn weatherboards with mitred corners, roughcast rendering and face brickwork in dark colours were used to give the house a weighty gravity. The building materials and finishes were chosen to allow the building to mellow over time, providing it with a well-established appearance.</p><br>
<p>The house designs take a formalist approach to planning, including formal entry halls and traditional planning arrangements. The plans were generated through a consideration of aspect, with living spaces well oriented and internal layouts permitting cross ventilation. They are also notable for their informal spaces, a particular feature being the inclusion of generous verandah piazzas. The plans respond to the social needs of the clients in an honest and functional way. The houses were often provided with generous, considered service spaces including back halls and wash houses. The health and comfort of the occupants were major considerations. Ventilation devices included wide window and door openings, ventilated gables and ridges, and ventilation fleches. Piazzas were generous, allowing comfortably furnished, semi-outdoor living. Operable shading and enclosure of the piazza was sometimes achieved by adding timber vertical louvres above the verandah handrail, creating a room habitable in most weather. Interiors included fine decorative timber joinery and panelling. Fireplace surrounds and built-in cupboards were also a feature.</p><br>
<p>The composition of facades and circulation routes is a more nuanced element of Dods&#39; houses and highlights his originality and artistic skill. Facades often only implied symmetry. Entries were often off-centre or perpendicular, emphasised by wide and expressive entry stairs. Projecting bay windows and corner fireplaces were recurrent elements.</p><br>
<p>Dods designed gardens as a setting for the house, a practice more common in Britain than in Queensland. They featured formal parterre gardens, terraces and walls, flower beds, tennis courts, hedges, topiaries, flowering ornamental trees, and geometric path and lawn layouts. Garden furniture and structures were designed including seats, pergolas, trellises, fences and gates.</p><br>
<p>Wyambyn is an example of the homesteads built by the more successful pastoralists of south-east Queensland. As funds became available over time, they built comfortable, architect-designed homes or extended their earlier homesteads into residences more befitting their status.</p><br>
<p>Between 1901 and 1913 Dods designed and built six homesteads for rural properties: Langlo Downs, Augathella (1903, destroyed by fire); extension to Nindooinbah Homestead, Beaudesert (1908); Ringsfield, Nanango (1908); Wyambyn, Beaudesert (1909); Myendetta, Charleville (1910); and Kengoon, Kalbar (1913). These were large dwellings that often formed the centre of groups of outbuildings. Their garden layouts were also an important feature.</p><br>
<p>Rural homesteads built in Queensland in the early part of the 20th century were large homes, often on elevated (flood-free) sites with a scenic outlook, surrounded by gardens. As well as those listed above, Marshlands near Hivesville (1910) designed by Hall & Dods (but not believed to be Dods&#39; design) was built during this period, as was Hidden Vale near Grandchester (Eaton & Bates, 1903).</p><br>
<p>The Collins family knew Dods and his work. He had supervised the building of the Buckeridge-designed St John&#39;s Church at Mundoolun station in 1901, which commemorated the lives of their parents, John and Ann Collins. In 1906 Dods designed additions to Nindooinbah homestead for William Collins that were completed in 1908. Dods and the Collins and Persse men may have met through their membership of the Queensland Club: Dods became a member in 1898, William Collins from 1877, Robert M Collins in 1895, and John G Collins in 1897, while DBB Persse joined in 1907 and his father in 1874.</p><br>
<p>Dods also designed Wyambyn&#39;s extension, which was completed by 1912, to accommodate the growing family. The extension comprised a northern wing that included a nursery and extra bedrooms. It was later used as additional bedrooms and a school room.</p><br>
<p>It is possible that Dods also designed the tennis court at Wyambyn. It appears in early photographs and is in harmony with the overall design; the entry stair and net are aligned with the piazza and a large jacaranda tree.</p><br>
<p>Initially, Wyambyn operated as a cattle property. However, in the mid-1920s De Burgh Persse re-introduced sheep to the district, as did other properties in the Beaudesert area run by family members, namely, Mundoolun (DM Fraser) and Tabragalba (Charles de Burgh Persse), owing to the decline of beef returns and the rise of wool prices at this time.</p><br>
<p>De Burgh Bennatyne Bentinck Persse was not purely a pastoralist dependent on the land. Like his father, he was involved in business enterprises and took over most of his fathers directorships. He served as chairman of directors of the Raub Australian Gold Mining Company; the Queensland Meat Export Company; and the Australian Stockbreeders Co. He was also a member of the advisory board of the National Bank of Australasia.</p><br>
<p>After D B B Persses death on 10 December 1947 Wyambyn with its 419 acres (170 ha) passed to his second son, Burton Persse. He resided there with his family, operating a dairy from soon after his return from World War II service until the late 1970s. The property then changed to beef cattle production. In 1981 Wyambyn was sold, and subsequently used for farming and grazing purposes. However, following the Queensland Governments Glendower Dam proposal in 1990, which would inundate Nindooinbah, Tabragalba and Wyambyn land, Wyambyn was compulsorily acquired by the South East Queensland Water Board. After acquisition, the land was leased for use as an organic dairy, then for cattle grazing.</p><br>
<p>Various assessments of Wyambyn have been made. The Land Court judgement in the case Vadoog Pty Ltd verses South East Queensland Water Board stated: "A feature of the property is its imposing homestead, constructed in about 1908 and maintained in excellent order". Three architectural studies and assessments between 1971 and 2002 have occurred, culminating in its inclusion and assessment in a doctoral thesis on the significance of Dods&#39; architecture to Australia.</p><br>
<p>Furthermore, the architectural importance of Wyambyn is supported by its inclusion in two documents assessing Dods&#39; work and 20th century Queensland architecture. The homestead was proposed by the Queensland sub-committee of the Australian Institute of Architects (AIA) Heritage Taskforce on Significant 20th Century Queensland Architecture as being of national importance and included in a draft list of nationally significant places produced on 17 September 2007.</p><br>
<p>Some changes to the homestead have occurred. In October 1936 a fire started in a chip heater chimney in the homesteads ceiling and destroyed the ceiling and rafters of the bathroom on the western wing. There is evidence of a more recent fire in the laundry. The kitchen was changed from a wood stove with marble bench tops to a modern stove plus laminated bench tops in the 1960s. The small verandah in the service wing was enclosed as an eating area for Burton Persse and his family. The two original bathrooms have been altered; one was modernised and the other stripped and converted to an office by 1971. The wall between the former cooks room and the kitchen has been removed. In 1996 the roofing was noted as corrugated iron. However, Dods favoured flat iron roofing, and this appears to be the roofing in a photograph taken in 1919. The vertical timber blinds around the piazza, apparent in early photographs, have been removed.</p><br>
<p>The homestead has been depicted in promotional material for the region and featured as the setting for the movie Unfinished Sky in 2007. The Glendower Dam proposal has not progressed, and in 2013 the property is leased for grazing purposes and administered by the Department of Natural Resources and Mines.</p><br>
<h2>Description</h2><br>
<p>Wyambyn is a large timber homestead with garden surrounded by lightly wooded land in the Albert River valley, approximately 6.5 kilometres east of Beaudesert. The house sits on a rise, approached from a long, unsealed drive from the north-east curving around to the rear of the house and continuing on to Nindooinbah homestead, 2.5 kilometres south. It sits in a house yard containing large specimen trees and a grass tennis court. The front of the house faces east and affords striking, panoramic views of the surrounding valley and ranges.</p><br>
<p>Wyambyn is a single-storeyed, timber-framed, low-set building encircled by wide verandahs. It comprises a main section, a northern wing, and a western service wing. The hipped roof is large and clad with corrugated metal sheeting with a ventilated ridge cap and two face brick chimneys with cement-rendered moulding. The verandahs have ceilings of v-jointed timber boards lined on the rake, large timber posts with timber brackets, timber balustrades, and Crows Ash, shot-edge floor boards, painted on the outside perimeter. The verandah walls are single-skin, timber v-jointed boards with stop-chamfered timber framing exposed externally. Other external walls are weatherboards. The understorey is enclosed by timber lattice (front) and timber battens (elsewhere).</p><br>
<p>The house is designed with minimal decorative elements, in a scale and form sitting low and securely within the landscape. The front elevation of the main section is symmetrically composed around a generous, projecting verandah piazza sheltered by a large gable with a battened gable end. The piazza balustrades and soffits show evidence of previous enclosure. The ceiling of the piazza is lined with flat, v-jointed boards and the roof space is ventilated in the gable end by spaced weatherboards to the apex.</p><br>
<p>The verandah wraps around the house on the remaining elevations with some corners enclosed to form small rooms. The verandah is accessed by timber stairs, to either side of the piazza. The central front entrance door is flanked by large bay windows with double-hung timber sashes of many small panes. The entry door is timber with six panels and bolection moulding, sidelights, a semi-circular fanlight, and moulded timber architrave.</p><br>
<p>The main section of the house has a central hallway with living rooms on the south and bedrooms on the north. Generally, the interior has clear-finished, timber board floors; single-skin timber board partitions with moulded timber skirtings, belt rails, picture rails, architraves and cornices; and v-jointed, timber board ceilings. The cornices of the principal rooms are wider and more elaborate. Much of the timber in the house is stained dark. The drawing and dining rooms are connected by a pair of large timber doors and the dining room has a large brick fireplace with a panelled timber fire surround. The house has built-in timber cupboards with timber shelves and a built-in timber book shelf with moulded architraves in the hall. Large, glazed French doors with moulded panels and hinged fanlights open onto the verandah from all rooms. Interior doors are panelled timber with operable timber fanlights.</p><br>
<p>The northern wing rooms are accessed from the verandah. One room contains a fireplace with a carved and moulded timber surround and an adjacent built-in timber seat and cupboard. Some doors of this wing retain early timber framed flyscreen doors. There are large built-in timber cupboards on the verandah.</p><br>
<p>A verandah walkway connects the rear of the main section of the house to the service wing. On one side of the walkway is the dairy, a small flyscreen and timber lattice-enclosed room with timber shelving.</p><br>
<p>The service wing comprises an enclosed eastern verandah, a kitchen and large pantry with timber shelves, a living space, and a laundry. The laundry is at ground level with a rear door into the yard and a small timber stair up to the kitchen. The laundry windows are corrugated metal, top-hung shutters.</p><br>
<p>Throughout the house, original brass door and window furniture survives.</p><br>
<p>The garden contains mature trees, lawns, and garden beds. To the east of the house are a large Jacaranda and a tennis court, both positioned on axis with the front of the main section of the house. The court has brick retaining walls with a set of brick steps. It retains an early timber net post with metal winder. The flat grass court sits within the sloping landscape and the distant mountains form a backdrop creating a dramatic and scenic setting.</p><br>
<h2>Heritage listing</h2><br>
<p>Wyambyn was listed on the Queensland Heritage Register on 9 August 2013 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Wyambyn (1909) is important in illustrating the contribution of notable architect, Robert Smith (Robin) Dods, to the evolution of Queensland architecture.</p><br>
<p>It also provides evidence of the affluent lifestyle enjoyed by pioneer pastoralists of south-east Queensland who were able to freehold much of their land and erect substantial homesteads.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>As one of only six Queensland homesteads designed by acclaimed architect Robin Dods, Wyambyn is a rare and intact example of his homestead designs.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Wyambyn is a fine, intact example of the high-quality residential work of Dods that is characterised by a pervading sense of tradition, solidity, and an honest use of materials. Designed in an Arts and Crafts idiom, the low-set timber house has deliberately oversized timber elements and openings; verandah piazza; steep dominant roof; finely detailed, built-in timber furniture; a well-considered service zone; and an interior layout that optimises cross ventilation and solar orientation.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Standing on a rise within an extensive pastoral landscape, the low-set house with dominant, steeply pitched roof; generous verandahs; garden; and tennis court, has majestic valley and mountain views to the east, north and south. The relationship between the built elements and the natural landscape is vividly scenic.</p><br>
<p>A sense of gracious rural domesticity is engendered by its wide verandahs and piazza and spacious living rooms.</p><br>
<p>Highly intact, Wyambyn is important for its Arts and Crafts aesthetic, notably for its fine craftsmanship, high quality materials and skilful arrangement of informal and formal living spaces.</p><br>
<p>The aesthetic significance of Wyambyn has been recognised in film and used in promotional imagery for the region.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>Wyambyn is important for its association over more than 70 years with the De Burgh Persse and Collins families, who are notable for their contribution to the pastoral industry and public life in Queensland over more than 150 years. Not only pioneer pastoralists of the Beaudesert district, the families have also served in the Queensland Parliament, initiated Queensland&#39;s National Parks system, promoted beef exports as directors of the Queensland Meat Export Co., and controlled pastoral empires extending to the Northern Territory and South Australia.</p><br>
<p>Pimpama & Ormeau War Memorial is a heritage-listed memorial at Pacific Highway, Pimpama, Queensland, Australia. It was built in 1919. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Pimpama and Ormeau War Memorial was erected by local residents in the grounds of the Pimpama Uniting (previously Methodist) Church. The masons were Andrew Lang Petrie and Son of Toowong, Brisbane who were responsible for many war memorials throughout Queensland. It cost £154, which was raised by public subscription.</p><br>
<p>Pimpama was originally part of the pastoral run of Beaudesert. When the railway line was constructed between Brisbane and Southport in the 1880s, the towns of Pimpama and Ormeau prospered.</p><br>
<p>The Methodist church was constructed away from the town centre in 1880 by David Coulter who arrived in the district in the 1870s. The War Memorial was erected in 1919 in the grounds of the church cemetery, (gazetted in 1923) in remembrance of the six local men who lost their lives in the First World War. It has been relocated within the church property many times, most recently in 1993. Despite this, it continues to be a prominent landmark in the area.</p><br>
<p>Australia, and Queensland in particular, had few civic monuments before the First World War. The memorials erected in its wake became our first national monuments, recording the devastating impact of the war on a young nation. Australia lost 60,000 from a population of about 4 million, representing one in five of those who served. No previous or subsequent war has made such an impact on the nation.</p><br>
<p>Even before the end of the war, memorials became a spontaneous and highly visible expression of national grief. To those who erected them, they were as sacred as grave sites, substitute graves for the Australians whose bodies lay in battlefield cemeteries in Europe and the Middle East. British policy decreed that the Empire war dead were to be buried where they fell. The word "cenotaph", commonly applied to war memorials at the time, literally means "empty tomb".</p><br>
<p>Australian war memorials are distinctive in that they commemorate not only the dead. Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit.</p><br>
<p>Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland&#39;s larger working-class population and a lesser involvement of architects.</p><br>
<p>Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.</p><br>
<p>Although there are many different types of memorials in Queensland, the digger statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity. The digger was a phenomenon peculiar to Queensland, perhaps due to the fact that other states had followed Britain&#39;s lead and established Advisory Boards made up of architects and artists, prior to the erection of war memorials. The digger statue was not highly regarded by artists and architects who were involved in the design of relatively few Queensland memorials.</p><br>
<p>Most statues were constructed by local masonry firms, although some were by artists or imported.</p><br>
<p>Of those produced by masonry firms, A L Petrie and Son of Toowong were the most prolific. They were the largest masonry firm in Queensland at this time and were responsible for many First World War memorials throughout the state. Some statues differed in detailing, although most were supplied on a range of standard pedestals. The pedestal at Pimpama is an early example of the style that was first used for the memorial at Ebbw Vale.</p><br>
<p>Following the relocation of the memorial within the church property in 1993, the Ormeau Pimpama War Memorial Committee sought professional advice on repair of the sandstone digger statue which had substantially deteriorated. At that time the arms were failing, as were the head and the hat. All of the available options for remedial work were considered to be only short term solutions. Permission was granted to commission a sandstone replica of the original statue. The rifle, which had already been replaced due to earlier vandalism, was retained. The new digger was produced by R C Zeigler Monuments of Toowoomba during 1994 and unveiled on ANZAC Day 1995. The original digger was given to the Miles Historical Village.</p><br>
<h2>Description</h2><br>
<p>The Pimpama Memorial is prominently located in the grounds of the Pimpama Uniting Church facing the Pacific Highway approximately halfway between Brisbane and the Gold Coast.</p><br>
<p>The stone memorial comprises a pedestal surmounted by a digger statue. It is surrounded by a low fence of evenly spaced white painted concrete posts linked by steel rails, also painted white.</p><br>
<p>It sits on a base step with margined, rough stone faces. Surmounting this are two smooth faced steps, the lower one having the words "Pimpama and Ormeau Honour Roll" relief carved on the front face.</p><br>
<p>The pedestal comprises a recessed square of marble plates with sandstone columns at each corner with foliated carved capitals and simple moulded bases. The front plate bears the leaded names of the seven local war dead, and the east side plate bears a commemorative inscription and a patriotic verse. This is capped by a cornice with curved pediment detail upon which sits a square sandstone plinth. Crossed flags (the Australian flag and the Union Jack) are carved in relief on the front face of the plinth and show remains of red, white, blue and gold paint.</p><br>
<p>Surmounting the plinth is the digger statue. The soldier stands to attention with his head bowed and his rifle reversed; his hands are crossed and resting on top of the rifle (reversed arms). He is supported by a tree trunk which is located behind and to one side of him.</p><br>
<h2>Heritage listing</h2><br>
<p>Pimpama & Ormeau War Memorial was listed on the Queensland Heritage Register on 21 October 1992 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>War Memorials are important in demonstrating the pattern of Queensland&#39;s history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Erected in 1919, the memorial at Pimpama demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>This particular statue is also of aesthetic value, both for its high level of workmanship and design, and as a highly visible and well-known landmark in the area. It is rare for its inclusion of an unusual inscription and patriotic verse.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>It has a strong association with the community as evidence of the impact of a major historic event and probably is Queensland&#39;s best known digger memorial.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>It also has special association with the monumental masonry firm, A L Petrie and Son as evidence of their work.</p><br>
<p>Southport Cable Hut is a heritage-listed former telegraph station at Cable Park, Main Beach Parade, Main Beach, Gold Coast City, Queensland, Australia. It was added to the Queensland Heritage Register on 3 May 2007.</p><br>
<h2>History</h2><br>
<p>Cable Park is a small reserve located on the corner of Cable Street and Main Beach Parade at Main Beach on the Gold Coast. The reserve contains a small brick hut and a raised circular platform with a plaque. The brick hut is the Australian terminal of the Pacific Cable, completed in 1902. This telegraph cable linked Australia and Great Britain via Canada and British dependencies in the Pacific. It was an important communications link between the east coast of Australia and the rest of the world until its closure in 1962.</p><br>
<p>Telegraph communication developed in the mid-19th century as a result of many years of discovery and experimentation in electrical communication culminating in the work of Samuel Morse. The rapid long distance communication provided by telegraph systems had a major impact on society. The telegraph was quickly utilised by news services; Associated Press and Reuters press service were founded to take advantage of the technology. Telegraph companies soon offered financial services, providing the facility to send money orders via the telegraph.</p><br>
<p>In Australia the telegraph helped to alleviate the isolation of the colonies. New South Wales, Victoria and South Australia were connected by telegraph by 1860. Queensland&#39;s first telegraph connection was made in 1861 between Brisbane and Ipswich. Brisbane was linked to Sydney the same year.</p><br>
<p>The first telegraph link between Australia and Britain opened in 1872. The link was via the Eastern Cable Company&#39;s network. It was routed through Singapore, India, Suez and Gibraltar. It was initially proposed to make landfall in north Queensland. However, the South Australian government successfully negotiated for the link to connect with Adelaide via Port Darwin and an overland route through the centre of Australia.</p><br>
<p>Before the Pacific Cable was opened, the Eastern Cable Company and its associates maintained a monopoly over international telegraph traffic with Australia. As a result, the cost of communication between Britain and Australia remained very high and beyond the means of most people.</p><br>
<p>Sandford Fleming, Chief Engineer of the Canadian Pacific Railway, was an early advocate of an alternative cable route between Australia and Great Britain via Canada and the Pacific Ocean. He expressed his views as early as the Colonial Conference of 1887. A major advantage put forward by Fleming and other proponents of the Pacific route was that it would be more secure in times of war. The existing link passed through countries that were not part of the British Empire. It was proposed that the Pacific Cable would pass only through British dependencies.</p><br>
<p>The high cost of telegrams through the Eastern Cable Companys system provided further motivation for a competing route. The proposed Pacific Cable would break the Eastern Cable Companys monopoly and lower the cost of communication between Britain and Australia. When the Pacific Cable opened, the cost of telegrams reduced to less than half the former rate. The ability to communicate directly with the United States and so access more trade opportunities was another argument in favour of the Pacific Cable.</p><br>
<p>By the mid-1890s, agreement was reached that the cable should be laid. However debate about management of the cable laying project and ownership of the completed cable continued for some years. Finally, it was agreed that funding should be shared between the governments of Britain, Canada, New Zealand and Australia. A committee named the Pacific Cable Board was formed made up of members from each of these countries. The Pacific Cable Act (1901) gave this board responsibility for managing the project and operating the completed cable.</p><br>
<p>The route selected for the cable linked Southport, Norfolk Island, Fiji, Fanning Island, and Vancouver. A branch connected to New Zealand. Since cartographers of the day traditionally coloured member countries of the British Empire in red, the route became known as the All Red Route.</p><br>
<p>Cable laying started in 1902 with two ships, Anglica and Colonia. Colonia, built specifically for the project, laid cable from Vancouver Island to Fanning Island in the mid-Pacific. Anglia laid cable from Southport to Norfolk Island, Fiji, New Zealand and Fanning Island.</p><br>
<p>The cable was landed at Southport in March 1902. It was laid into a trench through the dunes of Narrow Neck near Southport and terminated at a cable hut located close to the beach. From here, it connected to a cable which crossed under the Nerang River to the cable station at Bauer Street. The laying of the Pacific Cable was a major engineering feat for the time, costing about two million pounds.</p><br>
<p>The Pacific Cable was completed on 31 October 1902 and officially opened at Southport on 3 November 1902 by the Postmaster-General of Australia, the Honourable James Drake. It was opened to public traffic on 8 December 1902.</p><br>
<p>Until 1912 Southport handled telegraph traffic for all over Australia. In 1912, a cable from Auckland was extended to Sydney and for a period after this, traffic for the southern States went directly to Sydney from Auckland. Technical changes to the system in 1923, including the installation of automatic repeaters, relegated Southport to a repeater station.</p><br>
<p>The Southport station continued to be operated by the Pacific Cable Board until 1932. Management was then taken over by Cable and Wireless Limited until 1946 when, after the Australian Government passed the Overseas Telecommunications Act, responsibility passed to the Overseas Telecommunications Commission (OTC).</p><br>
<p>By January 1950, the original cable hut located close to the beach at Narrow Neck had gone, leaving only a cement slab and a flag pole partly surrounded by a barbed wire fence. It is believed that it was destroyed in a severe storm. Serious erosion of the cable reserve by February 1951 threatened these remains and the cable connections located there. The current brick hut located at Cable Park was built during the first half of 1951 to remedy this situation.</p><br>
<p>In October 1962, the Compac Cable between Sydney and Vancouver was completed. The original Pacific Cable was thus rendered redundant and the Southport to Norfolk Island cable was closed. The Cable Station at Bauer Street was sold to De La Salle Brothers who operated a community youth centre there. In the early 1980s, the Cable Station buildings were removed, two of them to The Southport School where they continue to function as music rooms. However, the brick cable hut remains in its original location at Cable Park, Southport.</p><br>
<h2>Description</h2><br>
<p>Cable Park is a small grassy reserve located on Main Beach Parade at Main Beach at the Gold Coast. The Cable Hut is a small brick structure set well back from Main Beach Parade in the park.</p><br>
<p>The hut is about 2.4m square in plan view and about 2.7m high. There no windows, airflow being provided by ventilator bricks. It has a flat concrete roof. A plain wooden door, secured by a barrel bolt and padlock, is centered in the northern wall. A section of submarine cable is mounted on the eastern wall above a rectangular brass plaque.</p><br>
<p>The interior of the hut is unlined and has a wooden floor. The pine skirting boards are of recent construction. Fastened to the wall opposite the door are three groups of cables passing through the floor. These cables run vertically up the wall and are held in place by a long wooden beam extending the length of the wall. The beam is fastened to the brickwork by bolts.</p><br>
<p>The group at the eastern end of the wall comprises two thick black cables. The outer insulating material of each cable has been removed to a length of about one metre from the end. An inner armoured sheath has been folded back over the outer insulation to expose another layer of insulation. This has been removed to expose three insulated wires. The wires are fixed to the wall on a block of wood.</p><br>
<p>At the opposite end of the wall is a group of three cables. The insulation and sheathing on one of these cables has been removed in a similar way to the cables mentioned previously. However, only a short length of insulation has been removed from the other two cables.</p><br>
<p>The third group of cables comprises two grey cables, one considerably thinner than the other. These pass through the floor between the two outer groups about an equal distance from each. The larger of the two cables is fixed with a metal saddle to a rectangular piece of wood fastened to the wall. Just above this, the cable enters a red, rectangular metal box bolted to the wall.</p><br>
<p>About fourteen smaller grey cables emerge from the top of this box; they are fixed to the wall by a bracket. Above this, twelve of the cables turn and run horizontally to the east, over two rusted metal brackets. Six of the cables are draped over these brackets and hang towards the floor. The other six run further to the left to a point immediately above the two thick cables at the eastern end of the wall. At this point, they turn towards the floor meeting the two cables coming up from the floor. They are fastened to the wall on a block of wood.</p><br>
<p>Immediately to the west of the red metal box is a wooden panel fixed to the wall. Mounted on this is a large, brass pressure gauge. The thinner of the two grey cables which emerge from the floor is fitted into the bottom of this gauge. Two of the cables which come out of the top of the red metal box turn to the west and curve downwards around the bottom of the wooden panel to enter the gauge at approximately the two oclock&#39; position.</p><br>
<p>A paved path runs from the eastern side of the hut towards a large raised circular platform. This has an aggregate top and set into this is a round metal plaque. Depicted on the plaque is a map of the world showing the route of the Pacific Cable.</p><br>
<p>Shrubs and palm trees grow in a small garden bed around the hut. A garden bed of shrubbery runs along the southern and western border of the park.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Southport Cable Hut was listed on the Queensland Heritage Register on 3 May 2007 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Southport Cable Hut is important in demonstrating the evolution of Queenslands history insofar that it marks the Australian terminal of the Pacific Cable, Australias second telegraph link with Great Britain and the first to be government owned. Known as the All Red Route, the Pacific Cable was also the first link between Australia and Britain to pass only through countries of the British empire, by convention coloured red on world maps. The opening of the Pacific Cable in 1902 was an important step forward in international communications for Australia since it resulted in faster, more secure and much more affordable communications between Britain and Australia.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The Cable Hut is the only surviving structure associated with the Southport terminal of the Pacific Cable that remains in its original location. Buildings of the former, nearby Cable Station, where communications were received and sent through the Pacific Cable, are extant but have been moved from their original location to the Southport School.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The place is important in demonstrating the principal characteristics of cable huts; small buildings where submarine telegraph cables were linked to their terrestrial counterparts. The Southport cable hut is a small, functional structure of simple, robust design. Fastened to the rear wall inside the hut are the ends of the Pacific Cable, the cable link to Sydney and the link to the Cable Station formerly located at Bauer Street, Southport. A gauge and equipment for maintaining gas pressure in the cable to Bauer Street also remain extant in the hut.</p><br>
<p>Main Beach Pavilion and Southport Surf Lifesaving Club are heritage-listed beach buildings off Macarthur Parade, Main Beach, Queensland, Australia. The Main Beach Pavilion was designed by Hall and Phillips and built in 1934 for the Southport Town Council. The Surf Lifesaving Club was also designed by Hall and Phillips and built adjacent in 1936 for the club. They were added to the Queensland Heritage Register on 1 March 1995.</p><br>
<h2>History</h2><br>
<p>The Main Beach Pavilion and Southport Surf Lifesaving Club were constructed on Main Beach at Southport, in the mid 1930s by the Southport Town Council. The Main Beach Pavilion was erected in 1934, and provided public bathing facilities. The Surf Lifesaving Club was built 1936, and provided dormitory space, equipment shelter and club room facilities for the surf lifesavers. Both buildings were designed by Hall and Phillips.</p><br>
<p>The buildings were erected during an important stage of the development of Southport. There was rapid growth in coastal regions during the 1930s as bathing in sea water became increasingly popular as a recreational pursuit. The majority of the population by the late 1930s benefited from paid holiday leave, increasing leisure time and the opportunities for extended holidays. Councils of various coastal regions were competing for holiday trade by instigating beautification schemes and programmes for the provision of public facilities on the beaches. Many public and commercial buildings were designed during this period in Southport by Hall and Phillips including the Council Chambers (1934), the Pier Theatre (1926), accommodation units (1928), a service station (1929) and various business premises as well as two bathing pavilions and lifesaving clubhouse.</p><br>
<p>South East Queensland has a long tradition of beach-going, resorts were developed from the 1860s when Sandgate and, to a lesser extent Cleveland, were premier coastal destinations. Southport developed as an alternate resort when Sandgate became more accessible with the introduction of the Sandgate rail line in 1882. Logging in the Southport area commenced in the late 1850s, and by 1875 the first sales of land opened the area for settlement. By the 1880s major Brisbane families favoured Southport as the principal sea-side area. The construction of major schools, banks and hotels stimulated Southports growth as a fashionable nineteenth century resort as did the presence of the Queensland Governors residence in the 1890s. The South Coast rail extension from Beenleigh to Southport was opened in 1889 making Southport more accessible from Brisbane.</p><br>
<p>With increased accessibility and popularity of the beaches during the late nineteenth century and into the twentieth century, the necessity for bathing controls was soon realised. By 1906, Section 109 of the Local Government Act prescribed that individual local councils control swimming and swim-wear, nominating standards for bathing costumes, segregating bathing and defining bathing areas.</p><br>
<h3>Main Beach Pavilion</h3><br>
<p>In the first decades of the century councils permitted privately owned bathing sheds on the beaches, which provided direct access to the water after changing. In the 1920s custom became more relaxed toward bathing in public. Sea water bathing, formerly encouraged for its curative powers, was gradually becoming a recreational pursuit. South coast councils, realising the possible financial benefits from holiday makers provided firstly public dressing sheds and, later, bathing pavilions.</p><br>
<p>During the 1930s, various councils of the coastal regions of south east Queensland such as Southport Town Council, Coolangatta Town Council and Nerang Shire Council on the south coast, as well as Redcliffe City Council and the north coast councils, competed for an increase in holiday visitors. Chambers of Commerce and Progress Committees urged councils to develop and beautify foreshore area. The Southport Town Council adopted a beautification plan in the mid-1920s which included the erection of bathing pavilions.</p><br>
<p>Two bathing pavilions were built, one on Main Beach and the other on the Esplanade close to the Southport railway station. The contractors for the Main Beach Pavilion were Lee & Barnby, who constructed the building at a cost of £4,447, half of which was subsidised by the Queensland Government. The pavilion was built as a single storey brick and concrete structure, with change rooms, showers and lavatories. It contained separate sections for men and women, each with 204 lockers and eight showers with seven lavatories for women and five for the men, an ambulance first aid room and an entertainment hall for dancing.</p><br>
<p>The two bathing pavilions were opened simultaneously on 22 December 1934. The ceremony was held at the Main Beach Pavilion, it being the larger of the two. The buildings were described as of Spanish design, with Hardie&#39;s fibro corrugated roofing and copper flashing to prevent corrosion. Upon opening, the pavilion was leased to a married couple, William Thomas and Margaret Elizabeth Vickers, who provided maintenance in return for charging an entrance fee.</p><br>
<p>Various parties have held leases to sections of the building, from the 1940s the surf lifesavers leased several rooms for storage. From the mid sixties a kiosk was opened at the pavilion when it is thought that an external curved concrete wall was added to the southern end.</p><br>
<p>Internal concrete block walls were constructed by 1978 diminishing the size of the change rooms, for extended kiosk and storage space.</p><br>
<p>In 1991-1992 a mural, by artist Derrick Wynness, was commissioned by councillor Dawn Critchlow, for the curved wall on the south of the pavilion. This mural depicts a hot-air balloon journey from Uluru to Main Beach.</p><br>
<h3>The Southport Surf Lifesaving Club</h3><br>
<p>In the first two decades of the century the increased popularity of bathing led to an increased number of drownings. This publicity surrounding deaths at the Southport beaches concerned the Southport Chamber of Commerce and, in an effort to reduce the number of fatalities beach inspectors were hired. However, because of their inexperience and lack of equipment the inspectors were rarely successful in their attempts at surf lifesaving. The Southport branch of the Surf Lifesaving Club was established in 1912, just six years after the first branch in Australia was formed at Bondi Beach. It was disbanded soon after but reformed in 1919 as the Cable Surf Lifesaving Club, named after the first trans-Pacific cable between Australia and Canada which was located on Main Beach. Again the club disbanded when the cable station closed in 1923, but reformed under its previous and current name soon after. By 1931 there were nine clubs in the South Coast Branch of the Lifesaving Association of Queensland.</p><br>
<p>The Southport Surf Lifesaving Club built their first permanent home in 1927. This high set building, 9 by 3.6 metres, was clad with timber boards and a corrugated iron hipped roof. The building housed a club room and an ambulance first aid room, and was destroyed in 1936 by cyclonic winds.</p><br>
<p>By 1934 the Southport Club were canvassing the Southport Town Council and the Queensland Government for subsidies to construct a more appropriate clubhouse. The council intended that the Main Beach Pavilion provide the required lifesaving accommodation. However the club felt that it was inadequate and refused to move to the building preferring to remain in their own shed. They immediately requested a separate clubhouse.</p><br>
<p>In 1936, the Queensland Government subsidised a loan to the Southport Town Council for the construction of a surf lifesaving clubhouse for Southport. The building cost "in the vicinity of 1,500 Pounds". It was constructed by the contractor A. Ledbury, who worked on the Southport Bathing Pavilion two years earlier. The site of the previous 1927 club house was too exposed, and thus it was decided to align the new surf club with the Main Beach Pavilion.</p><br>
<p>The club was a single storey building with a large central room and two smaller side wings. When built the club house was described as "a very fine structure...the interior furnishings of which are up-to-date in every respect". They had ping-pong and billiard tables, showers, boat house, 92 lockers and all other necessary conveniences.</p><br>
<p>The club has experienced several additions as the lifesaving club grew. New equipment and shortage of accommodation space prompted the first addition to club in 1958, designed by Colin Trapp Architect. This two-storeyed extension included storage areas and dormitories which abutted the south of the building. The roof line of the original club was extended to accommodate the new two storey wing. At this stage a second floor to the original building is thought to have been inserted along with a shelter on the balcony.</p><br>
<p>The second extension was undertaken in 1978 to incorporate restaurant and bar facilities to increase the revenue of the club. This was designed by John Mobbs and Associates, and consisted of several spaces on the ground floor for storage, living quarters and a gymnasium. The second floor was dedicated to a large function room. A balcony was placed along the eastern facade of the first Trapp addition, linking the original building&#39;s balcony with the 1978 work. The top ends of the pilasters and the parapet were partially removed to follow the line of the roof gable. At this time a junior lifesaving club was built at Main Beach north of the bathing pavilion. Minor alterations were prompted by a fire at the Surf Club in 1990.</p><br>
<p>In 1993 the producers of an Australian television programme, Paradise Beach, chose the Main Beach Pavilion and the Southport Surf Lifesaving Club as outdoor scenes for their serial based on life at the Gold Coast, leadingn to external sections of both buildings being painted.</p><br>
<h2>Description</h2><br>
<p>The Southport Surf Lifesaving Club and the Main Beach Pavilion are prominently located on Main Beach with vehicular access from Macarthur Street on the west. The listing boundary includes the two buildings with associated plantings and a group of Norfolk Island Pines to the south of the Surf Lifesaving Club.</p><br>
<p>Both buildings illustrate the Spanish Mission style of architecture particularly on the decorative parapeted gables, the heavy pilasters, the external stucco render and the prominent roof sheeted with corrugated fibrous cement, reminiscent of the cordova tile.</p><br>
<h3>Main Beach Pavilion</h3><br>
<p>The Main Beach Pavilion is a single storeyed building, used as a public toilet, showering and changing facility, with a kiosk and storage rooms for public and lifesaving use. It is of brick and concrete construction, with a fibrous cement roof.</p><br>
<p>The pavilion is rectangular in plan with central projecting bays on the east and west elevation. Decorative parapeted gables form the facade of the projecting bays. The parapets conceal the gabled roofs which abut them. The north and south wings of the building are hipped roofed.</p><br>
<p>The symmetrically arranged west elevation facing Macarthur Parade features a decorative gable element. At ground level this steps out to form a protruding bay unit housing a signage area in relief render. The decorative elements of the gable, which occur directly above the bay, include decorative relief patterns, a cartouche inscribed with the date of construction 1934, curved brackets supporting a mid-height awning, a central octagonal multi-paned window opening and lettering "MAIN BEACH PAVILION". The edge of the stylised Baroque parapet has raised edge detailing which culminates in spiralled curved on the face of the parapet.</p><br>
<p>There are four sets of doors on the western facade, of which only one set is now accessible. The eastern elevation is similar in detail and arrangement. A skillion roofed awning supported by four heavy rendered piers stands in front of the decorative parapet wall. There are five entrances from this facade three of which have overhead window openings. The five openings are fixed with vertical rolling doors. The side wings of the pavilion feature high level windows which are now battened or boarded, with face brick sills.</p><br>
<p>Internal spaces have been altered with the addition of concrete block walls in many places both in the kiosk and in the change rooms. Timber roof trusses and the underside of the roof sheeting are exposed in most rooms. Sections of timber bench seating and towel peg rails from the 1930s remain in the change rooms. The entrance foyer on the western side of the pavilion has early turnstiles.</p><br>
<h3>The Southport Surf Lifesaving Club</h3><br>
<p>The Southport Surf Lifesaving Club is a double storey building of brick, concrete and cement block. It is used by the surf lifesaving club and provides dormitory, storage and recreational space, and toilet, showering and restaurant facilities. The building is associated with a large collection of Norfolk Island Pines to the south.</p><br>
<p>The club consists of the original 1934 building, now two storeyed with two major additions on the southern side. The first addition is a continuation of the southern wing of the original section and is similar in style and detailing. The second addition is a large two storeyed, flat roofed structure abutting the southern end of the first addition.</p><br>
<p>The western elevation of the 1934 section of the building has a central projecting decorative parapeted gable with two heavy pilasters surmounted by urns on either side. The gable has lettering "SOUTHPORT S.L.S.C.", a cartouche with the date of construction, 1936 and parapet edge detailing similar to that of the Main Beach Pavilion. There are three window openings to the upper level, and two to the lower and a doorway accessed by a ramp from the south. The window openings have face brick sills. The roof of the 1934 building is gabled and clad with corrugated fibrous cement sheeting with a skillion roofed section on the northern wing. The upper floor of the 1934 building is supported on steel columns and is accessed by two steel and concrete stairways. Concrete block walls are used extensively throughout the interior of this and the extensions.</p><br>
<h2>Heritage listing</h2><br>
<p>Main Beach Pavilion and Southport Surf Lifesaving Club was listed on the Queensland Heritage Register on 1 March 1995 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The area is pivotal in understanding the development of the Gold Coast as a holiday resort and in particular the growth of the Southport area. It demonstrates the evolution of sea bathing from a curative activity to a recreational pursuit.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The buildings and associated grounds are now rare examples of the natural and built environment of the 1930s at the south coast.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The buildings are examples of the influence of a Spanish Mission style of architecture and of the public work of the prominent architectural firm, Hall and Phillips, at Southport.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The area has an association with the Surf Lifesaving Association of Queensland, and in particular with the Southport Branch of the Association.</p><br>
<p>Pujada Bay, sometimes  called Pujaga Bay, is a bay on the Pacific coast of the southern Philippine island of Mindanao. It is an arm of the Philippine Sea in Davao Oriental province formed by the Guanguan Peninsula which separates it from the Mayo Bay on the east and the Pujada Peninsula which separates it from the Davao Gulf on the west. Pujada Bay borders Mati, the province&#39;s capital and largest city, with its port and city proper situated at its head. It is entered between Lamigan Point on the east and Tumago Point on the west, with the Pujada Island dividing its entrance into two channels. There are three other islands on the bay, namely Uanivan, Oak and Ivy islands.</p><br>
<p>The bay has been declared a marine protected area known as the Pujada Bay Protected Landscape and Seascape. It covers 21,200 hectare protecting the bay and its coastal area including its four islands. It was declared through Proclamation No. 431 on 31 July 1994 by President Fidel Ramos.</p><br>
<h2>Description</h2><br>
<p>Pujada Bay is known for its rich coral reef system and white-sand beaches. It has a small inlet on its northwestern side called Balete Bay. Several rivers and streams flow into the bay, including Catmonan Creek, Dawan Creek, Dilaon Creek, Mati River, Matiao Creek and Guanguan Creek. The landmass bordering the bay to the north and west is characterized as hilly and mountainous, with flat areas in the Guanguan Peninsula becoming rough and mountainous towards its southern tip at Lamigan Point. Pujada Island near the bay&#39;s entrance is covered with bushes and trees and has a small lighthouse located at its southeastern end. Two sandy islets surrounded by drying reefs lie 0.75 mi and 1 mi southeast of the island, namely Oak Island and Ivy Island. On the east side of the bay connected to the Guanguan Peninsula by a rocky ledge with depths of 9.2 m is Uanivan Island.</p><br>
<p>The bay is home to 25 genera of hard and soft corals, the most abundant of which belong to the genus Montipora, Acropora and Porites. It also contains approximately 850 hectare of mangroves of mostly secondary growth and mangrove plantations distributed along the its shores. It is also known to harbor nine of the sixteen species of sea grasses found in the Philippines.</p><br>
<p>Kinkabool is a heritage-listed apartment block at 32-34 Hanlan Street, Surfers Paradise, Queensland, Australia. It was designed by John M. Morton of Lund Hutton Newell Black & Paulsen and built from 1959 to 1960 by J D Booker Constructions  Pty Ltd. It was added to the Queensland Heritage Register on 5 February 2009.</p><br>
<h2>History</h2><br>
<p>Prior to the 1950s Surfers Paradise was just one of a number of popular but modestly equipped beach holiday resorts that dotted the coast from Southport to the State border with New South Wales. During that decade it became the epicentre of the Gold Coast and what would become an internationally renowned holiday destination, instantly recognisable for its high-rise towers lining a long strip of sandy beach. This iconic image of Gold Coast high-rise development began with the construction of Kinkabool in 1959-1960.</p><br>
<p>Kinkabool is a ten-storey home-unit building located on Hanlan Street in the centre of Surfers Paradise, constructed by JD Booker Constructions Pty Ltd to the design of architect John M Morton working for the Brisbane office of the firm Lund Hutton Newell Black & Paulson Pty Ltd. Kinkabool was the brainchild of Stanley Korman, a Victorian entrepreneur whose other Gold Coast development projects, including Lennons Hotel at Broadbeach (opened 1956, demolished 1987), the Chevron Hotel at Surfers Paradise (opened 1958, demolished 1987) and Paradise Island (opened 1958), embodied a vision of the place as a modern, international-standard holiday resort. The Gold Coast remains Queenslands premier beach tourism destination.</p><br>
<p>The coastal areas south of Brisbane - or what became known as the South Coast - had long been a destination for beach holidaymakers. From the 1860s holiday houses for the Brisbane elite and Darling Downs pastoralists were being constructed at Southport on the northern shore of the mouth of the Nerang River. Daily steamboat connections to Brisbane brought day-trippers. The construction of a rail link between Beenleigh and Southport in 1889 opened the area to nascent mass tourism.</p><br>
<p>The corridor of land now known as Surfers Paradise, between the Nerang River and the ocean beach, was attracting recreational visitors by the 1870s. The land on which Kinkabool stands was part of a selection taken up by James Beattie in 1869 and sold in 1877 to Johann Meyer, who established a vehicular ferry across the Nerang River in 1881, connecting the area with Southport. In clearing the road - later to become Cavill Avenue - that formed the northern boundary of his property he opened up public access to the ocean beach. At opposite ends of this road, Meyer established the first two hotels serving the area: Meyers Ferry Hotel and the Main Beach Hotel. In 1885 he sold part of his land, which included the site Kinkabool now occupies, to James Stodart, who developed it as the areas first subdivision, Main Beach Estate, with streets named after world champion Australian scullers: Hanlan, Trickett, Laycock and Clifford. The Elston postal receiving office was established in Meyer&#39;s Ferry Hotel before the turn of the century, and gave its name to the area.</p><br>
<p>During the 1920s and 1930s a rapid rise in private motor vehicle ownership, the construction of a new coastal road between Brisbane and Southport, and the crossing of the Nerang River by the Jubilee Bridge led to the subdivision and sale of many estates between Southport and the New South Wales border. The intensity and complexion of this development was further evidenced by the first of Jim Cavill&#39;s famous hotels being built on the main road south through Elston in 1925, which was renamed Surfers Paradise in 1933 after successful lobbying by Jim Cavill and other local residents. This reflected the influence of American beach culture and a shift in preference from still-water bathing sites (as at Southport) to surf beaches. Further marketing in southern states of the "winter holiday" attractions of the South Coast was conducted in the years leading up to the commencement of World War II in 1939.</p><br>
<p>During World War II the South Coast proved a popular rest and recreation destination for combat troops, with many American, New Zealand and English servicemen and women enjoying the place and advertising its merits once home. Many of these international and interstate visitors were impressed by the beaches and climate and returned after the war to visit, reside or invest.</p><br>
<p>After building restrictions imposed during World War II were lifted in 1952, the South Coast changed rapidly. An intense period of building development and property speculation was ushered in, attracting a number of entrepreneurs focussed largely on the tourism potential of the place. The term "Gold Coast" was coined in response to this promise of prosperity and wealth, and despite beginning as a derisive term used by the Brisbane press, was embraced by locals and then officially adopted as the name of the Town Council in 1958. In the following year the municipality was declared a city. It is the spirit of this era that Kinkabool embodies. The dramatic changes to the built fabric of Surfers Paradise and the Gold Coast in general were succinctly described by Forbes and Spearritt in 2006: "Fibro holiday shacks, two-storey guesthouses and weatherboard boarding lodges were torn down and swept aside, first for three, four and five storey walk ups and later 10, 20, 30 and now 80 storey structures."</p><br>
<p>In the 1950s a greater capacity to pursue leisure (particularly among women, for whom a beach holiday had previously involved a continuation of everyday domestic tasks), the rise in private car ownership, and the growing preference among holidaymakers for American-style resorts, resulted in changed accommodation styles on the Gold Coast. Chief among these were motels (providing car parking outside each room), hotel resorts, and serviced apartments for visitors who had arrived not by car but by plane or coach. The hotel resorts, which were larger-scale tourist developments accommodating many more guests than the average public house, hotel or guest house, the forms relied upon in the past, included: the five-storey Lennons Hotel in Broadbeach, designed by Dr Karl Langer in 1956, which included bars and beer garden, pool, tennis courts, dance floor and bandstand; and the three-storey Chevron Hotel in Surfers Paradise designed by David Bell and built for one of Stanley Kormans companies in 1958. The Carapark Motel at Mermaid Beach, designed by the Brisbane architectural firm Hayes and Scott in the mid-1950s was an example of a motel (with facilities for caravans). Others included the El Dorado and the Seabreeze. Serviced apartments were advertised as "luxurious", providing modern conveniences such as refrigerators, clothes washers and dryers, and stainless steel sinks. The kitchens of these apartments were comparatively small, suggesting that a holiday would also involve frequent dining out. Early examples included the South Pacific in Orchid Avenue and the Palm Grove in Clifford Street. All these places were low-rise buildings; all have been demolished.</p><br>
<p>The iconic Gold Coast skyline of high-rises overlooking long sandy beaches commenced with the construction of ten-storey Kinkabool on Hanlan Street in the heart of Surfers Paradise in 1959-1960; described at the time by the local press as a "giant". A number of high-rise, home-unit developments had been planned for the Gold Coast in the 1950s, but Kinkabool was the only scheme to come to fruition. For example: two 25-storey home-unit "skyscrapers", one at Surfers Paradise on Orchid Avenue and another at Burleigh Heads, were planned by Torbreck Pty Ltd following the success of its Torbreck high-rise blocks in Highgate Hill, Brisbane; a 20-storey accommodation tower was to be added to the Chevron Hotel, its foundations being laid with 350 guests in attendance; and a 17-storey tower called Taj was to be built on Beach Road in Surfers, foundation drilling having commenced in 1959.</p><br>
<p>The development and finance for Kinkabool were formally arranged by Booker Felton Pty Ltd however a number of companies contributed to its marketing and construction finance. One of the key figures in this matrix was Victorian entrepreneur, Stanley Korman, whose other major ventures on the Gold Coast were the nearby Chevron Hotel and Paradise Island, as well as Lennons Hotel at Broadbeach and the remodelling of the Surfers Paradise Hotel - the areas leisure and civic hub - which he had purchased from Jim Cavill&#39;s widow in 1957. Polish-born Korman had emigrated to Australia in the late 1920s and established the Holeproof clothing company. His business ventures and the charisma he applied to them had established his popular profile as a successful entrepreneur in Victoria. He had a powerful vision of the Gold Coast, and in particular Surfers Paradise, as a modern holiday resort; his inspirations being resorts he visited in Hawaii and Florida. As historian Michael Jones reported in 1986, Korman made the startling suggestion at the time that "southern" businessmen should be able to fly to their Gold Coast holiday unit or home on Friday evening after work, enjoy the beach and warm climate over the weekend, and then fly back to work on Monday morning. And as Alexander McRobbie suggested in The Real Surfers Paradise (1988), Korman also foresaw that many average Australians would come to thrill at the prospect of spending their holidays in a high-rise apartment with a view of the beach, in contrast to their everyday lives and the low-set suburbs that formed its backdrop.</p><br>
<p>The "skyscraper" Kinkabool was designed for a small, 16 perch (approximately 405m?) site occupied by the Flamingo, a pioneer nightclub started in the early 1950s; and in close proximity to the key entertainment venues of Surfers Paradise. Next door was Margot Kellys Hibiscus Restaurant, another popular and pioneering Surfers Paradise nightclub and one of the first Queensland restaurants to gain a liquor license. At the end of Hanlan Street was Surfers Paradise Beach. Between Kinkabool and the beach were the Coral Court holiday units, described as a leading holiday establishment and a more typical style of Gold Coast accommodation in the 1950s and 1960s. Other significant Surfers Paradise tourist businesses were only a block in each direction. To the north were Cavill Avenue and the Surfers Paradise Hotel complex, Bernie Elsies Beachcomber Hotel (along with the Seabreeze Motel, home of the infamous Pyjama Parties), and many popular restaurants. Beyond these were The Walk and the Black Dolphin shopping arcades. Nearby was Korman&#39;s Chevron Hotel with 83 rooms, pools, bars and cabaret.</p><br>
<p>The first sketch drawings for Kinkabool, originally known as Poinciana Place, were prepared by John M Morton of the Brisbane architectural firm Lund Hutton Newell Black and Paulson Pty Ltd, in March 1959. The client was variously listed as Home Units Pty Ltd and Multi Units Pty Ltd. Its original concept designs featured between three and six storeys above a ground floor of shops, but within a month the height had increased to nine storeys, and by construction time the name had changed to Kinkabool, reputedly derived from an Aboriginal word meaning "laughing water". The Gold Coast Town Council approved the nine storey home-unit building being designed to the Hanlan Street boundary and partially to the other boundaries. Morton explains that this was possible because the building regulations, introduced in 1954, were not conceived with this kind of high-rise building in mind. Kinkabool&#39;s financiers were eager to take advantage of the 1950s Gold Coast building boom before tighter building controls were introduced.</p><br>
<p>Construction began some time after July 1959 when the building agreement between Kinkabool Pty Ltd and Multi Units Pty Ltd (the latter appears to have encompassed JD Booker Constructions Pty Ltd), was signed. The cost of construction, including architects and engineers fees, was estimated at this point at £272,000. The first stage, comprising two rear car parking areas, two commercial tenancies to the ground floor and eight storeys of four units each was completed soon after May 1960. After this, but before October, twin two-bedroom units had been added over part of the ninth floor and facing the street, mirroring the layout below and designated as penthouses. Such a feature had formed part of the building&#39;s design from its inception; however, more lavish ideas for double-storey units with observation decks had been abandoned.</p><br>
<p>Architecturally, Kinkabool is a characteristic example of 1950s architecture in Queensland, being a competent essay in mid-twentieth century modernism with straight lines dominating the facade, flat rooves and an absence of ornament. Influences on the design included English modernism as derived from that countrys extensive post-war reconstruction efforts and the work of internationally renowned modern architects like Mies van der Rohe. The chief architect, John M Morton, was born and trained in England, having been in Australia only two years before starting work on Kinkabool. Lund Hutton Newell Black & Paulsen Pty Ltd was an established Queensland architectural firm with offices in Brisbane and Townsville, and busy completing a range of larger-scale commercial, ecclesiastical and multi-residential projects throughout the State. Morton was to become a partner and the firm, which had started as Ford & Chambers, would eventually came under his sole charge. He was later responsible for the Central Library Building at the Queensland Institute of Technology and the master plan for the Queensland Government precinct near Parliament House and the City Botanic Gardens in Brisbane. Soon after completing Kinkabool the same design, building and finance team completed Glenfalloch, another high-rise residential tower, this time in Brisbanes New Farm.</p><br>
<p>Kinkabool was laid out on a symmetrical plan, the centreline of which ran north to south from the street to the rear of the lot. Entrance was gained through large, central doors on the street into an arcade, which divided the two shops and provided access to a vestibule connecting the stairwell on the eastern side and the lift core on the west. Beyond this, to the rear of the building, and partly underground, were the car parking levels, accessed via external ramps on either side. Above the ground floor and service levels, the units were laid out identically on each of the proceeding eight levels: the stairwell and lift, joined by a small lobby provided access to two 1-bedroom units at the rear and two 2-bedroom units on the street. The 1-bedroom units featured an open-plan living, dining and kitchen area opening onto a small, squarish balcony, facing either east or west. Access to the bedroom with built-in cupboards was from the living area. Its combined bathroom and toilet fitted in behind the kitchen, which also included the laundry facilities. The rooms of the 2-bedroom units opened off a central hall with the front door at one end and the living/dining/kitchen space, combined as in the 1-bedroom units, at the other. A thin, rectangular balcony opened off the open-plan living space on the north-east or north-west corners. A bathroom was inserted between the kitchen and the master bedroom and incorporated laundry facilities. On the tenth level there were two 2-bedroom units at the front next to the lift tower, and a roof garden and drying court to the rear.</p><br>
<p>The techniques used to erect Kinkabool were not new to Queensland, although they were new to the Gold Coast. The structural frame of the building was made up of reinforced concrete raft foundations, columns and slabs, with similarly made reinforced concrete party walls separating individual dwelling units. The roof areas were flat and sealed with bituminous felt. Exterior in-fill walls were made with a carefully orchestrated pattern of rendered concrete and columns of red face-brick panels. A range of timber-framed window types were used throughout the building, including sliding doors to the balconies. The facade to Hanlan Street was formed using a formal patterning of timber mullions, sashless glass sliders and glass panels painted black before a sill-height wall was installed behind. The balcony balustrading consisted of painted steel verticals with a steel top-rail. A full-height section comprising painted Oregon timber blades set on an angle shielded part of the balcony. A septic tank with associated pump and filter services was installed beneath the building. Water tanks on the roof provided the necessary water pressure for the building&#39;s plumbing system.</p><br>
<p>The detailing employed on the interior of Kinkabool was advertised as "luxurious" in 1960 and demonstrated the ideals of modernity that were to attract holidaymakers to this style of self-contained accommodation. The walls to the shops on the internal arcade were made with glass and Maple framing, and its floors were finished with terrazzo. The stairs were formed in reinforced concrete and lined with pre-cast terrazzo to the first level. The balusters and handrail were milled steel and Maple respectively. Ceilings throughout were sprayed with vermiculite plaster. Inside each unit, and demonstrating very clearly the preferences of the time for modern convenience, the kitchens featured laminated stainless steel sinks, plastic bench-tops, tiled splashbacks and floors, built-in cupboards with plywood doors, and sliding glass facing upper cupboards. They opened into the living area with bar units. The bathrooms were tiled in bright patterns.</p><br>
<p>The concept of strata title was not introduced into Australia until 1961 (and not into Queensland until 1965) so Kinkabool was developed and sold under company title wherein potential buyers became shareholders and leased their units and garage spaces from the company, depending on the number and class of shares they purchased. Kinkabool Pty Ltd was incorporated on 15 May 1959. Purchasers were required to submit personal references for approval by the company&#39;s Board of Directors, and its inaugural Board included Messrs Walter Oswald Burt, John Desmond Booker, Frank Maurice Felton, Roderick Consett Proctor, Ian Kenneth Redpath and Charles Hartley Wilson, who were largely the only shareholders prior to 1964. The "credit squeeze" imposed by the federal government in November 1960, which contributed to the collapse of the Korman empire, initially may have deterred investor demand for the units. Morton and others suggest that, as with Glenfalloch, buyers were cautious about this new style of living in the sky. The mode of ownership of Kinkabool would not be converted to strata title until 1999.</p><br>
<p>In late 1960 an adjoining land parcel of 14.8 perches (approximately 374m) to the east was acquired and an easement was created, granting a right to light and air that would protect the views to the beach from Kinkabool&#39;s units. This block was subsumed into the Kinkabool holding in 1964, but a single-storeyed twelve-car garage was not built there until 1976, the parking spaces being offered for sale to Kinkabool owners.</p><br>
<p>Kinkabool was first marketed by LJ Hooker Ltd who produced a coloured brochure emphasising its appeal as a modern accommodation option for owner/occupiers as well as a valuable investment acquisition. By July 1961, Dolby and Rankine (Accommodation) Pty Ltd had been appointed sole managing agents for Kinkabool and reported to The South Coast Bulletin that some units had been let for the Christmas period, while others were being readied for such use. It was also reported that some units had been let for periods of three to five months to New Zealand residents; and the penthouse had been let for Christmas at 40 guineas a week. Laurie Wall, a well-known Gold Coast real estate agent and identity would eventually sell the majority of unit shares in 1964.</p><br>
<p>From the beginning, Kinkabool was used as holiday accommodation, both by unit owners and short-term tenants, who visited during the annual holiday seasons of Easter and Christmas. A resident building manager or caretaker was employed from the mid-1960s; his duties included assisting owners and tenants with such services as providing televisions, linen and cutlery, moving luggage, and cleaning units after short-term holiday tenants had departed.</p><br>
<p>The LJ Hooker marketing brochure boasted that Kinkabool was "changing the skyline". As the tallest building on the coast it towered above the rapidly expanding set of hotels and motels at its feet, being a Gold Coast landmark and prominent in photographs and postcards from the 1960s. In the decade after its construction other coastal high-rises followed, such as: The Sands in 1964-1966 (11 storeys) and Paradise Towers (14 storeys) next door in 1965-1966, both designed by Sydney architect EG Nemes for the developer Alexander Armstrong; Garfield Towers, designed by FB Oswell, in 1966-1967; and Suntower on the Esplanade in 1968. The two River Park Towers were built on Watson Esplanade facing the Nerang River in 1969.</p><br>
<p>Development of ever taller high-rise unit towers continued during the 1970s, booming between 1979 and 1982, and giving the Gold Coast a key component of its national and international identity. Approval had been granted for the construction of more than 5,000 units in the six months before the crash that brought this period of fevered property speculation to an end in mid-1982. Favourable development conditions returned during a number of later building phases, and high-rise developments continued. As Richard Allom, lead author of the 1997 Character Study of the Gold Coast, said in a Weekend Bulletin article from that year: "Dating from the 1960s, the Gold Coast had a form generated by a stretch of beach and a culture dependent on climate and tourism.... It was a fantasy city like Las Vegas and its "wonderful Great Divide of high-rise buildings" was its most important icon."</p><br>
<p>Suburban and semi-industrial development has rapidly overtaken much of the Gold Coast and its immediate hinterland, as its permanent population has expanded and its economic base diversified. But its tourism industry has also grown, making it internationally recognisable. Many of Kinkabool&#39;s lower-rise contemporaries of the 1950s and 1960s have been lost to this latter kind of expansion.</p><br>
<h2>Description</h2><br>
<p>Kinkabool is a high-rise unit building located in the heart of Surfers Paradise a block to the south of Cavill Avenue and about 200m from the ocean beach to the east. It presents ten storeys to the street and nine to the rear. On the ground floor, the two shop spaces retain the timber-framed and glass partitioning. On the eight storeys above the original layout of the 34 units has been maintained. The two "penthouse" units on the tenth storey have been joined by a large opening in the shared wall between the original living areas and by enclosing part of the original vestibule space as a private lobby.</p><br>
<p>Founded on reinforced concrete footings, the frame of Kinkabool is constructed of reinforced concrete floors, columns and walls. The exterior is partly finished with alternating panels of painted render on concrete or face brick. The building has two areas of flat roof, access to which is gained first through double doors opposite the entry to the top level apartment, and then via a set of stairs to the upper roof space. A parapet encloses these roof areas.</p><br>
<p>More than half of the balconies have been enclosed with glass and aluminium framing, a process which began in the late 1960s, but has been kept within the line of the balustrading and completed in general keeping with the fenestration pattern employed elsewhere on the facade. Also, a number of the original timber-framed windows and exterior sliding doors have been replaced with aluminium alternatives, as has some of the balcony balustrading. The terrazzo flooring in the ground floor arcade has been covered with terracotta tiles; however it remains on the stairs to the first level. Vinyl lines the remainder of the stair floors and the floors of the vestibules, being differently patterned on each level.</p><br>
<h2>Heritage listing</h2><br>
<p>Kinkabool was listed on the Queensland Heritage Register on 5 February 2009 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>Built in 1959-1960 at Surfers Paradise, the home-unit building known as Kinkabool was the Gold Coasts first high-rise and one of Queenslands earliest, built shortly after Torbreck was completed in Brisbane in 1960. It is important in demonstrating the pattern of Queenslands beach tourism development as it is the starting point for a style and scale of multiple-dwelling and multi-title building that appeared in the late 1950s/1960s and from which the Gold Coast, Queenslands premier tourist destination in terms of visitor numbers, gained its international reputation.</p><br>
<p>Kinkabool also illustrates a significant aspect of the evolving character of the quintessential Australian beach holiday, which was highly influenced by American standards of accommodation and entertainment, particularly during the 1950s and 1960s. It reflects a shift in the preferences of many post-World War II Australian tourists away from traditional holiday accommodation options like camping or caravanning, guest or boarding houses toward high-rise, self-contained apartments with a view of the beach and equipped with modern conveniences like time-saving kitchen appliances and on-site pools. This shift reflects major changes that have occurred in Australian society, including increased prosperity, the changing role of women, and the embrace of the private car.</p><br>
<p>Situated one block to the south of Cavill Avenue, near the intersection with the Gold Coast Highway, Kinkabool is one of the few buildings remaining that delineates what was the heart of burgeoning Surfers Paradise in the 1950s, with its modern accommodation, entertainment and shopping venues.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Kinkabool demonstrates the principal characteristics of a class of cultural place - high-rise beach holiday accommodation - that was rare in Queensland in the 1950s but is now common, particularly at the Gold Coast.</p><br>
<p>A number of components of Kinkabool have been maintained to the present day and reflect the standards marketed in the 1950s and 1960s as "luxurious", but which also exemplify the character of this type of building. These include: the overall disposition of units; their relationship to private balconies, some of which have been enclosed with framed glass, all of which retain the original timber blade screens; the two ground floor shop spaces either side of an arcade leading to the lift and stair lobby and enclosed with the original timber framing and fixed glass; and the scale and location of the penthouse apartments. Despite the scale of the building being diminished by later high-rise accommodation developments all along the coast from Southport to Coolangatta, the Kinkabool units maintain their views to the beach and the hinterland, which were also important components of the building&#39;s attraction to early buyers and holidaymakers.</p><br>
<p>Rather than detracting from its significance, the great disparity in scale and appointment between Kinkabool and buildings like the 80-storey Q1 tower, demonstrates dramatically how tourist preferences, architectural design and construction technologies have evolved on the Gold Coast since the 1950s.</p><br>
<p>Southport Drill Hall is a heritage-listed drill hall at 210 Queen Street, Southport, Queensland, Australia. It was designed by George Connolly and built in 1890 by John Fortune. It is also known as Southport Drill Shed. It was added to the Queensland Heritage Register on 5 October 1998.</p><br>
<h2>History</h2><br>
<p>The Southport Drill Hall was constructed in 1890 as the Southport Drill Shed to the specifications of George Connolly of the Queensland Colonial Architect&#39;s office. Although moved from its original site in Lawson Street, Southport, the building has retained a strong association with various defence related agencies.</p><br>
<p>On 10 December 1859 Queensland separated from New South Wales and became responsible for the defence of its territory. At the time, the population of the state was about 25,000 and the new Colony of Queensland was without any type of defence, and initially the services of the Brisbane and Ipswich Troops of the Queensland Mounted Rifles were utilised. By 1862, Volunteer Defence Forces had been instigated in several areas of the state and in 1867 Governor Sir George Bowen agreed to the formation of a Volunteer Rifle Corps on the condition that the group would finance themselves. The Spring Hill and Fortitude Valley Volunteer Rifle Corps (No. 3 Company) were amongst the first to come into being with Charles Lilley as the commanding officer. In 1876, as the fear of invasion from mounting European tensions was felt, the New South Wales Colonial Secretary, in association with several other mainland colonies including Queensland sought military advice from Britain. Lieutenant General Sir William Francis Drummond Jervois furnished the colonies with advice for each colony on fortifications, artillery, naval defence and manpower.</p><br>
<p>He expressed his pleasure at having held a review which, considering the disadvantages under which the Volunteer force had laboured, had been fairly conducted. He believed the force had a good deal to learn before they could expect to meet an enemy on anything like equal terms; with regard to artillery they would have to learn to use heavier ordnance than that with which they were practising and would consequently, like the rifle corps, require more instruction in drill.</p><br>
<p>Despite the recommendations, financial provision for the voluntary defence force remained inadequate until new Volunteer Regulations were passed in October 1882. Funding and support for the defence forces ensued. To accommodate the revitalised forces thus formed, drill halls were to be constructed and used as training facilities. These halls were designed to a standard planned and erected at strategic focal points of military strategy. The focal points recommended included those at local harbours and rivers, particularly where enemy warships may find entry. A good example of such a place was found at the South Passage at Southport, where river traffic between Brisbane and Southport also required protection. The passing of the Defence Act in 1884 saw the establishment of a permanent military force and a militia along with the already established volunteer corps.</p><br>
<p>A Southport Corps was formed from the Southport branch of the Queensland Volunteer Rifle Infantry and this was converted to a militia in 1887. In April 1885 a Southport Cadet Corps had been established. In the 1880s the popularity of Southport as a seaside holiday destination surged. Southport developed as an alternate resort when Sandgate became more accessible with the introduction of the Sandgate rail line in 1882. Logging in the Southport area had commenced in the late 1850s, and by 1875 the first sales of land opened the area for settlement. By the 1880s Southport become the principal sea-side resort in Queensland. The construction of major schools, banks and hotels stimulated Southports growth as a fashionable nineteenth century resort as did the presence of the Governors residence in the 1890s. The South Coast railway line, an extension from Beenleigh to Southport, was opened in 1889 making Southport more accessible from Brisbane.</p><br>
<p>With increasing popularity of the area, and organisation of the military strategy a drill hall was constructed at Southport in 1890 on a military reserve in Lawson Street. This was a simple rectangular planned timber building housing a large open hall and abutting this a row of small rooms one an office and the other armouries for the three companies who trained in the building. The Drill Shed was completed in about November 1890 for a cost of £335/2/- by Coomera builder, John Fortune. The building was designed and construction administered by the Queensland Colonial Architect&#39;s Office of the Department of Works. Apparently George Connolly was the architect for the project. It is unclear whether the design was in fact a standard plan used for other drill halls although others constructed at this time, including that planned for Warwick (1888) were very similar. The design of the new Southport Drill Shed was in line with the maxim that military architecture was, above all else, functional, designed to maximise the safety and efficiency of personnel and their work. The timber used for the building was cypress pine and the curved, corrugated iron clad roof, was supported on wrought iron trusses. The windows were shaded with central pivoted timber shutters and a series of galvanised iron fixed louvre panels ensured cross ventilation. When finished the timberwork was painted white and included a detached toilet and fencing. Repairs and restoration were carried out in 1899, prior to the building reverting to Australian Government ownership following Federation of Australia.</p><br>
<p>Although the Southport Drill Hall has sustained a long association with various Australian defence forces, it has been used for other community purposes. The first such use occurred in 1910 when permission was given to the Southport Agricultural and Horticultural Society to use the building during Carnival Week. Prior to 1910 the hall was only to be used for military purposes. Following World War I the Australian military forces were reduced and the drill hall was leased firstly to a Boy Scout Group and then, from 1931 to the Southport Surf Lifesaving Club. The outbreak of World War II saw the Australian Government reclaiming exclusive use of the Drill Hall and it remained in military use until 1988. The building was then left vacant until 1990 when it was used for the Queensland Naval Brigade Southport Volunteer Company.</p><br>
<p>In about 1995 the Southport Drill Hall was moved from its original site in Lawson Street to site in Owen Park, Queen Street, Southport. Owen Park, formerly a showgrounds, houses a number of other timber buildings moved from various parts of Southport. The Drill Shed remains substantially intact both internally and externally.</p><br>
<h2>Description</h2><br>
<p>The Southport Drill Hall is a timber building situated on the southern side of Owen Park, Southport, among a number of other timber buildings. The building is of single skinned construction, timber framed and clad externally with chamfered boards and elevated on concrete stumps. The corrugated iron clad roof comprises a curved section over the main hall abutting a skillion roof over a row of offices. The curved section is supported on curved wrought iron trusses and the curved sections of the end walls have high level fixed louvre ventilation panels (now clad internally with sheeting) above with is vertical boarding. The northern face of the building houses the principal entrance through a large double timber boarded door. Flanking the door are two large double unglazed window openings which are protected with timber boarded shutters. Centrally located on the two ends of the building is a similar double window opening protected with timber shutters. The southern face of the building, where the offices are located, has four small vertical sash windows regularly spaced along the face of the building.</p><br>
<p>Internally, the building comprises a large open space from which access is provided to four small rooms in a row on the southern side of the building. Separating the smaller rooms from the large central room is a single skinned timber boarded partition. External access is provided to the eastern most office via an external open tread timber stair of four steps shades by an ornate awning supported on fretwork brackets. The large internal room is open to the wrought iron roof trusses. This room houses ephemera and fittings from the Queensland Naval Brigade Southport Volunteer Company who now use the building and retains a strong sense of its military history.</p><br>
<h2>Heritage listing</h2><br>
<p>Southport Drill Hall was listed on the Queensland Heritage Register on 5 October 1998 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The building demonstrates the strategic military importance of coastal areas, like Southport in the late nineteenth century and has a strong association with the Volunteer Defence Force.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The building, contracted in 1890 to a standard design furnished by the State Department of Works, is a good and intact example of a standard nineteenth century drill hall of which many were constructed and very few are known to survive in their original form.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The building, contracted in 1890 to a standard design furnished by the State Department of Works, is a good and intact example of a standard nineteenth century drill hall of which many were constructed and very few are known to survive in their original form.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The building demonstrates the strategic military importance of coastal areas, like Southport in the late nineteenth century and has a strong association with the Volunteer Defence Force.</p><br>
<p>Southport Bathing Pavilion is a heritage-listed changing rooms at Marine Parade, Southport, Gold Coast City, Queensland, Australia. It was designed by Hall & Phillips and built in 1934 by A. Ledbury. It was added to the Queensland Heritage Register on 13 January 1995.</p><br>
<h2>History</h2><br>
<p>This single storeyed building was built in 1934 by the Southport Town Council, as a dressing and showering facility for bathers using the Broadwater. The architects were Hall and Phillips and the contractor A. Ledbury, who built the pavilion at a cost of £1,195.</p><br>
<p>The pavilion was erected at an important stage of the development of the coastal regions of South East Queensland. There was unprecedented growth in these areas as swimming and sun bathing became increasingly popular. The majority of the population, by the late 1930s benefited from paid holiday leave, increasing their leisure time. The councils of the various coastal regions were competing for holiday trade, beautification schemes and the provision of public facilities on the beach fronts were part of this attempt to attract the seasonal beach-goer.</p><br>
<p>Queensland has a long history of sea-side resorts. In the 1860s, Sandgate and to a lesser extent Cleveland were popular destinations for beach-goers. With the introduction of the Sandgate railway in 1882 Sandgates beaches became more accessible and Southport developed as an alternate coastal resort. Logging began in the area in the late 1850s and settlement was opened in the mid 1870s with the first sales of land. By the 1880s major Brisbane families favoured Southport as the premier seaside resort in south east Queensland. Major schools, branches of banks and hotels were constructed, as Southport assumed the appearance of a fashionable nineteenth century resort. Southports distinction as a seaside resort is indicated by the Queensland Governor&#39;s maintaining a residence here from the 1890s. The South Coast railway line, a rail extension from Beenleigh to Southport, was opened in 1889 making Southport more accessible from Brisbane.</p><br>
<p>With increased accessibility and popularity at beaches, the necessity for bathing controls was realised. Bathing at the beach became increasingly prevalent in the late 19th century. By 1906 Section 109 of the Local Government Act allowed individual local councils to control swimming and swim-wear, nominating standards for bathing costumes, segregating bathing and defining bathing areas.</p><br>
<p>In the first decades of the century councils permitted privately owned bathing sheds on the beaches, which provided immediate access to the water after changing. In the 1920s, custom became more relaxed toward bathing in public. Councils, realising the possible financial benefits from holiday makers provided firstly public dressing sheds and, later, bathing pavilions.</p><br>
<p>During the thirties various councils of the coastal regions of south east Queensland such as Southport Town Council, Coolangatta Town Council and Nerang Shire Council on the south coast as well as Redcliffe Town Council and north coast councils, competed for holiday visitors. Chambers of Commerce and Progress Committees urged the councils to develop and beautify foreshore areas, in an attempt to attract visitors. As part of this process the Southport Town Council began a scheme to develop the Esplanade area, on which the Bathing Pavilion was to stand, as an recreational and entertainment area. This scheme was similar to those introduced in New South Wales at Manly, Bondi Beach and Newcastle beaches in the late twenties and early thirties. The development of the Esplanade included tree-planting schemes, the addition of various side-show amusements and the construction of a picture theatre on the Southport Pier.</p><br>
<p>It was as part of the scheme of beautification at Southport that two bathing pavilions were erected, the Main Beach Pavilion and the other smaller building, the Southport Bathing Pavilion on the Esplanade close to the Southport railway station. As the buildings neared completion, the owners of private bathing boxes were given one month&#39;s notice to remove the structures. The two new buildings were opened on the 20th December, 1934 by the Minister for Works, Mr Harry Bruce. During a speech at the ceremony, mention was made of Southport being primarily dependent on visitors, and if something was not done for their comfort and convenience (Southport) would lose them. A newspaper report described the design of the buildings as Spanish.</p><br>
<p>Both of the bathing pavilions were designed by the Brisbane architectural partnership, Hall and Phillips who were responsible for the design of many of Southport&#39;s public buildings including the Southport Council Chambers (1934), the Pier Theatre (1921), accommodation units (1928), service station (1929) and various business premises as well as the bathing pavilions and clubhouse for the Southport Surf Lifesaving Club (1936).</p><br>
<p>Southport gradually lost its prestige as the premier resort of the South Coast when the Jubilee Bridge across the Nerang River built in 1925 and new roads and improved transport made the southern beaches more accessible. In the 1930s and 1940s, development of holiday apartments and hotels at Surfers Paradise increased the area&#39;s popularity, as did widescale promotion of the area. The surfing revolution of the 1950s and 1960s, resulted in rapid development of the south coast particularly Surfers Paradise. The three south coast councils amalgamated in 1949 to form the South Coast Council, later renamed the Gold Coast Council. From the mid 1960s the region has experienced rapid commercial growth which has greatly altered the environment. Five chains of land was resumed on the beach side of the in 1965. As a result, the Southport Bathing Pavilion is marooned in a large park. The resumption of land at the Esplanade, on Stradbroke Island and the Southport Spit has caused silt deposits in the Broadwater, making it unsuitable for bathing.</p><br>
<p>For some time the pavilion was no longer used as public dressing and showering sheds and the Council closed it to the public to use it for gardening and maintenance storage. During 2008 - 2009, the bathing pavilion was refurbished and made available for community use. By 2014 it was the temporary home of the Southport Amateur Fishing Club.</p><br>
<h2>Description</h2><br>
<p>The Southport Bathing Pavilion is a single storeyed masonry building rendered with roughcast stucco, that is prominently located on Marine Parade at Southport. A brick and concrete structure with corrugated asbestos cement roof, it is flanked by two large established trees.</p><br>
<p>The Southport Bathing Pavilion demonstrates the influence of a Spanish Mission style of architecture particularly with the decorative parapeted gables, roughcast stucco render, entrance loggia, prominent roof with corrugated sheeting reminiscent of the cordova tile and arched openings.</p><br>
<p>Symmetrically arranged the building is rectangular in plan with central projecting bays on the west and east elevation. Decorative parapeted gables form the facade of the projecting bays. The parapets conceal the gabled roof which abuts them.</p><br>
<p>On the west elevation, which faces Marine Parade, the decorative gable element features a loggia, consisting of an open porch with three round headed arches supported on two "barley sugar" twisted columns. The arches feature prominent keystone and raised edge detailing. Directly above the porch on the gable lettering spells "BATHING PAVILION", with a cartouche with the date of construction, 1934. The edge of the stylised Baroque parapet has raised edge detailing which culminate in spiralled curves on the face of the gable. There are three doorways from the loggia, one of which has an overhead window opening, now boarded. The eastern elevation has a similar decorative parapeted gable housing six boarded window openings. The surrounds of these windows are round headed arched recesses. The skillion roofed wings on either side of the parapet element, previously fin walls forming entrances, are now infilled with weatherboard.</p><br>
<p>There are high level window openings with face brick sills on all sides of the wings. Most of these windows are boarded or battened. The north elevation has a large metal door allowing vehicular access to the building.</p><br>
<p>The interior of the pavilion has two large spaces, a small room, accessible only from the loggia and two small enclosures on the eastern wall facing the arched window openings. The wall separating the original halves has been partially dismantled, as have sections of other walls around the entrances. The entire space is open to the timber roof trusses and the underside of the roof sheeting. The smaller rooms have individual ceilings immediately overhead, the space above which is open. The floor is concrete and the internal walls are rendered brick.</p><br>
<p>There is evidence in the two small rooms on the eastern wall of plumbing fixtures. The concrete floor in these spaces slopes toward an outside corner. There are sections of an early towel peg rail and early timber bench seating around the external walls in both halves of the building. Evidence in the concrete floor indicates the position of previous fittings.</p><br>
<h2>Heritage listing</h2><br>
<p>Southport Bathing Pavilion was listed on the Queensland Heritage Register on 13 January 1995 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The Southport Bathing Pavilion, erected in 1934, is one of a group of buildings pivotal in understanding the development of the Gold Coast as a beach resort and in reflecting a new culture associated with beach going. It provides evidence of the former use and scope of the area known as the Esplanade and the surrounding beach.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>It is a now rare example of the built environment at the south coast from the 1930s.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The building is a good example of a Spanish Mission architectural influence and of the public work at Southport of the prominent architectural firm, Hall and Phillips.</p><br>
<p>The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland&#39;s history.</p><br>
<p>The building is a good example of a Spanish Mission architectural influence and of the public work at Southport of the prominent architectural firm, Hall and Phillips.</p><br>
<p>Southport Town Hall is a heritage-listed former town hall at Nerang Street, Southport, Gold Coast City, Queensland, Australia. It was designed by Hall & Phillips and built in 1935 by H Cheetham. It is also known as Gold Coast City Hall, Gold Coast Town Hall, and South Coast Town Hall. It was added to the Queensland Heritage Register on 5 October 1998.</p><br>
<h2>History</h2><br>
<p>The Southport Town Hall was constructed in 1935 on the corner of Davenport and Nerang Streets, by the Southport Town Council replacing an earlier timber structure built in the nineteenth century. The building was designed by prominent Brisbane architects, Hall and Phillips, and is one of a number of buildings designed by the partnership which demonstrate a strong Art Deco influence.</p><br>
<p>The Nerang Division was formed in the nineteenth century to provide local government for the emerging community at the southern end of coastal Queensland. In 1883 Southport received separate local government representation when the Southport Divisional Board was formed. In the 1880s the popularity of Southport as a seaside holiday destination surged. Southport developed as an alternate resort when Sandgate became more accessible with the introduction of the Sandgate rail line in 1882. Logging in the Southport area had commenced in the late 1850s, and by 1875 the first sales of land opened the area for settlement. By the 1880s major Brisbane families favoured Southport as the principal sea-side area. The construction of major schools, banks and hotels stimulated Southports growth the premier nineteenth century resort as did the presence of the Governors residence in the 1890s. The South Coast railway line, an extension from Beenleigh to Southport was opened in 1889 making Southport more accessible from Brisbane.</p><br>
<p>A Town Council Chamber was constructed for the Southport Divisional Board at the corner of Nerang and Davenport Streets in 1899, prior to which the Board met at the court house. The Divisional Board continued to meet in this building until the 1930s when it was decided that a new chambers would reflect the increased size and popularity of Southport. The 1930s were a time of considerable growth and an important time in the development of Southport. In fact, there was rapid growth in coastal regions throughout Queensland during this period as bathing in sea water became increasingly popular as a recreational pursuit. As well, by this time the majority of the general population benefited from paid holiday leave, increasing leisure time and the opportunities for extended holidays. Councils of various coastal regions were competing for holiday trade by instigating beautification schemes and programmes for the provision of public facilities on the beaches.</p><br>
<p>The Southport Town Council, formed in 1915 from the Southport Divisional Board, undertook such an improvement scheme, taking advantage of the Queensland Government&#39;s employment relief programme, which saw low interest loans provided to local councils for capital works. As part of this bathing pavilions, a surf lifesaving clubhouse, beach reclamation and the construction of the council chambers were planned. Included in the money borrowed by the Southport Council was £3000 for the construction of a new council chambers, to reflect the prosperity and progressiveness of the Council.</p><br>
<p>To design the council chambers the Town Council acquired the services of Brisbane architectural partnership, Hall and Phillips. Hall and Phillips were a Brisbane architectural partnership, formed in 1929, when Lionel Blythewood Phillips was admitted into partnership with Thomas Ramsay Hall, formerly of Hall and Prentice, who designed the Brisbane City Hall and Ascot Chambers. Hall and Phillips continued in practice until 1948. TR Hall lived at Southport during this period and the firm was commissioned by the Southport Town Council for a number of projects in the 1920s and 1930s, including the Main Beach Pavilion and Southport Bathing Pavilion (1934); and the Southport Surf Lifesaving Club (1936). Other work by Hall and Phillips at the south coast include the Pier Theatre (1926); Pacific Hotel, Southport (1926); Tyley&#39;s Shoe Store, 80 Scarborough Street, Southport (1932); Woolworths, 30 Scarborough Street, Southport (1940); and seaside homes for James Cavill, JB Charlton, TJ Barry and RG Clarke along with various business premises and accommodation units.</p><br>
<p>The design prepared by TR Hall, on behalf of Hall and Phillips, for the new Southport Town Hall was clearly inspired by the fashionable artistic and architectural style, Art Deco. Named as a style following a 1925 exhibition in Paris, Exposition Internationale des Arts Decoratifs et Industriels Modernes, Art Deco refers more to pastiche qualities rather than a more integral architectural style. Hall and Phillips were the main proponents of Art Deco inspired architecture in Brisbane although this was certainly not the only influence on their vast work. Many of their prominent works displaying this influence include the dining room extension to the Tattersalls Club, Queen Street; McWhirters corner, Fortitude Valley; Shell House, Ann Street; Stewarts and Lloyds Factory (now Australian Consolidated Industries), Montague Road, West End as well as the Southport Town Hall. Art Deco diverged from the aesthetic purity of modernism, reintroducing surface ornamentation and polychromy and with a theatricality which served as a "middle-brow bridge between modernism and consumerism". Art Deco was little used as a three dimension architectural style, more often applied as a two dimension ornament to the facades and interiors of mostly, commercial buildings and apartment buildings. Elements of the style include polychrome ornamentation commonly combining geometrical shapes particularly chevrons and repeated lines, and stylised floral patterns. Usually such ornamentation was concentrated around entrances and at the parapet line and is juxtaposed with more general ornamentation, like faceting, fins and chevron mouldings creating three dimensional crystalline surfaces.</p><br>
<p>The Southport Town Council were influenced by the architects to adopt a popular inter war style reflecting the anticipated prosperity and development of the south coast and specifically, Southport. Originally the building was designed to incorporate a central tower, but this was omitted from the final work for financial reasons. Tenders were called for the building in late 1934 and by January, 1935 the tender of Brisbane builder, H Cheetham was accepted as noted in the Architects and Builders Journal of Queensland. Construction began on the building on 11 January 1935 and the new Town Hall was expected to be completed at a cost of £5970. The first part of the construction process involved removing the original council chambers and transferring this to another part of Southport where it remained in use as the council chambers until construction was completed on the new Town Hall.</p><br>
<p>The building was finished by August 1935 and on 2 August 1935 the Southport Town Hall was officially opened by the Queensland Premier, William Forgan-Smith in commemoration of the employment relief loan the Southport Town Council received from the Queensland Government in order to construct the building. When opened, the building provided four offices on the ground floor, three of which were to be let and one of which would house a state funded baby clinic. The upper floor provided office accommodation for the Mayor and Town Clerk of Southport and a council chamber. The painting on the project was done by Dyne and Co. under the supervision of Messrs James and Frank Holden. The plumber involved with construction was JW Parker and the electrician was JR Ritchie.</p><br>
<p>Both the local press in the form of the South Coast Bulletin, and the Architects and Builders Journal of Queensland reported on the completed building, which was described as "an interesting study in modern architectural design" and a building which "add(ed) a new type of architecture to the town." More specifically one of the reports detailed the building:"The centre which has the main entrance is bold in treatment and is supported by symmetrical wings. The main motif is of vertical line, with horizontal treatment between the main piers...It is constructed of brickwork walls, concrete ground floor, wood first floor and fibrolite roof. All external walls are cavity brickwork preserving the coolness of the building and preventing dampness and as a further precaution the walls have been cement rendered. The ground floor has an entrance vestibule and hall stair lobby giving access to four large well lighted offices, which at present are to be rented but will provide extra space if required by the council...The councils offices are on the first floor where a generous public space provides approach to a general office and water authority business being conducted across a silky oak counter. Access to the mayors room, health office and town clerks office is direct from the public space. A staircase at the back leads to the yard. The council chamber (31 feet by 19 feet) is an imposing room with textured walls, silky oak furniture and honour board. The (un)usual splay steeped ceiling of fibrous plaster is a distinctive feature. Provision is made for a small public gallery to the chamber and adjoining the chamber is a committee room."The Southport Town Council moved into their new Town Hall and remained in the building until the Southport Town Council was amalgamated with other south coast councils to form the South Coast Town Council in 1949. The new amalgamated council used the former Southport Town Hall as their council chambers and a large addition to the rear of the building was made in 1952 to house additional offices. The extension was well designed to allow the 1936 building to retain its form and scale. In 1955 a metal framed and glazed porch was added to the Nerang Street entrance to the 1935 building. As well windows were removed from the front facade and a ground floor mens toilet was relocated. The South Coast Town Council was renamed the Gold Coast Town Council in 1958 and, having reached the level of municipality, the council was renamed the Gold Coast City Council in 1959. The Gold Coast City Council remained at the former Southport Town Hall until 1976 when new offices at Evandale were constructed. From that time the building has been used as the Southport branch of the Council.</p><br>
<p>In 1997 a large scale conservation project was undertaken by the Southport branch of the City Council designed by Inarc Architects with Arnold Wolthers Architect providing heritage advice. The project involved the removal of the 1955 front porch; the reinstatement of ground floor windows and doors, internal reconstruction and the reconstruction of external decoration. During this work many of the original features, including the front doors, lettering over the front entrance and internal features were revealed.</p><br>
<h2>Description</h2><br>
<p>The former Southport Town Hall is a two storeyed rendered brick and concrete building situated on the corner of Nerang and Davenport Streets, Southport. The front facade of the building is set back from the Nerang Street footpath, allowing for a small lawned entrance court.</p><br>
<p>The symmetrically composed building comprises a central entrance bay on the Nerang Street facade, flanked by side wings. The Davenport Street facade of the building is three bays deep, each of these bays similar in form, although narrower, than those flanking the central entrance bay. The corrugated fibrous cement clad roof is concealed by a parapet on the principal facades of the building. The building is constructed with cavity brick load bearing external walls, rendered with cement externally and with plaster internally. A concrete slab forms the ground floor and the first floor is timber framed and boarded.</p><br>
<p>The principal facades of the building are divided into bays by flat vertical moulded fins which extend beyond the parapet line, terminating with leaf shaped silhouettes. These fins define the bays of the building and separate banks of windows surrounded by decorative moulding and moulded panels. A vertical fin moulded panel forms a base to the building and surmounting this are sills for the ground floor window openings. The windows throughout the building are timber framed vertical sashes. Between the windows of the ground floor and the first floor are vertical fin moulded panels with central disc and diamond shaped ornaments which also act as ventilators, alternating on each of the panels. Above the first floor windows openings is a strip moulding with chevron and diamond pattern. The parapet is lined on its upper edge with a strip moulding with a vertical lined pattern which creates a miniature crenellated silhouette between the leaf shaped fins. Separating the windows are vertical moulded pilaster-like elements with vertical mouldings. The other faces of the building are of unrendered brickwork.</p><br>
<p>At the base of the central entrance bay, which projects both forward from the footprint of the building and substantially above the parapet, is a double timber entrance door. Providing access to this is concrete steps, recessed into and flanked by the lawned court. The doors, which have carved timber Art Deco motif, slide into cavities flanking the doorway. Above the door is a signage panel with "PRO BONO PUBLICO", above which is a fanlight with letting "CHAMBERS". Inside the entrance is a small vestibule from which further terrazzo clad stairs provide entrance to a large public space. Access is provided to the various ground floor offices, the stair hall and a s public enquiries counter. The timber, three quarter turn stair is at the southern end of the building and fills the recess created with the projecting entrance bay. The stair has a metal balustrades comprising a simple geometric pattern wrought in steel. The stair hall is lined with square ceramic tiles which have been painted.</p><br>
<p>The upper floor of the former Council Chambers is arranged with a central space from which the offices and former council chamber is accessed. The former council chamber, on the western Davenport Street side of the building features an elaborate moulded plaster ceiling, which is stepped around the edges. The reveals of the steps formed have alternate bands of mouldings featuring strong geometric designs. Surrounding the uppermost step is a flat moulding spreading into the ceiling and incorporating octagonal shaped ventilators with stylised floral designed covers. The cornice also features a stylised floral moulded pattern. Generally the interior has plaster rendered walls and ceiling, with Art Deco inspired mouldings. The terrazzo floors on the ground floor have been uncovered and the timber floors on the first floor have been clad with vinyl floor sheeting and carpet. A strong room survives on the first floor.</p><br>
<p>To the rear of the 1935 building is a two storeyed reinforced concrete and glass wing, approximately the same size as the early building and linked to it with a recessed two storeyed wing. The recessed link creates a court on the Davenport Street side of the place, between the two main components of the council chambers, visually separating the buildings.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Southport Town Hall was listed on the Queensland Heritage Register on 5 October 1998 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Southport Town Hall, constructed in 1935 as the second town hall on the site, demonstrates the development of Southport during the 1930s when a developing permanent community and rapidly increasing transient, holiday making population were provided with a large progressively designed Town Hall, reflecting the anticipated prosperity and development of the shire.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The former Southport Town Hall is an important example of an Art Deco influenced building, designed by Brisbane architectural partnership, Hall and Phillips.</p><br>
<p>The building has strong associations with its designers, Hall and Phillips, who designed many fine buildings in south east Queensland influenced by Art Deco.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The building has aesthetic significance as a well composed public building on a prominent site, clearly designed to illustrate the progressive nature of the Town Council who built it in a popular inter-war architectural style. The ornamentation and decoration on and within the building contributes to its aesthetic value and the survival of internal Art Deco decoration is rare.</p><br>
<p>The place has a strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.</p><br>
<p>The building has social significance as a centrally located civic building which has been open for public purposes for over sixty years.</p><br>
<p>The Baraque de Fraiture is the highest point in the Province of Luxembourg, Belgium. Situated in the Municipality of Vielsalm, it is 652 m high. It has a ski area comprising 3 pistes , which open for less than 20 days a year. However, it has been open for up to 60 days per year recently.</p><br>
<h2>Geography</h2><br>
<p>La Baraque de Fraiture is on the ridge separating the Basin of the River Ourthe from that of the Amblève on the summit of the Plateau des Tailles consisting of grassland, countryside and forest.</p><br>
<h3>Access</h3><br>
<p>The Baraque de Fraiture may be reached via the Autoroute de Soleil (A26 / E25), exiting at junction 50 and turning onto the N30 (Liège–Bastogne) and N89 (La Roche-en-Ardenne–Salmchâteau).</p><br>
<h2>History</h2><br>
<p>During the Second World War, on 11 May 1940, the day after the outbreak of the Battle of Belgium, the Baraque de Fraiture was taken by Germans of the 5th Panzer Division with the objective of crossing the River Meuse at Dinant.</p><br>
<h2>In popular culture</h2><br>
<p>In December 2005, Dutch playwright, Ivan Vrambout, put on a play entitled Baraque Frituur which featured the mutual prejudices of Flemish and Walloons. The title of the piece was inspired by the way in which this author, like many Belgian children, used the words Baraque Fraiture when he was a child when referring to a baraque à frites, saying baraque friteur (a friterie or chip kiosk) instead of fraiture (frituur has the same meaning in Dutch and French in this case). These friteries were usually mobile kiosks where traditional Belgian chips were sold in Belgium.</p><br>
<p>The East Hamilton Avenue Historic District encompasses a 20th-century residential area of Wynne, Arkansas, reflective of its growth between about 1920 and 1940. It extends along East Hamilton Avenue, between North Falls Boulevard and Killough Road, and includes properties on Eldridge Court. East Hamilton Avenue, representing the best-preserved area of development from this period, was developed gradually beginning in the late 19th century, and grew from west  to east. The oldest house in the district, the Giboney-Robertson-Stewart House, is a Queen Anne Victorian built c. 1895. Most of the houses were built after 1920, and are predominantly Craftsman, Colonial Revival, and Tudor Revival in character. There are a few Spanish  Revival houses, and a few early ranch houses, which were generally built between 1940 and 1950.</p><br>
<p>The district was listed on the National Register of Historic Places in 2011.</p><br>
<p>The Giboney-Robertson-Stewart House is a historic house at 734 Hamilton Avenue in Wynne, Arkansas. It is a two story wood frame structure with a cross-gable roof, built in 1895 for W. A. and Ann Giboney. It is one of the citys finest Queen Anne Victorians, and the only one two stories in height. It has the irregular massing typical of the style, and a wraparound one-story porch supported by Tuscan columns. Originally built with a turret, that feature was removed sometime before the 1940s. The house has been owned by members of the locally prominent Robertson family, who were judges and lawyers, and by Doctor T. J. Stewart, one of the areas first medical practitioners.</p><br>
<p>The house was listed on the National Register of Historic Places in 1998.</p><br>
<p>The Old Augusta Historic Site contains the remnants of Augusta, Mississippi, a town that was founded along the Leaf River in 1812 and abandoned between 1902 and 1906. The site was added to the National Register of Historic Places in 1979 and was designated a Mississippi Landmark in 1999.</p><br>
<h2>History</h2><br>
<p>From 1818 until 1906, the town of Augusta served as the county seat for Perry County, Mississippi. It was considered a major commercial and administrative center because a General Land Office was located there.</p><br>
<p>In the 1850s, Augusta was the site for the trial and hanging of the outlaw James Copeland. In the 1890s, Davis Hawthorne was hanged in Augusta for the murder of his wife.</p><br>
<p>When the Mobile, Jackson, and Kansas City Railroad was constructed 2 mi south of Augusta, the town was moved to the railroad and developed as New Augusta.</p><br>
<h2>Historic Site</h2><br>
<p>When the site was evaluated for the National Register of Historic Places during the 1970s, it was determined that the town had been divided into three spatial units—a government district, a business district, and a residential district. But there was little more than brick and concrete rubble where buildings had once stood, and the area had reverted to woodland.</p><br>
<p>Creek Street is a historic area of Ketchikan, Alaska. The street is actually a boardwalk mounted in stilts on a high slope on the east side of Ketchikan Creek, east of the city&#39;s downtown.</p><br>
<h2>Description and History</h2><br>
<p>Creek Street is infamous as being Ketchikans red light district, roughly between 1903 and 1954, and some of its attractions are commemorations of this past. Its origins lie in a 1903 city ordinance banishing brothels from the city center to the "Indian Town" area on the east side of the creek, and it operated until the brothels were outlawed and shut down in 1954. Numerous houses of prostitution sprang up on this difficult terrain, supported by wooden stilts. Famous among them is The Star, which was one of the largest of these businesses, and Dollys House, which is now a museum. Winding into the hills above Creek Street is Married Man&#39;s Way, a trail used by patrons of the brothels to escape raids.</p><br>
<p>Creek Street was listed on the National Register of Historic Places in 2014.</p><br>
<p>The Former Gilead Railroad Station is the oldest known railroad depot in the state of Maine, and the oldest known on the former Grand Trunk Railway. It is located in the center of Gilead, Maine, in northwestern Oxford County, not far from where it originally stood when built in 1851. It was listed on the National Register of Historic Places in 1992, when it was located in Auburn. It is now maintained by the Gilead Historical Society.</p><br>
<h2>Description and history</h2><br>
<p>The Gilead Station is a single story wood frame structure of modest size. It is three bays wide and one deep, with a gable roof. The entrance is in the center of the three bays, and is flanked by sash windows. The surrounds of the door and windows are stylistically similar, with flared elements on the outer edges of the side molding, and an upward projection on the lintel. The interior of the station is divided into two rooms, the doorway entering into the larger one, which fills the center and right of the building. The room to the left originally house the stationmaster&#39;s office. It is unknown what the original interior looked like, as it has was extensively altered for a variety of uses prior to undergoing restoration.</p><br>
<p>The Grand Trunk Railway was founded in 1845 as a project to connect Portland, Maine and Montreal, Quebec by rail, providing a means to deliver supplies to Montreal via an ice-free port. Construction on the United States portion took place between 1846 and 1853, and the railway operated on the route until the 1920s. It is believed that this station was built in sections, which were transported to Gilead by the railroad for final assembly. Of the four surviving Grand Trunk stations, it is by far the oldest, and all of the stations of railroads chartered in Maine before the Grand Trunk have not survived.</p><br>
<p>The station has been moved several times. In 1893 it was moved a short distance from its original site, so that a larger station (which has not survived) could be built. The station was formally discontinued in the 1950s, and was used by track maintenance crews. In 1991 it was moved to Auburn, where it was restored and used as an office building. It was returned to Gilead in 2011, and is now maintained by the local historical society.</p><br>
<p>Schmidt Farmhouse & Outbuildings is a heritage-listed homestead at 3 Worongary Road, Worongary, City of Gold Coast, Queensland, Australia. It was built from 1880s to. It was added to the Queensland Heritage Register on 8 April 1997.</p><br>
<h2>History</h2><br>
<p>This farmhouse and outbuildings were constructed in the late 19th/early 20th centuries on land which in the 1850s was part of the Murry Jerry pastoral run, leased by William Duckett White of Beaudesert. The site was subsequently included in the 200 acres taken up by WD White as a pre-emptive selection in 1869, but the present buildings and structures appear to date to a later period, when the land was used for agricultural purposes. It was occupied by the Schmidt-Kurth family, Worongary dairy farmers, from to.</p><br>
<p>Murry Jerry, a 25 square mile cattle run based around the present town of Mudgeeraba, was taken up by Alfred Compigne in 1852 and transferred to WD White in September 1853. Following the introduction of the Crown Lands Alienation Act of 1868, designed to open the large pastoral holdings of southern Queensland to agriculture and closer settlement, Murry Jerry was opened for general selection in April 1869. Initially timber getters took up the land, but were soon joined by farmers growing corn or maize, and later establishing dairies. Timber remained an important industry, especially after the establishment of the first saw mills in the Mudgeeraba area by the mid-1880s. Under the conditions of the 1868 Land Act, WD White applied in December 1868 for a pre-emptive selection of 200 acres of the Murry Jerry run (portion 7A), on the southern side of Worongary Creek, to commence at a marked tree on the right (southern) bank of the creek about 250 yards northwest from Worongary Hut. Whites selection application made reference to improvements including a stockmans hut and a store/dairy. When the block was being surveyed early in 1869, surveyor GL Pratten noted a hut in the vicinity of the present farmhouse and outbuildings. No connection has been established between the huts (probably of slab construction) referred to in 1868/69 and the present structures.</p><br>
<p>White acquired freehold to the Worongary selection in 1878 and in August 1879 this was transferred to his son Ernest, who controlled WD White & Sons coastal properties from his base at Nindooinbah near Beaudesert following his fathers move to Brisbane. It is understood that during the 1870s Ernest White used the Worongary land for pastoral purposes.</p><br>
<p>In the 1880s the selection changed hands a number of times and its use for agricultural purposes appears to date from this period. The form and construction of the farmhouse core, with its 8" wide beaded vertical boarding, suggest that it also dates from this period. Title was transferred in April 1880 to Anne Stephens of Brisbane, widow of Thomas Blacket Stephens, who in 1877 had established the Hillview dairy on part of his 11,000 acre estate east of Worongary, acquired in the mid-1870s. The Stephens family subdivided portion 7A and title to the 163 acres west of the Mudgeeraba Road passed early in 1885 to the Starkey family, who had taken up land at upper Mudgeeraba in the early 1880s. Later in 1885 title passed to John Etchells of Nerang Creek, who in 1870 had been amongst the first to select land at what is now Surfers Paradise. Etchells mortgaged this land in the second half of the 1880s, and in mid-1889 title returned to Anne Stephens, and remained in the Stephens family (Stephens Estates Limited from 1904) until transferred to Mudgeeraba farmer Carl Schmidt in July 1912.</p><br>
<p>Johann Karl (Carl) Schmidt had emigrated from Germany to Queensland in 1881, aged 21 years. He appears to have worked as a farm labourer in the Nerang-Mudgeeraba district and in 1890 married Bertha Abraheim, whose parents had selected land in the Mudgeeraba district in the late 1870s. In 1891 Schmidt selected portion 24, parish of Mudgeeraba, where he took up mixed farming and later established a dairy. The Schmidt family moved to the Worongary property, and may have leased the farm from the Stephens Estate, or managed it for them, prior to acquiring title in 1912. Schmidt descendants understand that the farmhouse was already on the property.</p><br>
<p>At the Worongary property the Schmidt family engaged in the districts principal economic activity: commercial dairying, heavily promoted by the Queensland government in the late 19th and early 20th centuries. In 1889 the Queensland Department of Agriculture (established 1887) sponsored the colonys first travelling dairy, which opened at Tallebudgera in April 1889 before moving on to other centres on the Gold Coast and throughout southeast Queensland, encouraging interest, demonstrating the technology, and imparting information and skills. The 1893 Meat and Dairy Act offered subsidies to dairy farmers, and introduced a tax on non-dairy cattle which funded the establishment of cheese factories and creameries. Quality controls were implemented with the introduction of compulsory grading of butter and cream in 1898, and inspection of dairies and factories under the Dairy Produce Acts 1904-05. Importantly, the Queensland Agricultural Bank was established in 1901 to increase the flow of credit to selectors - many of whom had taken up dairying. The Schmidt dairy was small - 20-30 cows - but typical of small selector farming practice in the early 20th century.</p><br>
<p>A number of turn-of-the-century alterations appear to have been made to the farmhouse, including: a detached kitchen joined to the main house; the shingled roof replaced with corrugated iron; weatherboard cladding on the external walls; new sash windows and window hoods; new front balustrading; ceilings and some internal walls lined with narrow tongue and groove boarding, with fretwork ceiling ventilators in the principal rooms; and a partition wall erected in the larger of the front rooms, to create a central hallway. These improvements, probably made by the Schmidt family and completed by, reflect the rise in living standards which accompanied the expansion of dairying on the Gold Coast hinterland, as well as the determination of hard-working German immigrant families to succeed on the land.</p><br>
<p>Bertha Schmidt died in 1924 and in 1930, prior to Carls death in 1931, the property was transferred to their youngest daughter, Mrs Eda Catherine Kurth. The farmhouse remained in the Schmidt-Kurth family until 1992, although by then on a substantially reduced site of 2,548 m&sup2;. The land between the farmhouse and Worongary Creek was acquired by Albert Shire Council in 1987-88 for use by the Mudgeeraba Show Society, and the Schmidts former creamery is now located within the showgrounds. The bales and separating room, initially situated east of the house and later re-located south of Worongary Road, no longer exist.</p><br>
<p>Rapid, sustained population growth on the Gold Coast hinterland in the last 15–20 years, and particularly since the early 1980s, has led to substantial re-development of former farming areas for new residential estates. The former Schmidt farmhouse is understood to be one of the earliest, and one of the few, surviving farmhouses on the Gold Coast hinterland.</p><br>
<h3>Current use</h3><br>
<p>The farmhouse is now used as the 14th Light Horse Museum. The museum contains displays about First World War Australian Light Horse. A re-enactment troop participates in tent pegging with lances and swords in state and national events. The troop also participates in ANZAC Day ceremonies and other commemorations. The museum is also the headquarters of Gold Coast north branch of the National Servicemen&#39;s Association of Australia.</p><br>
<h2>Description</h2><br>
<p>There are three main buildings at this site: a farmhouse, a slab barn, and a small creamery. There are also three other buildings: a timber shed of indeterminate age, a small timber outhouse, and a collapsed garage.</p><br>
<h3>The farmhouse</h3><br>
<p>The farmhouse is a timber framed and braced building raised on timber stumps and clad in weatherboards to the sides and rear, and in wide T and G boards with exposed studs and bracing to the front.</p><br>
<p>The house consists of two parts: the front section of two rooms with verandah, and an attached kitchen or service wing also of two rooms. Part of the rear verandah has been enclosed as a bathroom and small store room.</p><br>
<p>Existing shingle battens indicate that the house originally had a timber shingled roof, now replaced with corrugated iron sheeting. The roof is gabled in two directions. A brick fireplace and chimney are located at the rear of the building.</p><br>
<p>The front verandah has recently had the original floorboards replaced with new hardwood boards. A length of early handrail and dowel balustrade exists on the northwest corner. The verandah was until recently enclosed to create a sleep-out, with a second stair leading to the ground on the east side. Evidence of this stair exists in the form of holes to one of the verandah posts where the handrail was let in.</p><br>
<p>Examination of the house indicates that it originally contained only two rooms at the front section, with French doors opening out from both rooms to the front verandah. The room on the eastern side of the house was the larger of the two. The wide beaded vertical boards (approximately 200 millimetres wide) to the northern and southern walls and to the original dividing wall remain.</p><br>
<p>At a later date a wall was added to the larger room to form the present central corridor. This wall was constructed of 100 millimetre wide v-jointed boards. The door and door hardware to this wall confirm its later construction. The v-jointed boards lining the ceiling to these rooms, the timber ceiling ventilators and the scotia cornices were probably added at this time as well. The ceilings may have been calico originally. The weatherboard walls to the eastern and western elevation may be original but if so were likely to have been unlined internally. The internal lining of 100 millimetre T and G boards are certainly a later addition. It is more probable that these walls were lined internally with studs exposed to the outside and that these have decayed and been replaced at a later date. This assertion is supported by inspection of the door and window sashes. The French doors at the front of the house have "lambs tongue" or ogee profile glazing bars which were hand moulded and which are more in keeping with earlier construction techniques. The windows have glazing bars which are machine moulded indicating that the sashes, if not the whole body of the windows, are later and likely to have been inserted when the east and west walls were reconstructed. Window hoods throughout are likely to date to this period also.</p><br>
<p>The current wall between the kitchen and the adjacent room, which is believed to have been a bedroom, is original judging by the wide vertical boards used in its construction. The opening in this wall does not appear to be original. In this section too, external walls appear to have been reconstructed and were, until recently, lined with 100 millimetre T and G boards as the main house.</p><br>
<p>A photograph dated indicates that changes had been made from what it is believed was the original construction, including the addition of dowel balustrading to the front verandah, the replacement of the original shingled roof with corrugated iron, and the addition of stairs to the eastern side of the verandah. Evidence of the earlier balustrading exists in the mortice holes to the north-eastern verandah post.</p><br>
<p>Subsequent changes included the enclosure of part of the front verandah and the construction of a lean-to laundry building on the west. These additions have recently been removed. Nothing remains of the laundry except for an area of concrete slab on the ground at the foot of the steps. Sheet lining to the early bathroom and to the ceiling of the rear verandah has been removed, floors sanded and the whole building painted. The early timber outhouse and shed remain.</p><br>
<h3>The slab barn</h3><br>
<p>To the west of the farm house is a large barn constructed primarily of hardwood slabs and milled weatherboards with a corrugated iron roof. The barn is 15 metres by 10 metres and is elevated off the ground. The floor of the central section is made of hardwood boards, while the lower floors to either side are laid with large timber slabs. The building has been rebuilt recently and some roof framing and sheeting are therefore quite recent. Some new hardwood slabs have been introduced recently.</p><br>
<h3>The creamery</h3><br>
<p>Located in the showgrounds is a small creamery believed to be part of the Schmidt&#39;s farm. It is a timber weatherboard structure about 3 metres square with a corrugated iron roof. The framing and sheeting of the roof appear to be later than the body of the building.</p><br>
<p>The building has a concrete floor, not original. The walls are sheeted at about three-quarter height with timber slats to provide ventilation. There is evidence of 100 millimetre T and G lining internally, some of which has been cut away because of termite damage. Window openings are filled with timber shutters.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Schmidt Farmhouse & Outbuildings was listed on the Queensland Heritage Register on 8 April 1997 having satisfied the following criteria.</p><br>
<p>The place is important in demonstrating the evolution or pattern of Queensland&#39;s history.</p><br>
<p>The former Schmidt farmhouse and outbuildings demonstrate the pattern of Queensland&#39;s history by providing evidence of the farming history of the Gold Coast hinterland in the late 19th and early 20th centuries. In particular, it illustrates the expansion of commercial dairying on Gold Coast selections in the early 20th century. The place is also illustrative of the success of German immigration to Queensland in the last quarter of the 19th century.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>As very few farmhouses from the late 19th century are known to survive in the Gold Coast hinterland, the former Schmidt farmhouse demonstrates rare aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The house, barn, creamery and other surviving outbuildings demonstrate some of the principal characteristics of a small, late19th/early 20th century dairy farm, and the farmhouse core survives as rare illustration of earlier form, construction and materials employed in a small, rural dwelling house in the Gold Coast hinterland.</p><br>
<p>The Pollock Depot is a historic former railroad station on Avenue A in Pollock, South Dakota. It is a wood-frame structure with a gable roof, with two sections, one two stories, and the other a single story. The station was built in 1901 to Plan 3104, one of five plans used by the Minneapolis, St. Paul and Sault Ste. Marie Railroad  for its stations. The establishment of the station at this location resulted in the founding of the town of Pollock, whose buildings were moved here from other area communities. The single-story section, divided into seven sections by large brackets, originally housed freight, while the two-story section provided passenger facilities on the first floor housed living quarters for railroad workers.</p><br>
<p>The building was listed on the National Register of Historic Places in 1996.</p><br>
