<p>The Wilson Power and Light Company Ice Plant, later known as Delta Ice, is a historic industrial facility at 120 East Broadway in West Memphis, Arkansas. Built in 1930, it is a regionally distinctive brick structure, used for the manufacture and distribution of ice, a critical product that facilitated the shipment of perishable goods prior to the advent of refrigerated trucks. Its front facade is dominated by a loading dock, sheltered by a corrugated metal awning. The main decorative feature of the building is its parapet, formed of brick and cast stone. The interior retains original features, such as large 40-gallon vats which were used to produce 300-pound blocks of ice.</p><br>
<p>The building was listed on the National Register of Historic Places in 2010, at which time it was still in use as an icemaking facility.</p><br>
<p>The Moses Hutchins House, also known as the Kimball-Stanford House, is a historic house at the junction of Old Stage Road and Maine State Route 6 in Lovell, Maine. Built c. 1839, this two story wood frame house and attached barn have retained their Federal period styling, while exhibiting the adaptive alteration of early farmsteads over time. The house was listed on the National Register of Historic Places in 2003.</p><br>
<h2>Description and history</h2><br>
<p>The main block of the Hutchins house is a 2-1/2 story wood frame structure, five bays wide, with a side gable metal roof, large central chimney, and a granite foundation. The main entry is centered on the southwest-facing main facade, framed by a Federal-style surround with sidelight windows, fluted pilasters, and a fan set in an entablature above the door. A two-story ell extends northwest from the main block, joining it to a modified English barn.</p><br>
<p>The interior of the house follows a typical central-chimney plan. The entrance opens into a narrow vestibule, which includes a narrow, winding staircase leading to the second floor. Parlor rooms lie to either side, and the kitchen is centered behind the chimney, with two small flanking chambers. The northwest chamber has been transformed into a narrow hall leading to the ell and a second staircase leading upstairs. The ell, apparently built in stages, has several spaces on the first floor; on the upper level, the right section has two bedrooms, while the center one houses an unfinished work room. The left-most section, adjacent to the barn, was apparently designated as a corn crib, although it does not seem well-suited to that purpose. The barn is a 2-1/2 story structure, originally a classic English barn, which has had a section added to its front, and its roof reoriented 90 degrees.</p><br>
<p>The house and barn were built c. 1839 by Moses Hutchins, and parts of the connecting ell were probably built not long afterward. The property was purchased in 1867 by Elbridge Kimball, who added the second staircase and further extended the ell. It is unclear when the barn was modified, especially in relationship to the final section of the ell, which connected it to the house.</p><br>
<p>The house is now owned by the Lovell Historical Society, which uses it as a museum and research center.</p><br>
<p>Franklinton Depot, also known as the Raleigh and Gaston Railroad Passenger Depot and Franklinton Womans Club Clubhouse, is a historic train station located at 201 East Mason Street in Franklinton, Franklin County, North Carolina. It was built by the Raleigh and Gaston Railroad in 1886, and is a one-story, rectangular frame building with Italianate, Queen Anne, and Gothic Revival style design elements. The main section measures 51 feet by 16 feet, with an attached 10 feet by 12 feet baggage room. The main section has a steeply pitched gable roof and baggage room a low-pitched hip roof. It was moved to its present location in 1973 when acquired by the Franklinton Womans Club as a clubhouse.</p><br>
<p>It was listed on the National Register of Historic Places in 1990.</p><br>
<p>Loch na h-Oidhche  is a remote freshwater loch lying between Loch Torridon and Loch Maree in the Flowerdale Forest, Wester Ross, Scotland. It is approximately 4.5 mi north of the small village of Torridon and 6 mi west of Gairloch.</p><br>
<p>The loch is oblong in shape and trends north by northwest to south by southeast. It drains by a bifurcated stream and several small lochs into Loch Maree and Loch Gairloch. The surrounding area is mountainous with Beinn an Eoin to the east and Baosbheinn to the west. The loch was surveyed on 7 August 1902 by T.N. Johnston and John Hewitt and later charted as part of the Sir John Murray and Laurence Pullar&#39;s Bathymetrical Survey of Fresh-Water Lochs of Scotland 1897-1909.</p><br>
<p>Wild brown trout are known to inhabit the loch.</p><br>
<p>Sterling Cotton Mill, also known as the Franklinton Cotton Mill, is a historic cotton mill complex located at 106 East Green Street in Franklinton, Franklin County, North Carolina. The main mill is a one and two-story L-shaped brick building with Industrial Italianate style design elements. The mill consists of five sections: the original gabled one-story section rising to a two-story section at the east end ; a two-story addition , a one-story addition ; pre-1926 "cotton sheds&quot and a small two-story brick office . Associated with the mill is the contributing detached chimney stack. The mill was built by Samuel C. Vann, whose son Aldridge built the Aldridge H. Vann House. The mill closed in 1991.</p><br>
<p>It was listed on the National Register of Historic Places in 1996.</p><br>
<p>Minersville Historic District is a national historic district located at Johnstown in Cambria County, Pennsylvania. The district is a working class neighborhood of privately and company built housing running along the north side of the Conemaugh River.</p><br>
<p>The district is one of several in the Johnstown area, all are typical nineteenth century western Pennsylvania industrial communities, including Cambria City, Moxham, and Old Conemaugh. Minersville was primarily associated with the former Cambria Iron Lower Works. The district consists of 92 residences and one fraternal club, all built between 1880 and 1945, though the strongest growth came in the early 1900s. Due to its hillside location, Minersville survived the 1889 Johnstown Flood.</p><br>
<p>It was listed on the National Register of Historic Places in 1995.</p><br>
<p>Louisburg Historic District is a national historic district located at Louisburg, Franklin County, North Carolina. The district encompasses 206 contributing buildings, 1 contributing site, 6 contributing structures, and 1 contributing object in residential sections of Louisburg included in the original 1779 town plan. It also includes a section of Louisburg College located on the old Town Commons. Dwellings date between about 1800 and the 1920s and include notable examples of popular architectural styles including Federal / Georgian, Italianate / Greek Revival, Queen Anne, Colonial Revival, Late Victorian, and Bungalow / American Craftsman. Located in the district and separately listed are the Fuller House, Williamson House, and Main Building, Louisburg College. Other notable buildings include the Shine-King House , Milner-Perry-Boddie-Dennis House , Dr. J.B. Clifton House , The Edgerton-Pruitt House , The Furgurson-Hicks House , Nicholson-Bickett-Taylor House , The Hughes-Watson-Wheless House , Bailey-Yarborough House , The Barrow House , The Neal-Webb House , The Milner-Williams-Person Place , Former Rectory-St. Paul&#39;s Episcopal Church, Hicks-Perry-Bland-Holmes House , Malcomb McKinne House  First Baptist Church , Louisburg United Methodist Church , and Louisburg Baptist Church .</p><br>
<p>It was listed on the National Register of Historic Places in 1987.</p><br>
<p>Perry School is a historic school complex located near Centerville, Franklin County, North Carolina. The complex consists of four buildings: a one-story Colonial Revival style frame school ; a one-story, gable-roofed detached concrete block rear wing ; a low-slung, U-shaped, one-story, brick high school; and the roughly rectangular, gable-roofed brick gymtorium . The complex also includes the baseball field and two sets of paired brick pillars erected by two graduating classes. The complex was built to serve the educational needs of the African-American population of Franklin County and is one of a few remaining Jim Crow-era schools in the county. The original school was built with funds provided by the Public Works Administration . The Perry School closed in 1968 as a result of integration.</p><br>
<p>It was listed on the National Register of Historic Places in 2011.</p><br>
<p>The H. B. Ailman House is a historic house located at 314 W. Broadway in Silver City, New Mexico. Prospector Henry B. Ailman had the house built using his profits from the Naiad Queen Silver Mine in Georgetown; his business partner H. M. Meredith built an identical house next door, which has since been demolished. The brick Victorian house features a -story square turret, which Ailman used to watch for Apache attacks on Silver City. Ailman and Meredith attempted to found a bank in Silver City, but it failed in 1887; Ailman&#39;s house changed owners several times in the following decades. The city took ownership of the house in 1926 and made it the new City Hall. The house became a firehouse after a new city hall was constructed. In 1967, the Silver City Museum opened in the house. The property today remains in operation as a historic house museum.</p><br>
<p>The house was added to the National Register of Historic Places on May 12, 1975.</p><br>
<p>Franklin County Training School-Riverside Union School, also known as Louisburg Elementary School, is a historic school complex located at Louisburg, Franklin County, North Carolina. The complex includes three contributing Modern Movement style buildings: 1951 Classroom Building originally built for the Franklin County Training School; a 1960 Classroom Building ; and a 1964 Cafeteria Building. The complex was built to serve the educational needs of the African-American population of Franklin County. The school became the Riverside Union School in 1960, and remained so until 1968, when it became Louisburg Elementary. In 2006, it became the central office for the county school system.</p><br>
<p>It was listed on the National Register of Historic Places in 2012.</p><br>
<p>Vaynor Park is a country house in a landscaped park, standing on high ground to the south-west of Berriew village, in the historic county of Montgomeryshire, now Powys. The origins of the house date from the mid-15th century, but the house was extensively re-built in brick about 1640. The house was further re-modelled in 1840–1853 by Thomas Penson.</p><br>
<h2>Early ownership</h2><br>
<p>The substantial medieval house built for Edward ap Hywel ab leuan Llwyd is described by the poet Guto&#39;r Glyn (c.1412 – c.1493) in the C15.</p><br>
<h2>17th-century rebuilding</h2><br>
<p>In the 1570s the house was purchased by Arthur Price, a son of Mathew Price of Newtown Hall. Arthur Price was the Member of Parliament for the Montgomery Boroughs from 1571–2. The house then descended to George Devereux, who in 1633 had married Briget, the granddaughter of Arthur Price. The brick house, shown in John Ingleby’s watercolours, was built for the Devereux family. George Devereux was the son of Sir George Devereux of Sheldon Hall Warwickshire and his uncle was Walter Devereux, Viscount Hereford. George Devereux played a leading part in Montgomeryshire politics. Sir George Devereux (d. 1665 ), who was ‘ recruiter ’ M.P. for Montgomery in the Long Parliament ( 6 April 1647 ). He was suspended as a ‘ delinquent ’ the following May, but signed the Montgomeryshire declaration for Parliament on 20 May 1648. After the king&#39;s execution he remained in retirement till he began to sit on county committees in 1657 and accepted office as sheriff in 1658. Haslam attributes the building of Vaynor in brick to him around 1640, but it could also be after the Civil War.</p><br>
<h3>John Ingleby's views of Vaynor 1796</h3><br>
<p>In 1776 Thomas Pennant stayed with his friend Arthur Blayney at nearby Gregynog while making a tour through Montgomeryshire. When this Tour was included in the second edition of ‘‘Tour in Wales’‘ which was published in 1783, he only included a short description of Vaynor. He intended to revise the Montgomeryshire tour, and, as it was un-illustrated, he commissioned the artist in John Ingleby in 1794-6 to produce a series of watercolours of Montgomeryshire houses and churches. These watercolours are now in the National Library of Wales and included two watercolours of Vaynor. In one of these, Ingleby shows himself on horseback sketching Vaynor.</p><br>
<p>Ingleby’s watercolour shows the S W aspect of the house which now looks onto a rectangular court yard at the opposite end of which is a long stable block. The two forward wings of the house remain but the buildings to each side have been removed.</p><br>
<h2>Rebuilding by Thomas Penson 1840–53</h2><br>
<p>In the early 19th the Winder family had various schemes for rebuilding Vaynor. Plans exist of c1810 by Thomas Hopper for a Gothic extravaganza and a further scheme was submitted by Peter Frederick Robinson about 1820. However in the mid 1830s John Lyon Winder opted for a more modest scheme by Thomas Penson the Montgomeryshire County Surveyor which preserved a greater portion of the interiors of the house. The style chosen was Jacobean, a reflection of taste changing from the austere medieval of earlier in the century towards more opulent decoration. So on the West, transom-and-mullion windows were inserted (replacing Georgian sashes) and given pediments, big shaped gables were substituted, and a carved porch with pilasters and a strapwork crest was added, to give an E plan. The chimneys were rebuilt with the tall brick shafts that were to characterize many of the estate houses and farms. Shaped gables to the E side, the outer bays with strapwork-crested bay-windows. Penson’s remodeling is of convincing quality, and is particularly dramatic when viewed from below the terrace to the S.</p><br>
<p>Inside, the plan was reordered by Penson, but most of the fittings are those of the late C17, which is a tribute to him. In the hall a C17 carved overmantel from Crutched Friars. The library, whose l. part held the staircase, has a plaster ceiling and lovely woodwork to Penson&#39;s designs, excepting a mid-C17 overmantel, which has carved figures. In the drawing and dining rooms, ceilings by Penson (the latter based on that in the long gallery at Hardwick Hall), and in the latter a fireplace carved by Henry Street incorporating C17 pieces. The fine staircase, dog-leg, with its fluted pear-shaped balusters and bold bolection panelling, was reassembled – which might account for some crude details in the broken triangular pediments over the doorcases. In the study, late C17 bolection paneling.</p><br>
<p>The house stands at the E of a courtyard which had two-storey pavilions halfway down the side walls. The long C17 gatehouse and stables have scrolled gables which were lowered by Penson, who added three gables facing the house. The florid Elizabethan frontispiece on the outer side came last and was added by Samuel Pountney Smith of Shrewsbury, 1853.</p><br>
<h2>Literature</h2><br>
<p>Alfrey J (2001), Rural Building in Nineteenth- Century North Wales: The Role of the Great Estate, Archaeologia Cambrensis. Vol 147, 1998, 199–216.</p><br>
<p>Cadw (1999) Register of Landscapes, Parks and Gardens of Special Historic Interest in Wales: Powys. Cardiff</p><br>
<p>Richard Haslam, A Note on the Architecture of Vaynor Park, Montgomeryshire Collections, Vol. 65, 1977.</p><br>
<p>Pinhorn M., Vaynor, Berriew, Montgomeryshire, Montgomeryshire Collections, 65, 1977 esp. pp 35–37</p><br>
<p>Scourfield R and Haslam R, (2013) Buildings of Wales: Powys; Montgomeryshire, Radnorshire and Breconshire, 2nd edition, Yale University Press, p. 84.</p><br>
<p>Silvester, R. (2012) Mapping Montgomeryshire: Estate Maps from 1589 t0 1840, Montgomeryshire Collections, Vol. 100, pp 149–180</p><br>
<p>Silvester, R. and Alfrey, J. Vaynor: a landscape and its buildings in the Severn Valley, in Estate Landscapes: Design, Improvement and Power in the Post-Medieval Landscape (Ed. Finch J and Giles K) Boydell press, Woodbridge 2008.</p><br>
<p>Peter Smith,(1988) Houses of the Welsh Countryside, Royal Commission on the Ancient and Historical Monuments of Wales, 2nd edition.</p><br>
<p>Dalupiri Island is an island in the Babuyan Islands in Luzon Strait north of Luzon Island in the Philippines. The whole island makes up the barangay of Dalupiri, which is part of the municipality of Calayan in Cagayan province, which had 606 inhabitants in 2007.</p><br>
<p>The island can reached by boat from the Port of Aparri.</p><br>
<h2>Geography</h2><br>
<p>Dalupiri Island lies about 45 km north of Luzon and about 15 km north of Fuga Island. The island has an elongated elliptical shape orientated along a north-south axis, the island has a length of about 18 km, with a width of about 7 km at its widest point. The topography of the island is characterized by a flat hilly landscape, in the center of the island, the terrain rises to 297 m above sea level. The island has an area of 166 km&sup2;. The longest river of the island is the Manolong River, about 2.5 km long.</p><br>
<p>The vegetation of the island consists partly of dense, tropical vegetation, and partly agricultural land. The largest animals on the island are the Carabao and horses. A small population of the Philippine crocodile (Crocodylus mindorensis) is also native to the island. Of the avifauna is nankeen night heron (Nycticorax caledonicus) and the Zebra Ralle (Gallirallus torquatus) both are known to breed on the island.</p><br>
<p>Another island named Dalupiri is located in the Samar Sea, in the province of Northern Samar.</p><br>
<p>Helm Place is a white-columned, brick mansion built by John LaRue Helm in the 1830s, about one and a half miles north of the center of Elizabethtown, Kentucky. It was added to the National Register of Historic Places in 1976.</p><br>
<p>In 1831, John LaRue Helm purchased the old homestead of his grandfather, Captain Thomas Helm, from his uncle Benjamin. The purchase included his fathers home several miles outside of Elizabethtown. John then sold his fathers home and some 500 acres to Reverend Charles J. Cecil and the Sisters of Loretto, who used the property to create a girls boarding school known as Bethlehem Academy.</p><br>
<p>After that, John began construction of a new home called Helm Place on the site of Helm Station, a wooden stockade fort. Helm Station was one of three forts built by Thomas Helm in 1780s in the form of a triangle, each spaced one mile apart, to protect against Indian raids. The settlers built their homes in between the three forts, forming a small community that developed into Elizabethtown in the 1790s.</p><br>
<p>The Larue-Layman House is a two-story brick house in Elizabethtown, Kentucky, that was added to the National Register of Historic Places in 1988.</p><br>
<p>The house was originally built in 1831 as a small brick home for Jacob Warren LaRue, a member of a local pioneer family and the husband of Eliza Helm, who was the sister of Governor John LaRue Helm. Extensive remodeling was performed for George M. Cresap, the brick on the west and south facades and little else remain from the 1831 section. The 1860s remodeling produced an asymmetrical Italianate design. A one story porch with Doric columns replaced the original on the main (south) facade, a one story addition was added to the north facade.</p><br>
<p>The house is notable example of the Italianate residences built in Elisabethtown in the 19th century.</p><br>
<p>The Lordsburg-Hidalgo County Library is a public library located at 208 E. Third St. in Lordsburg, New Mexico. The Lordsburg Womens Club established Lordsburgs library in 1919; it originally operated out of spaces in other public buildings and houses. The Works Progress Administration built a permanent building for the library in 1936-37. The library building has a Pueblo Revival design with adobe walls and vigas supporting the roof. A New Deal-commissioned oil painting titled Landscape in Talpa, which was given to the library upon its opening, decorates the inside. The library currently has over 20,000 volumes and is one of two county-funded libraries in New Mexico.</p><br>
<p>The library was added to the National Register of Historic Places on February 4, 2004.</p><br>
<p>Great Court is a heritage-listed university colonnade at the University of Queensland, St Lucia, City of Brisbane, Queensland, Australia. It was designed by Jack Hennessy, junior and built from 1937 to 1979. It was added to the Queensland Heritage Register on 8 March 2002.</p><br>
<h2>History</h2><br>
<p>Proposals for a university in Queensland began in the 1870s. A Royal Commission in 1874, chaired by Sir Charles Lilley, recommended the immediate establishment of a university. Those against a university argued that technical rather than academic education was more important in an economy dominated by primary industry. Those in favour of the university, in the face of this opposition, distanced themselves from Oxford and Cambridge and proposed instead a model derived from the mid-western states of the USA. A second Royal Commission in 1891 recommended the inclusion of five faculties in a new university; Arts, Law, Medicine, Science and Applied Science. Education generally was given a low priority in Queensland&#39;s budgets, and in a colony with a literacy rate of 57% in 1861, primary education was the first concern well ahead of secondary and technical education. The government, despite the findings of the Royal Commissions, was unwilling to commit funds to the establishment of a university.</p><br>
<p>In 1893 the Queensland University Extension Movement was begun by a group of private individuals who organised public lecture courses in adult education, hoping to excite wider community support for a university in Queensland. In 1894, 245 students were enrolled in the extension classes and the lectures were described as practical and useful. In 1906 the University Extension Movement staged the University Congress, a forum for interested delegates to promote the idea of a university. Opinion was mobilised, a fund was started and a draft Bill for a Queensland University was prepared. Stress was laid on the practical aspects of university education and its importance for the commerce of Queensland. The proceedings of the Congress were forwarded to Queensland Premier William Kidston. In October 1906, sixty acres in Victoria Park were gazetted for university purposes.</p><br>
<p>The University of Queensland was established by an Act of State Parliament on December 10, 1909 to commemorate the 50th anniversary of Queensland&#39;s separation from the colony of New South Wales. The Act allowed for the university to be governed by a senate of 20 men and Sir William MacGregor, the incoming Governor, was appointed the first chancellor with Reginald Heber Roe as the vice chancellor. Government House (now Old Government House) in George Street was set aside for the University following the departure of the Governor to the Bardon residence Fernberg, sparking the first debates about the best location for the university.</p><br>
<p>In 1910 the first teaching faculties were created. These included Engineering, Classics, Mathematics and Chemistry. In December of the same year, the Senate appointed the first four professors; Bertram Dillon Steele in chemistry, John Lundie Michie in classics, Henry James Priestley in mathematics and Alexander James Gibson in engineering. In 1911 the first students enrolled.</p><br>
<p>Practically from the start there was controversy about a permanent site for the University. Old Government House was too small and was seen by many as evidence merely of government parsimony. There was not much room for expansion and there were conflicts with the neighbouring Brisbane Central Technical College. Victoria Park had been chosen in 1906 for a permanent site and in 1922 a further 170 acres were vested in the University. The high cost of preparing the steeply sloping land at Victoria Park for building made it a less than ideal site despite its central location and proximity to the Royal Brisbane Hospital. Yeronga Park and St Lucia were considered as options. But in 1926 the whole issue was transformed when Dr James O&#39;Neil Mayne and Miss Mary Emelia Mayne made £50,000 available to the Brisbane City Council to resume land at St Lucia and present it to the University. Opinion was divided with Professor Steele and many members of the medical profession against St Lucia because of its isolation and lack of public transport. A meeting of the Senate, on the 10 December, voted for the St Lucia site on the condition that the city council provided access. Those voting for St Lucia included Archbishop James Duhig, Edwin James Droughton Stanley, Alexander Clifford Vernon Melbourne and Professor Henry Caselli Richards. Dr Lockhart Gibson, Chancellor Andrew Joseph Thynne and Archbishop Gerald Sharp were amongst those who voted for Victoria Park. In 1930 the Senate handed over Victoria Park, less eleven acres reserved for a medical school, to the Brisbane City Council in exchange for the St Lucia site.</p><br>
<p>During the years of the Depression that followed the university suffered progressive reduction of government funding. Cuts were made to both staff salaries and numbers while student numbers trebled between 1923 and 1933. There was no prospect of building the new university until 1935 when the Premier, William Forgan Smith, announced that the Queensland Government would undertake construction at St Lucia. This was one of the three major development projects initiated in the mid 1930s by the Queensland Government to create employment, the others being the Somerset Dam on the Stanley River and the Story Bridge. The University Senate called for and received schemes from various enthusiasts, including Professor Roger Hawken, Dr Frederick Walter Robinson, Andrew Baxter Leven and Dr John Bradfield. Taking ideas from these suggestions the Senate committee produced its own preliminary design. The principle building, containing Arts, Law and administration, was E-shaped and enclosed one side of an arcaded quadrangle. Related outer buildings contained Engineering, Biology, Medicine, Physics, Chemistry, Geology, a museum and a teachers&#39; training college. The Queensland Government, despite hopes for a competition, appointed the Sydney firm of Hennessy, Hennessy & Co as architects for the project; and Jack Hennessy (1887-1955) produced the coherent and logical plan that still lies at the heart of the University.</p><br>
<p>The foundation stone was laid in 1937 by Forgan Smith but it was another year before building commenced. Construction began in March 1938 with the main building, now known as the Forgan Smith Building, and was followed shortly afterward with the lower floors of the library and the Chemistry building. It was to proceed, due to financial constraints, in stages clockwise around the court.</p><br>
<p>Work was disrupted by the Second World War. The main building served its first use, from 1942-1944, as the headquarters of General Sir Thomas Blamey (head of the Australian Military Forces). The army evacuated the building and work re-commenced by 1948. The Forgan Smith Building was officially opened in May 1949 by Premier Ned Hanlon. The Duhig Library (two-stories only and named for Archbishop Sir James Duhig) was also ready by this time, as was the Steele Building (named for the first professor of chemistry, Professor Bertram Steele).</p><br>
<p>In 1951 the Richards Building (named for the first professor of geology, Henry Caselli Richards) was completed. In 1955 the Parnell Building (named for the inaugural professor of physics, Thomas Parnell) and an addition to the west wing of the Forgan Smith Building were completed. In 1962, jointly funded by state and commonwealth governments, the Goddard Building (named for the second professor of biology, Ernest James Goddard) was completed. In 1965 three extra floors were added to the Duhig Library to the design of James Birrell.</p><br>
<p>The final building at the western end of the Forgan Smith was to have been a Great Hall. John Douglas Story, the vice chancellor from 1938 until 1960, proposed in 1959 that this be replaced by a western Arts building and in 1972 construction began on the Michie Building (named for first the professor of classics, John Lundie Michie). The Queensland Government announced in 1974 that it would provide the funding to clad the building in sandstone. The Michie Building was completed in 1978.</p><br>
<p>In March 1979 the colonnade between the Michie Building and the Goddard Building was completed enclosing the Great Court Complex.</p><br>
<p>A number of changes have been made over the years to the Great Court Complex. Some of buildings have been augmented or altered: there are various structures on top of the Goddard Building, and a new, discreet addition to the Law Library at the western end of the Forgan Smith Building which was designed by Robert Riddell. Perhaps the most significant change is that the planting within the Court is less formal than originally intended, and takes little account of Hennessys plans for strong visual axes to tie the whole Court together. Notable also in this respect are Professor Gareth Roberts master plan for the university which involved the closing of the circular drive and the placement of the Main Library and the Great Hall in front of the Forgan Smith Building.</p><br>
<p>In 2009 as part of the Q150 celebrations, the Great Court was announced as one of the Q150 Icons of Queensland for its role as a "structure and engineering feat".</p><br>
<h3>The Sculptors</h3><br>
<p>As part of Hennessy, Hennessy & Co&#39;s original concept, it was intended that the Great Court would include extensive sculptural work portraying historical panels, statues, coats of arms and panels of Australian plant and animal life. Many of the designs were done by Leo Drinan, who was the principal architect with Hennessy, Hennessy & Co. Work on the sculptures began in 1939, with German born John Theodore Muller and Frederick James McGowan as the principle stonemasons. Work was halted by the war in 1942 and McGowan died before it resumed three years later. Muller continued to carve until his death at more than 80 years of age, in 1953. At the time of his death all of the friezes, most of the statues, and half of the grotesques, coats of arms, arches and roundels were completed.</p><br>
<p>Carving virtually stopped at the University after Muller&#39;s death and resumed only after the Michie Building was under construction. A competition amongst several Queensland sculptors in 1976 led to the commissioning of Mrs Rhyl Hinwood. Mrs Hinwood has since continued to carve numerous grotesques and coats of arms for the Court, as well as the two monumental figures at the main entrance to the Goddard Building.</p><br>
<h2>Description</h2><br>
<p>The Great Court Complex is set on the high ground in the centre of a site enclosed by Cemetery Reach, a bend in the Brisbane River, on the northern, eastern and southern sides, and St Lucia, a residential suburb, on the west. The Court, approximately semicircular in plan with eight unequal sides, is an open grassed space planted intermittently with trees and shrubs and intersected by an axially placed path. The perimeter of the court consists of a continuous colonnade that links five detached buildings, all clad in Helidon sandstone of varying colours ranging from rich purples through to creams and browns. The largest of these, forming the long northern side of the court, is really a complex of three attached buildings. It consists of the centrally located Forgan Smith Building, flanked by the Michie Building at the western end and Duhig Library to the east. The other buildings which face onto the central court are, moving around the perimeter clockwise from the Duhig Library, the Steele Building, the Richards Building, the Parnell Building and the Goddard Building.</p><br>
<h2>Heritage listing</h2><br>
<p>University of Queensland, Great Court Complex was listed on the Queensland Heritage Register on 8 March 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>The University of Queensland, established in 1909, commemorates Queenslands 50th anniversary of its separation from the colony of New South Wales. As the states first university, it demonstrates the gradual evolution of higher education in Queensland, which was considered a low budget priority despite recommendations made to the Government as early as the 1870s.</p><br>
<p>The selection of a permanent site for the university was the subject of intense government and community debate in 1926. The eventual acquisition of land at St Lucia is strongly associated with Dr James ONeil Mayne and his sister, Mary Emilia Mayne who made £50,000 available for the Brisbane City Council to purchase the property. In 1935, its Silver Jubilee year, the University decided to commence construction at the St Lucia site. The project was one of the Forgan Smith governments major developments of the 1930s depression years, specifically aimed at creating employment. The premier&#39;s involvement is commemorated in the naming of the first completed building on the site. Between 1942 and 1945 the university played an important role in the activities of the Second World War when General Sir Thomas Blamey, head of the Australian Defence Forces, established the Forgan Smith Building as the Land Headquarters.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The layout of the Great Court complex is the clearest and most intact example in Australia of a university set out in accordance with the innovative American collegiate planning principles introduced by Thomas Jefferson in the early 1800s. The Jeffersonian concept of an academic village is clearly demonstrated in the complex by the large, open central courtyard that is surrounded by interspersed pavilions representing different disciplines, linked together by internal colonnades. From its location on the highest rise of the land overlooking the surrounding campus buildings, the Great Court is regarded as an important visual symbol of and central core to the University of Queensland.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Built over a forty-year period between 1937 and 1979, the Great Court Complex is significant both architecturally and aesthetically as an extensive and distinctive example of Art Deco styling. Uniformity is an important attribute of the complex, demonstrated not only by congenial characteristics such as monumental scale and form, strong horizontal and vertical lines, and materials but also the abundant sculptural work such as friezes, statues, and grotesques depicting significant individuals and events in the history of the State, the Commonwealth and the University. The public interiors of the individual buildings, particularly those in the Forgan Smith Building, are of notable interest for the high quality detailing of its materials and finishes harmoniously executed in the same style as the exteriors.</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>From its location on the highest rise of the land overlooking the surrounding campus buildings, the Great Court is regarded as an important visual symbol of and central core to the University of Queensland. Due to this symbolism, the complex has a strong association with past and present students and faculty members throughout the state.</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 University of Queensland, Great Court Complex has a special association with the work of Hennessy, Hennessy & Co, prominent Australian architects with offices in Brisbane and Sydney, who were responsible for designing a number of institutional and educational complexes throughout Australia during the 1920s and 1930s. The original design for the university is regarded as their most aspiring proposal in Queensland and although not completed in its entirely, the Great Court complex part of the University generally conforms to the original plan.</p><br>
<p>The Great Court Complex also has a strong association with the notable craftsman, John Theodore Muller, a German stonemason responsible for completing much of the Great Court sculpture between 1939 and 1953 including the statues, friezes on the Forgan Smith and Steele Buildings: the distinctive frieze of prehistoric life on the Richards Building; and about half of the grotesques, coats of arms, arches and roundels. The sculptured works form an integral part of the Great Court Complex and represent an immense undertaking in stone.</p><br>
<p>Armavir  was a large commercial city and the capital of ancient Armenia during the reign of the Orontid Dynasty. It is located 1 km west of the 17th-century village of Armavir.</p><br>
<h2>History</h2><br>
<h3>Antiquity</h3><br>
<p>The area of ancient Armavir was inhabited since the 6th millennium BC. Various obsidian instruments, bronze objects and pottery have been found from that period. Armavir was regarded as an ancient capital of Armenia, said to have been founded by King Aramais in 1980 BC.</p><br>
<p>During the first half of the 8th century BC, King Argishti I of Urartu built a fortress in the area and named it Argishtikhinili. In 331 BC, when Armenia under the Orontid Dynasty asserted its independence from the Achaemenid Empire, Armavir was chosen as the capital of Armenia. Slabs of clay have been found from the Achaemenid period written in the Elamite language concerning episodes of the Gilgamesh epic. Various inscriptions in Hellenistic Greek carved around the third century BC, have been found, including poetry from Hesiod, lines from Euripides, a list of Macedonian months, and names of Orontid Kings.</p><br>
<p>According to the 5th-century Armenian historian Movses Khorenatsi, Armavir was the first capital of the kingdom of Armenia (although, from a geographical standpoint, the first capital of Armenia was Van). Movses has preserved the tradition that when King Valarsace the Parthian settled in Armavir (ca. 149 BC), he built a temple there and asked prince aspet (knight) Smbat of the Bagratuni Dynasty to give up his religion and worship idols. But Smbat refused to comply. Movses also relates that when King Tigranes II (whom he places on the throne from 90-36 BC), in order to take revenge on Queen Cleopatra of Egypt, sent an expedition to Palestine, he carried a great number of Jews into captivity, and settled them in Armavir and in Vardges. Movses goes on to state that later Jews were transferred from Armavir to Yervandashat; and under King Artashes I, were again transferred into the new capital Artashat. When King Sapor II of Persia invaded Armenia (360-370), he led away from Artashat 30,000 Armenian and 9,000 Jewish families, the latter brought by King Tigranes from Judea, and then completely destroyed the city.</p><br>
<p>During Antiquity, Armavir was taken by the Seleucids, Parthians, Roman Empire, Sassanids and Byzantine Empire before it was taken over by the Arabs in 645.</p><br>
<h3>Medieval Armavir</h3><br>
<p>Arabic sovereignty lasted until the first quarter of the ninth century. The Sajids managed this region in the 9th century. After that, the Georgian Bagrationi Dynasty managed this region. The Byzantine Empire reconquered this region in 1045 but this region passed to Seljuk Turks in 1064, who renamed the city Sardarabad. This region was passed among Georgians and Armenians, Eldiguzids and Khwarezmid Empire after Seljuk&#39;s decline. Mongols captured this region in 1239 and founded Ilkhanid state in 1256. This region was passed to Chupanids in 1353, Jalayirids in 1357 and Kara Koyunlu in 1388. Tamerlane captured this region in 1400. Qara Yusuf retook this region in 1407 from Timurid Empire. However Shah Rukh who was a Timurid ruler captured this region in 1421 and in 1429. Jahan Shah who was a Kara Koyunlu ruler captured it in 1447.</p><br>
<h3>Ottoman-Persian rule</h3><br>
<p>Kara Koyunlus sovereignty lasted until Uzun Hasan, ruler of Ak Koyunlu, conquered it in 1468. Ak Koyunlus sovereignty lasted until 1501, Ismail I&#39;s conquest. Ismail I was founder of Safavid Dynasty. This region was temporarily occupied by Ottoman Empire in 1514, in 1534, in 1548 and in 1553. It was then conquered by Ottoman Empire in 1585 but retaken by the Safavid ruler Abbas I of Persia in 1603. Under the rule of Abbas I, the Armenians of Armavir were resettled in Persia and ancient Armavir was finally abandoned.</p><br>
<p>The settlement remained abandoned until 1613, when 7 Armenian families rebuilt a new village just 1 km east of the ancient site of Armavir.</p><br>
<p>It was occupied by Ottomans between 1635–1636 and 1724–1736. At the fall of the Safavid Empire, Armavir became part of the Erivan Khanate.</p><br>
<h3>Russian rule</h3><br>
<p>The Russo-Persian War (1826-1828) began due to Persian demand to reconquer the territories lost to Russia between 1804 and 1813. At first, the Persians repulsed the Russians from the South Caucasus in 1826. However, Russian general and commander of the Russian army, Ivan Paskevich, reconquered South Caucasus and extended its territories to include the Erivan Khanate in 1827.</p><br>
<p>This region formally passed from Persian to Russian sovereignty after the Treaty of Turkmenchay in 1828. Armavir became the Sardarabad uyezd of the Armenian Oblast, which itself became the Erivan guberniya in 1840. This situation lasted until the February Revolution in 1917.</p><br>
<h3>1917 revolutions and Armenian-Ottoman War</h3><br>
<p>After the February Revolution, the region was under the authority of Special Transcaucasian Committee of the Russian Provisional Government and subsequently the short-lived Transcaucasian Democratic Federative Republic. When the TDFR was dissolved in May 1918, this region passed to Democratic Republic of Armenia, having a conspicuous role in Armenian history due to Battle of Sardarapat. There, the Armenian forces staved off extermination and repulsed the Ottoman Army whose campaign in the Caucasus was aimed at occupying Yerevan.</p><br>
<p>However, the Ottomans did occupy most of the Erivan Governorate, forcing the Armenians to sign the Treaty of Batum in June 1918. The Ottoman Army retreated after signing Armistice of Mudros at the end of 1918 and so Armavir returned to Democratic Republic of Armenia in November 1918.</p><br>
<p>Artashat ; Hellenized as Artaxata , was a large commercial city and the capital of ancient Armenia during the reign of king Artaxias I; the founder of the Artaxiad Dynasty of the ancient Kingdom of Armenia. The name of the city is derived from Iranian languages and means the "joy of Arta". Founded by King Artaxias I in 176 BC, Artaxata served as the capital of the Kingdom of Armenia from 185 BC until 120 AD, and was known as the "Vostan Hayots" .</p><br>
<h2>History</h2><br>
<h3>Antiquity</h3><br>
<p>King Artashes I founded Artashat in 176 BC in the Vostan Hayots canton within the historical province of Ayrarat, at the point where Araks river was joined by Metsamor river during that ancient eras, near the heights of Khor Virap. The story of the foundation is given by the Armenian historian Movses Khorenatsi of the fifth century: "Artashes traveled to the location of the confluence of the Yeraskh and Metsamor and taking a liking to the position of the hills, he chose it as the location of his new city, naming it after himself." According to the accounts given by Greek historians Plutarch and Strabo, Artashat is said to have been chosen and developed on the advice of the Carthaginian general Hannibal:</p><br>
<p>However, modern historians argue that there is no direct evidence to support the above. Some sources have also indicated that Artashes built his city upon the remains of an old Urartian settlement. Strabo and Plutarch describe Artashat as a large and beautiful city and call it the "Armenian Carthage". A focal point of Hellenistic culture, Armenia&#39;s first theatre was built here. Movses Khorenatsi points that in addition to numerous copper pagan statues of the gods and goddesses of Anahit, Artemis and Tir brought from the religious center of Bagaran and other regions to the city, Jews from the former Armenian capital of Armavir were relocated to Artashat.</p><br>
<p>Artashes also built a citadel (which was later named Khor Virap and gained prominence as the location where Gregory the Illuminator was to be imprisoned by Trdat the Great) and added other fortifications, including a moat. Given the city&#39;s strategic position on the Araks valley, Artashat soon became a center of bustling economic activity and thriving international trade, linking Persia and Mesopotamia with the Caucasus and Asia Minor. Its economic wealth can be gauged in the numerous bathhouses, markets, workshops administrative buildings that sprang up during the reign of Artashes I. The city had its own treasury and customs. The amphitheater of Artashat was built during the reign of king Artavazd II (55-34 BC). The remains of the huge walls surrounding the city built by King Artashes I could be found in the area.</p><br>
<h3>Wars against Romans and Persians</h3><br>
<p>During the reign of Tigranes II, the Armenian kingdom expanded and conquered many territories in the south and west, ultimately reaching the Mediterranean Sea. Due to the remoteness of Artashat in the greater context of the empire, Tigranes built a new capital called Tigranakert. However, in 69 the Roman general Lucullus invaded Armenia, defeated Tigranes&#39; forces at the outskirts of Tigranakert, and sacked the new capital. As the harassed Roman forces continued to move northeast in pursuit of the Armenian king, a second prominent battle took place, this time at Artashat where, according to Roman sources, Tigranes II was defeated once again. Artashat was restored as capital of Armenia in 60 B.C.</p><br>
<p>However, the city remained a hotly contested military target for the next two centuries. It was occupied by Capadocian legions under the Roman general Gnaeus Domitius Corbulo, who razed it to the ground in 59 AD as part of the first, short-lived, Roman conquest of Armenia. After Emperor Nero recognized Tiridates I as king of Armenia in 66, he granted him 50 million sesterces and sent architects and construction experts to help in the reconstruction of the ruined city. The city was temporarily renamed Neronia, in honor of its sponsor, Nero.</p><br>
<p>Artashat remained the capital of Armenia until 120 when the see of power was moved to Vagharshapat during the reign of Vologases I (Vagharsh I) 117/8–144. After his death, the Romans led by Statius Priscus invaded Armenia and destroyed Artashat in 162 A.D. Archaeological excavations conducted during the Soviet era uncovered a Latin inscription bearing the full titles of the Emperor Trajan that was probably inscribed upon the governor&#39;s palace, dating back to the first quarter of the second century. Artashat remained one of the principal political and cultural centres of Armenia until 369 when it was thoroughly destroyed by the Sassanid Persian invading army of king Shapur II.</p><br>
<p>In 449, just prior to the Battle of Avarayr, the city witnessed the gathering of the Artashat Council, where the political and religious leaders of Christian Armenia gathered to discuss the threats of the Sassanid king Yazdegerd II. However, after losing its status as a capital to Vagharshapat and later Dvin, Artashat gradually lost its significance.</p><br>
<p>The exact location of ancient Artashat was identified during the 1920s, with archaeological excavations beginning in 1970. The archaeological site is 8 km south of the modern city of Artashat, near the monastery of Khor Virap.</p><br>
<h3>Soviet period and independence</h3><br>
<p>The modern town of Artashat was founded by the Soviet government in 1945, 8 km northwest of the ancient city, within the Armenian SSR. It was given the status of an urban community with the merge of three villages, Upper Ghamarlu, Lower Ghamarlu and Narvezlu.</p><br>
<p>The town has grown gradually as an industrial hub during the Soviet period, mainly in the sphere of food-processing and building materials production.</p><br>
<p>In 1995, with the new law of the territorial administration of the Republic of Armenia, Artashat became the provincial centre of the newly created Ararat Province.</p><br>
<p>Kokkinopilos  is an aromanian village and a community of the Elassona municipality. Before the 2011 local government reform it was a part of the municipality of Olympos.</p><br>
<h2>Administrative division</h2><br>
<p>The community of Kokkinopilos consists of two settlements:</p><br>
<p>Kalyvia</p><br>
<p>Kokkinopilos</p><br>
<h2>Population</h2><br>
<p>According to the 2011 census, the population of the settlement of Kokkinopilos was 125 people, a decrease of almost 29% compared with the population of the previous census of 2001.</p><br>
<h2>History</h2><br>
<p>Kokkinopilos was founded in the 12th century by aromanian farmers. It was captured by the Ottomans in 1442 was administered as a chiflik. After a failed revolt, during the Greek War of Independence, the village was captured and looted by Ottoman troops. On 8 October 1912 Kokkinopilos was captured by the Greek Army. During the Axis occupation of Greece the village was burned twice: in 1943 by the Italians and in 1944 by the Germans. The latter resulted to the scattering of the population of the village, in Katerini and Thessaloniki and to the establishment of Kalyvia as a permanent settlement.</p><br>
<p>The Hector F. DeLuca Biochemistry Building, originally known as the Agricultural Chemistry Building, is a historic structure on the campus of the University of Wisconsin–Madison. It was the site of the discovery of vitamins A and B, as well as the development of vitamin D processing.</p><br>
<h2>History</h2><br>
<p>The building was part of the expansion of the College of Agriculture undertaken by Edwin B. Hart. Hart assumed leadership of the department in 1906. The next year, Stephen Moulton Babcock and Elmer McCollum began the single-grain experiment, which fostered the development of agricultural chemistry at Wisconsin. The experiment continued in the Agricultural Chemistry Building when it was built in 1912 and was expended to identify the key elements in nutrition.</p><br>
<p>In 1913, McCollum identified a molecule in egg yolks, vitamin A. The discovery was consistent with the nutrition element proposed by Frederick Gowland Hopkins a year before. The experiment continued, and in 1915, McCollum identified vitamin B in rice. McCollum left Wisconsin for Johns Hopkins University in 1917 and was succeeded by Harry Steenbock. He continued experimentation on the new molecules, isolating and naming vitamin A in 1920.</p><br>
<p>Other research by Steenbock identified iron and copper as effective agents in the treatment of anemia. Steenbock made his most significant discovery in 1923, when he established a relationship between vitamin D and ultra-violet light on bone health. He then founded the "Steenbock Process" in 1928, a method of concentrating vitamin D by irradiating food. This method was employed on a large scale through his Wisconsin Alumni Research Fund.</p><br>
<p>Conrad Elvehjem isolated nicotinic acid (niacin) at the Agricultural Chemistry Building in 1937, which cured pellagra. and Karl Paul Link identified the blood coagulant dicumarol here in 1941. On June 19, 1985, the building was recognized by the National Park Service with a listing on the National Register of Historic Places. A major renovation was completed in 2012 and the building was integrated into the Biochemical Sciences Complex. The building was named after Hector F. DeLuca in 2013.</p><br>
<h2>Architecture</h2><br>
<p>The building is generally Georgian Revival in style with its pediment, quoins, and ballustrade. It was designed by Warren Powers Laird & Paul Philippe Cret, who also designed six other buildings on campus: the Central Heating Station, the Stock Pavilion, Lathrop Hall, the Home Economics Buildings, Wisconsin High School, and Sterling Hall.</p><br>
<p>Vida and Jayne Lahey&#39;s House is a heritage-listed detached house at 99 Sir Fred Schonell Drive, St Lucia, City of Brisbane, Queensland, Australia. It was designed by Romeo Lahey and built from 1920 to 1946. It is also known as Wonga Wallen. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Vida Lahey&#39;s house was originally built for Romeo Lahey above Canungra, on a spur of the Darlington Range and was completed in 1920. Later the house was moved from the outskirts to the Canungra township on the hill above the present Catholic Church and occupied by David and his wife, Jane Jemima Lahey née Walmsley, and then moved again by Vida and Jayne Lahey in 1946 to its present block in Sir Fred Schonell Drive, St Lucia.</p><br>
<p>Francis and Alicia Lahey, Vida and Romeos grandparents, arrived in Australia with eleven children in 1862 from Ireland. They settled on land by Rocky Waterholes Creek, Salisbury, where they commenced farming but found the land unsuitable. In 1870 Francis, with his older sons and some employees, moved to Pimpama, where the rest of the family moved in 1872 after the sale of the first property. In the early 1880s, the sons of Francis Lahey began investigating the establishment of a timber mill on the Canungra Creek. In 1884, David, the youngest son of Francis and Alicia, father of Vida born in 1882 and later Romeo born in 1887, established a saw and planing mill (Laheys Canungra Sawmill) in the sparsely populated Canungra area. The mill flourished for many years and provided employment for the local area which grew rapidly as a result. The Lahey family were responsible for the construction of many significant roads and railways in the Canungra area, sometimes contributing substantial proportions of the construction cost.</p><br>
<p>Following the extension of the railway from Logan Village to Canungra in 1914, the Laheys&#39; mill at Canungra grew into what was thought to be the largest and best-equipped softwood mill in the southern hemisphere. The Lahey family business continued until 1920 when the mill was bought by the War Service Home Commission who acquired timber mills all over the country to meet the vast housing needs of returned soldiers. The mill was operated only for a few years by the WSHC after which time another firm purchased it. David Lahey remained the manager for many years after the mill was sold.</p><br>
<p>David Lahey and his wife, Jane, had twelve children, Vida being the first born and Romeo the fourth child. Jane and her children moved to Yeronga, Brisbane in 1899 when David sold the Pimpama property. This move allowed opportunities for further education for both the sons and daughters of the family, whilst David remained in Canungra travelling to Brisbane each weekend. The family is listed at addresses including Yeronglea, between Yeronga and Feez Streets and the Brisbane River at Yeronga, Sidney House, in River Road, Toowong and Greylands, Harts Road at Indooroopilly and then the house David Lahey built alongside Laheys&#39; mill at Corinda, also called Wonga Wallen.</p><br>
<p>Vida Laheys house was constructed during a period when the Laheys owned the mill and frequently built houses for employees in Canungra. The house which was originally positioned on the Darlington Spur was designed by Romeo Lahey, who had completed a town planning course at the University of London in 1919, following his service in the Great War. The house, which was to be known as the Wonga Wallen, was constructed using the family timber in 1920.</p><br>
<p>His extensive experience with timber milling and natural resources interested Romeo Lahey in the conservation of forests and the need for national parks; following his father&#39;s example he initiated reafforestation in the Canungra district and successfully lobbied for suitable areas to be declared national parks. In 1930 Romeo became the founding president of the National Parks Association of Queensland and was instrumental in the declaration of the Lamington National Park. He bought and named Lone Pine on the Brisbane River, planning to live there after returning from the First World War. Subsequently, the property was sold to Mr Claude Alexander Miller Reid who developed it as a nature reserve. In 1946 Romeo was one of the founders for the Save the Tree campaign.</p><br>
<p>Romeo and his wife Alice Sybil Lahey (née Delpratt) remained living at Wonga Wallen for a short time after their marriage in 1920, after which David and Jemima Lahey moved the house into Canungra near the Catholic church for their own use. When David Lahey died in 1942, two years after the death of his wife, he left the house to his two unmarried daughters, Vida and Jayne. The sisters having bought a block of land in what is now Sir Fred Schonell Drive moved the house from Canungra to this site in 1946. Prior to its removal, another sister, Gladys, lived at the house after having nursed her father.</p><br>
<p>The house was built in the Canungra township with a paved loggia extending along the front of the house, and a separate wing containing the laundry and bathroom facilities which extended along the rear of the house. On its removal to Brisbane, these two elements remained in Canungra and were standing in February 1995, on either side of a more recent house. When moved Wonga Wallen was turned on its side, making the original double front door a side entrance off a new balcony.</p><br>
<p>Vida Lahey, born in 1882, was a prominent Queensland artist who exhibited widely from 1902 until 1965, three years before her death. She was one of the first female artists in Queensland, and indeed, Australia, who regarded themselves as professionals and who sought to earn a living from practising their art. Vida pioneered art classes for both children and adults in Queensland; and she and Daphne Mayo were responsible for the foundation of the Queensland Art Fund in 1929, which helped to establish an art library and acquire works of art for the state. Vida was awarded the Society of Artists (NSW) Medal in 1945, in appreciation of good services for the advancement of Australian art, the Coronation Medal in 1953 and in 1958 honoured with an MBE for services to art. Vida is known to have painted at least two paintings of the house, Wonga Wallen, Canungra in the late 1930s and Wonga Wallen Loggia at Canungra in the 1940s both in the collection of Ms Shirley Lahey. Another painting, Bedroom at St Lucia with Dobell portrait, c.1961, was painted by Vida in her St Lucia bedroom.</p><br>
<p>Vida remained at the house until her death in 1968 when the property was transferred to the sole ownership of her sister Jayne who remained there until a few years before her death in 1982 during which time another sister, Mavis Denholm née Lahey lived in the house. The house was bought from the estate by Ms Iris Conroy in 1984 who subdivided the block and moved the house to one side causing it to be renumbered from 97 to 99 Sir Fred Schonell Drive. This most recent relocation saw the removal of a porch on the eastern side of the building and the house being raised. The ground floor has been filled in to form a garage.</p><br>
<h2>Description</h2><br>
<p>Vida Lahey&#39;s house is a two-storeyed timber building with a shallow gable roof of corrugated iron. The gable ends are clad with shingles and the external walls are clad with weatherboard. The building has a rectangular plan, with the short northern elevation forming the dominant facade, on which the centrally located entrance is defined by a small portico supported by curved side brackets and adorned with simple classical details.</p><br>
<p>The outstanding quality of the clear finished timber joinery and fittings on the interior of Vida Lahey&#39;s house is particularly noteworthy. The internal walls are lined with vertically-jointed boards of first grade timber. Timber boards lining the ceiling are raked to meet the underside of the ceiling joists on the east and west walls of the house. An outstanding feature of the interior is the joists of hoop pine running the full width of the house. Each joist was made from one piece of timber completely free from knots over its long expanse, a rarity today.</p><br>
<p>Joinery, including a dado rail, architraves, windows and doors, is clear finished timber darker than the lining timber. The bedrooms and bathroom are accessed from a central entrance hall and living room. The kitchen is within the living room, divided by fitted cupboards and shelving of the same high quality timber joinery combining pine and cedar. Other timber fittings designed for the interior include several concealed storage cupboards, a wardrobe and other smaller cupboards. The floor is white beech and the walls hoop pine.</p><br>
<h2>Heritage listing</h2><br>
<p>Vida and Jayne Lahey&#39;s House 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 house is significant for its internal timber work, reflecting the involvement of the Lahey family in the timber industry in south east Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Both in workmanship and material, the clear finished timber is outstanding in its quality. It is significant that this timberwork has remained unpainted and in good repair since construction in 1920.</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>Vida Laheys house is significant for its associations with members of the Lahey family who, for varied reasons were important in the history of Queensland. Romeo W. Lahey MBE, who designed the house and originally lived in it, was an early advocate of the Queensland National Parks movement. Romeos sister Vida, who lived in the house for over twenty years, was an early female artist in Queensland and a key figure in the development of the Queensland Art Gallery and is considered to be one of the most interesting and influential figures in Queensland artistic development. Romeo and Vida&#39;s father, David Lahey, together with his brothers, pioneered the timber industry in Canungra encouraging unprecedented growth in the region.</p><br>
<p>Sleaford Mere  is a permanent saline lake, located on the Jussieu Peninsula on the south eastern tip of Eyre Peninsula in South Australia about 15 km south west of Port Lincoln. The lake was discovered and named by Matthew Flinders on 26 February 1802. Since 1969, the lake has been part of the Sleaford Mere Conservation Park and since 2005, it has been listed as a nationally important wetland. The lake and its environs are notable as a venue for recreational pursuits such as canoeing.</p><br>
<h2>Description</h2><br>
<p>Sleaford Mere is a permanent salt lake with an area of 707 hectare. It is about 3 mi to 4 mi long in the north-south direction and about 1 mi wide from west to east. It is reported as being ‘a few feet deep’ and as having ‘some small islands.’</p><br>
<p>Since 2003, the lake has been located within the locality of Sleaford.</p><br>
<h2>Hydrology</h2><br>
<p>Sleaford Mere is supplied directly by local runoff and indirectly by groundwater sources. In respect to local runoff, the locality around the lake receives 500 mm of rainfall per annum. As of 2005, it was reported that it was not known if groundwater was being supplied from a single basin or multiple basins. In respect to groundwater, the lake is part of a potable water administration area known as the Southern Basins Prescribed Wells Area which covers the area of Eyre Peninsula between the city of Port Lincoln and the town of Coffin Bay.</p><br>
<h2>Geology</h2><br>
<p>Sleaford Mere was formed within a depression in a limestone strata known as the Bridgewater Formation.</p><br>
<h2>Natural history</h2><br>
<h3>Flora</h3><br>
<p>Stromatolites are present at the lake&#39;s edge. Land immediately adjoining the lake supports tall open shrubland dominated by dryland tea-tree and a sedgeland of Gahnia trifida Species of conservation significance include the common spleenwort and Eyre Peninsula bitter-pea. As of 2009, Aleppo pine, an introduced species, was considered to an infestation risk.</p><br>
<h3>Fauna</h3><br>
<p>The lake is notable as a bird habitat. The northern end of the lake has been identified as being suitable habitat for southern emu-wren. The lake supports food sources such as fish species such as ‘hardy heads’ (sp: Atherinosoma) which are consumed by bird species such as Pacific gull, pied cormorant, pied oystercatcher, red-capped plover, silver gull and the two following species protected by the Japan–Australia Migratory Bird Agreement and the China–Australia Migratory Bird Agreement: sharp-tailed sandpiper and curlew sandpiper. Species of conservation significance known to visit the lake include fairy tern, hooded plover and musk duck. The lake is reported as containing marine species of fish, including ‘a large, land-locked population of skates’. Western grey kangaroo is reported as being within the vicinity of the lake. The land surrounding the lake supports foxes, an introduced species which is the subject of ongoing pest animal control programs.</p><br>
<h2>History</h2><br>
<h3>Aboriginal use</h3><br>
<p>The lake and adjoining land is reported in 2009 as being associated with the Barngala and Nauo peoples. The native name for the lake was reported in 1908 as being Kuyabidni (also spelt as Kujabidni).</p><br>
<h3>European discovery and use</h3><br>
<p>The lake was discovered by Matthew Flinders on Friday 26 February 1802 and named after a parish in Lincolnshire, England. Flinders did visit the lake to investigate it as a source of water to found that its water was undrinkable. Flinders described the lake as follows:This piece of water was named Sleaford Mere. It is one mile broad, and appeared to be three or four in length. The shore was a whitish, hardened clay, covered at this time with a thin crust, in which salt was a component part.</p><br>
<h2>Economy</h2><br>
<p>Economic activity is mainly associated with the use of the Sleaford Mere Conservation Park and the adjoining Lincoln National Park for recreational and leisure purpose by persons either resident in the lower Eyre Peninsula or visiting from elsewhere. As of 2007, a walking trail associated with the Lincoln National Park passes the east side of the lake. As of 2009, the lake was being used occasionally as a canoeing venue, particularly by school and holiday groups. Also, the lake can be used as a swimming venue, however this use may be discouraged by the lake’s relative shallow depth and high salinity. As of 1980, ‘a holiday complex’ was reported as being ‘situated on the southern shore of the Lake.’</p><br>
<h2>Protected area status</h2><br>
<p>Sleaford Mere and some adjoining land was proclaimed as a conservation park in January 1969 for the purpose of conserving ‘conserve important lake feeding habitat for wader birds.‘ In 2005, Sleaford Mere was included in a non-statutory listing of nationally important wetlands located in South Australia as part of A Directory of Important Wetlands in Australia.</p><br>
<p>Toftøyna or Toftøy is an island in Øygarden municipality in northwestern Hordaland county, Norway. The 7.5 km&sup2; island is the southernmost of the main islands of Øygarden. It is connected by bridge to the island of Rongøy , to the small island of Turøy , and to the island of Misje in Fjell municipality . Toftøyna is connected to the mainland by a series of bridges by heading south via Misje island.</p><br>
<p>There are 2 main settlements on the rocky island: Vikavågen on the southeastern shore and Torsteinsvik on the northwestern shore. The main road on the island is Norwegian County Road 561 which runs between the two villages, connecting it to the surrounding islands. The Hjeltefjorden flows along the eastern shore of the island and the North Sea lies to the west. There are two small straits to the north and south of the island, separating it from the neighboring islands of Rongøy and Misje.</p><br>
<p>Ikop Pat is a lake situated in western part of Khangabok, at a distance of about 40 km in the south-eastern direction of Imphal, India.</p><br>
<h2>Hydrology</h2><br>
<p>Ikop Pat is located at an altitude of 772 m above MSL is 7.5 km in length and 1.8 km in breadth during the rainy season. The surface area measures 13.5 square kilometers while the depths in the different areas range between 0.93 m and 1.59 m. The depths have become much shallower currently. The volume of the lake is estimated as 0.013 cu km. The lake is physiographically characterized by a saucer shaped basin with gentle slope and a much silted bottom. Physico-chemical analysis of the water samples from the lake reveal highly polluted condition. There occurs rise in the water temperature while the turbidity rate also stands high. The water in many areas is found to be highly acidic (pH-3.6) while in other areas high alkalinity (pH-9.3) has been noticed. Observation of high concentration of dissolved carbon dioxide coupled with lower values of dissolved oxygen in different seasons reveal the deteriorating quality of water.</p><br>
<h2>Ecology</h2><br>
<p>Ikop Lake is currently under great human pressure due to heavy encroachments due to the development of farms by a number of fishing co-operative societies. Ikop Pat is also a part of the legacy based on the legendary lovers - Khamba and Thoibi of Moirang. As the tale goes Ikop Pat is where Khamba captured a wild bull. A tourism spot is being developed at the Ikop lake which is expected to be opened to the public in 2014. Once completed it will have picnic spot, boating, gardens etc.</p><br>
<p>Langer House is a heritage-listed detached house at 396 Swann Road, St Lucia, City of Brisbane, Queensland, Australia. It was designed by architect Karl Langer as his own home and built in 1950. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>A vacant block of land on a southern slope in St Lucia was acquired by Karl and Gertrude Langer in 1950 as the site for their new home. The house, a two storeyed brick structure with flat roof designed by Dr Karl Langer was completed in the same year. It remained the home of Karl and Gertrude Langer till their deaths in 1969 and 1984 respectively. Constructed under post war building restrictions, including a floor area limit of 12.5 squares or 13.5 squares if a staircase was incorporated, the design was the product of Karl Langer&#39;s research into local climatic issues and his European architectural training. At the rear of the house a rainforest garden was established, a unique undertaking at that time, using indigenous plants such as ferns, native violets and verbenas, cunjevois, walking stick palms, myrtle bushes, ground orchids and rainforest trees. The front garden, a more formal arrangement with a hedge and fish pond was designed in the Japanese style. Timber furniture designed by Karl Langer in the 1930s was used to furnish the house.</p><br>
<p>Karl Langer was born in Vienna in 1903 where he lived until emigrating to Australia in 1939 with his wife Gertrude. Karl studied architecture in Vienna most notably in the Master Class run by Peter Behrens at the Viennese Academy graduating in 1926. During this time Karl had worked in the office of Josef Frank, who was to become well known in Swedish modernism, and later in the office of Schmidt and Aichinger. In 1928 he was appointed the architect in charge of Behrens Vienna office where he designed and supervised important works such as the tobacco factory in Linz, Austria. At this time he also commenced studies in Art History at the Vienna University graduating as a Doctor of Philosophy in 1933 with a thesis entitled "Origins and Development of Concrete Construction". In 1935 Karl established his own practice in Vienna.</p><br>
<p>Gertrude Froeschel was born in Vienna in 1908. She commenced study in the History of Art at Vienna University in 1926 being taught by Professor Josef Strzygowski and later attended lectures by Henri Focillon at the Sorbonne. In 1932 she married a fellow student Karl Langer graduating the following year on the same night as he with a Doctorate of Philosophy in Art History. In 1938 with the annexation of Austria by the Third Reich, Gertrude who was Jewish, and Karl left Vienna and travelled via Athens to Australia.</p><br>
<p>Karl and Gertrude arrived in Sydney in May 1939 proceeding to Brisbane in July so that Karl could commence work for architects Cook and Kerrison. From the time of their arrival until their deaths the Langers dedicated themselves to a great variety of civic and professional activities. Their combined efforts greatly influenced the development of the arts and design in Queensland especially through such organisations as the Queensland Art Gallery Society, the Australian Council for the Arts and the Vacation Schools of Creative Art in which they fulfilled key roles over many years.</p><br>
<p>Karl became well known throughout Australia shortly after his arrival when his appointment to the position of Assistant Town Planner with the Brisbane City Council in 1944 resulted in a Parliamentary Enquiry. The primary cause for complaint was the appointment of an "enemy alien" over a returned soldier. The outcome of this enquiry found that Karl Langer was an individual whose talent and experience clearly distinguished him as the most suitable applicant. He was still prevented from taking up the position, as Queensland Railways, his employer, refused to release him invoking wartime manpower regulations. He remained in the service of the Queensland Railways until 1946 when he left to establish his architectural and planning practice in Brisbane. He worked throughout Australia and was the initiator of many influential urban design ideas such as the site for the Sydney Opera House and the pedestrianisation of Queen Street. He was the designer of buildings such as:</p><br>
<p>the Main Roads Building at Spring Hill</p><br>
<p>Chapel of St Peter&#39;s Lutheran College at Indooroopilly</p><br>
<p>Lennons Broadbeach Hotel on the Gold Coast</p><br>
<p>and worked in the regional centres of Queensland as an architect, town planner and landscape architect.</p><br>
<p>Karl lectured at the University of Queensland and the Queensland Institute of Technology in design, town planning and landscape architecture. Research carried out when he first arrived in Brisbane pioneered the field of climatic design and resulted in 1944 in the publication of an influential booklet called "Subtropical Housing". He was instrumental in establishing, and was the first president of the Brisbane division of the Australian Planning Institute and the Queensland Branch of the Australian Institute of Landscape Architects and was a Fellow of the Royal Australian Institute of Architects.</p><br>
<p>Gertrude was the art critic for The Courier Mail from 1953 until her death, her last review being published on the day she died, 19 September 1984. She was a foundation member of the International Association of Art Critics and was president of the Association&#39;s Australian Division from 1975 to 1978. Through her work with the Gallery Society and her personal donations of art works including drawings by Karl she exerted her influence on the collection of the Queensland Art Gallery.</p><br>
<p>The house was sold to the present owner after the death of Gertrude Langer. Alterations were subsequently made to the interior and a third level was added.</p><br>
<h2>Description</h2><br>
<p>The house, a three storeyed masonry and timber structure, is located in a well known suburban street on a small rectangular block with a narrow frontage. The site is a south facing slope that falls steeply away from the street. In the space between the house and the footpath is a single storeyed garage, a covered access to the house and a small walled garden containing a fish pond. On the footpath in front of the house stand a very tall river gum. Concealed from the street behind the house is a mature rainforest garden.</p><br>
<p>Rectangular in plan the house spans across the block with minimal setbacks from side boundaries. The walls are constructed of brickwork which has been rendered and painted, floors are built of timber and skillion roofs are sheeted in corrugated asbestos cement. Openings, primarily timber casement windows, are concentrated in the longer northern and southern elevations facilitating illumination and ventilation of the interior while maintaining privacy. The compact plan of the house ensures the maximum amount of garden space on the small site.</p><br>
<p>The northern facade rises two storeys above the street. Windows on this elevation are protected by protruding window surrounds on the upper level and a masonry projection that forms an awning over ground level openings. A row of ventilator slots is located above the upper level windows. The main roof of the house, concealed behind the parapet wall on the northern elevation, has an overhang onto the roof terrace.</p><br>
<p>Originally built on two levels, the house now has a third level which has been built into the former undercroft space. The front door of the house opens into an entrance hall containing a timber stair which now extends down to the added lower level. This middle level consists of open planned living spaces. Adjacent to the hall is the kitchen which opens onto a former dining area. A long room, originally divided by a timber screen into living area and study, extends across the back of the house with a fireplace on the eastern end. Timber framed double doors open from the hallway into the long room. The internal timber panelling has been removed and the fireplace, originally exposed brickwork, has been bagged and painted.</p><br>
<p>The upper level consists of two small bedrooms, a bathroom and a large roof terrace which overlooks the densely planted rear garden. The roof terrace is accessed from the landing at the top of the stairs through double timber doors. Built-in cupboards in the principal bedroom have been painted. A wardrobe designed by Karl Langer remains in the smaller bedroom. Doors which opened from the principal bedroom directly onto the terrace have been replaced with windows.</p><br>
<p>The former Japanese garden has been altered by the increase to the height of the brick garden wall and the removal of the original planting.</p><br>
<h2>Heritage listing</h2><br>
<p>Langer House 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>It is an excellent example of the invigorating contribution to Australian culture made by 20th century migrants.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Langer House at St Lucia survives as a fine example of the work of the important and influential architect Karl Langer.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Through the decorative restraint evident in the facade detailing and composition, and the efficient but spacious planning of the house, Langer introduced to Brisbane aesthetic ideals and social concerns drawn from his experience of European modernism.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>It is an inventive and pioneering solution to the problem of domestic design in Brisbane under post-Second World War building restrictions.</p><br>
<p>Karl Langer&#39;s original observations of local climate and landscape led to the incorporation of climatic design principles and an innovative approach to garden design including experimental gardening in the Japanese style and the suburban rainforest garden.</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 home of Gertrude and Karl Langer from 1950 until their deaths, the house and garden are the creation and embodiment of a partnership which had a significant impact on cultural life in Queensland.</p><br>
<p>The Main Roads Building is a heritage-listed office building at 477 Boundary Street, Spring Hill, City of Brisbane, Queensland, Australia. It was designed by Karl Langer and built in 1967 by Cyril Porter Hornick. It was added to the Queensland Heritage Register on 13 June 2014.</p><br>
<h2>History</h2><br>
<p>The former Main Roads Department Building was built in 1967 to accommodate, consolidate, and modernise the department during a period of extensive expansion and upgrade of Queensland&#39;s road network. It housed the department until 2012. Designed by important Modernist architect, Dr Karl Langer, the substantial office building is an excellent, intact illustration of his commercial work and is a good representative example of a mid-twentieth century highrise.</p><br>
<p>In the early 1960s the Main Roads Department (MRD) faced a major task in modernising Queenslands road network. Prior to this, the department saw itself only as a rural roads authority responsible for the provision and maintenance of main roads connecting Queensland settlements. The decentralised nature of Queensland, with its scattered population and small tax base for local governments, was not conducive to systematic road building, and until the mid-twentieth century railways dominated long-distance transport. Although the Queensland Government was responsible for main roads and roads on Crown Lands open for selection, elsewhere local authorities had to finance their own roads; or where there were no local authorities, local landholders could form road trusts and receive government grants. Queenslands road system developed in a piecemeal fashion until 1920 and even after it remained a secondary government spending priority to railways, which spread rapidly in the early twentieth century to service agricultural areas.</p><br>
<p>Although railways were the priority, the rise of the motor car increased the need for an expanded and improved road network. The Queensland Main Roads Act 1920 provided for responsibility for roads and bridges to be shared between state and local authorities. The mission of the Main Roads Board, formed by this Act, was to develop a cohesive network of "main roads" partly funded by the state. Local authorities would fund half the cost, and would be the construction and maintenance authorities where possible. The priority for road construction was to join towns not linked by railways; to link farming areas to existing railways; and to build developmental roads to open Crown Lands for closer settlement.</p><br>
<p>The interwar period saw a massive increase in car registrations and the revision of the Main Roads Act. By mid-1923 nearly 17,000 cars were registered in Queensland (rising to nearly 92,000 by 1934). As more people took to the car, the need for serviceable roads for motor vehicles became apparent. The Main Roads Acts Amendment Act 1925 abolished the Main Roads Board and formed the Main Roads Commission (MRC), and the board was replaced by John Robert Kemp (formerly the Board&#39;s Chairman) as the Commissioner.</p><br>
<p>World War II (WWII) also stimulated road building efforts. During the war the MRC carried out a wide range of defence works, mostly for, and under the direction of, the Allied Works Council (AWC). Although the MRC increased its equipment during the war years, after WWII it faced resource shortages and a continued rise in car ownership, plus demands to seal more of the state&#39;s roads with bitumen.</p><br>
<p>After WWII, roads increasingly competed directly with railways. Vehicle numbers rose from 129,126 in 1945 to over 282,594 by 1954. By 1960, Australia was second only to the United States in terms of car ownership per head of population. In 1951, the MRC became the MRD. The MRD was responsible for the planning, survey and construction of state highways and of main, developmental, secondary, mining access, farmers roads, and tourist roads and tracks, as well as bridges and related works. The department was under an increasing work load, brought about by the "explosion" in vehicle ownership and Queenslands buoyant economic expansion.</p><br>
<p>The MRD&#39;s Annual Report of 1955 noted that "Queensland is passing out of the earlier phase of road construction... just sufficient to keep traffic moving. The State has entered a second phase where construction must provide for the traffic of to-day and the traffic of to-morrow in such a way that roads and bridges will carry in safety bigger volumes of traffic, comprising vehicles which move much faster and carry much more heavier loads...".</p><br>
<p>The push for a new head office for the MRD started around 1955. In December that year the Main Roads Commissioner, AR Williams, wrote to the Minister for Transport, Jack Duggan, advising that at no stage the MRD ever had a building designed and constructed for them. Williams stated that the MRD did not have close contact with the public, apart from registration, and "Motor vehicle registration activities require that the location be... away from the heavily trafficked streets". Other requirements included garaging for departmental vehicles and a full size basement for record storage.</p><br>
<p>Prior to the construction of their new building at Spring Hill, the MRD was accommodated in buildings "scattered throughout the city". The intention of the new building was to provide better working facilities and amenities for an increasing staff in an efficient and productive environment. The department was performing a major role with private industry and commerce in Queensland&#39;s development and the new building would reflect this. Not only would it be an impressive place for people to register their vehicles, it would be the co-ordinating centre for the planning, survey, design and construction work of the MRD.</p><br>
<p>The Queensland Government acquired 16 allotments, totalling almost one hectare, at the corner of Boundary and Fortescue Streets, Spring Hill, between 1959 and 1961. At the time this area comprised primarily older detached housing.</p><br>
<p>In June 1959 Leo John Michael Feenaghty, Secretary of the MRD, wrote to Brisbane-based, private architect and town planner Dr Karl Langer, confirming that the government had decided to retain him as the architect for the new head office building. Langers earliest designs for the MRDs "New Head Office Building" date to late 1959 with at least eight further iterations between 1959 and 1963. Early designs were discussed with the Acting Government Architect, Edward James Archibald Weller, at the Department of Public Works Architectural Branch in September 1959. Although generally satisfied, Weller was concerned that the building would "include some features that will set a precedent and to that extent will have an effect upon provision in Government Buildings generally".</p><br>
<p>Born in Vienna in 1903, Langer had studied at the Vienna Academy of Fine Arts and in 1928 he was employed by pioneer German Modernist designer Peter Behrens to run his Vienna office. In 1933 Langer was awarded a Doctor of Philosophy for his thesis "Origins and Development of Concrete Construction". In 1939 Langer immigrated to Australia with his wife, (Dr) Gertrude Langer, bringing direct experience of the European Modern Movement to Queensland. He gained temporary employment with architects Cook and Kerrison in Brisbane and from 1940 Langer lectured part-time in architecture and architectural design at The University of Queensland, publishing Sub-Tropical Housing in 1944. This booklet explored issues related to modern house design and town planning in a sub-tropical climate and influenced many Australian architects working in the post-WWII era.</p><br>
<p>Modernist architecture developed in pre-World War I Europe and gained popularity in Australia post-WWII. It is notable for a rationalisation of planning, emphasising clarity and simplicity of form and detailing. American and Scandinavian influences were strong in the style&#39;s employment in Australia.</p><br>
<p>From 1945 Langer was employed as an assistant town planner in the Brisbane City Council and also was commissioned to work on a range of town planning projects for Darwin, Ingham, Toowoomba, Yeppoon, Kingaroy, Mount Isa, and Mackay, and for the National Capital Development Commission, Canberra. Concurrently, he completed a wide variety of architectural projects including small, economical domestic work and large commercial and institutional work.</p><br>
<p>Influenced by classical Greek and contemporary Modernist architecture, Langer developed a sophisticated hybrid of classical and modern design principles. With his civic designs, Langer explored the idea of the conjunction of landmark and landscape and his designs typically incorporated a harmonious setting for the architecture. Inspired by Queensland&#39;s flora, fauna and climate, his designs worked with the context in complementary ways and his work on climatic design in architecture has been called "pioneering". Fundamental to his designs, he sited buildings and outdoor spaces for optimum orientation, ensured interiors had high levels of natural daylighting and ventilation, and incorporated gardens of Australian plants for the occupation and enjoyment of the users. His designs were typified by modern, highly functional spaces that were fit for purpose, yet, had a degree of flexibility of use. Langer set new standards for design in Queensland.</p><br>
<p>The work of the MRD was a major influence on the shaping and development of Queensland settlements, especially Brisbane, and also on the increasing prosperity of the state during the second half of the twentieth century. In January 1960 (Sir) Charles Barton was appointed Commissioner of Main Roads. Barton made a major push to modernise the existing road network into an extensive metropolitan highway and intercity freeway network and to improve the efficiency and responsiveness of the department. Based on studies by leading transport specialists following American precedents, the department drafted and implemented long term programs of road upgrades and freeway construction. These programs expanded and the department grew to become a primary division of the Queensland Government with considerable authority.</p><br>
<p>On 1 July 1963 the first Road Plan of Queensland, a 20-year plan to build and upgrade roads to ensure no town was too far from a declared main road, encouraging social and economic development of rural areas, came into effect. The plan was visionary and required a well-organised and highly functional department.</p><br>
<p>Further road planning was facilitated by Queensland Government transport studies for major centres in the 1960s and early 1970s. The Brisbane Transportation Study, jointly commissioned in 1964 by the MRD and the Brisbane City Council, and undertaken by American transport planners Wilbur Smith and Associates, recommended a series of freeways, expressways and bridges, although only some of these were built. Under Barton, the MRD was also reshaped. Through operational and attitudinal changes he introduced a "private sector" business mode to achieve efficiency. He also increased decentralisation, appointing an Assistant Commissioner and Divisional Engineer each at Townsville, Rockhampton and Brisbane, and a Divisional Engineer at Toowoomba.</p><br>
<p>Site preparation for the new MRD head office at Spring Hill began on 15 July 1963. Approximately 15,300 cubic metres of earth was excavated and a reinforced concrete retaining wall up to nine metres high was built around three sides of the excavation to create a level platform on the sloping site. The government decided that Brisbane architect Colin Tesch would be responsible for construction documentation and administration of the contract. In June 1964 Queensland&#39;s State Government Insurance Office (SGIO) agreed to purchase the land from the MRD, pay for construction, and then lease the building back to the MRD for a 40-year term.</p><br>
<p>CP Hornick & Son Pty Ltd, the largest privately owned construction company in Queensland at the time, constructed the building. To deal with the MRD&#39;s ongoing accommodation shortage during construction of its new head office, a nearby partially erected building on Dickens Street was purchased and completed to MRD requirements, for occupation in late 1965.</p><br>
<p>Construction of the new head office commenced in July 1965. By this time the number of vehicles registered in Queensland had risen from 363,878 in 1958, to 541,198 in 1965. To deal with this rise in vehicle registrations, the counter section of the new head office was designed to have ten times more public space than the old Albert Street office.</p><br>
<p>Langers design for the MRD building, the largest of his career, expressed his architectural principles. He described it as being a "sculptural" landmark. Others described at the time as vast and imposing. Yet, he employed techniques so that it would "fit" within its context, including stepping the building back from its boundaries so that it would not cast shadow onto the adjacent allotments and not overwhelm them with its scale, an extensive landscaping treatment around the building, and a delightful&#39; screen of custom-designed breeze blocks facing Wedd Street to conceal the basement car park.</p><br>
<p>The building included an expansive public forecourt on Boundary Street, a typical characteristic of Langer&#39;s work. Approximately 21m wide by 72m long, it included lawns, gardens with Australian plants, and a large pond with fountain jets to cool the surrounding air. Langer envisioned the forecourt as an important public space for visitors to Spring Hill and to the building.</p><br>
<p>A recurrent inclusion in Langer&#39;s works, the building featured a modern allusion to a classical, grand colonnade at the primary entrance. Across the width of the ground floor and encompassing the ground and first floors, the rhythmic verticals and lintel of the concrete structural frame was expressed, smooth finished and painted white, contrasting with the dark glazing adjacent.</p><br>
<p>The buildings structure and materials were modern, rational, and "honest", consistent with Langers principles. The structure comprised a grid of concrete columns supporting concrete floor slabs, freeing the floor plan from loadbearing partitions, which maximised the flexibility of interior layouts. The vertical circulation, toilets and shower rooms, tea rooms, and other shared facilities were grouped in a central core. In this way, the floor plan was sensible and efficient and was repeated up the building. Principal materials were self-finishing, expressing their inherent character and beauty, with a noticeable use of Queensland-sourced materials for a "natural", decorative effect. Where practical, Langer eliminated suspended ceilings from the design.</p><br>
<p>Langer typically exploited passive lighting and ventilation in intelligent and uncomplicated ways and for the MRD building he included simple methods to achieve this. Parallel to the street, the long, narrow plan form (approximately 71m by 16m) was oriented with its long sides facing north-east and south-west. These elevations were highly glazed, comprising a grid of large, double-glazed, operable windows. A critical requirement for the drafting work of the department, this created interiors that were naturally well lit and well insulated, and allowed passive ventilation. The glazing was sheltered by a projecting "egg-crate" of concrete. The northern side had a deeper projection to block direct sun, reducing heat gain and glare. The west and east elevations were predominantly windowless to occlude the harsh, low sun and were built of concrete to provide a thermal mass quality. In contrast, the photographic and computational spaces that required highly controlled light and ventilation conditions were located in the basement levels, which had deep floor plans and limited fenestration.</p><br>
<p>An upturn in the city&#39;s economy and a modernising of the building codes that included a removal of building height limits in 1964 saw a considerable increase in the construction of highrise office buildings in Brisbane. Between 1950 and 1965 few office highrise buildings were constructed in Brisbane. These included: Mutual Life & Citizens (MLC) Insurance Building (1955); Friendly Society Building (1957), and the Taxation Building (1961). However, by the middle of 1964, 20 highrise office buildings were in the course of construction in the Brisbane CBD. The number of buildings constructed between 1965 and the end of 1970 far exceeded the previous 15 years. These included: Pearl Assurance Building, Eagle Towers, and Commonwealth Savings Bank Building (1966); Manufacturers Mutual Insurance (MMI) Building, and Main Roads Department Building (1967); Temperance & General (T&G) Insurance Building (1969), and; Westpac Bank Building, and Mount Isa Mines (MIM) Building (1970).</p><br>
<p>Highrise office buildings designed and constructed between and are a specific type of architecture that evolved under particular circumstances. The type clearly represents the excitement, prosperity, and vision of Australia and indicates the economic rationalism and progress in the period. Indicating their status, they were often ceremoniously opened by important dignitaries. In cities nationally and internationally, Modernist architects were unencumbered by traditions when designing this new type, challenging aesthetic and symbolic values, and the provision of public and private amenity. Their impact was unprecedented and it was not until critical analysis of tall buildings in the late 1960s that the approach to highrise development changed. Designed in a time when Australia was little concerned about the ethics of energy consumption, typical highrises exploited this abundance. Orientation and shading was generally dismissed and windows were inoperable, relying on mechanical air-conditioning. Floor plates were vast, relying on artificial light. However, some architects designed intelligent buildings that were connected to the traditions of architecture and were better attuned to their environment. Sophisticated in its design, Langer&#39;s MRD Building is representative of the better designs in Queensland of the period.</p><br>
<p>The principal characteristics of highrise office buildings designed and constructed in the 1950s and 1960s are: remarkable height to footprint ratio; an expressive and all-encompassing Modernist aesthetic; reinforced concrete construction; a "glamorous" treatment of the ground floor/primary entry; an urban, public space used as setting for the building; rationalisation and repetition of the floor plan; and integration of state-of-the-art office technology and staff facilities.</p><br>
<p>The new head office for the Main Roads Department possessed these principal characteristics. The 50 metre tall building comprised three large basement levels, a generously proportioned ground level with a mezzanine, a tower of nine levels, and a roof-level caretaker&#39;s flat. The building had a huge gross floor area of 33,000 square metres and upon completion was the largest reinforced concrete office building in Queensland. The principal public function of the building, vehicle registration, occupied the ground and mezzanine floors within impressive, robust, and dramatic spaces. The double-height main reception area was well-lit through "immense" glazing onto the forecourt and featured striking marble, timber, and terrazzo surfaces. Artworks commissioned for the building were prominently displayed. Designed as a showplace for the Queensland Government, the building and grounds were floodlit at night.</p><br>
<p>As well as occupying pre-existing buildings, the Queensland Government constructed purpose-built buildings to accommodate its administration and departmental offices in Brisbane. These buildings were reflective of the circumstances of the government and illustrate its operations over time.</p><br>
<p>The Main Roads Department building was purpose-designed, accommodating the Main Roads Departments diverse uses in repetitive and rationalised floor plates. Although offices and administration areas comprised the majority, the building also included: basement car parking; food facilities for the staff - a large cafeteria with kitchen, kiosk for snacks, and lunch room; staff training facilities - a large, double-height auditorium with the latest projection equipment; a technical and recreation library; a room for displaying models of major Main Roads projects, and; a large air-conditioning plant and a caretakers flat. The building was designed to incorporate modern office technology. The department&#39;s technical and commercial electronic data processing divisions were accommodated in the basement, including their state of the art computer, the largest in Queensland at the time. The computer was serviced by a special, independent air-conditioning system, designed to keep the computer room at a constant temperature and humidity, with the heat generated by the computer absorbed by the ornamental ponds at the front of the building. A system of vacuum message tubes connected all sections of the building and there were telephones and a master clock system, CCTV, a teleprinter system, a Xerox machine, and a dumbwaiter for the movement of files between floors.</p><br>
<p>The building was completed in August 1967. In September the MRD moved more than 1250 personnel, from eight offices, into its new $4.5 million head office. The building was officially opened on 6 November 1967 by Frank Nicklin, Premier of Queensland, who stated that "this new building, with its modern appointments, the latest business equipment - including a computer - research and design facilities, will greatly enhance the department&#39;s work and its world-class reputation".</p><br>
<p>The new head office was commended at the time. It featured in the 7 September 1967 edition of The Queensland Master Builder, which detailed the buildings construction techniques and highlighted its modern technology. According to the MRDs magazine Queensland Roads, there were hopes "that the construction of this building with its landscaped gardens and surroundings in the old Spring Hill area of Brisbane, provide an incentive for other businesses and developers to follow the example of the Main Roads Department". Commissioner Barton viewed the MRD as "a giant consulting engineers and construction organisation", and stated "why should a department like Main Roads be any different from private business... e hope that when our officers are dealing with people they will get the idea that we are here to do business just as efficiently and effectively as anybody else in the community". The Courier-Mail added that "the building design, layout of office space and staff facilities, gives the Main Roads Department an air of big business, not the traditional Government department organisation", while the Mines and Main Roads Minister, Ronald Ernest Camm, claimed that the new building "would be one of the most effective ways of organising Main Roads personnel and facilities for a bolder attack on the problems of the future".</p><br>
<p>The new "luxury" head office was only part of the MRD&#39;s building program. By the end of the 1960s the department had also constructed new buildings to accommodate its new regional offices in Rockhampton, Cloncurry, Barcaldine, Toowoomba, Mackay, and Warwick, which had responsibility over their local main roads.</p><br>
<p>In the artwork Communications by important Queensland sculptor, Leonard Shillam, was installed at the MRD building in Spring Hill. It was commissioned for the building in 1968, made in cast aluminium over painted concrete, and depicted a bas relief map with a rural area and urban area connected by a road.</p><br>
<p>Langer died in 1969. As an architect and town planner, he had a pronounced impact upon the built environment of Australia, especially in Queensland. Having a deep belief in community responsibilities, particularly in cultural matters, he had been active in the Royal Australian Institute of Architects; first president (1952) of the Queensland division of the Royal Australian Planning Institute; a founder and chairman (1966–68) of the Queensland Association of Landscape Architects; and a member (1963–69) of the National Trust of Queensland. Important examples of his architectural work include the Langer residence at St Lucia (1950); Mackay Sugar Research Institute (1953); Lennons Hotel Broadbeach (1957, demolished) and Lennons Hotel Toowoomba (1957); St Johns Lutheran Church, Bundaberg (1960); Kingaroy Town Hall and Civic Square (1963); Assembly Hall at Ipswich Girls Grammar School (1964); and St Peter&#39;s Lutheran College Chapel, Indooroopilly (1968). He was responsible for notable urban ideas of the 1950s and 1960s, including choosing the sites of the Sydney Opera House and the Australian Parliament House; the pedestrian shopping mall in Queen Street, Brisbane; and the first canal development of the Gold Coast. After his death, both The University of Queensland and The Queensland Institute (later University) of Technology with the Australian Institute of Landscape Architects established annual student prizes in memoriam. His body of work is a clearly distinguishable exploration of a sub-tropical modernism and is important in the evolution of Queensland architecture, with Langer described as "arguably the most influential architect of the 1950s".</p><br>
<p>From the head office, the MRD administered its important work. Motor vehicle ownership continued to rise and the highway network in Queensland was expanded substantially in the 1970s and 1980s. In the 1990s and 2000s the departments work became more sophisticated to cope with increased traffic. By the end of the 2010s the department was responsible for the states largest built community asset - the Queensland state-controlled road network, worth over $46 billion and carrying more than 85% of the state&#39;s traffic. Examples of major main roads projects co-ordinated from the head office include: the Southeast Freeway (1972), the Beef Roads and Developmental Roads schemes of the 1970s, the Bald Hills to Burpengary Deviation of the Bruce Highway (1977) and many subsequent upgrades and extensions of the highway, the Gateway Arterial Road and Bridge (1986), and the Pacific Motorway (2000).</p><br>
<p>Over time the head office building was altered. In the fountain jets of the forecourt pond were altered to stacked boulder waterfalls. The building was also altered internally to accommodate different office fit-outs. In 2006 the forecourt of the building was remodelled to a design by architects, BAC Group to provide building code compliant pedestrian access to the front entrance. This work included replacement of the original awning with a modern, steel and glass awning, adding two concrete ramps to the entrance bridge, altering the forecourt gardens and ponds, and installing the sculpture The Red Cube at the front of the building.</p><br>
<p>While the building was being painted in 2007 it was identified approximately 6% of the render on the northern sun hoods needed repair. The hoods were investigated by structural engineers, no sign of structural distress was identified, and trial repairs of the render were undertaken in 2008.</p><br>
<p>In March 2009 the MRD merged with Queensland Transport to form the Department of Transport and Main Roads, which continued the control of the state&#39;s main roads. In 2012 the department vacated the MRD building. It was sold to Asian Pacific Group Pty Ltd in December 2013.</p><br>
<h2>Description</h2><br>
<p>The former Main Roads Department Building is a 15-storey, reinforced concrete office building in a Modernist style that stands on a prominent site on Boundary Road, Spring Hill, Brisbane. Totalling almost one hectare, the rectangular site is bounded by Boundary Street to the south, Fortescue Street to the east, and Wedd Street to the north. Small-scale commercial and residential development adjoins the western boundary. The sloping terrain is terraced into large, flat platforms by concrete retaining walls. As well as a landscaped garden setting, the building comprises: a front portico; tower; service core; rear podium; and rear carpark. The building structure is a reinforced concrete grid of concrete columns supporting concrete floor slabs.</p><br>
<p>The building retains design elements characteristic of the work of its architect, Dr Karl Langer, such as: employing a hybrid of subtle Classical allusions and Modernist architectural devices including a forecourt and stylised colonnade front; simplified forms, decoration and spatial arrangements; a restrained use of high-quality materials; and careful siting and manipulation of form to achieve optimum orientation for natural light and ventilation.</p><br>
<p>The garden forecourt is a flat public space fronting Boundary Street. The garden is laid out in sharp and dynamic lines of concrete, defining contrasting flat areas of mature trees, grass, paths and water to create a bold, abstract effect. A wide entrance path from the street bisects the garden, bridging across a pond and stepping up to the front portico entrance. The Red Cube, a large metal sculpture, stands on the path in front of a marble slab engraved to commemorate the opening of the building.</p><br>
<p>The western garden is terraced into level areas, retained by concrete walls and linked with concrete stairs. It retains the original abstract layout and also contains mature trees, shrubs, grassed areas and original concrete benches. The eastern garden is narrow and defined by a series of terraced boulder retaining beds and also retains original concrete benches.</p><br>
<p>The front portico is a rectangular block attached to the tower that, on approach, gives the impression of a grand colonnade across the width of a tall ground floor. This is formed by a rhythmic series of white, smooth-rendered, rectangular concrete columns topped by a low parapet. This is in-filled with large panels of dark aluminium-framed inoperable glazing. The main elevation is symmetrical except for the entrance doors, which are placed off-centre. The windowless side elevations (east and west) of the portico are pale yellow facebrick walls in stretcher bond. The portico has a concealed flat roof clad with metal rib and pan sheeting.</p><br>
<p>The tower is the major component of the building, comprising 14 levels (B3 to L10) and a rooftop plant room and caretaker&#39;s flat (L11). The tower is a tall, narrow, rectangular block with a concealed timber-framed hipped roof clad with metal pan and rib sheeting. It is oriented with its long sides (the front and rear) facing north and south. These elevations are highly glazed with an external grid of white-painted, concrete sun hoods forming a shading "egg crate". The hoods on the northern side project further than the south. The windows are large, double glazed aluminium framed casements and have spandrel panels inset with a chunky, white quartz aggregate. The window hardware has been removed from the sashes. The side (eastern and western) elevations are painted concrete, finely articulated with off-form-patterned panels. Largely windowless in comparison to the north and south, the eastern and western elevations have four columns of small, square aluminium-framed windows with opaque glass.</p><br>
<p>The service core projects from the rear (northern side) of the tower with walls of painted concrete with off-form-patterned panels. The core fenestration is minimal, contrasting with the ample glazing of the adjacent northern elevation of the tower. The east and west elevations of the core have long, narrow ribbons of windows with high sills, and the north elevation has a column of small windows with a high sill and a spandrel panel of quartz aggregate. On the roof of the service core and the tower is a large, facebrick plant room and air-conditioning machinery.</p><br>
<p>Abutting the northern side of the tower is the rectangular rear podium, which stretches the width of the building and comprises four levels (G, B1, B2, and B3) and a roof top deck (L1). The side elevations are pale yellow facebrick in stretcher bond with rhythmically placed square windows. The northern elevation has an egg crate of white-painted, concrete sun hoods sheltering large, aluminium-framed windows. The windows have spandrel panels featuring dark slates.</p><br>
<p>The rear carpark stands behind the rear podium, accessed from the lowest level of the building (B3) and from Wedd Street at the rear. It is one-storey with a flat, steel-framed roof clad with metal pan and rib sheeting, pierced by large, rhythmic openings to the sky. A decorative lattice wall of painted concrete breezeblocks lines the Wedd Street boundary, screening the car park. Internally, the former functions of the building are clearly defined, with public entry and reception in the front portico; offices in the tower; vertical circulation, toilets, and other shared facilities in the core; offices and a semi-enclosed carpark in the rear podium; and car parks and store rooms in the rear car park.</p><br>
<p>The public entry and double-height reception area are intact and feature black and white terrazzo floors, and marble-clad walls, columns, reception desk, planterbox and window sills. An original wall-mounted bronze artwork depicting the historical evolution of the wheel is retained in the entrance foyer. Within the front portico, L1 is a mezzanine level retaining original balustrades: iron near the southern glazing and battened timber above the reception area. Mounted on the end wall of the lift foyer facing the front entrance is Communications, a large artwork by Leonard Shillam.</p><br>
<p>The tower levels (L1 - L9) each comprise long, open floor plans with later lightweight partitions. Window sills are black terrazzo. Small services cores bookend each floor, on the east and west sides of the tower. These contain fire stairs, service risers, store rooms, and kitchenettes. Some levels retain original black bean veneer fire doors. The top level of the tower (L10) contains two large auditoriums. The larger of the two, named the Charles Barton Auditorium, is double-height and has a raised stage with a proscenium arch, velvet curtains, wings spaces either side, and a backstage area with changing rooms. Under the stage is a storage area accessed via original, battened timber doors. The auditoriums are serviced by a single projection room on a mezzanine between the rooms, accessed via a narrow timber stair.</p><br>
<p>On the roof of the tower is a caretaker&#39;s flat, accessed via a narrow concrete stair. It is a modest, timber-framed, three-bedroomed apartment, concealed behind the tower parapet and sheltered under the main roof. It has pale yellow facebrick walls and aluminium-framed windows with original hardware (sliding and double-hung sashes). The front door addresses a generous, north-facing, roofed patio area, paved with square concrete pavers. The layout of the flat is original; however, all ceiling linings have been removed. The kitchen, bathroom, and laundry fitouts are early and it retains early electric monitor boards used by the caretaker to supervise the building.</p><br>
<p>The service core contains service risers and shared facilities, including lifts, a fire stair, dumb waiter for office files, tearooms, and large toilet and shower rooms. The fire stair in the service core retains original finishes, including black and white terrazzo stair treads and risers, black-painted metal balustrades with black plastic handrails, textured stair undersides, and vinyl tile clad walls with contrasting inset floor numerals.</p><br>
<p>The rear podium levels (B3 - G) each comprise large, open floor plans with later lightweight partitions. Window sills are black terrazzo.</p><br>
<p>Early floodlights survive mounted to the exterior of the building.</p><br>
<p>Elements that are not of cultural heritage include: the building&#39;s ramps, awning, and doors at the main entrance portico; lightweight partitions and suspended ceilings throughout; kitchen and store room fitouts; and steel shelters of the garden and roof deck.</p><br>
<p>The former Main Roads Department Building stands prominently on a ridge of the folding terrain of Spring Hill. It is highly visible from the surrounding suburbs and has extensive views from the office spaces within. The gardens and open spaces are conspicuous within the immediate streetscape and contribute to the character of the area.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Department of Main Roads Building was listed on the Queensland Heritage Register on 13 June 2014 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 Main Roads Department Building (1967) is important in demonstrating the Queensland Governments response to the rise in mass motoring in the second half of the twentieth century. Purpose-built to consolidate and modernise the departments activities associated with expanding and upgrading the states road network, it was the largest reinforced concrete office building in Queensland at the time of its construction, illustrating the importance of Main Roads operations and contribution to the states economic advancement.</p><br>
<p>The place is also important in demonstrating the evolution of Queensland architecture as a good, intact example of a substantial, architect-designed building in a Modernist style adapted to suit local conditions.</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 a good, intact and representative example of the work of architect, Dr Karl Langer, and is important in demonstrating the principal characteristics of his work. Most notably, it: displays a hybrid of subtle Classical allusions and Modernist architectural devices including a forecourt and stylised colonnade front; features characteristic simplified forms, decoration and spatial arrangements and a restrained use of high-quality materials; is sited and its form is manipulated for optimum orientation for natural light and ventilation of the interior, and; is designed to be fit for purpose. As the largest commission of his career, it is a rare illustration of Langer&#39;s principles applied on a large scale.</p><br>
<p>The place is a good, intact and representative example of a mid-twentieth century highrise office building in Queensland. It is important in demonstrating the principal characteristics of this type, including: notable height to footprint ratio; expressive and all-encompassing Modernist aesthetic; reinforced concrete construction; refined treatment of the ground floor/primary entry; urban, public space used as setting for the building; rationalisation and repetition of the floor plan; and integration of state-of-the-art office technology and staff facilities.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Notable for its landmark attributes and expressive architectural qualities, the place is important for its aesthetic significance.</p><br>
<p>The former Main Roads Department Building is highly visible from the surrounding suburb and maintains an imposing streetscape presence. Modernist in style, the building&#39;s simplified sculptural form is distinguished through a variety of treatments, including off-form textured concrete, stone spandrel panels, facebrick, egg-crate screening and breeze blocks. The abstract, graphic layout of the forecourt and side gardens, including pond and entrance bridge, and; the use of high-quality Queensland materials and artworks in the public reception areas complete the design.</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>Designed to accommodate the department and to express its work, the place has a strong and special association with the Main Roads Department, which had a crucial influence on the economic and social development of Queensland during the twentieth century. It served as the head office for the department for 45 years.</p><br>
<p>St Peter&#39;s Lutheran College Chapel is a heritage-listed chapel at 66 Harts Road, Indooroopilly, City of Brisbane, Queensland, Australia. It was designed by Karl Langer and built in 1968 by W. W. Groom. It was added to the Queensland Heritage Register on 7 December 2012.</p><br>
<h2>History</h2><br>
<p>The Chapel of St Peter&#39;s Lutheran College built in 1968, was designed by architect, Dr Karl Langer as the centrepiece of the school grounds, complete with a tree-lined plaza, forecourt, bell tower, and reflecting pool. The chapel is used regularly by the school and the local Lutheran parish for liturgical and general assembly purposes and remains central to the school community.</p><br>
<p>The area now known as Indooroopilly was surveyed in 1858 and first settled in 1860. The area was subdivided into farms and later into residential allotments. Prior to 1870 there were few houses built in the area but settlement of the district received impetus from the opening of the Brisbane to Ipswich railway in 1875. During the 1880s and 1890s Indooroopilly developed as a fashionable suburb. Many substantial, architect-designed residences were built on large allotments.</p><br>
<p>Indoocombe was a large brick house built in Indooroopilly in. It became the home of the Munro family who renamed it Ross Roy and the house and its substantial grounds became a centre of high society life. Photographs from this time show the grounds immediately surrounding the house to be landscaped and well maintained and the remainder of the property being native growth with a cleared and grassed understorey. The Munros lived at Ross Roy until their deaths. After the finalisation of the estate, Ross Roy was sold to the Lutheran Church in December 1944 for £16,000. The villa occupied 16 acres (6.5ha) and was established as St Peter&#39;s Lutheran College opening 25 February 1945.</p><br>
<p>Lutheranism is a major branch of Christianity and places a strong emphasis on education. In 1838 the first Lutherans arrived in Australia from Prussia and established communities in South Australia and Moreton Bay. That year a group of German Lutheran and Presbyterian missionaries established Zion Hill (at present day Nundah), a mission for Christianising aborigines, on the outskirts of Moreton Bay Penal Colony. It was not considered successful and was abandoned in 1848. In 1857 Lutheran Pastor Carl Franz Alexander Schirmeister came to Moreton Bay and established congregations at Brisbane CDB, South Brisbane, Ipswich, and Toowoomba. He obtained Government grants of land for church use and the first church was built in North Brisbane in 1861, followed quickly by churches at the other locations. Over the following decades Lutheranism was spread across Queensland. Around 1859 the newly formed colony of Queensland launched a vigorous immigration policy that continued for over 40 years. It attracted many Germans who formed distinct communities amidst the essentially-British nation. Although only a minority of these Germans were Lutheran, across the state Lutheran congregations grew and some established Lutheran schools.</p><br>
<p>With the introduction of the state school system at the turn of the century, Queensland Lutheran schools disappeared as the state school system grew. By 1914 there were no operational Lutheran schools in Queensland and a period of low activity of Lutheran education followed during the interwar and World War II (WWII) period partly due to anti-German sentiment.</p><br>
<p>A gradual resurgence of independent schools began in the last half of the twentieth century with government financial assistance in the late 1960s. This resulted in a Lutheran school boom in Australia between the 1970s and the 1990s This resurgence of Lutheran schools in Queensland started in 1945 with the establishment of St Peter&#39;s Lutheran College at Indooroopilly. The Courier Mail described it as "the first Lutheran secondary school in Queensland". The school was co-educational and attendance was open to boarders and day school children of all denominations. The school was intended to be a northern adjunct and feeder to Australian Lutheran College#Immanuel Seminary in Adelaide where they would be prepared to serve as pastors and in other ministries. On opening day the school received £226/14/8 in donations, ear-marked for the addition of a chapel.</p><br>
<p>A Chapel Fund was established and fundraising activities began. In February 1948 a temporary chapel was dedicated in a former officers mess building of the Australian Womens Army Service camp. The AWAS camp had occupied part of the Munro estate and the school moved the mess building to the centre of the school campus. In September 1948 the school completed Luther House, a two storey building of classrooms. The upper storey temporarily housed the chapel until a permanent chapel could be built.</p><br>
<p>The 1950s and 1960s was an era of religious vitality in Australia. During this period the nation was in a sustained economic boom, was led by conservative governments, and was experiencing high population growth. The congregations of major religions expanded and church attendance and religious society membership rose with accompanying financial improvement. Suburban churches regularly reported record congregation attendances for major holy days. Membership of the Lutheran church also increased after WWII with the major influx of European migrants. In the early to mid 1960s a number of the major Christian religions altered the way they ministered to their congregation in order to re-establish themselves within the modern world. With increased incomes, increased congregations, and an increasingly modern approach, considerable building programs began. Spacious brick churches were built in a modern style, often replacing smaller timber churches.</p><br>
<p>In 1966 the Chapel Fund had raised $59,995 and borrowed $70,000 for the construction of the chapel. Brisbane-based architect and town planner Dr Karl Langer was engaged as architect.</p><br>
<p>Dr Karl Langer (1903-1969) was born on 28 July 1903 in Vienna, Austria. He studied at the Vienna Academy of Fine Arts under the directorship of pioneer German modernist designer Peter Behrens and in 1928, the year of his graduation, he was employed by Behrens to run his office in Vienna. In 1933 he was awarded a Doctor of Philosophy for his thesis entitled Origins and Development of Concrete Construction.</p><br>
<p>Dr Langer immigrated to Australia with his wife, Dr Gertrude Langer, in 1939, bringing direct experience of the European Modern Movement to Queensland. He gained temporary employment with architects Cook and Kerrison in Brisbane and from 1940 Dr Langer lectured part-time in architecture and architectural design at the University of Queensland, publishing Sub-Tropical Housing in 1944. This booklet explored issues related to house design and town planning in a sub-tropical climate and influenced many architects working in the post-WWII era.</p><br>
<p>In 1944 Dr Langer was employed as an assistant town planner in the Brisbane City Council. From 1945, he was commissioned to work on a range of town planning projects for Darwin, Ingham, Toowoomba, Yeppoon, Kingaroy, Mount Isa, Mackay and for the National Capital Development Commission, Canberra. Concurrently, he completed numerous architectural projects of a wide variety including small, economical domestic work and large commercial and institutional work.</p><br>
<p>As an architect and town planner, Dr Langer had a pronounced impact upon the built environment of Australia, especially in Queensland, from the 1940s until his death in 1969. Along with numerous cultural pursuits, he was active in the Royal Australian Institute of Architects; first president (1952) of the Queensland division of the Royal Australian Planning Institute; a founder and chairman (1966–68) of the Queensland Association of Landscape Architects; and a member (1963–69) of the National Trust of Queensland. Important examples of his architectural work include the Langer residence at St Lucia (1950); Sugar Research Institute at Mackay (1953); St Johns Lutheran Church, Bundaberg (1960); Kingaroy Town Hall and Civic Square (1963); Assembly Hall at Ipswich Girls Grammar School (1964); Main Roads Building at Spring Hill (1966); Lennons Hotel at Broadbeach (1957); and Lennons Hotel Toowoomba. His body of work is a clearly distinguishable exploration of a sub-tropical modernism that culminates in the Chapel of St Peter&#39;s Lutheran College, Indooroopilly, his last built work.</p><br>
<p>Modernism developed in pre-World War I Europe and gained popularity in Australia post-WWII. It was more than a design style and is notable for a rationalising of planning emphasising clarity and simplicity of form and detailing. American and Scandinavian influences were strong in Australia. During the 1950s and 1960s a similar rationalisation occurred within Christian religions in an effort to modernise approaches to religious practice. Churches became brighter and simpler in form and decorative treatments. They used new materials and forms while incorporating many traditional elements and symbols. Design responses included variations on the medieval church with simple massing, a rectangular nave stripped of apses, aisles and chapels, a dramatically lit sanctuary rear wall and simple belltower.</p><br>
<p>Influenced by the architecture of classical Greece and the modernist ideas of contemporary European architecture, Dr Langer developed a sophisticated hybrid of classical and modern principles of design bridging modern and traditional architecture. Typically, Dr Langer explored the idea of the conjunction of landscape and landmark and his designs often involve a designed landscape incorporating the building. At St Peter&#39;s, Dr Langer proposed a fan-shaped chapel with a very tall bell tower and a round concrete reflecting pool behind a paved forecourt at the end of a tree lined plaza. The front of the chapel was a crisp, curved colonnade-a stylised temple front-clad in marble. The other walls were yellow face brick with a projecting pattern of crosses on the east wall exterior.</p><br>
<p>Langers design for the Chapel of St Peters Lutheran College was in a modernist style and typical of his architectural concepts. Langers exploration of modernism was heavily influenced by context. He studied the local fauna and flora in Queensland and the climate and his work interprets this in a Modernist manner. Dr Langer integrated native planting into his schemes; at St Peters he proposed hedges of lemon scented tea trees for the plaza. He typically exploited passive lighting and ventilation in intelligent and uncomplicated ways; at St Peter&#39;s his design includes simple methods of passive ventilation and a naturally lit interior.</p><br>
<p>By 1966 when the design of the chapel was nearing completion, Dr Langer had a strong connection with the Lutheran community of Queensland and with St Peters Lutheran College. He had previously designed and had constructed St Johns Lutheran Church, Bundaberg (1960) and St Johns Lutheran Church, Ipswich (1961). At St Peters College, he had completed a chaplains residence (1954), a dormitory block (1954-55), a dining hall block (1966), and a concrete footbridge (1966–67). The dormitory block and a 12 ft tall sandstone monolith was a memorial to Queensland Lutheran servicemen killed in WWII. The monolith was a gift by Langer to the school and, at the time, was believed to be the largest stone in Brisbane. A cross was carved on one side with servicemens name son the other. Langer went on to complete a science block (1967–68) and the entrance fence and gates (1968). The plaza and forecourt connected some of these buildings in a coherent, ordered manner, e.g. the stylised temple fronted dining hall addressed the plaza and forecourt, referencing classical Greek town centres, suggesting Dr Langer had a masterplan for the site. In lectures for architecture students at the University of Queensland he referenced the design of St Peter&#39;s chapel and its context (the forecourt/plaza and surrounding buildings) as an example of applying the European model of a functional town square to the College campus. Importantly, the design was symbolic of the essence of Lutheran education-an axis with theology (the chapel) at one end and learning (the library) at the other.</p><br>
<p>Dr Langer carefully incorporated Christian symbolism within the design of the chapel. The fan shape concentrates the gaze to the altar; lights are hidden from the nave to remove any distraction from this focus. The curved east wall is plain and dominated by the Cross (a symbol of the resurrection), seemingly floating in a strong light symbolising the rising sun. References to the Holy Trinity can be seen in the altar (constructed of three pieces), the three-finned bell tower and the three windows in the mediation chapel.</p><br>
<p>Tenders for the construction of the chapel were called in February 1967. Local contractor WW Grooms tender of $123,938 (the lowest of nine) was accepted on 6 February 1967. Groom had also won the contracts for other Langer buildings at St Peters. The foundation stone was laid 17 September 1967 and the chapel was opened and dedicated 14 June 1968 with Dr M Lohe, President General of the Lutheran Church, as guest speaker. Dr Langer and Groom attended and were involved in the ceremony.</p><br>
<p>A large timber crucifix was commissioned for the wall within the small round room of the meditation chapel. It was carved by Alfred Schubert, a Czech-born woodcarver from Melbourne who had trained in Bavaria. Schubert had previously carved a crucifix for Langers St Johns Lutheran Church at Bundaberg. The crucifix was dramatically lit and loomed large within the room.</p><br>
<p>The chapel bell was donated by Pastor Franz Finger who was closely associated with the establishment of St Peter&#39;s and in its ongoing ministry and served on the College Council.</p><br>
<p>Dr Langer died in 1969 and his funeral service was conducted at the chapel. It has been said that Dr Langer considered the chapel to be his favourite building. He was cremated at Mt Thompson Crematorium, where he had designed the east chapel built in 1962.</p><br>
<p>There has been little alteration to the chapel over time. Aluminium blade sun shades have been added to some windows and the crucifix in the mediation chapel has been removed. The reflecting pond in the forecourt has been removed. A wide concrete ramp has been added in the forecourt probably replacing a wide stair.</p><br>
<p>At some time, the large sandstone WWII memorial monolith was moved from its earlier position on the northern side of the boys&#39; dormitory to the southern edge of the chapel forecourt.</p><br>
<p>The chapel has been the only local Lutheran church in Indooroopilly since 1968 and services for the Lutheran parish are conducted weekly. The chapel, forecourt and plaza have acted as the physical and spiritual centre of the campus and continue to do so. The chapel is regularly used as an auditorium for the College and hosts performances, ceremonies and general assemblies. Larger assemblies and ANZAC day commemorations are held in the forecourt.</p><br>
<h2>Description</h2><br>
<p>The Chapel of St Peter&#39;s Lutheran College, Indooroopilly, is a fan-shaped building with a bell tower and large concrete paved forecourt terminating a tree-lined plaza. The plaza runs generally from west to east along a high ridge of land within the College campus. The tall bell tower is surmounted by a cross which can be seen from across the area.</p><br>
<p>The gently-curved temple front entrance faces west. Three concrete steps lead up to a tall portico running across the face of the building. Four slender square columns divide the front into five bays. The portico is clad with marble presenting a high-quality face to the building that glows strikingly in the setting sun.</p><br>
<p>At the southern end of the front a tall bell tower made of three concrete fins squats over a small round drum of the meditation chapel, attached to the building by a slender covered corridor. The bell is mounted at the base of the tower and has raised letters, "ST. PETERS 1967".</p><br>
<p>The rear wall of the portico reveals the concrete structure infilled with panels of yellow face brick. The portico ceiling is lined with dark-stained timber battens. Aluminium-framed glass doors open from the portico into the chapel. High level aluminium framed awning windows light the interior choir loft.</p><br>
<p>The north and south elevations are yellow face brick and comprise a series of stepped blade walls with west-facing windows. Secondary entrances to the nave are located along both sides and the low form of the vestry and consultation rooms project out of the south face. The eastern (rear) elevation has no windows and the field of yellow face bricks features a pattern of crosses made of projecting header bricks. The land falls away at the rear and long and narrow openings provide ventilation into the understorey and then up into the chapel via floor louvers behind the altar.</p><br>
<p>The nave is a wide fan narrowing to the altar at the east end. The floor slopes down to the altar. The wide balcony choir loft is tiered and overhangs the entire west end of the nave forming a low-ceilinged entry zone supported on slender square concrete columns. The balcony balustrade is dark-stained timber battens and forms a sweeping curve. The balcony is reached via timber stairs at both ends of the entry area. The body of the chapel is a large space, brightly lit and uncluttered. The high white ceiling curves seamlessly into the east wall behind the altar where a large timber cross that appears to float on the white field is mounted.</p><br>
<p>The north and south walls are yellow face brick and the windows are positioned so they are shielded from the nave and their light is directed eastward onto the altar. The pews are darkly-stained timber and are crafted to sit on the sloping floor, progressively shorter towards the altar to suit the reducing width of the nave. The floor of the nave is clear finished timber under the pews and russet-coloured carpet in the entry, aisles and sanctuary. The sanctuary is reached by two steps and a third step supports the altar. The altar is made of large thick slabs of Helidon sandstone with the front carved with the Greek letters alpha and omega.</p><br>
<p>At the southern end a short stair leads down to a narrow, low-ceilinged corridor into the round meditation chapel. The floors of the corridor and meditation chapel are paved with glazed dark bricks and the walls are of yellow bricks. The ceiling of the meditation chapel is rough textured stucco. A large timber cross is fixed to the wall and the room contains timber kneelers and pews. Three long narrow windows light the small dark room.</p><br>
<p>The chapel contains timber furniture, sandstone font, framed portraits, metal candlesticks and a variety of liturgical items.</p><br>
<p>The forecourt is paved with concrete tiles in a stretched hexagonal pattern. It is approximately 40m square. The plaza has a concrete surface and is flanked on both sides by grass planted with Poinciana trees at regular intervals. This outdoor furniture and other plantings are not considered to be of cultural heritage significance.</p><br>
<p>On the southern side of the forecourt is a World War II memorial, a large sandstone monolith, standing within garden beds and grass and flanked by two steel flagpoles. The stone is carved with a cross and a Roll of Honour listing Queensland Lutherans who died in WWII. This is not considered to be of cultural heritage significance.</p><br>
<p>A corner of Luther House and the cafe extension to the dining hall encroach into the forecourt and plaza. They are not considered to be of cultural heritage significance.</p><br>
<h2>Heritage listing</h2><br>
<p>Chapel of St Peter&#39;s Lutheran College, Indooroopilly was listed on the Queensland Heritage Register on 7 December 2012 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 Chapel of St Peter&#39;s Lutheran College, Indooroopilly, constructed in 1968, is important in demonstrating the growth and changing practices of Christian liturgies in Queensland between the 1950s and the 1970s, in particular of the Lutheran church, a religious denomination of importance in Queensland since 1838. The chapel in its setting is a strong symbolic gesture embodying the essence of Lutheran education with theology (the chapel) visually linked to learning (the library).</p><br>
<p>The chapel is important in demonstrating the strong influence of European modernist architecture in Queensland. As a highly intact modernist church, the chapel is important in representing modernist ecclesiastical architecture in Queensland during a period of significant re-evaluation and modernisation of Christian religions worldwide.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The chapel is important in demonstrating the principal characteristics and qualities of a modernist church in Queensland. Highly intact, the chapel is notable for incorporating a dominant bell tower, large, well-lit nave shaped to focus to the sanctuary, a choir loft, vestry and stark, dramatic meditation chapel. The Chapel is notable for its subtle incorporation of Christian symbolism including the positioning of the Cross floating on a strongly lit curving wall as a symbol of the rising sun and the use of three elements in the design of features like the bell tower, altar and meditation chapel.</p><br>
<p>The place is an exceptional example of the work of architect, Dr Karl Langer, embodying architectural principles he developed and refined over his career. Most notably, it incorporates classical architectural devices including a processional plaza, forecourt and stylised temple front; features characteristic simplified forms and spatial arrangements and a restrained use of good quality materials; and incorporates natural light and ventilation.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Notable for its high quality design, materials and construction, the place is important for its aesthetic significance. The monumental bell tower is visible across the College and surrounding suburbs giving the chapel strong landmark qualities. The forecourt and plaza provide for views to and from the chapel, especially important for the symbolism in the visual link between the chapel and the library. The sculptural qualities of the austere chapel interior-including the seamless curving east wall with floating Cross; use of white plaster finishes complementing timber panelling and pale brickwork; natural lighting from the west facing clear glazing in the bladed side walls and from glazing in the west wall-evoke feelings of awe and reverence. The main chapel is a dramatic contrast to the cave-like small meditation chapel which evokes sensations of introspection and contemplation.</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, designed by Dr Karl Langer, has a special association with his life and work. It is the culmination of his architectural career and embodies the defining architectural principles he developed and employed. Dr Langer is an architect of importance to Queensland and was one of the earliest architects to promote a local variation of modernist architecture. His work, particularly on climatic design, inspired and influenced contemporary and later architects.</p><br>
<p>Tighnabruaich is a heritage-listed villa at 203 Clarence Road, Indooroopilly, City of Brisbane, Queensland, Australia. It was designed by Francis Drummond Greville Stanley and built around 1889. It was added to the Queensland Heritage Register on 7 February 2005.</p><br>
<h2>Description</h2><br>
<p>The house of Tighnabruaich occupies a block of 1.19 hectares in central Indooroopilly. The property has frontages to the Brisbane River and to Clarence Road and access to the house is via a circular driveway leading from Clarence Road. The house is a timber-framed building set on brick piers. It is positioned overlooking the river to the south.</p><br>
<p>The house is asymmetric in both plan and elevation. The main part of the residence is two-storeyed, with a single-storey, L-shaped wing on the western side. The fall of the land towards the river provides space for a brick basement under the single-storeyed section. The whole has a corrugated iron clad roof comprising a series of gables and dormer windows. Single-storey verandahs are found on the northern and southern elevations of the building and along the entire length of the eastern elevation.</p><br>
<p>The principal point of entry to the building is in the north elevation, where an elaborate covered porch provides shelter for</p><br>
<p>the main entrance. This consists of a six-panelled cedar door with semi-circular fanlight and sidelights.</p><br>
<p>Generally the interior of the house has plaster ceilings, timber boarded floors and very fine stained-cedar joinery. The stud walls are clad with chamferboard externally and lath and plaster internally. Most doorways have operable fanlights above.</p><br>
<p>The ground floor contains a number of large public rooms with bay windows and French doors, arranged around a</p><br>
<p>central stair hall. An entrance vestibule with a tessellated tiled floor leads to the stair hall through an arched opening filled with a carved timber screen. Plaster archways provide access to the major rooms on the ground floor and these rooms have plaster ceiling roses and deep plaster cornices.</p><br>
<p>The central stairway is an open well with a half-turn timber flight with landings and has very fine cedar joinery including turned balusters, prominent newel posts and spandrel panelling.</p><br>
<p>The upper floor of Tighnabruaich has a number of smaller rooms, again opening off the central stair hall and off halls radiating from this. Some of the upper floor rooms have partially raked ceilings of plasterboard, following the line of the roof trusses.</p><br>
<p>The grounds include large areas of lawn to the north of the house, the early carriageway lined with mature trees and a tennis court to the east of the drive. At the southern end of the site the ground slopes steeply to the river, the bank being heavily vegetated.</p><br>
<h2>Heritage listing</h2><br>
<p>Tighnabruaich was listed on the Queensland Heritage Register on 7 February 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>Tighnabruaich is a large, two-storeyed timber residence constructed around 1889 for Henry Stanley, Chief Engineer for Railways in Queensland, to a design by his brother, the former Colonial Architect Francis Stanley. The place is important in demonstrating the pattern of growth of Brisbane, specifically at Indooroopilly, where middle-class suburban residential development was attracted to the district after the opening of the Indooroopilly Railway Station, in 1875. As one of a group of substantial, late 1880s residences constructed in Brisbane, Tighnabruaich also contributes to our understanding of the nature of the Queensland economic "boom" of this period. The property is also significant for its military associations, initially with the work of a Section of the Allied Intelligence Bureau during World War II and then, during the second half of the 20th century, as the showcase residence of the officers commanding the Australian Army in Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places</p><br>
<p>The house in its garden setting remains comparatively intact and a good example of a well-designed 19th century middle-class villa. It is important in demonstrating the principal characteristics of its class, including planning, use of materials, decorative detailing, riverside location and the retention and layout of the grounds, including the early carriageway, tennis court and plantings. The building is a fine example of the mature domestic work of F.D.G. Stanley and contributes to the body of knowledge about the work of this prolific and influential Queensland architect.</p><br>
<p>The place is important because of its aesthetic significance</p><br>
<p>The building has aesthetic value as a well-composed, picturesque residence influenced by Gothic revival architecture popular during the second half of the 19th century. It contributes to the townscape of Indooroopilly and is a landmark along the Brisbane-Ipswich railway.</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>Tighnabruaich has a special association with the Australian Army, as the residence of the generals commanding the Army in Queensland for close to half a century; trees planted by the resident generals remain as evidence of that association.</p><br>
<h2>History</h2><br>
<p>Tighnabruaich is situated in central Indooroopilly, overlooking the Brisbane River. The house was constructed around 1889 as the home of Henry Charles Stanley, the Chief Engineer for Railways in Queensland. It was designed by his own brother, Francis Drummond Greville Stanley, the former Queensland Colonial Architect. The name of the property evoked the village of the same name, in the Kyles of Bute, in Scotland where the brothers were born. The view of Chelmer, across the Brisbane, could occasionally be reminiscent of the other narrow waterway, its steep banks with lush vegetation and its steam-ferry traffic.</p><br>
<h3>The Colonial Era</h3><br>
<p>The land on which Tighnabruaich is situated was once known as Portion 46, Parish of Indooroopilly. It was originally a 42-acre block with a frontage on the Brisbane River and was first sold, at government auction, on 27 September 1859. The original purchaser was James Henderson, but there is little evidence to suggest that Henderson either farmed, or otherwise developed, this land. In April 1873, the portion was transferred to Louis Stamm, a German-born Brisbane businessman who had pursued a wide-ranging career in Queensland since 1855. Stamm was variously a merchant, a newspaper proprietor and a brewery owner.</p><br>
<p>Despite having been surveyed into farm allotments in 1858, prior to the original auction, central Indooroopilly did not attract agricultural settlement to the same extent as the surrounding river pockets: Fig Tree Pocket, Long Pocket and Indooroopilly Pocket, now known as St Lucia. The area was steeply ridged, covered in dense scrub and its steep river banks did not provide ready access to river transport, the principal means of communication and trade with Brisbane and Ipswich in the mid-19th century. Much of central Indooroopilly remained undeveloped and isolated until the arrival of the Brisbane to Ipswich Railway into the district, in the mid-1870s.</p><br>
<p>By October 1873 the Queensland government had determined that the Brisbane to Ipswich railway would cross the Brisbane River at</p><br>
<p>Indooroopilly. The rail corridor would pass through portion 46 and a railway station would be established on part of this portion. In that month a road - Station Road or Indooroopilly Station Road - was surveyed from Moggill Road to the site of the proposed Indooroopilly Railway Station. The segmentation of portion 46 was formalized on a survey plan dated March 1875. The railway corridor and the new road were transferred to the Queensland government the same year. Louis Stamm retained the remainder of portion 46 on 3 subdivisions.</p><br>
<p>Another government road was duly built, along the eastern boundary of portion 46, and was named Musgrave Rd. Later, this would be renamed Clarence Rd. and would become the main access road for the new house of Tighnabruaich. In April 1875, the government decided to survey and connect this Musgrave Rd. (Clarence Rd.) to the road to Long Pocket, now Indooroopilly Rd. This connecting road was originally called the Indooroopilly Rd., but is now Lambert Rd. In June 1877, an extension westward of this new road was surveyed, cutting through portion 46, to connect the new settlements in the east of the district to Indooroopilly railway station.</p><br>
<p>Indooroopilly railway station was opened, under that name, in 1875 and it was soon followed by the first railway bridge across the Brisbane River at</p><br>
<p>Indooroopilly, in 1876. This provided a considerable impetus for closer residential settlement in the suburb and a small township developed</p><br>
<p>around the railway station. By the late 1880s, this included a hotel, several shops and a carpenter. In the last quarter of the 19th century a number of fine villas were built along the banks of the Brisbane River, within reasonable proximity to the railway station.</p><br>
<p>At some period prior to June 1891, Louis Stamm sold re-subdivision 3, of subdivision 1, to Henry Stanley. This was a block of nearly 9 acres, bounded by the railway line to the west, the Brisbane River to the south, Musgrave Road - Clarence Road - to the east and Indooroopilly Station Road - Lambert Road - to the north. This was the plot on which the house known as Tighnabruaich would be built.</p><br>
<p>Henry Charles Stanley was born in Edinburgh in 1840. He studied engineering at Edinburgh University and subsequently worked as an engineer in Scotland before emigrating in the early 1860s to Queensland where he was employed as an assistant engineer on the construction of the colony&#39;s first railway, between Ipswich and Toowoomba. He was then employed as a railway engineer by the Queensland Government from 1 January 1866 and was appointed Chief Engineer for Railways in 1872. He held this position for nearly three decades, until 1901. Before his new house was built, Henry Stanley</p><br>
<p>lived in the Toowong district, at Ascog in Church Street.</p><br>
<p>Francis Drummond Greville Stanley was Henrys elder brother and the designer of the house. Francis was born in Edinburgh in 1839 and trained in Scotland as an architect. He emigrated to Brisbane in 1862 and practised privately before gaining employment with the Queensland government in the office of the Colonial Architect, Charles Tiffin, in 1863. Following Tiffins retirement, Francis Stanley was himself appointed Colonial Architect, from 1 January 1872. He held the position until 1881, but throughout his period of government employment he accepted a number of private commissions. He also continued in private practice in Brisbane, Maryborough and Toowoomba after he left the public service. Stanley was a prolific architect and his work is found throughout Queensland.</p><br>
<p>If house-design was the speciality of the elder brother, then bridge-building was becoming the speciality of the younger brother. Tighnabruaich&#39;s river-frontage overlooked the railway that brought H.C. Stanley to the area, and the Albert Bridge that did so much to assist the development of the district. However, within three years of his taking up residence in the area, that bridge was washed away, in the 1893 Brisbane Floods. It must have given Henry Stanley enormous personal satisfaction to design the replacement bridge and, having done so, to be able to inspect his own bridge each day from his own home, itself a Stanley construction. In 1901, Stanley moved away, with his family, to the district of Hamilton.</p><br>
<p>Francis Stanley&#39;s design for Tighnabruaich was a decorative, two-storeyed timber residence with a single-storeyed timber wing and basement. The roof built with a number of steeply pitched gables and dormer windows, a feature popular in other domestic-scaled Gothic revival buildings, and was clad originally with timber shingles. It is thought that the house was erected around 1889, since Henry Stanley is first recorded as being a resident of Indooroopilly in the postal directories of 1890.</p><br>
<p>The estate was conceived as has having the villa set in a park landscape and so, about the time that Tighnabruaich was being built, the rest of the property was cleared of vegetation, with the exception of a few specimen Eucalypt trees. These were later augmented with some Ficus specimens. A typical late 19th century garden was established in the immediate vicinity of the house and the park design was completed with the planting of an avenue of trees along a circular carriageway that connected the property to Musgrave Road, the later Clarence Road.</p><br>
<p>In 1891, Henry Stanley entered into a curious financial arrangement with New South Wales grazier Solomon Wiseman, who held title to Tighnabruaich from June that year and who took out a substantial mortgage on the property from the Queensland Investment and Land Mortgage Company. The memorandum of transfer associated with this transaction also records that Stanley had purchased the land from Stamm for £3,100. Wiseman later subdivided the property and four subdivisions fronting Clarence Road were sold around 1900. A Lambert Road subdivision was sold around 1904. Following Wisemans death in late 1901 the property became the responsibility of trustees. At this time, with the owners of the house, the Stanleys, having left and with Wiseman, the landowner, having died, Tighnabruaich was used briefly as a boarding house for the Bowen House boys school, located in Ann Street.</p><br>
<h3>The Early Commonwealth Era</h3><br>
<p>On 6 February 1904, the house was sold to Herbert Brealey Hemming, for the sum of £2200. It was sold with 8 acres, 1 rood and 7.2 perches of land: the total of subdivisions 1-2 and 8-14. Hemming was a leading solicitor in the State of Queensland, an eponymous partner in the distinguished Brisbane legal-practice of Wilson, Newman Wilson and Hemming. He lived at Tighnabruaich, with his family, until around 1915 or 1916. During this period, tennis parties were regular feature of life at Tighnabruaich.</p><br>
<p>At this time there was also a move to put the large grounds were put to some commercial use. Dairy cattle were grazed on part of the land and part of the basement of the house was given over to a milking-parlour and dairy.</p><br>
<p>However, as the family grew up, even the house exceeded requirements and they moved out of the main house, to Witton House, newly located on the estate. From around 1915 or 1916, the main house was leased to Mrs Emma McGill, who operated it as a boarding house for a decade, until the mid-1920s. The house then appears to have remained vacant for nearly two decades, from that period onwards until the military requisitioned it for use during the Second World War. There is a suggestion that Tighnabruaich served as a private hospital in the late 1930s, under a Dr. Underwood, but details of this period are sketchy.</p><br>
<p>An article written for The Queenslander in 1932 described various elements of the grounds of Tighnabruaich, including: some "fine old gum trees" in the cow paddock adjacent to the railway line; entrance gates to Clarence Street giving access to a drive lined by Camphor Laurels; a tennis court to the south east of the drive; hedging, steps to the lower grounds, accessed through a creeper-clad archway; and some "fine Jacarandas and other flowering trees".</p><br>
<p>Mr. Hemming&#39;s impressive property portfolio included another house, Witton Manor, which was also located in Indooroopilly, though further</p><br>
<p>upstream. The grounds of Witton Manor became, for many years, the junior school of St Joseph&#39;s College but are now the site of Ambrose Treacy College.</p><br>
<p>Between 1916 and 1919, Witton Manor was moved - the detail of the not-inconsiderable enterprise is sadly missing - from its original site and onto the extensive grounds of Tighnabruaich. It was positioned in the south west corner of the park, facing the river, and was renamed Witton House. Hemming himself then resided at Witton House from at least 1919 until around 1938. Witton House was eventually demolished in 1967.</p><br>
<p>Following Hemming&#39;s death on 8 March 1942, the Tighnabruaich properties were administered by Queensland Trustees Limited on behalf of the Hemming estate.</p><br>
<h3>The Second World War</h3><br>
<p>From about October 1942, the property was requisitioned for use by the military. Tighnabruaich became the main base of a joint United States-Australian intelligence unit: the Allied Translator and Interpreter Section (ATIS), associated with the Combined Services Detailed Interrogation Centre. These units directed the handling of captured Japanese prisoners and documents. During the war many huts and tents were assembled on the grounds for use by American soldiers; brick cell blocks were constructed in the center of the property, north west of the main house, to accommodate Japanese prisoners of war being held for interrogation; two interrogation rooms were erected to the immediate east of the main house; an Orderlys Office was established on the north west side of the main driveway off Clarence Road; a translation room was erected on the tennis court; Witton House functioned as the Sergeants Mess; and Tighnabruaich was partitioned for office accommodation. The roof of the eastern verandah of Tighnabruaich was removed during this period. ATIS vacated Tighnabruaich about July 1945.</p><br>
<h3>The Post-war Era</h3><br>
<p>Toward the end of the war, the Australian Army decided to hold on to Tighnabruaich: the property was transferred to the Commonwealth of Australia on 13 June 1945.</p><br>
<p>From mid-1945 until July 1946 it functioned as an Australian Womens Army Service barracks. During this period, the main house was used as an officers mess and Witton House accommodated the non-commissioned officers. The Other Ranks occupied the huts and tents in the grounds.</p><br>
<p>From 1946 to 1949, the property was used solely for administrative buildings.</p><br>
<p>In 1949, the main house was converted into two flats to accommodate senior Army officers. At this time, the original eastern verandah was removed to allow for the installation of a staircase to the upstairs flat.</p><br>
<p>By July 1951 the translators&#39; room had been removed from the tennis court and in 1955 a small timber tennis shed or storeroom was erected adjacent to the court.</p><br>
<p>From 1951, the estate was divided into separate elements: the main house, and other establishments set up in the grounds. The main house was restored to single occupancy, as a general&#39;s residence. Within the grounds stood two separate barracks: Witton Barracks and Indooroopilly Barracks.</p><br>
<p>From January 1951 until mid-1998 Tighnabruaich, the main house of the old estate, served as the home of the General of Command, Northern Command, Australian Army, and later: Commander, 1st Division. After 1957, major works were carried out on Tighnabruaich, to restore it to being a prestige residence: suitable as a family home for the general and his dependents, but suitable also for the entertaining of guests, as required of senior army officers. From this period, many of the alterations made between 1942 and the 1950s were replaced with original or reconstructed fabric. A carport was added to the house in 1958 and in 1962 a lavatory was installed on the ground floor, under the main staircase. The outside staircase to the former upstairs flat was removed in 1966 and the eastern verandah was reconstructed. Between January 1951 and March 1998, some 20 generals took up residence in Tighnabruaich, together with their families. During this period a tradition was established, whereby each family planted a tree on the property.</p><br>
<p>In 1998, the site was formally subdivided by the Commonwealth. The Commonwealth retained the grounds of the property, but Tighnabruaich house, on a reduced 1.19 hectare plot, was sold freehold to private owners. The grounds associated with Tighnabruaich house retain the river frontage, the early circular carriageway and the mature trees lining this drive, plus the tennis court and the trees planted by the generals resident since 1951. Any military evidence of the Army&#39;s presence on this site has since been removed. Tighnabruaich is currently occupied as a private home.</p><br>
<p>Greylands is a heritage-listed villa at 47 Dennis Street, Indooroopilly, City of Brisbane, Queensland, Australia. It was designed by John Hall and built. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The site was part of a parcel of land purchased by Thomas Lodge Murray-Prior in 1859. In 1876, his friend Graham Lloyd Hart, a city lawyer, purchased a subdivided portion of 43 acres and in the following year built Greylands. It is likely that Brisbane architect John Hall designed the house. The family resided at Greylands until Hart&#39;s death in 1897 except for a period in the 1880s when they lived on Wickham Terrace.</p><br>
<p>While it is unclear who owned the property next, it is likely that Queensland National Bank, which had been mortgagee for the Harts, took over the property. John Piper McKenzie, manager of the Bank&#39;s Brisbane Office lived there from 1900-1908. The next tenant was David Lahey, timber merchant, who leased the house from 1910-1912. His daughter Vida Lahey painted the Monday Morning laundry scene at Greylands which hangs in the Queensland Art Gallery.</p><br>
<p>The residence was bought by Bank employee Alfred Dennis in 1912 and the estate was gradually subdivided. Dennis is credited with demolishing the old wooden wings and stables at the back, with building a new extension of five rooms and providing the tennis court. On his death in 1944 the property was sold to Norman Pixley and ultimately to the Power family in 1984, who refurbished the property.</p><br>
<h2>Description</h2><br>
<p>The original portion of Greylands is a brick building, single-storeyed at the front and double at the rear. The plan is symmetrical about a wide hallway which features a central screen with double doors. Two rooms on the right are divided by a set of folding doors. On the other side of the hallway are two bedrooms. Joinery throughout is of cedar, and all fireplaces retain their mantelpieces of marble, grates and hearths. Floors in each room are edged in cedar.</p><br>
<p>Original lath and plaster ceilings have been replaced, though plaster cornices remain in all rooms. In the sub-floor at the rear are five small rooms which were used as servants&#39; quarters and a laundry. Externally the house features a fretwork pediment over the front steps.</p><br>
<p>Wide verandahs with cast-iron balustrading extend across the front and along two sides. The verandah roof is supported by paired verandah posts on brick piers, and separated from the main hipped roof of corrugated iron by a cornice with paired console brackets.</p><br>
<h2>Heritage listing</h2><br>
<p>Greylands 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>One of the earliest villa residences in the Indooroopilly area, and a dignified example of 1870s design, the house and its setting provide a glimpse into the way of life of Brisbane&#39;s professional and business families.</p><br>
<p>In addition to its elegant exterior form, the house displays craftsmanship and detailing of a high standard including its cedar joinery and other interior decoration. Its appeal is enhanced by the retention of almost 5000 square metres of landscaped grounds which are free from urban intrusion.</p><br>
<p>Greylands was the home of Graham Lloyd Hart, founder of law firm Flower & Hart which has been prominent in Brisbane legal circles since the 1870s. That this was the location of Vida Lahey&#39;s much admired painting of women working in the laundry, Monday Morning, adds social import to the house</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>One of the earliest villa residences in the Indooroopilly area, and a dignified example of 1870s design, the house and its setting provide a glimpse into the way of life of Brisbane&#39;s professional and business families.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>In addition to its elegant exterior form, the house displays craftsmanship and detailing of a high standard including its cedar joinery and other interior decoration. Its appeal is enhanced by the retention of almost 5000 square metres of landscaped grounds which are free from urban intrusion.</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>Greylands was the home of Graham Lloyd Hart, founder of law firm Flower & Hart which has been prominent in Brisbane legal circles since the 1870s. That this was the location of Vida Lahey&#39;s much admired painting of women working in the laundry, Monday Morning, adds social import to the house</p><br>
<p>St Andrews Church Hall is a heritage-listed church hall at 72 Lambert Road, Indooroopilly, City of Brisbane, Queensland, Australia. It was designed by John Hingeston Buckeridge and built from 1889 to by P Christensen. It is also known as Indooroopilly Church of England Sunday School and the temporary St Andrews Church. It was added to the Queensland Heritage Register on 9 July 1993.</p><br>
<h2>History</h2><br>
<p>St Andrew&#39;s church hall was built in 1889 on half an acre of land, as the Indooroopilly Church of England Sunday School. Indooroopilly was originally included in the Parish of Toowong when it was formed in 1870. With the advent of the Main Line railway passing through Indooroopilly during the 1870s, an increasing number of people settled in Indooroopilly. Regular Church of England services were not held in the district until the 1880s. In 1888 the first meeting of those interested in the erection of an Anglican church in Indooroopilly was held and a committee formed to pursue this intention. The Parish of Indooroopilly separated from the Parish of Toowong in 1890.</p><br>
<p>Diocesan Architect, John Hingeston Buckeridge, was instructed to prepare a plan for a brick church to accommodate 500 people, and to give an estimate for a portion to seat 250 people. Buckeridge&#39;s plan was considered too large, and possibly too expensive, for the district, and he was asked to prepare another plan for a church to seat 250 people. The construction of the brick church was deferred, and it was decided that a Sunday School hall would be erected on the land, at a cost not to exceed £300. The Sunday school hall would be temporarily used as a church, then as a Sunday school when the permanent brick structure was erected.</p><br>
<p>The building was built by P Christensen, and cost £320. It was one of approximately ninety Anglican buildings erected during the episcopate of Bishop Webber, from 1885 to 1903. Webber had an understanding of ecclesiastical design and architecture generally and was responsible for bringing Buckeridge to Brisbane from London, as diocesan architect. Buckeridge was responsible for the design of over twenty timber churches in the Diocese of Brisbane.</p><br>
<p>The land for the church was donated by Graham Lloyd Hart (1839-1897), a prominent Brisbane solicitor and active member of the Church of England. It would appear that Hart&#39;s offer of the land was conditional upon a brick church being ultimately erected on the land. A number of memorials to former parishioners were added to the timber building which mainly included furnishings and ceremonial items. A set of three stained glass windows to the memory of Hart who died in 1897, were incorporated in the building in 1900. A new chancel was added in 1902. The sanctuary was built by JL Pratt with the design assistance of WH Mobsby of the Parochial Council. A choir vestry was added to the sanctuary, designed by SC Rookwood.</p><br>
<p>In 1963 the timber building was moved about 150 metres to the north-west and re-oriented 90°, prior to the construction of the new brick church. Internal alterations were undertaken, to convert the timber building into the parish hall. These included the removal of decorative elements particularly around the sanctuary and altar. The stained glass windows and other memorials were removed, and the majority placed in the brick church in 1965.</p><br>
<p>A timber toilet block has been constructed immediately adjacent to the entry porch of the hall. A new rectory was built at the rear of the hall in 1985.</p><br>
<h2>Description</h2><br>
<p>St Andrews Hall is a single-storeyed Gothic influenced timber hall sited to the rear of a battle-axe block, diagonally opposite the present St Andrews Church (1965). The hall has a steeply pitched corrugated iron roof, and exposed stud framing and cross-bracing over chamferboards. The southern end of the hall has a small decorative entrance portico with a pitched roof, while the extensions to the north (sanctuary and choir vestry ) have a lower roofline and project out to the east and the west. These extensions match the rest of the building in external detail.</p><br>
<p>Internal alterations have included the removal of decorative detailing associated with the sacristy, sanctuary and vestry for refurbishment as a kitchen, servery and store area. The chancel arch appears to have been cut out and sheeted over. The floor has been lowered to the level of the former nave, stained glass windows replaced with louvred windows, and a timber ramp adjoining the entrance portico has been installed. External views of the building are partially obscured by a toilet block abutting the church to the south and a new brick rectory at right angles to the church to the north.</p><br>
<p>The hall is lit with tall rectangular windows which retain their stained glass toplights. Both the doors and windows have pointed arch timber-framed heads inside rectangular frames. The building is protected from water penetration by substantial roof overhangs with shaped eaves brackets, and broad timber weathercapping sloped at 45 degrees over a deep fascia around the base. The corners are protected and articulated with quarter-rounds between studs at right angles, and the gable ends are weatherboarded, the northern end having a leaf-shaped vent. The northern elevation bears the most noticeable marks of change, with the surrounds of now removed stained glass windows, a boarded-in pointed arch window frame, and a now disused door.</p><br>
<p>The entrance portico is finely detailed with carved round columns, a barge-board with a cinq-foil motif, and an exposed roof structure over a timber boarded ceiling.</p><br>
<p>Internally, the church retains its timber boarded floor and ceiling. The ceiling is raked, flattening out halfway, and has round carved timber ventilation panels. The scissor tie-rods to the roof structure are exposed.</p><br>
<p>The building is an externally intact example of exposed frame construction which has particularly well-considered weatherproofing detailing. It also retains with some fine external decorative elements, in particular the entrance portico, and the window and door framings.</p><br>
<h2>Heritage listing</h2><br>
<p>St Andrews Church Hall was listed on the Queensland Heritage Register on 9 July 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>St Andrews Church Hall is important in demonstrating the pattern of Queenslands history in particular the expansion of the Anglican Church in Brisbane in the late nineteenth century and the development of the Indooroopilly parish and the practice of erecting timber buildings as temporary structures until a masonry church could be erected as a permanent structure.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>St Andrew&#39;s Church Hall is significant as a rare example of a late 19th century exposed frame church and demonstrates the principal characteristics of a late nineteenth-century timber church by JH Buckeridge; and an exposed frame timber hall.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>St Andrew&#39;s Church Hall is significant as a rare example of a late 19th century exposed frame church and demonstrates the principal characteristics of a late nineteenth-century timber church by JH Buckeridge; and an exposed frame timber hall.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The building&#39;s fine external decorative elements, in particular the entrance portico and windows and door framing exhibit aesthetic characteristics valued by the community.</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 use of timber technology is important in demonstrating a high degree of technical achievement.</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>As the temporary parish church then church hall for St Andrew&#39;s parish, it has special association with the Anglican community in Indooroopilly.</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>St Andrew&#39;s Church Hall has special association with the life of GL Hart and the work of JH Buckeridge, both of whom were associated with the Anglican Church.</p><br>
<p>Keating House is a heritage-listed villa at 10-12 Westminster Road, Indooroopilly, City of Brisbane, Queensland, Australia. It was designed by Richard Gailey and built. It is also known as Louis Stamm residence. It was added to the Queensland Heritage Register on 28 May 1999.</p><br>
<h2>History</h2><br>
<p>This residence on Westminster Road, Indooroopilly, was constructed in about the 1890s as the home of Louis Stamm, a Brisbane-based business man. The building is thought to have been designed by prominent local architect, Richard Gailey. The building was last occupied as a residence in c. 1999.</p><br>
<p>During the 1880s and 1890s Indooroopilly developed as a fashionable suburb with the construction of a number of substantial residences. Louis Stamm, who later built the residence on Westminster Road, purchased a 42-acre block at Indooroopilly on 21 April 1873 only two years before the opening of the Indooroopilly railway station. The coming of the railway provided the major impetus to the development of the suburb. By the late 1880s government and social facilities, including a school, an hotel, shops and a carpenter were established in Indooroopilly.</p><br>
<p>Louis Stamm is variously described in sources as a merchant, newspaper proprietor and brewery owner in Queensland. He is listed in the Queensland Post Office Directories simply as a Justice of the Peace. Stamm subdivided the Indooroopilly property which included land adjacent to the railway station in 1875, the year that train services were established, and land was sold from this original allotment during the next twenty years encouraging further growth of the suburb. Major suburban residences including Ross Roy, Claude William Chambers own house dating from 1897; Henry Hunters own house designed by him on Clarence Road in 1888; William Archdalls house on Station Road by Hunter and Corrie of 1891; Warwillah (Glencairn) for FC Bolton designed by Charles McLay in 1892; Riverton for James Cannan and Tighnabruaich for Henry Charles Stanley both designed by Francis Drummond Greville Stanley in the late 1880s; Newlands for Newman Wilson designed by Alexander Brown Wilson in 1889 and a number of houses designed by Oakden, Addison and Kemp including Warranoke for Gilson Foxton, Robert Rendles house and George Henry Male Addison&#39;s own house, Fernbrook, all dating from the late 1880s-early 1890s.</p><br>
<p>This residence, which Louis Stamm constructed for his own use in the 1890s belongs to the tradition of these other houses. Louis Stamm is thought to have commissioned local architect, Richard Gailey to design the building. Gailey was commissioned for the design of a number of substantial residences in the late nineteenth century, including Moorlands, Glen Olive (his own house) and Verney. A description of early large homes in Indooroopilly appeared in the Brisbane Courier of 15 August 1931 which after listing a number of the houses mentioned above describes the house of Louis Stamm:</p><br>
<p>"...while the home of Mr LJ Keating, on Westminster-road was constructed to the design of the late Mr Richard Gailey and is considered to be one of the outstanding examples of residential architecture in Brisbane. It was built by Mr Keating&#39;s grandfather, the late Mr L. Stamm about 35 years ago and used to be occupied by the late Dr Hawkes, Mr HR Boer (at one time Attorney General), Mr T Daley, solicitor and other prominent citizens."</p><br>
<p>It seems that Louis Stamm may never have lived in this house, as his residence is listed most often as at 25 Herbert Street, Spring Hill. Stamm was an early Chairman of the Indooroopilly Divisional Board when it separated from Taringa Division and Toowong Division. By 1885 Stamm retained only 10 acres of his original Indooroopilly allotment and this was mortgaged to Henry Love who subdivided it in the late 1880s. Stamm retained lots 71, 72 and 73 of Portion 46 and this transfer from Love was recorded in 1898. Stamm is thought to have built the house at about this time. The residence appears to have been leased to a number of people during the years from its construction to the 1920s when the Keating family moved there.</p><br>
<p>Stamm died in 1903 and the house and land were passed to his daughter Mary Louisa Keating, who had married Andrew Keating in 1884. Mary Louisa and Andrew had two children, Louis Joseph and Margaret Francis. Louis Keating and his wife, Eileen Matilda, moved into the residence on Westminster Road in 1924. Eileen Matilda died and Louis remarried, Eileen Phillis. Following the death of Louis Keating, Eileen Phillis Keating remained at the residence until early 1999.</p><br>
<p>During the 1920s or 1930s the house seems to have been extensively renovated. Much of the interior fittings and finishing of the present building, particularly on the ground floor, along with some external detailing, appear to date from this period rather than from the late 1900s from which the shell of the house dates.</p><br>
<p>The property was unoccupied after 1999 and was sold by the Public Trustee in 2002 to Amalek Pty Ltd. In 2008 Amalek were served with a maintenance notice to repair doors and windows, clear the drains and fence and mow the yard. As the building had not been well-securied, vandals had broken in resulting in damage and theft, allowing for subsequent rain damage.</p><br>
<h2>Description</h2><br>
<p>The Keating Residence, Indooroopilly, is a substantial rendered brick two-storeyed house, prominently sited on a principal thoroughfare from Indooroopilly Railway Station to the Indooroopilly Shopping Centre. The building is apparent from many surrounding streets and is distinguished from other development in the area by its age and unusual architectural treatment.</p><br>
<p>The residence is a two-storeyed building, with unusual external features such as a pyramidal roofed tower on the principal elevation and extending its octagonal plan form down through the corner of the building. The building is essentially rectangular in plan with one of the short faces of the plan from facing Westminster Road being the principal facade of the building. The octagonal tower element projects from the south eastern corner of the plan.</p><br>
<p>The building has a complex roof structure, dominated by the tower element which is higher that the other roof elements. The entire roof and the awnings which line the faces of the building are clad with corrugated iron sheeting. A number of gabled projections extend from the face of the building. The gable ends are treated with diagonally battened panels incorporated into which are fine finials and drop mouldings. Variously sized gabled projections occur on each of the four faces of the building, from various points. This asymmetrical massing contributes to the overall picturesqueness of the structure.</p><br>
<p>Access is provided to the building from a two part stair extending from the Westminster Road footpath to the entrance door. The Westminster Road boundary of the property is bordered by a large rendered masonry fence which acts as a retaining wall, braced by a number of piers. The fence is capped with a row of face bricks. Centrally positioned in this fence is a wrought iron gate providing access to a series of concrete stair rendered with a red colouring. These stair reach a concrete landing level with the surrounding landform and from here a second series of concrete steps lead to the front door. This second series are flanked by a short rendered masonry wall with face brick capping.</p><br>
<p>The southern elevation which is the principal facade, has a central entrance bay, with the tower element to the east and a gabled projection to the west. The central entrance, to which access is provided via the already mentioned stairs, is a single timber framed and glazed door with an elliptical fanlight above. The glazing in these features and in most other openings throughout the building is arctic glass. The tower element is lined on both storeys with round arched window openings fitted with casements and a round arched transom above. Below the windows, which are separated by simple moulded pier-like elements is a concrete panel with six rectangular perforations, filled with glass bricks on the inside face. The ground floor of tower windows are shaded by an awning supported on oversized brackets and extending from the front door around to the eastern facade of the building. The gabled projection on the southern face of the building features a ground floor bay window which has a steeply pitched hipped awning supported in similarly oversized brackets. The upper floor of the gabled element features a central three part window opening, again shaded by an awning.</p><br>
<p>The entire building is lined with a series of concrete rendered mouldings, at base level forming a plinth; at the level of the sill of the ground floor windows; at the level of the base of the round arched windows above the ground floor windows; at the line of the first floor; at the line of the sills of the first floor windows and, again, at the top of these windows, below the arched transoms. This banding is variously smooth rendered and moulded. The western, eastern and northern faces of the building, continue the banded mouldings, fenestration patterns and gable detailing.</p><br>
<p>Internally, the two floors of the building are arranged around a central hall which continues northward from the position of the front door to the rear of the building. On the ground floor the front door provide access to a large porch area which incorporates the area of the tower element. The large proportion of window openings in the walls ensure that this porch area and a similar area on the first floor are naturally lit and ventilated. The flooring in the porch is of terrazzo tiles which have been formed into patterns reflecting the unusual planform of the spaces. French doors open onto the porches from internal rooms.</p><br>
<p>A large nineteenth-century doorway opens from the ground floor porch to the hallway of the house. It is thought that this was the original entrance to the building when the porches were only semi-enclosed prior to the renovations of 1920s. This doorway comprises a single timber panelled and moulded door flanked by sidelights and a transom panel above. The sidelights and transom feature leadlight panels. This door leads onto the hall, in the vicinity of the timber dog-leg stair. The stair features turned newel and balusters and is clad with stained timber boarding on the underside.</p><br>
<p>The hall of the ground floor, like most of the rooms on this floor is lined with timber panelling to a height of about 2,500 mm. The hall features a number of plaster rendered archways supported on piers. The ceiling of the hall is plastered and without cornices.</p><br>
<p>The first room on the west of the hall from the doorway is a study, which has a large bay window into which is fitted a window seat. The three windows within the bay are fitted with leadlight panels. The walls of the study are lined with timber panelling surmounted by a plate rail supported on timber brackets aligned with the framing of the wall panelling. The ceiling of this room is lined with pressed metal, with a central panel, borders and cornices. Like this room the drawing room on the ground floor is lined with timber panelling with a plate rail and has elaborate pressed metal ceilings. A white marble fireplace and a large three part window opening with leadlight panels are features of this room. The dining room on the ground floor, which is in the north eastern corner of the building, is the only room on the ground floor which survives with a nineteenth century interior. The room has plaster walls, a plaster moulded cornice, a white marble fireplace with cast iron grate and surrounds and a tiled hearth.</p><br>
<p>The rooms on the upper floor have been more recently renovated, with s wall veneer panelling on all walls and plaster walls and ceilings. The windows are framed in original moulded timber framing. The ceiling of the first floor hall has been recently repaired with plasterboard.</p><br>
<h2>Heritage listing</h2><br>
<p>Keating Residence, Indooroopilly was listed on the Queensland Heritage Register on 28 May 1999 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 residence at 10-12 Westminster Road was constructed in the late 1890s and demonstrates the development of Indooroopilly at this time when a number of substantial, architect designed residences were built on large allotments.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The building is an outstanding example of late nineteenth century architecture in its picturesque massing, unusual detailing and garden setting. The interiors of the house are of particular significance, with intact fittings and fixtures dating from the 1920s. In particular the timber wall panelling, pressed metal ceilings, carpeting, fixed furnishing and other fittings on the ground floor of the residence are of particular interest.</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 residence has aesthetic and social value as a local landmark. The building is prominently sited on a principal thoroughfare and is distinguished by its unusual architectural treatment and age from the surrounding development.</p><br>
<p>Pilot Officer Geoffrey Lloyd Wells Memorial Seat is a heritage-listed memorial at 103 Stanley Terrace, Taringa, City of Brisbane, Queensland, Australia. It was designed by the Wells Family in honour of their son Pilot Officer Geoffrey Lloyd Wells. It was built some time after August 1941 by Wells Family. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Geoffrey Lloyd Wells was born on 26 June 1915 at Wallingford, Taringa, the son of Henry Charles Wells and his wife Elsie Irene (née Lloyd).</p><br>
<p>During World War II he enlisted in Brisbane in the Royal Australian Air Force. Pilot Officer Geoffrey Lloyd Wells was shot down over in a Wellington X9700 over Roggel, the Netherlands on 17 August 1941 during active service. He was buried in the Jonkerbos War Cemetery near the town of Nijmegen located in a woodland area known as Jonkers Bosch.</p><br>
<p>This stone seat, which is set into a stone fence along Stanley Terrace, was constructed by his family as a memorial to him.</p><br>
<p>The seat was erected by his family in the corner of their property, as a memorial and for public use.</p><br>
<h2>Description</h2><br>
<p>The seat is of rustic design, constructed of slabs of Brisbane tuff. It is set into the front garden wall, also of tuff, fronting Stanley Terrace.</p><br>
<p>The back of the seat is butterfly-shaped and has a centrally placed metal plaque. In addition to the details of Wells&#39; death, the plaque bears the quote from Winston Churchill: "never has so much been owed by so many to so few".</p><br>
<p>Timber slats forming the seat have been reconstructed. The style of the fence above the surrounding wall has changed since the seat&#39;s construction. However, together with the adjacent shady jacaranda tree, the fence and seat combine to create a picturesque resting spot for passing pedestrians.</p><br>
<h2>Heritage listing</h2><br>
<p>Pilot Officer Geoffrey Lloyd Wells Memorial Seat 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>It is illustrative of the sustained tradition of memorialising the war dead, which had been established in Queensland at the turn of the 20th century with the South African War of 1899–1902, and popularised during and immediately following the First World War (1914–1918).</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The Pilot Officer Geoffrey Lloyd Wells Memorial Seat at Taringa is a rare private memorial erected for public benefit.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>It is illustrative of the sustained tradition of memorialising the war dead, which had been established in Queensland at the turn of the 20th century with the South African War of 1899–1902, and popularised during and immediately following the First World War (1914–1918).</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>It makes an original and attractive contribution to the streetscape, and is significant as an unusual form of war memorial.</p><br>
<p>The Fulton Residence is a heritage-listed detached house at 209 Indooroopilly Road, Taringa, City of Brisbane, Queensland, Australia. It was designed by Charles William Thomas Fulton for his own use and was built in 1940. It was added to the Queensland Heritage Register on 27 October 2000.</p><br>
<h2>History</h2><br>
<p>The Fulton Residence was designed in 1940 by Charles Fulton as his own home. The house was designed in a modified international style and won the 1948 Queensland Royal Australian Institute of Architects award for meritorious architecture.</p><br>
<p>Charles Fulton choose to build his home at a time when the inner western suburbs of St Lucia and Taringa were being opened up for development. This development was stimulated by the move of the University of Queensland to St Lucia. Architects were particularly attracted to these suburbs because of the topography and vegetation and the area developed a reputation for innovative and experimental domestic design. In the post-war period a number of architects settled in the St Lucia area, including of Karl Langer, Edwin James Hayes, Campbell Royston Scott and Vitaly Gzell.</p><br>
<p>Charles Fulton was born in Sydney in 1906 and received his architectural training as an articled pupil of Francis Ernest Stowe, architect and civil engineer. In 1931-1932 he worked in London as a draftsman for Rudder and Grout and then B George Architects. During this period he travelled in Europe and made pilgrimages looking at buildings. He was particularly interested in the work of Dutch architect Willem Dudok, whose Hilverusm Town Hall was influential in Britain in the early thirties. In 1933 he returned to Australia and settled in Brisbane where he was employed by Hall and Cook. In 1937 he entered into partnership with John Patrick Donoghue. In the same year he also became lecturer in charge of Architecture at the Brisbane Central Technical College and he taught in the architecture school for 33 years. He made a large contribution to architectural education throughout his whole career and the Queensland University of Technology named its architecture facility the "Charles Fulton School of Architecture" in his honour.</p><br>
<p>Charles Fulton was a key practitioner and teacher of the modern trends in architectural design in Queensland during the late thirties and forties. The Masel Residence at Stanthorpe (1938), Nudgee Junior College Indooroopilly (1938) and his own residence all received meritorious architecture awards in the early Royal Australian Institute of Architects Queensland Awards Programs. Aside from their domestic work the practice of Donoghue and Fulton was renowned as hospital architects who combined the latest ideas in hospital planning with recent developments in architectural design. The Townsville General Hospital designed between 1935-39 (built 1951), the Kingaroy General Hospital and Nurses Quarters (1936–38), Goondiwindi Hospital 1939, Roma Hospital 1940, Nurses Quarters Nambour 1941-42 (demolished 1999) were all buildings designed in this period.</p><br>
<p>After the Second World War the partnership of Donoghue and Fulton was dissolved and Fulton took a new partner James Musgrave Collin. During this period Charles Fulton designed a number of notable hospital buildings including, Barcaldine Hospital main block and Staff Quarters (1953), Clermont Hospital main block (1955), Aramac nurses quarters (1957). All these later buildings were characterised by low pitched roofs, linear planning, cross ventilation, wide eaves or awnings and the use of modern materials. The firm that he founded continues as Fulton Trotter.</p><br>
<p>The Fulton family occupied the Fulton Residence for nearly 60 years with Charles Fulton dying in 1988 and his wife Violet Edna Fulton in 1999. Both Mr and Mrs Fulton were very attached to the house and garden and it remained virtually unaltered from when it was completed in 1940.</p><br>
<h2>Description</h2><br>
<p>The Fulton House is a modified example of the International style in the materials, detailing and asymmetrical massing. It is a two-storey buff-coloured brick house with contrasting red brick to the lower levels and a terra cotta tiled roof. A large box gutter is concealed behind a deep fascia board and this combined with the horizontal raked joints and the concrete balcony and steel balustrade serves to emphasise the horizontal lines. The chimney is built in a red brick emphasising the vertical line.</p><br>
<p>Internally the house is designed on three levels with an entrance stair hall leading down to an open planned living dining room opening onto a small kitchen. The open stairwell leads to the upper level which contains two bedrooms, a study and a bathroom The main bedroom and study open onto the balcony. Internally the house is without decoration and is flooded with light from the large windows. The house is very intact and has many of the original light fittings and "modern" features such as built-in cupboards in the kitchen and bedrooms. Bookshelves in the living room and bed head units in the bedrooms were designed and built by Charles Fulton.</p><br>
<p>The house is set back on the site overlooking Indooroopilly Road with a large mature garden in front of the house. The garden has a stone flagged terrace, stone retaining walls and stepped garden terraces all of which were constructed by Charles Fulton and his family.</p><br>
<h2>Heritage listing</h2><br>
<p>Fulton Residence was listed on the Queensland Heritage Register on 27 October 2000 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 house demonstrates how, in the interwar period, European architectural ideas were transferred to Australia and modified to local conditions. The Fulton Residence is an important building in the evolution of domestic architecture in Queensland. In the immediate post war period the western Brisbane suburbs of St Lucia, Taringa and Indooroopilly were the location of many experiments with modern domestic architecture and the Fulton Residence is part of this tradition.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Fulton Residence is an excellent intact Queensland example of the international style of architecture, with its use of modern materials, and the asymmetrical balance of horizontal and vertical elements.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The design of the building with its interplay of horizontal and vertical elements and curved balcony has aesthetic value. Sited on a slope the house is enhanced by a large mature garden which contributes to the ambience of the surrounding suburb.</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 Fulton Residence is intimately associated with the esteemed architect Charles Fulton as the house he designed for his family. It displays many of the characteristics of his work including the use of face brickwork, the use of modern materials such as steel windows and stainless, corner windows, the eschewing of internal decoration and an interest in designing for a sub tropical climate.</p><br>
<p>Charles Fulton is an important figure in the development of architecture in Queensland both as an educator and a practitioner. He played an important role at the Brisbane Central Technical College (now the Queensland University of Technology) for over thirty years. He was one of the main architects responsible for introducing the international style to Queensland. He experimented with this style combining it with an interest in climatic design. Aside from his own home his key buildings include the Masel residence at Stanthorpe, Nudgee Junior College Indooroopilly, Kingaroy General Hospital, Barcaldine Hospital and Townsville Hospital.</p><br>
<p>Jawor is a peak and massif in the Sanocko-Turczańskie Mountains, located next to the Lake Solina. Łoboźnicy valley is surrounding the peak and Lake Solina by the Gulf of Teleśnicka, while to the East the Żuków mountain range is separated by a pass at 530 metres.</p><br>
<p>From the top of the main peak where the TON Góra Jawor radio mast is located, two ridges from the North-Eastern and South-Western points come off with culminations of 702 and 608 metres. By the side of the Jawor reservoir is a complex of leisure facilities and buildings. Łobozew Dolny has an asphalt road connection which weaves around the mountain up to 700 metres, and steadily declines down to the complex.</p><br>
<p>On the South-Western slope, close by next to the peak, is situated a ski lift. There are no set tourist trails along the massif.</p><br>
<p>Mount St Mary&#39;s Convent is a heritage-listed Roman Catholic convent at 50 Grove Street, Toowong, Brisbane, Queensland, Australia. It was built from 1885 to. It is also known as Goldicott. It was added to the Queensland Heritage Register on 26 November 1998.</p><br>
<h2>History</h2><br>
<p>This substantial, single-storeyed concrete residence was erected in 1885 for engineer Charles Lambert Depree and his family, using a construction method patented by Depree in Queensland in November 1871.</p><br>
<p>Depree was born in London, studied engineering at King&#39;s College 1861-63, and while articled (1864–67) worked on several railway engineering contracts in Britain. In 1868 he was working in France, and there acquired an interest in concrete construction. The following year, Depree and his wife emigrated to Queensland, settling in Fortitude Valley in Brisbane. In June 1870, Depree erected a small concrete building at Fortitude Valley to demonstrate the potential of this material for Queensland construction, as a result of which he acquired several Government contracts. In November 1871 he patented an improved method of building in concrete, a system of moveable formwork. From 1872 until 1890 he was employed by the Queensland Railways Department, and as resident engineer in charge of the Stanthorpe section of the Southern and Western Railway, 1875–77, initiated the first Queensland use of concrete for culverts and a tunnel. In 1878 Depree was appointed District Engineer for Railways Maryborough, returning to Brisbane in the mid-1880s, where he took up the position of Assistant Engineer-in-Charge of Surveys from September 1886.</p><br>
<p>In mid-1885, following his return to Brisbane, Depree erected his family home, Goldicott, on land at Toowong to which he had acquired title in 1874. Depree&#39;s purchase extended from the southern side of the hill above Kensington Terrace down to Sherwood Road, and from the crest above Kensington Terrace, the site offered extensive views over Toowong, Auchenflower and Milton. It had been part of several larger parcels of land alienated separately by EJ Bennett and John Collings in the late 1850s. Toowong, a "fashionable" suburb since the 1860s, developed rapidly after the opening of Toowong railway station on the Brisbane to Ipswich railway line in 1875. In the mid-1880s, Goldicott was in close proximity to bus and railway transport, School of Arts, state primary school and two private schools, and gas and water were laid along Sherwood Road.</p><br>
<p>Goldicott was Brisbanes first poured concrete house, constructed in the monolithic, or one stone, process, using Deprees patented system of movable formwork and apparently built to his design. Contractors Rose and James were employing the technique for the first time.</p><br>
<p>In July 1885, this unique method of housing construction warranted an article in the Brisbane Courier. The house was described as a substantial residence, measuring 50 feet by 50 feet with 10 feet wide verandahs all around, and walls 15 feet high. All the walls and footings were constructed of concrete, the outer walls being 9 inches thick, and the inner walls 6 inches. The floors and roof were of timber, the latter being clad in slates. The stone used in the concrete mix came from the site, and was described as a kind of greenstone, strongly impregnated with quartz. The article listed several advantages of building in concrete (presumably supplied by Depree): construction was marginally cheaper than brick; concrete was superior to brick in imperviousness to heat, damp and sound; little skilled labour was required for the construction; stone or gravel for the concrete mix could be obtained on site; and concrete was white-ant resistant.</p><br>
<p>Despite the press coverage, concrete housing did not capture popular imagination in the 1880s. Goldicott was erected just as Queensland was entering the most significant economic boom of the 19th century, when the new middle class could afford housing built of brick and stone, the traditional symbols of wealth and prestige. No other concrete houses of this period have been recorded in this State, and Goldicott remains important as an early Queensland experiment in concrete housing. The place may also be significant on a national level.</p><br>
<p>The Depree family resided at Goldicott from 1885 until 1890, when Charles Depree&#39;s failing health precipitated their return to England. He died there in August 1893, and although the family did not return to Queensland, Goldicott remained their property until 1902.</p><br>
<p>Following the Deprees&#39; departure, Goldicott was let to Surveyor-General A McDowall, and then to William Lees. It remained vacant for some years in the mid-1890s, but by 1897 was occupied by contractor John McCormick, whose firm John McCormick & Son had erected the second Albert Railway Bridge at Indooroopilly in 1893-94, and won the contract for the ironwork on the second permanent Victoria Bridge, erected 1896-97.</p><br>
<p>In May 1902, the Goldicott Estate was subdivided and offered for auction, at which time the whole of the property, including the unfurnished house, was purchased by the Sisters of Mercy. The Sisters were to staff a new parish school to be established in nearby Holland Street, Toowong, and were seeking conveniently located accommodation. They took up residence in Goldicott, which was renamed Mount St Mary&#39;s Convent, in 1903. At this time the front room at the northeast corner of the house (probably formerly a bedroom), was converted into a chapel.</p><br>
<p>In 1916, Archbishop James Duhig created the parish of Toowong by separating Toowong and Indooroopilly from Rosalie, and placed it under the charge of a group of newly arrived Jesuit Fathers. At Toowong, these fathers established the first permanent Jesuit presence in Queensland. However, the Sisters of Mercy continued to staff the parish school in Holland Street, and in the late 1920s gave to the parish just under 3/4 of an acre of land at the corner of Kensington Terrace and Grove Street, part of Mount St Mary&#39;s grounds, for the construction of a new church and school. The Church of Saint Ignatius Loyola, with the new school established in the undercroft, was opened and blessed on 18 May 1930. The Sisters continued to staff the parish school until the early 1980s.</p><br>
<p>A 1902 photograph of Goldicott reveals that the front terraces had been formed by this date, but many of the stone walls in the grounds of the convent may date to, when the site for St Ignatius Church was being levelled and substantial quantities of stone would have become available. The eastern terrace, which contained an early tennis court, was most likely formed by 1902.</p><br>
<p>The timber wing at the rear of the convent was erected, as a dormitory for children who were accepted as boarders at St Michaels (later St Ignatius) School. From the early 1900s, the Sisters had accommodated a few boarders at Mount St Marys, but in 1919, this number increased to 19, and it is likely the dormitory wing was completed about this time. It is understood that the Sisters ceased taking in student boarders in the 1940s.</p><br>
<p>During the Second World War, a new classroom block was erected behind St Ignatius Church and fronting Grove Street, at which time the Sisters of Mercy agreed that students could use part of the convent grounds (the terrace on the northern side of the house) as a playground. Later the eastern terrace was developed as a playing field with tennis and basketball courts. Sloping land at the rear of the convent was filled gradually, and levelled for a playing field in the 1980s.</p><br>
<p>As well as teaching general subjects, the Sisters encouraged cultural pursuits such as music and speech lessons. By 1967 a small weatherboard building had been moved onto the convent grounds for use as a music room.</p><br>
<p>Goldicott remains the property of the Sisters of Mercy and still functions as a convent. In the 1992 the building was refurbished, at which time a hand painted, full-length mural on the walls of the entrance hall was revealed and subsequently covered again with wallpaper.</p><br>
<h2>Description</h2><br>
<p>Mount St Mary&#39;s Convent is a substantial one-storeyed concrete house situated on a prominent site in Grove Crescent, Toowong, overlooking the adjacent St Ignatius Catholic Church and with expansive views of Toowong and the Brisbane central business district.</p><br>
<p>The house is sited on a ridge and the property is terraced and has established vegetation including a Hoop Pine, jacarandas, frangipannis, mango trees and assorted eucalyptus. A simple timber building dominates the entrance to Mount St Mary&#39;s Convent from Grove Crescent. Original concrete steps leading to the house on the eastern side are decorated with early large terracotta urns.</p><br>
<p>The house consists of the 1885 concrete section and a two-storey timber extension at the rear. The concrete section has a simple rectangular plan surrounded on three sides by a wide timber verandah, the soffit of which is clad with beaded boards and supported on pairs of square timber columns featuring large decorative timber sweeps. The high pitched double hipped roof of the early house, is clad with corrugated iron sheeting and abuts a smaller hipped section over the dining room. This principal roof is distinct from the hipped roof over the kitchen wing and later extensions.</p><br>
<p>The early section of the house is constructed of mass concrete prepared in situ and cast with the specially devised movable formwork. The early concrete foundations have recently been underpinned. The external faces of the concrete walls on the verandah are rendered and scoured in imitation of ashlar stonework, whilst other external faces are plain rendered.</p><br>
<p>The main entrance is on the north facade of the house, accessed by two tiers of recent concrete stairs. A large entrance door with side lights and a transom, is emphasised by a gable featuring a decorative timber fretwork panel. The doorway is flanked by two full length bay windows, of concrete construction, with full length sash walk through windows. A cavity above the window conceals the opened lower sash. The building features many timber framed vertical sash windows, with concrete sills. Several former walk-through windows have been shortened to form conventional sash windows, by introducing timber panels in the lower section of the original doorway.</p><br>
<p>The interior is planned around a central entrance hall and adjoining L-shaped corridor, off which the major rooms are accessed. Though the wall finishes in the entrance hall are recent, beneath the wall-paper is a full length mural depicting flora and bird-life. The hall is fitted with an original gas light fitting. To the right of the entrance hall is the parlour and community room which are separated by two full-height three-leaf timber folding doors, extending the width of the room. A white marble fireplace with early ceramic tiles is featured in the parlour, and an ebonised timber fireplace, featuring etched relief patterns, is in the rear community room. To the left of the entrance hall is the room now used as a prayer room, but originally likely to have been the main bedroom. A number of bedrooms open from the corridor beyond the entrance hall. These bedrooms also open onto a rear or side verandah, allowing access to the bathroom in the south-eastern corner. Early beaded board timber partitioning occurs in one of the bedrooms.</p><br>
<p>The dining room adjoins the single storeyed early timber kitchen wing, onto which the double storeyed timber extension was constructed. The kitchen is now partitioned, and an early external brick chimney shows the extent of the original room. This wing is connected to the main house by an open timber verandah walkway extending to the later timber addition.</p><br>
<p>The interior walls are generally of concrete, finished with wall-paper and featuring a reproduction cornice. The floor has been raised which has caused shallow skirting boards.</p><br>
<h2>Heritage listing</h2><br>
<p>Mount St Mary&#39;s Convent was listed on the Queensland Heritage Register on 26 November 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>Mount St Marys Convent (Goldicott) was erected during the second phase of Toowongs development, following the opening of Toowong railway station in 1875, and is important in illustrating:</p><br>
<p>the retention of the ridge above Kensington Terrace and Sherwood Road as an area of substantial homes situated within extensive grounds, this pattern having been established in the early 1860s</p><br>
<p>the emergence of ribbon development along Brisbane&#39;s late 19th century railways.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>Mount St Mary&#39;s Convent (Goldicott), erected in 1885, was the first poured concrete house in Brisbane, and probably in Queensland. It is significant as an early and very rare Queensland experiment in concrete housing, and is important in demonstrating a high degree of technical achievement. The concrete construction was innovative and remarkable for its time. The place is significant for its association with engineer Charles Lambert Depree, and his contribution to concrete construction implementation and technology in 19th century Queensland.</p><br>
<p>Mount St Mary&#39;s Convent (Goldicott) has retained a considerable proportion of its original grounds which allow the house to remain remote in the midst of extensive development. This is a rare example of an 1880s house in Toowong which has retained substantial grounds and outlook.</p><br>
<p>The place has potential to yield information that will contribute to an understanding of Queensland&#39;s history.</p><br>
<p>It is significant as an early and very rare Queensland experiment in concrete housing, and is important in demonstrating a high degree of technical achievement. The concrete construction was innovative and remarkable for its time.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Established trees and terraces contribute to its aesthetic significance by contributing to the building&#39;s picturesque qualities. The house has a number of early fittings, including the entrance hall light fitting and various joinery items.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>Mount St Mary&#39;s Convent (Goldicott), erected in 1885, was the first poured concrete house in Brisbane, and probably in Queensland. It is significant as an early and very rare Queensland experiment in concrete housing, and is important in demonstrating a high degree of technical achievement. The concrete construction was innovative and remarkable for its time. The place is significant for its association with engineer Charles Lambert Depree, and his contribution to concrete construction implementation and technology in 19th century Queensland.</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>Mount St Mary&#39;s Convent (Goldicott) is significant also for its special association with the Sisters of Mercy and their important educational, cultural and pastoral work in Toowong parish for well over 90 years.</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>Mount St Mary&#39;s Convent (Goldicott) is significant also for its special association with the Sisters of Mercy.</p><br>
<p>The Roman Catholic Church of Saint Ignatius Loyola is a heritage-listed church at 46 Grove Street, Toowong, City of Brisbane, Queensland, Australia. It was designed by architect John Francis Hennessy, junior and built from 1929 to 1936 by Concrete Construction  Limited. It was added to the Queensland Heritage Register on 12 July 2005.</p><br>
<h2>History</h2><br>
<p>The Roman Catholic Church of Saint Ignatius Loyola at Toowong was opened in 1930 and is a Romanesque building designed by Sydney architect John Francis Hennessy. It was constructed as part of Archbishop James Duhig&#39;s vision for the development of the Church in Brisbane through a major building program that included several such landmark churches.</p><br>
<p>Although there was European settlement at Toowong in the 1860s, the area did not develop until the opening of the Brisbane to Ipswich railway line in 1875 made it readily accessible. A number of villa houses were constructed on large estates on the Toowong ridge, while more modest residences occupied the lower levels. The first St Thomas Church of England opened in 1875 and by 1878 Toowong had enough families to warrant a provisional school.</p><br>
<p>In 1879, the first Catholic Mass was celebrated at Toowong in a private home, as there was no church in the area. Catholics living in the area attended St Stephens Cathedral in the Brisbane central business district. In 1888 Archbishop Robert Dunne purchased land in Holland Street below the site of the present church and on 9 April 1893 the new timber church, called St Michael and the Holy Souls, was blessed and opened there.</p><br>
<p>In 1902, the Sisters of Mercy purchased a large private home, Goldicott, at the top of the hill and took up residence there, naming it Mount St Mary&#39;s Convent. They began teaching at the school next to the church in 1903. A tramline from the city opened in 1904 and was soon extended, contributing to the growth of the Toowong area.</p><br>
<p>In 1912, James Duhig became Dunne&#39;s Co-Adjudicator, taking on much of his administrative duties. The first Catholic Brisbane parishes were erected at Coorparoo, Kangaroo Point, South Brisbane, Red Hill and Rosalie, the parish of Toowong being later formed from part of Rosalie. Although Dunne had only encouraged the Sisters of Mercy and the Christian Brothers to establish branches of their orders themselves in Queensland, Duhig was keen to encourage other religious orders in order to expand education. In August 1915 he wrote to Father John Ryan of the Society of Jesus in Sydney in this regard. In 1916 Toowong became the responsibility of the Jesuits who purchased and enlarged a house near the church for use as a presbytery. It was opened on St Ignatius Loyola Day, 30 July 1916.</p><br>
<p>By the early 1920s, both church and school were becoming inadequate for the growing congregation and the distance between convent and school had always been inconvenient for the teaching nuns, so the Sisters of Mercy provided a solution by offering part of their land for a new building. A public meeting was held in November 1928 at which it was suggested that costs could be kept down by building a hall underneath the church and by using it as a school. John Francis (Jack) Hennessy drew up the plans at the end of 1929. His father, founder of the Sydney firm of Hennessy and Hennessy, was an ecclesiastical architect who had worked on St Patrick&#39;s, Manly and St Josephs at Hunters Hill. Duhig met the younger Hennessey when he was Bishop of Rockhampton and they had become friends. After Duhig became Archbishop of Brisbane, Hennessey received a number of commissions from him. These included the churches of St Agatha, Clayfield (1925), Corpus Christi, Nundah (1926) and St Augustine, Coolangatta (1926). He also designed the ambitious Cathedral of the Holy Name whose construction did not proceed.</p><br>
<p>The foundation stone for the church was laid on 16 June 1929. Duhig announced at the ceremony that "the day of wooden churches are past" and that he hoped that no more would be built in the city. His vision for the development of the Catholic Church in Queensland included plans for the building of a number of substantial churches to manifest the strength and presence of the Church. Seeking landmark sites, he chose many on hilltops.</p><br>
<p>The new church was built by Concrete Constructions Ltd and was supervised by Leo Drinan, Hennessy&#39;s partner in the Brisbane office. All materials used were of the best quality and all five altars were designed by H Credington of the Catholic Art Gallery in Melbourne and made in his studios at Carrara in Italy. Andrew Petrie and Sons erected them. Many handsome gifts were bestowed on the church, including altars, statuary and a number of stained glass windows by John Hardman of London and William Bustard, a noted local glass artist who created the "Magnificat" and "Christ the King" windows.</p><br>
<p>The Architects and Builders Journal of Queensland, in its May edition, predicted that "This building should rank as one of the handsomest churches of its size in Queensland". The Catholic Leader of 22 May 1930 thought that "The Italian Romanesque style of architecture, with the scope for elaborate interior embellishment and bold use of colour, is eminently suitable to the climate of Queensland" and the church indeed has a high quality of interior detailing. This decorative work includes ornate main and side altars, statuary, stained glass and in particular, extensive and striking scagliola work to the sanctuary and pulpit.</p><br>
<p>Scagliola (from scaglia or scales, after the natural form of the mineral used) is an artificial stone created from gypsum plaster, glues and dyes that can be made to imitate various types of stone, though usually rare types and colours of marble. The best work is visually indistinguishable from genuine marble, though it is far lighter, so that large and complex decorative features, such as the St Ignatius pulpit, can be constructed that would be difficult and costly to create in stone. The technique was developed in Germany and Italy at the end of the 15th century and was used mainly for decorating churches, such as the Church of San Miniato at Monte. Fine early examples of it also survive in secular buildings such as the Pantheon and Syon House in England. It became popular in America in the 19th century, the work being carried out by itinerant Italian craftsmen, though much was not of good quality.</p><br>
<p>The art was revived in Australia by the Sydney firm of Melocco Brothers. In 1908 Italian Pietro Melocco arrived in Sydney and began a commission on St Marys Cathedral, the magnificent decorated floors of which became his lifes work. His two brothers joined him and their firm was responsible for most of Sydney&#39;s best mosaic and terrazzo work, though much of this has not survived. For the Government Savings Bank in Martin Place, Tony Melocco decided to use scagliola, a technique by then fallen into disuse. Finding no one in either Italy or America able to teach him, Galli Melocco moved to Brisbane in 1929 to set up a branch of the company, though he returned to Sydney a year later as the Depression reduced the demand for such decorative work. It is not known if any major scagliola project other than that at St Ignatius Church was carried out in Queensland.</p><br>
<p>The church was blessed and opened by Archbishop Duhig on the 18 May 1930 and dedicated to St Ignatius Loyola, the founder of the Society of Jesus. Its cost of £16010 including excavations, seating, lighting, decoration and fittings. The old church was relocated to Graceville, where it remains.</p><br>
<p>Between 1933 and 1936 a number of works were carried out by Depression relief labour. Kensington Terrace was excavated and the land on the southern side of the church was excavated to provide better access. The spoil was used to reclaim land along the northern side of the church that is now used as a car park.</p><br>
<p>The hall under the church did not prove suitable for long-term use as a school as it was too small and could not be divided into separate classrooms. On 3 November 1946 the foundation stone of a new school was laid to the west of the church. It was opened on 18 July 1948 and has been extended in several stages in the late 20th century.</p><br>
<p>Father Leo Murphy, assistant priest at St Ignatius since 1942, died in 1957 and a fund was set up to purchase a pipe organ as a memorial to him and in accordance with the instructions of Pius XII who had ruled that a pipe organ was the approved instrument for use during the liturgy and to accompany singing. The organ was constructed by Whitehouse at a cost of £2050 and was installed on 2 February and blessed on 8 March 1959.</p><br>
<p>The Sanctuary was paved with marble in February 1963 and new lighting was installed in the church and hall. Following changes recommended by the Second Vatican Council, the first mass at St Ignatius facing the people was held in 1966. A silky oak communion table was constructed for this purpose and donated by parishioner Frank Shuttlewood and his wife. The baptismal font of carved Carrara marble has been moved from the Baptistery to the front of the church and the confessional booths on either side of the rear of the church appear now to be used for storage.</p><br>
<h2>Description</h2><br>
<p>The Roman Catholic Church of St Ignatius Loyola is a brick Romanesque building cut into a steeply sloping site on Toowong ridge. It commands a fine prospect across the city and its prominent position and square bell tower make it a landmark. It is a two-storey building with a hall on the lower level and the church proper on the upper level.</p><br>
<p>The church has an asymmetric front with a stepped parapet and is constructed of decorative polychrome brickwork in orange and brown. The roof is clad in Roman terracotta tiles. The upper level is accessed by steps to a large terrace at the eastern end. It is cruciform in plan with a long nave and short transepts terminating in small chapels, that on the northern side accessing an elaborate scagliola pulpit. Doors on the southern side are accessed by bridges that extend from a raised walkway.</p><br>
<p>The ceiling is clad in fibrous cement sheeting with lattice vents and there is a choir loft faced with silky oak panelling above the eastern entrance, which contains the organ. Below this, on either side of the entrance are altars and in the wall on each side are the doors to confessional booths, now used for storage.</p><br>
<p>Panels depicting the Stations of the Cross are set into the walls of the nave and at the western end is an apsidal chancel with vestries and a sanctuary approached through arches clad in orange veined scagliola and lined with the same material. The floors are concrete and are paved with marble in the Sanctuary.</p><br>
<p>The lower floor has separate entrances and contains a large hall with a stage at the eastern end and a kitchen. There is an arcaded verandah along the northern side.</p><br>
<p>Directly behind the church, and a few metres from it, is a brick school constructed on a similar scale, which is not considered to have heritage significance.</p><br>
<h2>Heritage listing</h2><br>
<p>The Roman Catholic Church of Saint Ignatius Loyola was listed on the Queensland Heritage Register on 12 July 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 Church of Saint Ignatius Loyola is important as evidence for the period of expansion of the Catholic Church in Queensland during the 1920s and 30s under the leadership of Archbishop James Duhig. It is one of the churches, substantial in fabric and notable for quality of design and finish, which were intended to demonstrate and encourage a strong Catholic presence in the diocese. It is a manifestation of the Catholic ethos of selecting imposing sites to produce prominent landmarks and is a characteristic of churches built during the time of Archbishop Duhig.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The Church of Saint Ignatius Loyola is rare for its extensive use of scagliola for the sanctuary and pulpit which may be the only example of such use in Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Church of Saint Ignatius Loyola is a particularly good example of an inter-war church, influenced by the fashionable revival of Romanesque church architecture in Australia, with its tower, picturesque massing and polychrome brickwork, a style favoured by Archbishop Duhig.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The Church of Saint Ignatius Loyola has high aesthetic value as a well designed and visually pleasing building on a landmark site. The interior is notable for the quality of its fittings and finishes, including glass, altars, statuary and the use of scagliola for wall cladding and arches to the sanctuary and the ornate pulpit.</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>As a parish church and formerly a school, it has been important for several generations of Catholics in the surrounding area as a source of spiritual, social and educational sustenance.</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 Church of Saint Ignatius Loyola has special associations with the life and works of Archbishop James Duhig and the architect John Francis Hennessey and with the work of the Society of Jesus in Queensland.</p><br>
<p>Otmuchów Lake is a dam reservoir and retention reservoir built in the years 1928 to 1933, known by the former name Staubecken Ottmachau and situated on the river Nysa Kłodzka, just to the North of the town Otmuchów. At the maximum level of damming at 18.6 metres the reservoir has an area of 20,6 km² and the capacity 130,45 hm³.</p><br>
<p>The reservoir closes its drainage basin of the river Nysa Kłodzka at an area of 2352 km². The capacity was newly estimated in 2001 at 130,45 mln m³, after the river sedimentation in the reservoir had reached 215 metres.</p><br>
<p>The ceremonial opening of the reservoir with the name Ottmachauer See and commissioning of the hydroelectric power plant occurred on the 17 June 1933. The four turbine hydroelectric power plant, located at the outflow, has two Kaplan turbines with the power of 4.8 MW and supplies energy to the power grid of the country. The flow is at a rate of 2 × 21.5 m³/s at 16 m level difference.</p><br>
<p>The reservoir belongs to the Kaskady Nysy Kłodzkiej, which is made up of four reservoirs: Topola Reservoir, Kozielno Reservoir making Paczkowski Lake, Otmuchów Lake and Nyskie Lake.</p><br>
<p>Close by near the lake is located a unique national scale habitat of the grey heron. The reservoir is rich in fish, especially in Zander. To the other side of the town Otmuchów is located the Nyskie Lake.</p><br>
<p>Around the area of the dam nest Northern wheatears. There are greater scaups, mainly velvet scooters, long-tailed ducks or common scoters and red-throated loons and black-throated loons. In Eastern part of the reservoir in the more densely reeds and willow thickets there are three species of grebes, little bitterns, spotted crakes and Western marsh harriers, and to the end of April there are Savi&#39;s warblers species of bird. Various species also rest in the area and are the Eurasian curlews, Northern lapwings, grey plovers and dunlins and curlew sandpipers. There are also ruddy turnstones, Eurasian oystercatchers and red-necked phalarope.</p><br>
<p>The Old Anchorage City Hall, also known as Historic City Hall, is located at 524 West Fourth Avenue in Anchorage, Alaska. It is a two story cast concrete building, designed by E. Ellsworth Sedille and built in 1936 with funding from the Public Works Administration. It housed the city administration of the city until 1979, when most of the integrated city-borough administration was moved to the Hill Building at 632 West 6th Avenue.</p><br>
<p>The old city hall started the second generation of municipal architecture in the city, moving from frame construction to reinforced concrete. The building was listed on the National Register of Historic Places in 1980.</p><br>
<p>The building now houses the sales staff for Visit Anchorage, formerly the Anchorage Convention & Visitors Bureau.</p><br>
<p>Richard Randall Art Studio is a heritage-listed studio at Brisbane Botanic Gardens, Mt Coot-tha Road, Toowong, City of Brisbane, Queensland, Australia. It was built in c.1900. It is also known as Richard Randall&#39;s Studio. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>The Richard Randall Art Studio was purpose-built in 1900 as a two-storey timber studio and residence for Queensland artist Richard John Randall. While located at its original address at 72 Cordelia Street, South Brisbane, it served as the artist&#39;s residence, art studio, classroom and gallery for the last 6 years of his life, before his untimely death in 1906 at the age of 37. Subsequently used as a residence, the upper floor of the studio was saved from demolition in 1988 when it was purchased by the Brisbane City Council and moved to a site in Musgrave Park. In 2007 the studio was relocated for a second time to its current location within the grounds of Brisbane Botanic Gardens at Toowong.</p><br>
<p>Richard John Randall was born in Brisbane in 1869, the first son of George and Naomi Randall, former domestic servants who had recently emigrated from England to Brisbane. Growing up in South Brisbane, where his parents owned an increasingly successful retail business, Richard and his younger brother George (born in 1871) were both educated at the Brisbane Normal School. Richard went on to attend art classes at the Brisbane Technical College, which had been formed in 1882, operating under the control of the Brisbane School of Arts. While studying there he won awards for drawing and modelling. Watercolours and drawings by Richard were also included in the fine arts section of Queensland National Association exhibitions in the late 1880s.</p><br>
<p>Queensland&#39;s art scene was still in its infancy in the late 19th century. The first art society was formed in 1887, the primary aims of which were to promote the fine arts and to establish annual exhibitions in Brisbane at a time when artists had almost no venues for exhibiting and selling their works. The Society was also seen as an important step towards forming a gallery for Queensland, such as had already been established in Sydney and Melbourne. The first exhibition held by the Society took place in the Masonic Hall in Alice Street, Brisbane, on 14 August 1888.</p><br>
<p>In 1881 Richards father George Randall was appointed Queensland Emigration Agent to Britain, a position that required him to take extended tours to England. There, he would travel around the various counties encouraging emigration to Queensland, engaging particularly with agricultural labourers. Between 1881 and 1902, George Randall travelled to England 4 times in the position of Emigration Agent, his longest trip lasting 5 years. In the meantime, the profits from the Randall familys South Brisbane business allowed the family to invest extensively in real estate and establish a large farming property at Birkdale, known as Somersby Grange.</p><br>
<p>In April 1891, at the age of 22, Richard departed Brisbane with his mother and brother to accompany George Randall on his third tour to England. While there, Richard furthered his art studies and applied to enter a well known art school run by Professor Hubert von Herkomer at Bushey, Hertfordshire. In December 1892 he was accepted into the Herkomer School and spent the next few years there, eventually earning a free scholarship and life membership. In 1895 Richard Randall attained his highest commendation, when one of his watercolour paintings, entitled "The Old Mill", was accepted and exhibited by the Royal Academy of Arts.</p><br>
<p>After leaving the Herkomer School, Richard Randall spent 18 months working in London, occupying a studio in Queensborough Terrace, Bayswater. During his time there he painted portraits of many eminent gentlemen, as well as making excursions to picturesque spots around England and to Paris.</p><br>
<p>In 1899 Richard Randall returned to Queensland, the purpose of which (according to some sources) was "to carry out his fathers patriotic wish, that now he had received some training and experience he should go back and use this and his talent to help lift art matters in his native city and country". Richard continued to pursue his career as an artist in Brisbane, becoming involved in exhibitions and competitions. In November 1899 he exhibited 50 of his water-colours for sale in Messrs Isles, Love and Co.s auction mart, in relation to which he was described as a "daring colourist". The influence of Randall&#39;s style upon other artists was soon observed in local exhibitions.</p><br>
<p>Richard Randall set about establishing his own residence and studio in Brisbane soon after his return. The site chosen was a block of land owned by his father at 72 Cordelia Street in South Brisbane, opposite St Andrews Church of England. Purchased in May 1884, a residence (known as Hatfield) was built on the site and early photographs show this residence and the later studio standing close together on the site. Some sources state that the studio was built for Richard Randall by his father, however as George Randall was in England at the time of its construction in 1900, the level of his involvement in the project (beyond providing the land) is unclear. A 1914 account of Richard Randalls life states that Richard personally superintended the erection of the studio.</p><br>
<p>As a purpose-built studio, rather than an adaptation of an existing building, it is likely that the buildings design was based upon the type of artists studios constructed in parts of London in the late 19th and early 20th century. Favouring the Queen Anne Revival style, these artists studios were either part of or attached to a single house, or constructed as groups of units. In studio houses, the domestic function of the house was separate from and secondary to its studio use, with the studio itself usually located on the upper floor. Common features of artists studios included a substantially sized painting room (that served as both a working and entertaining space), and large windows and skylights for adequate natural light, controlled by blinds. In particular, a window joined to an inclined skylight was very popular as it provided both top and side light. Careful consideration was also given to circulation, with an entrance located close to the painting room so that models and visitors would not have to pass through other areas of the house. Purpose-built artists&#39; studios, whether grand or modest, were a reflection of the improved social and professional status of artists working in London in the late Victorian period.</p><br>
<p>While modest in size and incorporating local materials and construction techniques, the Randall studios design reflects many of the aspects of a typical London artists studio, which Richard Randall would have been familiar with, having lived and worked there for some time. Its style, described in a Brisbane newspaper article as resembling a "Swiss chalet", incorporates characteristics of Australian "Queen Anne" style, such as an asymmetrical facade, steeply pitched Marseilles tile-clad roof, terracotta roof apex ornaments, a street-facing gable, and projecting bay window with multi-paned top lights. Built on steeply sloping ground, the studio occupied the upper floor at street level and the residence below was accessed by an external staircase at the rear. The residential level consisted of at least four rooms connected by a side verandah, however its exact layout is unknown. The studio itself was a single volume lit by a large bay window and skylight in the centre of the main elevation, with blinds to control light levels. A part-height timber partition wall created an entrance passageway, with a curtain hung across it to shield views into the studio from the front door. The high walls (painted a "cool green") had few windows, providing ample hanging space for pictures, and the room contained a "model&#39;s throne". A contemporary description called it "a fine commodious studio (said to be one of the best-equipped private studios in Australia)".</p><br>
<p>Richard Randalls studio was not the first artists studio to be constructed in Queensland, however free-standing, purpose-built studio buildings remained rare, constructed only by those able to afford it. Of the many practicing artists and photographers working in Brisbane at the time, most operated from existing commercial premises. One known exception was the English-born artist Godfrey Rivers, appointed second art master at the Brisbane Technical College in 1890, who built a wooden studio building in the grounds of the Brisbane School of Arts in 1891 to a design by George Henry Male Addison. His studio was described as "a wooden building of one room, lofty, sufficiently spacious, and admirably lighted by a single fine south window" (building no longer extant).</p><br>
<p>Once settled into his new studio residence, Richard Randall began advertising for pupils in the Brisbane Courier, offering drawing and painting lessons in a variety of mediums, including oils, water-colours and pastels. On Wednesday afternoons he was "at home" to visitors, providing an opportunity for socialising and displaying his latest works. Richard worked, exhibited and taught at the studio, establishing a reputation as a popular and successful Brisbane artist and teacher, and providing a focus for a coterie of local artists influenced by the Randall style.</p><br>
<p>When he was not teaching, Richard travelled around south-east Queensland in search of new subjects and scenes to paint. He also took an active role in many artistic clubs and societies, including the Brisbane Sketching Club and the Queensland Art Society, of which he was vice-president from December 1903. A breakaway art society, calling itself the New Society of Artists, formed in 1904, as a result of dissatisfaction with some policies of the more elite Queensland Art Society. In August 1906, the engagement of Richard Randall to Miss Minna Wirth, daughter of one of the founders of the Queensland Art Society, artist Lewis Wirth, was announced in a local paper.</p><br>
<p>Some time after his return to Australia, Richard received overtures from various London art galleries, and subsequently collections of his works were sent back to England and displayed for purchase. His watercolours and paintings of Australian landscapes and scenery were particularly admired, as they conveyed "a more pleasing and favourable impression of the Australian bush and scenery than had hitherto been entertained".</p><br>
<p>Tragedy struck in October 1906 when Richard Randall died unexpectedly, of what is believed to have been a brain tumour, at Somersby Grange, aged 37. The funeral held on 16 October was well attended by members of Brisbane&#39;s artistic circles, including representatives of the Queensland Art Society and the New Society of Artists, who, in a rare moment of unity between the two groups, acted as pall bearers.</p><br>
<p>Richard&#39;s death came as a great shock to his father, who spent much of his time after 1906 promoting the life and works of his son. In 1907 he compiled and published an elaborate memorial brochure, featuring photographs of Richard, his studio and some of his paintings. The studio and its contents were kept intact until, and opened for viewing by the public and eminent guests, such as Govennor and Lady Chelmsford, who visited in December 1906 and purchased several watercolour sketches.</p><br>
<p>In 1909 the South Brisbane City Council was persuaded to accept 600 of Richards works in perpetual trust. A quarter-acre of vacant land adjoining the studio was offered by George Randall as a location for a gallery to house the collection, however it was eventually housed on the upper floor of the South Brisbane Library, which had been converted from a library space into the Randall Art Gallery. The Randall Collection contained everything from early and incomplete works and sketches to his most prized paintings. After 1922 the collection was added to by George Randall upon his return from a visit to England, where he had purchased a number of his sons paintings from a London art gallery.</p><br>
<p>In 1925, sculptor Charles Lowther was commissioned to make a memorial bust of Randall. The bust was unveiled on 19 June 1925 by the Queensland Governor Matthew Nathan at Randall&#39;s studio.</p><br>
<p>When the City Council of Greater Brisbane was formed in 1925 it took over the assets of the South Brisbane Council, including the Randall Collection, which was moved to Brisbane City Hall. Some paintings were hung in reception rooms, while the majority were displayed in a large, well-lit room on the fifth floor. The collection&#39;s continuous occupation of the foremost gallery space in Brisbane caused friction between the Council, representatives of the Randall family and the Royal Queensland Art Society, who requested to use the gallery for other purposes. In 1943, after being closed for a year due to lack of staff, the collection was removed from the gallery and stored in the City Hall basement. After the end of World War II, the collection was not reinstated to the gallery and the majority of works remained in poor storage conditions in the basement, or were loaned out or taken without any record being kept of where they went. A 1953 newspaper article claimed that the paintings were being eaten by rats and falling into disrepair; however it was not until the mid-1980s that a concerted effort was made to track down and restore the collection, which had dwindled to 154 pieces. In 2013 the Richard Randall collection remains part of the Brisbane City Council owned Museum of Brisbane art collection.</p><br>
<p>Members of the Randall family retained ownership of the Cordelia Street property until 1981. From late 1913 the studio was rented out as a residence, and at some point the upper floor was partitioned. In a 1926 sewerage plan the studio is named "Brindisi" and is fenced off from two other residences on the property.</p><br>
<p>In 1987, Richard Randalls Studio was listed by the National Trust of Queensland, who described it as "a unique example of a purpose-built artists studio and reception rooms".</p><br>
<p>In 1988 the building was threatened with demolition due to redevelopment of the site; however it was purchased in time by Brisbane City Council in recognition of its historical significance. Only the upper floor (the former studio) was saved and relocated approximately 300 metres along Cordelia Street to Musgrave Park, while the remainder of the building was demolished. In 1989 the studio was stumped and re-orientated to a north-west aspect to face an avenue through the park. Internal partitions and a lowered ceiling were removed and the building was repaired and renovated, with facilities such as a small kitchenette installed in a rear corner. In front of the studio a timber picket fence, similar to one which had existed at the original location, was constructed.</p><br>
<p>The studio was officially opened by the Lord Mayor Sallyanne Atkinson, in December 1990 as the Richard Randall Studio, part of the Jagera Arts Centre in Musgrave Park. The Richard Randall Artist&#39;s Studio Award, established by the Council the same year, provided rent-free use of the building to selected local artists for set periods as a studio and gallery. Artists were chosen by a panel of professional arts community representatives, and were required to produce a quota of artwork for public use during their residency.</p><br>
<p>By the mid-2000s the studio was in need of repairs and had become vulnerable to damage by vandals. In 2007 it was relocated for the second time by Brisbane City Council to its present site in the Mt Coot-tha Botanic Gardens, adjacent to the main visitor&#39;s car park. Officially opened on 6 October 2008 by the Lady Mayoress Mrs Lisa Newman, in the presence of descendants of the Randall family, the renovated studio is used as a function and exhibition venue available to the public and community groups for hire.</p><br>
<h2>Description</h2><br>
<p>The Richard Randall Art Studio is a small, single-storey, timber-framed building located within the grounds of Brisbane Botanic Gardens Mt Cooth-tha in Toowong. Set against a backdrop of mature trees and bamboo, the building is adjacent to and clearly visible from the car park in the northern area of the Gardens.</p><br>
<p>High-set on timber and steel stumps over sloping ground, the building is orientated to face south-west and sited to accommodate a level timber and steel walkway from the car park to the front door on the left-hand side of the main elevation. A timber picket fence and gate, constructed in the style of the fence at the studio&#39;s original location, stands at the edge of the footpath, with a garden bed behind. Trees and grassed lawns surround the remainder of the building.</p><br>
<p>Measuring approximately 6m by 14m, the studio building is rectangular in plan with a narrow frontage and a small verandah at the rear. The steeply-pitched roof is clad in red Marseilles tiles with terracotta finials and metal acroteria, and has timber lined eaves, 0.5m wide. The front section of the roof has a half gable, while the rear is hipped, extending over the rear verandah.</p><br>
<p>Centrally located immediately below the front half gable is a large rectangular inclined skylight supported by timber mullions, the bottom of which meets the top of a projecting bay window. This tripartite window consists of a central sash window with casements on either side. The upper portion of all 3 windows is multi-paned, while the lower portions have a single pane. Both the skylight and the bay window have modern roller blind systems attached to the outside.</p><br>
<p>The studio has only two other small windows, one on each side elevation. These are timber, double-hung sashes with multi-pane upper lights and a single pane lower light, one on the north-west wall next to the main entry and one on the south-east wall near the rear corner.</p><br>
<p>The front elevation is clad in timber chamferboards, and the sides with weatherboards. The rear verandah wall retains exposed timber studs, however the southern end has had a modern accessible bathroom inserted within the verandah space. This bathroom is clad with flat sheeting and the verandah?s two-rail dowel balustrade and stop-chamfered posts are retained.</p><br>
<p>A small sunhood over the entrance is supported by curved timber brackets and clad in mini-orb sheeting, positioned higher than its original location. The low-waisted, 4-panel timber door features some early door hardware, including a central door knob and a door knocker, and has glazed upper panels. Two short posts with ornamental tops incorporated into the door&#39;s architrave are the remnants of the original front stair balustrade.</p><br>
<p>The interior of the studio is a single large room, well-lit by the large bay window and inclined skylight. An entrance hall area is formed by a timber partition wall that extends 2.6m into the room, topped by wide timber boards that act as shelves, partly supported by a small turned timber column.</p><br>
<p>The high ceiling is coved, with the tie beams of the roof framing exposed through the space. These beams are stop-chamfered and the end beams braced in each corner. The ceiling and walls are lined with timber, v-jointed tongue and groove boards, and the floor with polished timber boards.</p><br>
<p>Fittings and fixtures within the space include a contemporary aluminium rail for picture hanging, reproduction suspended and wall light fittings, switches and power outlets, and strip lighting fitted discreetly to the upper side of the tie beams. A small kitchenette and fridge are located in the south-eastern corner.</p><br>
<p>The door to the rear verandah is a contemporary 4 panel timber door, located at the northern end of the north-east wall. The verandah floor is lined with linoleum and the raked ceiling is clad in timber v-jointed boards.</p><br>
<p>The underfloor area of the studio is used as storage space and is enclosed with vertical timber battens.</p><br>
<h2>Heritage listing</h2><br>
<p>Richard Randall Art Studio 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 Richard Randall Art Studio (1900) is important in demonstrating the evolution and growth of artistic culture in Queensland in the late 19th and early 20th century. Constructed for an aspiring young Queensland artist who had studied and worked in England, the studio is representative of the confidence felt by members of Brisbane&#39;s artistic elite in the future of Queensland as a place of culture and artistic inspiration.</p><br>
<p>The studio building has served as an important venue for the education and professional development of both artists and art students in Queensland, initially under the tutelage of the studio&#39;s first owner, Richard Randall, and since the late 1980s as a workshop and exhibition space available to the public.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>As the surviving portion of Richard Randalls purpose-built studio and residence, the Richard Randall Art Studio is an example of a building type that is and always has been rare in Queensland. The building is the only known artists studio of its type from the early 20th century remaining in Queensland, built in a period when most professional artists worked from existing commercial premises.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The Richard Randall Art Studio demonstrates the principal characteristics of a purpose-built artists studio, with a single large internal volume able to accommodate a variety of functions and arrangements of furniture and objects; large plain wall surfaces for displaying artworks; and strategically placed windows and skylight to provide southern light, controlled by blinds. Based upon the type of artists studio that was common in London in the late 19th century, the studio&#39;s design is illustrative of the ideal working environment preferred by professional artists of the period.</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 Richard Randall Art Studio has a special association with the Queensland artist Richard John Randall. A popular and influential artist in his day, Richard Randall made an important contribution to the advancement of art and culture in Queensland through his artworks, teaching and his involvement with leading art societies and clubs. Designed especially for him, the studio was where he lived, worked, taught and exhibited his works for the last 6 years of his life, and where his works were displayed for a further 7 years after his death. The collection of his works, donated by the Randall family to the local authorities in perpetual trust, formed the foundation of the Brisbane City Council&#39;s art collection.</p><br>
<p>South Brisbane Library is a heritage-listed former library at 472 Stanley Street, South Brisbane, City of Brisbane, Queensland, Australia. It was designed by Francis Drummond Greville Stanley and built from 1881 to 1902 by W Macfarlane. It is also known as South Brisbane School of Arts, South Brisbane Mechanics Institute, South Brisbane Technical College, and South Brisbane Post & Telegraph Office. It was added to the Queensland Heritage Register on 21 October 1992. It now houses the Griffith University Film School, which forms part of the Queensland College of Art.</p><br>
<h2>History</h2><br>
<p>This complex is composed of three structures built at different times in response to different needs: the South Brisbane Post Office (1881); the South Brisbane Municipal Library (1897); and the City Concert Hall (1902).</p><br>
<p>The South Brisbane Post Office was designed by FDG Stanley and W Macfarlane was the contractor. The one-room post office occupied the ground floor. The postmaster&#39;s accommodation included three bedrooms and verandah upstairs and basement diningroom, kitchen and bedroom. The original symmetrical front facade included a ground floor arcade with an open verandah above. The central focus was the arched masonry frontispiece.</p><br>
<p>The Post and Telegraph Office was closed in late 1889 to become the South Brisbane Mechanics Institute and Library. In 1893 the South Brisbane Town Council took over the site.</p><br>
<p>About 1897, the council with the help of a government subsidy built the corner structure and the complex became known as the South Brisbane Municipal Library and Technical College. John Henry Burley is said to be the architect.</p><br>
<p>The third stage is the concert hall designed by Alexander Brown Wilson in 1902. This building included Technical College classrooms in the basement.</p><br>
<p>In 1909 the council was offered the Richard John Randall collection of artwork. About the same time, with the Queensland Government take-over of the Technical College, many classrooms became vacant. The council decided to convert the library on the first floor into an art gallery.</p><br>
<p>Architect George David Payne was employed to convert the former library to the Randall Art Gallery and extend the concert hall and supper room. About 1911 the hall was enlarged at the river end and the supper room extended so that they were capable of seating 600 and 400 persons respectively. The Gallery was officially opened in July 1914.</p><br>
<p>Between 1910 and 1920 the post office section was rendered and the front enclosed.</p><br>
<p>The Greater Brisbane City Council took over the structure in 1925 and the library continued to function until 1973. However, the Randall collection was transferred to the Brisbane City Hall. For many years the concert hall continued to be well patronised particularly during the Second World War (1939–45).</p><br>
<p>Between 1973 and about 1987 the building was neglected and vandalised. The derelict library was refurbished for World Expo &#39;88 as a convention centre and exclusive club. The exterior was painted and the interior was substantially altered to provide two large conference rooms and club rooms. The former Post Office section was converted to modern offices and concrete stairs installed.</p><br>
<p>It now houses the Griffith University Film School, which forms part of the Queensland College of Art.</p><br>
<h2>Description</h2><br>
<p>The former South Brisbane Library is located within an historic precinct centred on South Brisbane Memorial Park. It is opposite the former South Brisbane Municipal Chambers (South Brisbane Town Hall) and adjacent to the former South Brisbane Railway Easement and South Brisbane Dry Dock (Queensland Maritime Museum). Other historically significant places in the immediate vicinity include Cumbooquepa (Somerville House) and Ship Inn.</p><br>
<p>The former South Brisbane Library consists of three interlinking buildings. The two-storeyed former Post Office and Library both have Stanley Street frontages, similar gable roofs and string courses that delineate the two floors. The former City Concert Hall is a single-storeyed auditorium with a Dock Street frontage. Both the hall and corner building are polychromatic brick structures with matching arched windows.</p><br>
<p>The first stage (1881) is a two-storeyed masonry building with basement. The hipped roof has a gablet and there was a frieze above the verandah roof. The front facade has multi-paned windows, a pair of faceted bays and raked verandah roof supported by large timber brackets.</p><br>
<p>The 1890s section, on the corner, is an asymmetrical brick building. It has a gable roof, a gablet of similar proportions to the post office, and a tower on the southern corner. The World Expo &#39;88 interior refurbishment included the carpeting and painting of the interior, a new staircase from the front foyer to the first floor and modern fretwork brackets.</p><br>
<p>The third stage (1902), at the rear, is a long rectangular building with light coloured horizontal strings and window arches. The corrugated iron hipped roof has a continuous raised roof ventilator. The interior walls has timber panelled dados, plaster raked ceilings and an unadorned proscenium stage. French doors open onto a verandah.</p><br>
<p>A gallery and new verandah were added as part of the Expo renovations.</p><br>
<h2>Heritage listing</h2><br>
<p>The former South Brisbane Library 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 former South Brisbane Library is significant historically for its importance as the former Post and Telegraph Office, mechanic&#39;s institute, technical college, library, art gallery, and concert hall of South Brisbane, and remains a tangible reminder of civic identity. It is also significant as a marker of the former alignment of Stanley Street, the main commercial thoroughfare of South Brisbane in the late 19th and early 20th centuries.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>Despite internal refurbishment, the former concert hall remains important in illustrating the principal characteristics of an early 20th century auditorium designed to address the warm Queensland climate.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The building demonstrates a visual cohesiveness, despite having been constructed in several stages to the designs of at least three architects, and makes a significant landmark and aesthetic contribution to the historic precinct centred on South Brisbane Memorial Park. It is a significant component of the riverside townscape as seen from the city.</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 an important example of the public work of Brisbane architect AB Wilson.</p><br>
<p>Brisbane School of Arts is a heritage-listed school of arts at 166 Ann Street, Brisbane City, City of Brisbane, Queensland, Australia. It was built from 1865 to 1985. It is also known as former Servants Home. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>This building was erected in 1865-66. Known as the Servants Home, it provided accommodation for single adult females who had migrated to Queensland and were awaiting employment as domestic servants. Designed by H Edwin Bridges, the building comprised a ground floor and two upper galleries. All four elevations were identical. A notable feature of the interior was the lantern above the void in the two upper floors which provided natural lighting to the building. A 6,000 imperial gallon (27,300 litre) tank under the roof service the building with water. The contractors were Messrs Butler and Forster.</p><br>
<p>In 1873 the property was purchased by the trustees of the North Brisbane School of Arts for £1,000. The building was let to tenants for several years before it was converted to a school of arts. In 1877 contractor Blair Cunningham added verandahs and other modifications designed by Richard Gailey for a cost of £1,377. The new School of Arts building was opened on 17 May 1878.</p><br>
<p>The North Brisbane School of Arts was established in 1849 and its first premises were located on the corner Queen and Creek Streets. During the nineteenth and early twentieth centuries, it played an important role in the cultural life of the community. The School of Arts provided a library for members, conducted public lectures, and organised classes in a wide variety of subjects.</p><br>
<p>To meet the needs for technical education classes, a hall was added to the rear in 1884. This space was used for the Brisbane Technical College which operated under the auspices of the School of Arts until 1902 when the Queensland Government took responsibility for technical education.</p><br>
<p>The lending library was a major activity of the School of Arts. In 1908, to make room for an increase in the number of books, an extension, designed by Messrs Atkinson and McLay, was built beside the hall.</p><br>
<p>Membership of the School of Arts steadily declined during the 1920s and 1930s. To increase revenue, shops were built in front of the building in 1937. In 1955 a brick upper storey was added to the shops with connections to the School of Arts building. The verandahs were removed at this time.</p><br>
<p>In 1966 trusteeship of the property was transferred to the Brisbane City Council which continued to operate a public library at the site until 1981. In 1983 the front offices and shops were demolished and restoration work undertaken. The building was re-opened on 13 February 1985 and is currently let to various community groups.</p><br>
<h2>Description</h2><br>
<p>The School of Arts building is a two-storey masonry building elevated above Ann Street. The lower level is of coursed rubble masonry with red brick quoins and string courses. The upper two levels of the building are entirely brick, with the arched headed openings symmetrically arranged. The rolled iron hipped roof is surmounted by a 15-foot (4.6 metre) lantern light with projecting eaves.</p><br>
<p>The entry stairs and front and side verandahs contain timber balustrades of diagonal crossed pieces and circular brackets below the eaves. The verandah roof drops in a shallow curve from below the eaves brackets of the main roof to its gutter line.</p><br>
<p>The double height lecture hall and three classrooms (1884) have face brick with timber floors, roof trusses, and corrugated galvanised iron roof. The library extension (1908) is constructed in a similar manner and consists of a double height room with a lantern roof light.</p><br>
<p>The building was restored in 1984-1985. Few interior fittings and furnishings remain, but the organisation of the internal space is relatively intact. Rooms on the ground floor are used for exhibitions while the first floor contains offices and a craft gallery. Original roof strutting is visible in the uppermost floor of the 1860s section and staircases and fireplaces have been retained. The tiered seating and balconies in the first floor of the lecture hall remain.</p><br>
<h2>Heritage listing</h2><br>
<p>Brisbane School of Arts 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 School of Arts is significant for its association with the North Brisbane School of Arts which played a prominent role in the cultural life of Brisbane during the nineteenth and early twentieth centuries.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The building remains as a rare surviving example of an inner-city masonry building of the 1860s.</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 School of Arts is significant for the successful integration of the extensions under various architects, especially the verandahs designed by Richard Gailey.</p><br>
<p>Warrawee is a heritage-listed detached house at 10 Dean Street, Toowong, City of Brisbane, Queensland, Australia. It was built from onwards. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>Warrawee is believed to have been built in the mid 1880s, for Albert Henry White, owner of the three acre site. E. John White, manager of the New Zealand Accident Insurance Company, was then in residence. In late 1886 the property was purchased by Alexander John Hunter, who does not appear as a resident until the 1892-93 directory, though a James Hunter is listed for 1891 and 1892. Apparently the property was rented during much of its lifetime. In 1924 John Mullan, a union organiser and politician, purchased the house on 2 roods 34.3 perches. The present owners purchased the property in 1986.</p><br>
<h2>Description</h2><br>
<p>Warrawee is a vernacular style residence, with a most impressive facade and a full sub-floor. The twelve foot wide verandahs have elegant cast-iron balustrading, and brackets and are lined underneath with ripple iron. The verandah portico with its intricate fretwork pediment, groups of columns, landing, gates and iron lace is quite spectacular, complemented by the twin curved stairs with their Scottish thistles in cast-iron panels.</p><br>
<p>The front verandah is supported by emphatic brick piers with elaborate capitals. Upstairs originally comprised a central hallway with two rooms on the left and three on the right, and a kitchen incorporated at the rear. The upstairs windows are all of the step-out sash type, and doors are of panelled cedar. The fanlights are casements with opaque, diamond pattern glass, though grooves suggest the former presence of fretwork panels.</p><br>
<p>The inside walls are lined internally with vertical joint boards and externally with chamferboards which are believed to have been milled locally at Pattersons, Toowong. Downstairs the unlined room on the left of the central corridor, which ran the length of the house, was reputedly the "ballroom". The righthand side originally comprised three rooms. Downstairs windows are all sashes, some being multi-paned.</p><br>
<h2>Heritage listing</h2><br>
<p>Warrawee 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>During the boom of the 1880s, displays of wealth were common especially in the ornamental facades of public and commercial buildings. Warrawee is a more unusual domestic example of this phenomenon, particularly of the aspiring bourgeoisie.</p><br>
<p>Warrawee&#39;s grand display of columns, steps and cast-iron has long been admired by the local community.</p><br>
<p>This cakework facade has had an exceptional impact on the public mind, having been portrayed in various publication, prints, tours and media presentations.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>During the boom of the 1880s, displays of wealth were common especially in the ornamental facades of public and commercial buildings. Warrawee is a more unusual domestic example of this phenomenon, particularly of the aspiring bourgeoisie.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Warrawee&#39;s grand display of columns, steps and cast-iron has long been admired by the local community.</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>This cakework facade has had an exceptional impact on the public mind, having been portrayed in various publication, prints, tours and media presentations.</p><br>
<p>Trooper Cobb&#39;s Grave is a heritage-listed memorial at Corner Frederick Street & Mt Coot-tha Road, Toowong, City of Brisbane, Queensland, Australia. It was designed and built by Andrew Lang Petrie in 1901. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>This memorial was erected in 1901 in Toowong Cemetery, over the grave of Trooper John Cobb of the 3rd Queensland Mounted Infantry, who died in July 1901 a few days after returning to Australia from active service in the South African War. He was 44 years old.</p><br>
<p>Cobb had seen action at Elands River and Rhenoster Kop in South Africa. Like all Australian troops participating in the South African War (Boer War) of 1899-1902, Cobb was a volunteer.</p><br>
<p>His grave is the only known South African War soldiers grave in Queensland. The memorial was constructed by the prominent monumental mason Andrew Lang Petrie and erected by Cobbs relatives.</p><br>
<h2>Description</h2><br>
<p>The gravestone is a sarcophagus of Helidon sandstone, 1.9 metres long and a metre wide.</p><br>
<p>On the top, carved in sandstone, are a rifle, hat with emu plume and badge, and a bandolier, the equipment of soldiers in the South African War. A marble plate also rests on the top, bearing an inscription in leaded letters.</p><br>
<p>The sarcophagus is enclosed by a substantial concrete wall with sandstone coping, pallstones and low iron railings. The grave had suffered from neglect but has been tidied recently. However, little of the inscription lettering survives.</p><br>
<h2>Heritage listing</h2><br>
<p>Trooper Cobb&#39;s Grave 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>Trooper Cobb&#39;s Grave, Toowong is significant historically as the only known grave in Queensland of a mortally wounded South African War soldier. It is a rare Queensland South African War memorial, and a unique source of historical information.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>Trooper Cobb&#39;s Grave, Toowong is significant historically as the only known grave in Queensland of a mortally wounded South African War soldier. It is a rare Queensland South African War memorial, and a unique source of historical information.</p><br>
<p>Caskey Monument is a heritage-listed memorial at the Toowong Cemetery, 124 Birdwood Terrace, Toowong, City of Brisbane, Queensland, Australia. It was designed and built by William Busby in 1902. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>This monument was erected at Toowong Cemetery in May 1902 in memory of Lieutenant Lachlan John Caskey, who was killed in action at Makari Drift, Caledon River, South Africa on 27 September 1901. He was 31 years old.</p><br>
<p>Caskey was a member of the 5th Queensland Imperial Bushmen and, like all Australian troops participating in the South African War (Boer War) of 1899-1902, was a volunteer. As a member of the QIB he was under British command, and his pay was issued by the colonial government at an English cavalryman&#39;s rate.</p><br>
<p>The Caskey Monument is the first known South African War monument to be erected in Queensland. A design competition was won by prominent monumental mason William Busby, a public committee was established to raise the £70 construction cost, and the project was sponsored by the Queensland Government. Caskey was a sportsman and school teacher, and his monument was unveiled by the Minister of Public Instruction.</p><br>
<p>The Caskey Monument is one of only four known South African War monuments in Brisbane, the others being the Berry and MacFarlane Monument (1902) at Sherwood, the Anning Monument (1903) at Hemmant and the South African War Memorial (1919) in Anzac Square in the Brisbane central business district. The design of the Caskey Monument, particularly the obelisk and draped shroud, appears to have been the model for the others. Another monument to Caskey, erected near Allora where he had taught, has been lost.</p><br>
<h2>Description</h2><br>
<p>The monument, which consists of an obelisk on a pedestal, is executed in Helidon sandstone and stands 5 metres high.</p><br>
<p>The white sandstone obelisk is draped in a shroud. A sword is carved in relief on the front face. Below it is a quill, a tribute to Caskey&#39;s academic achievements. On the west face are crossed tennis racquets and on the east, crossed cricket bats, acknowledging his sporting interests. This theme is continued with a football on the front of the pedestal.</p><br>
<p>The pedestal also features recessed slabs of Italian marble on all sides, flanked by columns of brown sandstone. The front slab bears a leaded inscription. The monument is surrounded by a sandstone retaining wall.</p><br>
<h2>Heritage listing</h2><br>
<p>Caskey Monument 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 Caskey Monument at Toowong, (unusually, a Government sponsored memorial to an individual), is important as the first known South African War memorial in Queensland and a model for later monuments in this state.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The Caskey Monument at Toowong, (unusually, a Government sponsored memorial to an individual), is important as the first known South African War memorial in Queensland and a model for later monuments in this state.The monument provides a unique source of historical information, and the design is important in illustrating the social fashion and attitudes of its era.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>The monument provides a unique source of historical information, and the design is important in illustrating the social fashion and attitudes of its era.</p><br>
<p>The Caskey Monument at Toowong, (unusually, a Government sponsored memorial to an individual), is important as the first known South African War memorial in Queensland and a model for later monuments in this state.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The monument provides a unique source of historical information, and the design is important in illustrating the social fashion and attitudes of its era.</p><br>
<p>St Thomas Anglican Church is a heritage-listed church at 69 High Street, Toowong, City of Brisbane, Queensland, Australia. It was designed by Francis Drummond Greville Stanley and built in 1877 by Henry Pears. It was also known as St Thomas Church of England. It was added to the Queensland Heritage Register on 21 October 1992.</p><br>
<h2>History</h2><br>
<p>St Thomas&#39; Church of England was constructed in 1877 as the second purpose built Anglican church in Toowong, replacing a 1865 timber building on another site. The church, which was designed by parishioner and prominent Brisbane architect, FDG Stanley, has had two major additions, the first in 1886 when the nave was extended and the second in 1947 when transepts and a chancel were added.</p><br>
<p>Toowong was described in 1862 by a local resident, Richard Langler Drew, when he nailed a sign to a tree in the district proclaiming the village of Toowong, although the name of the district had been decided much earlier after the call of local birdlife. Soon after Drew&#39;s proclamation many large houses were erected in the area and Toowong prospered as a small elite settlement removed from the noise and dust associated with the town centre. It was not long before discussions were held about the establishment of a Church of England congregation which was to be an extension of the All Saints Church on Wickham Terrace.</p><br>
<p>When Queensland separated in 1859, Brisbane became the seat of an Anglican Diocese and the first Bishop, Edward Wyndham Tufnell was appointed. One year later, state aid to the Church of England officially ceased. Unlike England, where the Church of England was the established church which received state aid, the Church of England in Australia was to survive in the same manner as the other churches then operating in the country. This decision caused much uneasiness during the early history of the church as the hierarchy was unaccustomed to the processes involved with self funding, most significantly the fundraising aspect. Therefore, it is significant that following a meeting on 6 May 1865, Church of England residents of Toowong pledged to assist in the raising of about £150, necessary to construct a building for use as a Church of England. Among those at this first meeting was architect, William Henry Ellerker who was to design the first St Thomas&#39; Church. Also at the meeting was Richard Drew who donated Allotment 13 where the church was to be built in Curlew street overlooking a cutting on Burns Road.</p><br>
<p>In June 1865, another meeting was held and this time it was chaired by Reverend Thomas Jones of All Saints Church in Wickham Terrace; a manifestation of the dioceses support of the Toowong residents scheme. The congregation at Toowong was to be part of the All Saints Parish, and at this meeting details for the construction of the church were finalised and it was decided that the church could also be used as a temporary school as there was yet to be a state school established in the area. By 1866 the first St Thomas&#39; was complete; a small timber framed and clad building with a gabled shingled roof featuring tripartite lancet window groups. The building cost £185.12.6 and was designed by Ellerker, the parishioner and architect, formerly of Melbourne who practised in Brisbane from 1864 until 1866. To defray the cost of the church a system of letting pews was instigated, securing a regular income but exposing the church to allegations of elitism. By 1867 a newspaper reported that the church, with a capacity of fifty people, was inadequate for the growing congregation. It was clear that steps toward procuring enlargements or the construction of a new church were necessary.</p><br>
<p>In 1870 St Thomas became a parish, independent of All Saints. The congregation then decided that both enlargements to the building and procuring the services of a minister were necessary. To fulfil the latter requirement Robert Creyke was appointed, but it would take some years before steps toward a larger building were taken. During the early 1870s many memorial items were donated to the church including a stone font commemorating Miss Georgina Hely, still in use today in the parish; an altar, an organ and a sedilia (or altar seat). When Robert Creyke resigned his post in 1875, Benjamin Glennie, a prominent and prolific Queensland Church of England minister was appointed.</p><br>
<p>In the mid 1870s, Toowong was rapidly growing particularly after the rail line was introduced in 1875 with a station at Toowong. While large houses were still constructed in the area, many newly planned streets started to fill with smaller family houses on tighter allotments. By 1878 a State School was opened in Aston Street. In November 1875, at a meeting of the St Thomas&#39; Parish a decision was made to enlist the help of Church of England residents in the area for fundraising and donations toward acquiring a central site for a new permanent masonry church.</p><br>
<p>The construction of a bi-chrome brick church followed the laying of a foundation stone on 17 February 1877. The land on which the church was built, part of Allotment 27, was initially bought by Henry Buckley in December 1853 and then acquired in July 1865 by Robert Cribb, a successful Brisbane merchant. A Certificate of Title was granted to Benjamin Cribb for Allotment 27 in March 1872 and, after changing hands within the Cribb family once more, was acquired by trustees for the Church of England on 15 December 1876. The trustees nominated were William Leworthy Good Drew, Walter Horatio Wilson and William Henry Miskin. The land remained vested in trustees for the parish until acquired by the Corporation of the Synod of the Diocese of Brisbane in 1968.</p><br>
<p>Again, the new church was designed by an active parishioner, Francis Drummond Greville Stanley who was the Queensland Colonial Architect at the time. Stanley was responsible for the design of many large churches throughout Queensland including Holy Trinity Anglican Church (Fortitude Valley), St Pauls Anglican Church (Maryborough), St Patricks Roman Catholic Church (Carlton Hill, Gympie), St Pauls Presbyterian Church (Spring Hill), as well as smaller examples like St Davids Church of England (Allora). The church Stanley designed for the St Thomas&#39; parish, of which he was a longstanding and involved parishioner, followed many of the traditions of Early English Gothic parish churches, most significantly in its picturesque setting. The site was chosen for its centrality and prominence and the church was designed as a landmark on this prominent site. Many of the other features of the building contribute to its strong Gothic aesthetic including its dominant steeply pitched gabled roof, gabled porches, bi-chrome brickwork and lancet window openings, many of which were filled with stained and coloured glass in the twentieth century.</p><br>
<p>The foundation stone of St Thomas&#39; Church was laid by Bishop Matthew Hale on 17 February 1877. The contractor for the project was Henry Pears and the building was constructed for about £850. An official opening ceremony in the form of a service was held on 14 October 1877.</p><br>
<p>The first extension to the church was executed in 1886 when the original six bay nave was extended by one bay to form a seven bay nave. This work was designed by the original architect of the building, FDG Stanley and is apparent in the slight variation in colour of the brickwork of the seventh bay, at the northern, chancel end of the church. At this time the chancel was a temporary timber framed structure, to be replaced in masonry when funding was available. In 1887 FDG Stanley designed a Sunday School for the Parish which is thought to have been constructed to the north of the building on land adjacent to the church. Later a rectory was constructed between the church and the Sunday School. A second storey was added to the rectory in about 1900.</p><br>
<p>The celebration of the 75th anniversary of St Thomas Parish was to incorporate an extension to the church building, incorporating a tower and a permanent masonry chancel at the northern end. Prominent Melbourne ecclesiastical architect, Louis Williams was commissioned to prepare a design for the building. It is not known whether he visited the site, but the perspective sketch he prepared for St Thomas is a radical departure from the design of the original building. The additions proposed by Williams displayed a more Romanesque than Gothic influence, with a large parapeted tower partially concealing a pyramidal roof, and a chancel with parapeted stepped facades and grouped openings with, what seems to be, round arched heads. This construction of these additions was to cost £3400 and was to coincide with the construction of the large Roman Catholic Church of Saint Ignatius Loyola nearby. However, although many memorial gates, plaques and stained glass windows were added at this time, the proposed additions did not proceed.</p><br>
<p>By 1947 another scheme was commissioned, this time by Brisbane architect, Arnold Henry Conrad, from the partnership of Conrad and Gargett. His design was more in keeping with the original design of the church and, like the Williams&#39; scheme, incorporated a tower and chancel at the northern end. Although the tower did not proceed, the new chancel was constructed at a cost of £3365 by Ashlar constructions. Like the original building this addition was constructed from brick, but on concrete foundations and with a concrete plinth.</p><br>
<p>In the early 1960s a new low set brick rectory was constructed adjacent to the church, and this and the nineteenth century Sunday School and Parish Hall survive to the north of the church, although a fire in May 1970 gutted the School.</p><br>
<h2>Description</h2><br>
<p>St Thomas&#39; Church of England is situated on a prominent triangular site at the corner of High and Jephson Streets, Toowong. The site comprises a brick church surrounded by established plantings and trees and containing early retaining walls, fences, gates and stairs.</p><br>
<p>The southern, entrance end of the church addresses the corner of the two streets, where three substantial gate pillars with an iron palisade gate provide a principal entrance to the grounds of the church. Two sets of concrete stairs containing memorial gate posts and memorial plaques give access from the church grounds to the streets flanking the site.</p><br>
<p>The church is a bi-chrome brick building with a seven bay nave, chancel and a very steeply pitched gabled roof clad with diamond patterned fibrous cement shingles and terracotta ridge capping. A small decorative timber framed fleche at the southern, entrance, end of the church surmounts the apex of the gabled roof, and has a steeply pitched pyramidal roof with an iron cruciform finial. Generally the church is constructed from a dark brown brick and has cream brick detailing, in the form of window surrounds, arched window heads, quoining and string coursing. The church sits on a two course sandstone plinth, the lower course comprises rockfaced blocks and the blocks in the upper course are sparrow picked and margined. The plinth at the northern, most recently constructed, end of the church is constructed from smooth rendered concrete.</p><br>
<p>The southern, entrance facade has an almost triangular facade due to the overhanging eaves of the steeply pitched roof and squat side walls. This elevation is dominated by a centrally located tripartite window comprising three lancets filled with stained glass and with stuccoed sills and heads and all embraced by a cream brick pointed arch. Flanking the principal window are smaller lancets, with similarly detailed heads and sills.</p><br>
<p>The bays of the nave are defined on the eastern and western external facades with angle buttressing, which also lines the southern facade. The buttressing features a tapered head of rendered concrete, from which the timber eaves brackets spring. Diagonal buttressing braces the chancel of the church. Centrally located within each bay is an operable lancet window, filled alternately with figured and grisaille stained and coloured glass panels. At the southern end of both side elevations are steeply gabled porches, which are the principal entrances. These are flanked by buttressing which support the timber framing of the roof structure. The gabled ends are open, with a small triangular timber panel near the apex. The porches provide access to double pointed arched timber doors featuring ornate and overscaled iron strapwork hinges.</p><br>
<p>The northern end of the church comprises a chancel and two transepts. The chancel is a square planned, gable roofed structure abutting the body of the church to which it is similarly detailed although subordinate in height to the principal building. Flanking the chancel are smaller, square planned abutments with hipped roofs, which are in the form of transepts but are, in fact, small rooms, a vestry and a store.</p><br>
<p>Internally the church is arranged around a central rectangular nave dominated by dark stained timber boarded ceiling, on the underside of a steeply pitched roof. Supporting the roof and defining the nave bays internally are a number of dark stained timber, king post roof trusses. At the northern end of the nave is a chancel, separated from the body of the church by a pointed chancel arch. Internally the walls of the body of the church are rendered and scoured to resemble ashlar stone work. Though externally the church seems to have transepts, these projections, in fact, house a vestry to the west and a store room to the east with entrance to the rooms through timber doors flanking the chancel arch.</p><br>
<p>The chancel is boarded to about 2100mm with timber panelling, featuring carvings of pointed arches with foiled heads. This panelling steps higher on the rear, northern, wall. On this wall and above the stepped panelling is a tripartite group of stained and coloured glass featuring images from the Adoration of the Magi and housed in a pointed arched recess.</p><br>
<p>A number of stone, marble or brass plaque memorials line the internal walls of the church and commemorate various figures in the history of the parish of St Thomas, including RL and A Drew and Sarah Frances Zitella Clark. Many of these memorials were carved by Toowong stonemason, William Busby and bear his signature. As well most of the stained and coloured glass, windows thought to be executed by William Bustard are memorials to parishioners. The tripartite stained glass window in the sanctuary depicts a scene of the Adoration of the Magi.</p><br>
<h2>Heritage listing</h2><br>
<p>St Thomas&#39; Anglican 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>St Thomas Church is important in demonstrating both the pattern of growth of Toowong from an elite residential settlement in the 1860s to closer settlement following the introduction of the railway in the mid 1870s. As home to one of the earliest established Church of England parishes in Queensland, St Thomas Church illustrates the development of the Church in the state.</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 fine example of nineteenth century church architecture, showing a strong influence of an Early English Gothic style, which informed most ecclesiastical buildings of the second half of the nineteenth century. Elements of St Thomas&#39; which show this Gothic influence include the steeply pitched and dominant roofscape; the picturesque setting of the building; bi-chrome brickwork; lancet and pointed arched openings; gabled porches; cruciform plan; heavy internal roof trusses and stained and coloured glass.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>St Thomas&#39; Church has remarkable aesthetic value with strong landmark qualities; it is a well composed building picturesquely situated on a prominent site.</p><br>
<p>The building has many well crafted items of considerable aesthetic value including internal joinery, particularly the altar, pulpit, lectern and internal panelling; stained and coloured glass windows of William Bustard; font; various internal and external memorials and landscaping. The established plantings surrounding the church contribute to its picturesqueness and contain remnants of nineteenth and twentieth century garden 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>The church has a special association with the St Thomas&#39; parish as their principal place of worship for about 120 years.</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 has associations with prominent Brisbane architect, FDG Stanley and with other early parishioners, many of whom were important in the early history of the Church of England in Queensland.</p><br>
<p>The Toowong Municipal Library Building is heritage-listed former public library at 579–583 Coronation Drive, Toowong, City of Brisbane, Queensland, Australia. It was designed by James Birrell and built in 1961 by Stuart Brothers. It was added to the Queensland Heritage Register on 28 August 1998. In 2001, the library moved to Toowong Village Shopping Centre and the original building has been used as business premises.</p><br>
<h2>History</h2><br>
<p>The former Toowong Municipal Library is prominently located on Coronation Drive and was opened in April 1961, built to the design of Chief Architect at the Brisbane City Council, James Birrell. It provides evidence of the City Council&#39;s expansion of public facilities in the post war period.</p><br>
<p>Following World War II, when shortage of both labour and materials restricted building work to essentials, the Brisbane City Council embarked on a capital works programme which provided the city with a substantial number of upgraded and new recreational and educational facilities. During the period from 1945 to the early 1960s about ten libraries were constructed and two renovated and redevelopment and construction occurred at five major pool complexes. From the period 1955 until 1960, when most of this vast programme was realised, the Chief Architect with the Brisbane City Council was James Birrell. He was responsible for the design of about 150 sites ranging from his two major projects – the Centenary Pool Complex and the Wickham Terrace Car Park to a number of bus shelters, park entrances, public toilets, cemeteries, sewerage depots and a bus depot. Included in his work of this time was the redevelopment of the Toowong Baths and the construction of a major municipal library at Toowong.</p><br>
<p>Birrell graduated from architecture at the University of Melbourne in 1951, where he was much influenced by one of his teachers, Melbourne architect Roy Grounds. It was Grounds use of strong primary forms which influenced Birrells early work, including that work for the Brisbane City Council. Like Grounds, Birrell used highly identifiable forms sited in landscapes which, apart from a reality associated with their function have an abstract reality or quality which relies solely on their form and siting. The Toowong Library characterises this aspect of his work.</p><br>
<p>The library is a twelve-sided figure where the geometry is made more insistent by the walls sloping outward with diagonal external framing. The derivation of the library&#39;s form can be explained by book-shelving arrangements and its ring-beam construction, but if it has any meaning in itself this is in having the appearance of a flying-saucer and being easily identifiable at 300 metres on a busy road.</p><br>
<p>In 1952, Birrell expressed aspects of his architectural philosophy in the Melbourne journal Architecture and the Arts, with which he was much involved. These ideas are manifest in many of his Queensland buildings, including those constructed for the Brisbane City Council. This philosophy described the primacy of material and structural integrity, advocating a new engineering dynamism imbued by the materials, technical knowledge and industrial procedures of contemporary culture. This is certainly one of the enduring forces in his work. Following World War II rapid progress was made in the technology of building materials, particularly in the Brisbane steelworks industry. The new and developed materials and products which Birrell used frequently include acrylics and plastics; concrete screen blocks; and timber based boards significantly plywood. Using expertise gained during the war years, Evans Deakin, local ship builders were instrumental in solving complex geometrics in steel work often required on the projects of Birrell.</p><br>
<p>Of the work James Birrell designed for the Brisbane City Council, very few buildings remain substantially unaltered. Several toilet blocks survive – at Nundah Cemetery, Victoria Park, Mount Coot-tha; two libraries at Annerley and Chermside survive although both have been substantially altered; an entrance feature at Albert Park survives; several buildings in the Abbotsford Road Workshops and the Ann Street Bus Depot survive; two buildings at the Wynnum Civic Centre survive although they have been dramatically altered; buildings survive at the Pinnaroo Lawn Cemetery although later unsympathetic buildings significantly alter the original context; a number of pool complexes survive although many of these have been redeveloped; an electrical substation at Stafford survives and the much altered Centenary Pool and Wickham Terrace Carpark. Many of Birrell&#39;s council projects were illustrated in national design journals including the Chermside, Annerley and Toowong municipal libraries, the Stafford substation; the Langlands Park pool complex and the Toowong Baths redevelopment; toilets at Mt Coot-tha; Centenary Pool, Wickham Terrace Carpark and a works depot at Mt Gravatt.</p><br>
<p>Following his years at the Brisbane City Council, Birrell moved on to firstly, the University of Queensland and after to the James Cook University where he was involved in master planning the site, and, from there, to Papua New Guinea where he designed many substantial buildings, before returning to private practice in Australia. The work of James Birrell, particularly during his time at the Brisbane City Council and after, as the architect to the University of Queensland is widely held to be influential, innovative and excellent.</p><br>
<p>The Toowong Municipal Library was opened in April 1961 as the largest suburban library in Brisbane and designed to service the western suburbs. The design of the timber, glass and steel framed building, a twelve sided externally framed form floating on an organic brick base, was controversial and received much attention when completed.</p><br>
<p>The library was constructed on three allotments which were part of a New South Wales Land Purchase by Robert Towns and George Christie. The site was also part of the 1889 Moore subdivision of this area of land and changed hands a number of times before one of the lots was acquired by the Toowong Town Council on 1 September 1903. This lot remained in the Council&#39;s use as a storage facility until the decision to build the library was made in 1959. At this time the two other allotments, closer to Booth Street were also acquired. Houses had been constructed on these blocks and these were demolished to accommodate the library.</p><br>
<p>The provision of libraries by municipal councils in Queensland is a relatively new phenomena, with most libraries currently operating established since the late 1940s. Previously, Schools of Arts and privately owned Reading Rooms provided a similar service and these were often run by local committees and subsidised by local councils. Local councils were granted authority in the Local Government Act 1878 to establish and operate libraries, although this was very uncommon until the twentieth century. The first publicly funded municipal library was opened in Kurilpa (West End) in 1929 and a similar library was operating in South Brisbane soon after. Local councils became seriously involved in the construction of libraries in Queensland after the Libraries Act 1943 was passed which provided for the establishment of a State Library Board which was to provide for the improvement of library services throughout the state. By 1950 seven libraries were operating throughout Brisbane and by April 1961 when Toowong Library was opened the Council was operating twelve libraries.</p><br>
<p>Prior to the construction of the Toowong Library, James Birrell designed two other libraries for the Council at Chermside (1957-8) and Annerley (1956-7). The design of these buildings, although modern, were more conventional than the design of the Toowong Library. In 2014 the Annerley Library (with substantial additions) still operates as a municipal library. The much altered Chermside Library was sold in November 1997.</p><br>
<p>Discussions concerning the provision of a municipal library at Toowong started in 1956 when the Council set aside £4000 for the construction of a district library to service the western suburbs of Brisbane. Over the next few years several properties near the Toowong railway station were investigated as potential library sites. It was not until March 1959 that firm plans were made to use the Council storage facility at the end of Coronation Drive. Alderman Ord, the local councillor, announced to the press in March 1959 that "a library of brick, glass and steel would be the biggest municipal library in the suburbs and the first in the western suburbs. It would serve the people of St Lucia, Indooroopilly, Toowong, Auchenflower, Taringa, Brookfield and Kenmore". Ord went on to say that the library would form a civic block with the recently redeveloped Toowong Baths site.</p><br>
<p>The design of the Toowong Library was innovative and controversial. From the earliest reports of the unusual 12 sided library in 1959, the press covered the story of the planning and growing controversy over the design of the building. The City Librarian lodged a formal complaint over the design of the building with the City Council&#39;s Manager of Planning and Building, detailing criticism of the shape, internal layout and lack of consultation with librarians through the design process. In reply to this James Birrell prepared a memorandum addressing the complaints:</p><br>
<p>"The City Librarian has criticised the circular shape of the building, stating that most library authorities favour the more conventional rectangular or square buildings as being more economical of shelf space...his opinion is correct that square buildings have more perimeter than round buildings. However shelf space is not the only criterion upon which the circular plans have been adopted...a circular building form is the most economical for the structural enclosure of a large open space and results in functional arrangements for the provision of natural light and ventilation and circulation within the reading room...Criticisms have been levelled at libraries of all shapes and sizes. Each should be treated on its own merits."</p><br>
<p>Criticism continued until the opening of the building on 13 April 1961 and it is thought that the reason the project was realised substantially unaltered from the first plans of 1959 and amid the controversy was that the Lord Mayor, Alderman Reg Groom and local councillor, Alderman Ord&#39;s interest in, and fostering of, modern architecture. An article in The Courier-Mail quoting Alderman Ord suggested that the controversy surrounding the building was a sign of vigour in the local architecture scene.</p><br>
<p>The building was constructed for about £26,000 by local contractors Stuart Brothers, using innovative construction techniques and materials, with the design involvement of the Engineering Branch of the Council&#39;s Department of Works. Many architectural and building journals featured the building following its opening. As early as August 1959 a photograph of a model of the library appeared in Cross-section. In December 1961 an article about the library with photographs appeared in the RAIA journal, Architecture in Australia.</p><br>
<p>New materials used on the library were detailed in the May/June 1961 issue of Building Materials, which featured the building. Such materials included Rotary Red Cedar Exterior plywood panelling, also featured in the Plywood and Plywood Products journal of September 1961. The roof membrane of the library was formed with 2 inch thick laminated fibre board clad with bituminous felt and finished with white grain render and a copper fascia. When completed, the centre point of the roof of the building was finished with an amber acrylic light dome, apparently the largest acrylic dome produced in Australia at the time. Machinery connected to the upper most level of glazing surrounding the building allowed the windows to be mechanically opened. Installed in the ceiling of the library were two concentric light troughs formed with fluorescent tubes between purlins concealed with a translucent acrylic sheeting, operating in much the same way internal lighting operates with most current suspended ceiling systems. As well there were a number of suspended lighting features of circular fluorescent tubes fixed together on a light framework.</p><br>
<p>The careful placement of the Toowong Library on its site, likened to the work of Birrells great and abiding influence, Walter Burley Griffin, allows it to be viewed from the street as a one storeyed structure floating amid surrounding vegetation. The rear of the building reveals its true two storeyed nature, but even this view reinforces its floating quality, as the base is an organic form of dark face brick. The skilful manipulation of the site allowed the original entrance to the base and to the library level to remain segregated. The considered landscape design by the Brisbane City Councils parks section includes the use of succulents, rocks and palms and is credited to the talented landscape architect, Harry Oakman.</p><br>
<p>During the 1960s, following Birrells departure from the Council, alterations were made to the library including the replacement of the light troughs and suspended lighting features. The library was threatened for closure in 1982 following the opening of a new municipal library at Indooroopilly in 1981. The Toowong Library did in fact close but local residents&#39; action saw it re-opened in 1983. Alterations were made to the building in 1983 when one of the rooms on the lower floor was acquired for use by the local councillor as a ward office. This room which was originally planned as an auditorium was used by the library as a workroom and to accommodate the councillor was partitioned to form a reception, office and storage space.</p><br>
<p>By 2001 the building had been painted externally and the amber plastic roof dome was replaced with a large funnel shaped object concealing an air conditioning plant. The interior of the building remains substantially intact with original unpainted internal timberwork, glazed brickwork on the lower floor and original furniture and fittings including the counter, some perimeter shelving and other shelving units. The building ceased operating as the Toowong Library in 2001 and is privately owned.</p><br>
<h2>Description</h2><br>
<p>The former Toowong Municipal Library is located on the western side of Coronation Drive in Toowong. The library site comprises a two storeyed building sited amid dense vegetation on a corner site, with open air carparking facilities off Booth Street and a terraced area with seating and a playground.</p><br>
<p>The library comprises a cavity brick lower floor, the plan of which is formed by three intersecting circles. Above this base floor is a "floating" crystalline form with 12 sided polygon (dodecagon) floor plan whose external walls taper outward as they rise and which houses the principal public floor of the library. The external steel wall framing of the upper floor is diagonally crossed, or braced, and sheeted with plywood panels set within the structural framing and framed with silky oak beading. The upper two rows of steel framing are infilled with glazed panels, the top level of which are operable windows.</p><br>
<p>The first floor is a suspended reinforced concrete slab spanning from the brick base of the building to an outer steel channel welded to twelve 6 inch diameter steel columns, coincident with the twelve edges of the building. The roof, supported on RSJ purlins is pitched upward toward the centre of the building where a large, recently constructed, funnel shaped form houses an air conditioning plant. The roof has been clad with metal decking.</p><br>
<p>The principal entrance to the library floor is via wide concrete steps extending along one of the sides to the east of the building, off Coronation Drive. The entrance comprises a recessed portico from which electronic glass doors give access to the library. Access is provided to the lower floor from a doorway in the rear of the building and via an internal stair. The lower floor of the building is of glazed face brick and contains a number of irregularly but well proportioned timber framed window openings and small concrete panels reflecting the placement and layout of the internal stair.</p><br>
<p>The internal layout of the library floor is essentially open plan, with part-height partitions allowing space to continue beyond room divisions. Central on the floor is a large symmetrically arranged, circular counter and workspace area. The curved counter is lined on the front face with vertical strip timber boarding and this also lines the partitioning on this floor which form the workspace and office beyond the counter. The workspace is a circular semi open room adjacent to the counter. This floor plan of this space is reflected on the lower ground floor as one of the intersecting circles forming the floor plan. On the western side of the workspace is a small office which is formed with 1/2 glazed full height partitioning screens, maintaining the feeling of space in confined areas. Between the workspace and the office is a spiralling cantilevered concrete stair. The interior of the lower floor of the library has a concrete floor and glazed brick walls. Built along the walls of the major work area are original timber cupboards, shelving and counter units. Within a small pod to the north of this workspace is a toilet and bathroom. The other large space on the lower floor accessed via a door at the west of the building houses a reception area, office, and bathroom and storage facilities.</p><br>
<h2>Heritage listing</h2><br>
<p>The former Toowong Municipal Library Building was listed on the Queensland Heritage Register on 28 August 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>Toowong Municipal Library is important in demonstrating the provision and upgrading of public facilities by the Brisbane City Council in the post war years. The Toowong Municipal Library, opened in 1961 as a district library for the western suburbs of Brisbane, demonstrates the accelerated provision of municipal public libraries following the introduction of the Libraries Act 1943 and the consequent establishment of a State Library Board.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The library is a rare surviving and substantially intact example of the architecture and planning of James Birrell. Birrell is an architect of national stature and repute and the place is significant as evidence of Birrell&#39;s thought and practice. Birrell was Chief Architect of the Brisbane City Council in the period from 1955 to 1960. James Birrell was responsible for the design of more than 150 projects during his six years as the Chief Architect, of these projects only a few survive intact.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>It is a good representative example of one of the most important schools of thought on architecture in Australia in the post war period; that of the Melbourne School of Roy Grounds and Robin Boyd.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>The library has aesthetic and architectural significance as a civic landmark designed, in conjunction with the Toowong Pool, to herald the suburb of Toowong and the western suburbs beyond. The place is a fine example of Birrell&#39;s considered approach to siting strong forms within landscapes. The scale, texture, mass, proportions, juxtaposition of elements and siting has produced a fine, well composed building of significant architectural quality. The Toowong Library is an exceptionally fine architectural accomplishment and one of the finest examples of post war architecture in the state.</p><br>
<p>The place is important in demonstrating a high degree of creative or technical achievement at a particular period.</p><br>
<p>As well the building demonstrate Birrell&#39;s preoccupation with structural integrity and his use of innovative building materials and techniques which reflected the culture of the time. This was particularly apparent in post war society when many new and innovative building materials and techniques were developed using expertise gained in various industries during the war years.</p><br>
<p>The building was designed to incorporate many innovative building techniques and products and are creative works of the period. The project received considerable attention in national building and architecture journals.</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 and has strong associations with the Toowong and wider Brisbane community as an important public facility of considerable usage and prominence.</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 has strong associations with the architect, James Birrell, as a fine examples of his prolific and influential Council work.</p><br>
<p>Toowong Memorial Park is a heritage-listed memorial and park at 65 Sylvan Road, Toowong, City of Brisbane, Queensland, Australia. It was designed by George Rae and built by Andrew Lang Petrie Monumental Works. It was added to the Queensland Heritage Register on 4 September 2007.</p><br>
<h2>History</h2><br>
<p>Toowong Park, bounded by the Ipswich-Brisbane Railway line to the west, Sylvan Road to the south and Dixon Street to the north, was allocated as a park in 1918 by Toowong Town Council. Following the dedication of Toowong Soldiers&#39; Memorial in 1922, it became known as the Toowong Memorial Park. Since this time, Toowong Memorial Park has been important to the community as a central venue for Anzac Day ceremonies, organised and informal sports, and other recreational activities.</p><br>
<p>The Toowong area (then known as West Milton), was surveyed and divided into several large estates in 1850. In its early days the Toowong area was an upper-middle class suburb, consisting of detached "villas" on large allotments and made popular by its proximity to the central business district. The opening of the Brisbane to Indooroopilly railway line and Toowong station in 1875 triggered a period of rapid development and a large number of shops and houses were established for the increasing number of residents. In 1880 Toowong&#39;s first local authority was elected, the Toowong Divisional Board. However, on 30 May 1880 the area was regrouped and the Shire of Toowong was formed. By the end of the nineteenth century, a large amount of the land surrounding many of the early grand homes had been subdivided into estates. Following sustained growth, on the 19 August 1903, the area was declared the Town of Toowong under the provisions of the Local Authorities Act 1902, and the tram lines were extended to the Toowong Cemetery in the same year. In addition to many other achievements during its time, Toowong Town Council was successful in its focus on securing numerous land allotments for recreational use.</p><br>
<p>Despite the large number of subdivisions that occurred during the later half of the 19th century, a map from 1895 shows the parcel of land bounded by Sylvan Road, Dixon Street and the railway line to retain large allotments. On the 7 September 1918, Toowong Town Council declared the land a park reserve, to be known as Toowong Park. When Toowong was amalgamated to become part of Greater Brisbane in 1925, management of the park passed to Brisbane City Council.</p><br>
<p>Australia&#39;s involvement in the First World War exacted a heavy toll in death and injury. Of a relatively small population of about five million people, 60,000 service people were killed and 152,000 wounded. The outpouring of grief in Australia that accompanied these deaths, and the fact that the dead were buried overseas, led to a period of memorial building across the nation and residents of Toowong were quick to commemorate their soldiers by rededicating Toowong Park as Toowong Memorial Park and erecting a number of memorial features.</p><br>
<p>The park&#39;s memorial gates were erected to mark both the official opening of the park on 7 September 1918, and to honour people from the local community who enlisted during the First World War. They were originally located closer to the centre of the Sylvan Road perimeter; and were moved to their current location near the southeast corner of the park in 1959. In September 1918, a commemorative avenue of palms was also planted in the park.</p><br>
<p>In 1919 a competition was held to design a memorial for the park. It was won by a young Scottish draftsman, George Rae, who worked in the Brisbane office of renowned architect Lange Powell. The work on the memorial was carried out by Andrew Lang Petrie Monumental Works, who were the largest monumental masonry firm in Queensland at this time. The firm was also responsible for many other First World War memorials throughout Queensland. The memorial cost £700 and was financed by public fundraising.</p><br>
<p>The new memorial was known as the Toowong Soldiers&#39; Memorial and was located on a prominent hill within the park. It was unveiled by Queensland Governor Sir Matthew Nathan on 2 July 1922. Following the opening of the memorial, the park became known as Toowong Memorial Park. Recorded on marble tablets affixed to the memorial are the names of 101 residents of the Town of Toowong who enlisted in the First World War. In April 1993, the Toowong sub-branch RSL dedicated another memorial cairn, located just inside the memorial gates in the southeast corner, intended as the new location for Anzac Day ceremonies. In the same year, part of the memorial avenue of palms was relocated to allow completion of a second oval rugby union oval. The palm avenue remains in this alignment, leading toward the RSL memorial from the main entrance of the park. On Anzac Day, processions continue to march along this avenue and gather at the new memorial for the Dawn Service.</p><br>
<p>The park provides an open space for community activities, recreational pastimes and organised sport, a tradition which is continued today. In its early days, the park was the venue for the annual Sunday School picnics, and the Methodist inter-church children&#39;s sporting competitions. In 1919, Toowong Council celebrated the signing of the peace treaty at Versailles by throwing a picnic for the local children in the park. More recently, the park has also been home to local Girl Guide and Scout groups, and the former headquarters of both remain in the park.</p><br>
<p>One of the earliest sporting facilities associated with the park was the Auchenflower Bowls Club, established on Bayliss Street in 1920. The club was sold in 2003 and demolished to make way for townhouses. Part of the land which protruded into the north-west perimeter of the park was resumed by Brisbane City Council. Originally known as the Toowong Rugby Club, the Western Districts Rugby Football Club, formed in 1960, is the only remaining sporting club to still use the park. Wests Junior Rugby Union Club was formed in 1966 and in 1968 a clubhouse was opened. In 1994 the first Women&#39;s team was formed. Sharing the grounds until 1999 was the Toowong Cricket Club, also originally established as a section of the Toowong Amateur Recreation Club in 1948. The Toowong Harriers, one of the oldest athletic clubs in Queensland also used the park during the early 1970s. The park is also home to the Vince Hickey Basketball Stadium and neighbouring public half-court. The stadium was used to host the 1994 World Masters Games, and has also been a venue for the Australian Basketball Championships. It is still currently used for Brisbane Basketball League games.</p><br>
<p>The Toowong Memorial Park enjoys regular patronage from the Brisbane public for both sporting or recreational purposes and is utilised by the Toowong Returned Services League to conduct remembrance ceremonies throughout the year.</p><br>
<h2>Description</h2><br>
<p>Toowong Memorial Park is bordered by the Ipswich-Brisbane Railway line to the west, Sylvan Road to the south, and Dixon Street to the north. Park Lane also borders the park for a small portion of the north-west perimeter and the remainder is lined by housing.</p><br>
<p>The park contains a prominent stony ridge, which runs roughly east to west. In the south and south west, the ridge slopes down towards a large flat area of the ground along Sylvan Road, and in the north, slopes towards Dixon Street. The Dixon Street slope contains the remnants of an avenue of hoop pines.</p><br>
<p>The former Auchenflower Girl Guide Hut, a timber hall with gabled roof, is located along the north-west boundary, alongside Park Lane. The old Toowong Scout Hall, located in the south-eastern corner of the park, is a rectangular, concrete block building with a hip-roof.</p><br>
<p>The main oval is located in the south-west corner of the park. Around the northern perimeter of the main oval are numerous buildings and structures of the Western Districts Rugby Football Club. A playground and public toilet facilities are located between the main oval and the far western corner of the park.</p><br>
<p>A car park is located mid-way along the Sylvan Road boundary and is marked by a row of mature fig trees and smaller trees. Mature figs also encircle the main oval, which is neighboured by another football field to the east. A small stand of palms, from the original location of the avenue, runs alongside the north-eastern side of the main oval. A large section of the original palm avenue, which was relocated in 1993, now runs parallel to Sylvan Road from the car park, and then curves gently towards the memorial gates.</p><br>
<p>The memorial gates consist of a pair of red brick piers with moulded stone copings painted cream, supporting a set of decorative wrought iron gates. The west pier contains a marble plaque commemorating the enlisted from the town in the First World War and the marble plaque on the east pier lists the aldermen for the Town of Toowong in 1918.</p><br>
<p>Located in the south-west corner of the park, immediately inside the memorial gates, the RSL memorial cairn. A rough-hewn blue stone boulder monument, standing on a horizontal marble slab, it is encircled by a low blue stone wall which is open to the north and south. A plaque on the cairn records it was erected by the Toowong Sub Branch of the Returned Services League.</p><br>
<p>The Toowong Soldiers&#39; Memorial is located on the summit of the ridge and is encircled by palm trees. Composed of Helidon freestone, it stands 12 metres high on a 5.75 metres square base. It has a fluted Queensland marble drinking fountain, surrounded by carved wreaths and swags. The whole structure is surmounted by a carved cap and ball. Three sides of the monument have marble slabs with the names of the enlisted in lead letters. Twelve stone pillars surround the monument and have metal chains threaded between them. A marble plaque on the eastern pier of the southern opening in this low fence lists those responsible for the erection of the monument.</p><br>
<p>The Vince Hickey Basketball Stadium, located inside the Dixon Street boundary, is not considered to be significant.</p><br>
<h2>Heritage listing</h2><br>
<p>Toowong Memorial Park was listed on the Queensland Heritage Register on 4 September 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>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 gates, Soldiers&#39; Memorial and avenues of trees, created between 1918 and 1922, are important aspects of the park, demonstrating the theme of remembrance and establishing the layout of the park. They are representative of the process of grieving that was occurring across not only Toowong, but also Queensland and Australia at that time. After the First World War, Toowong Town Council, like most Queensland communities, erected a public memorial to honour local participation in the war.</p><br>
<p>Toowong Memorial Park is also representative of the importance of sport and recreation in Queensland&#39;s history as demonstrated through the sporting ovals and Girl Guide and Scouts Huts.</p><br>
<p>The place demonstrates rare, uncommon or endangered aspects of Queensland&#39;s cultural heritage.</p><br>
<p>The memorial gates in Toowong Memorial Park are a type of commemorative structure uncommon in Queensland.</p><br>
<p>The place is important in demonstrating the principal characteristics of a particular class of cultural places.</p><br>
<p>A public park since 1918 and a memorial park since 1922, Toowong Memorial Park is important as an intact example demonstrating early twentieth century ideals and designs for the layout of such places. Elements within the park include sporting ovals and clubhouses, a Girl Guide hut and Scouts hut, memorial gates, the Soldiers Memorial and avenues of palm trees and pines which demonstrate the use of the park for recreational and memorial purposes.</p><br>
<p>The memorial gates and Soldiers&#39; Memorial are commemorative structures erected as a record of the local impact of a major historical event, and are good examples of their type. Memorial gates are also a less common type of commemorative structure.</p><br>
<p>The Soldiers&#39; Memorial is also a fine example of the early work of prize winning architect George Rae, who was only 21 years of age at the time, and the craftsmanship of the Brisbane masonry firm, A L Petrie and Son.</p><br>
<p>The place is important because of its aesthetic significance.</p><br>
<p>Toowong Memorial Park is important for its aesthetic values as it provides a pleasant vista of open, green space in the otherwise densely populated Toowong landscape. The elements within the park are also important for their aesthetic qualities. The memorial gates provide a dignified entrance and display high quality workmanship and design. The Soldiers Memorials elevated position and craftsmanship, make a significant contribution to the park&#39;s aesthetic value. The abundance of trees, including mature figs and palms, interspersed with open sporting areas, provide for pleasing vistas within the park.</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>Toowong Memorial Park is important as a community landmark which has been continuously used by the people of Toowong for a variety of social, recreational and memorial functions for almost 90 years. The park, memorial gates and Soldiers&#39; Memorial were commissioned by the Toowong Town Council and are important as a place for remembering the participation and deaths of local Toowong residents in the First World War, and as evidence of the impact of a major historic event. The avenues of palms are also significant for their commemorative function. The park has a long history of use by sporting groups, Girl Guide and Scout groups and strong, ongoing association with the local community, and its aesthetic contribution to the Toowong townscape.</p><br>
<p>The Selma Schricker House is a historic building located in a residential neighborhood in the West End of Davenport, Iowa, United States. At one time the house served as the official residence of Davenport&#39;s Catholic bishop. It is a contributing property in the Riverview Terrace Historic District. The district was added to the National Register of Historic Places in 1984.</p><br>
<h2>History</h2><br>
<p>This house was built for Selma Schricker in 1902. She was the daughter of Lorenzo Schricker, a lumber baron, and his third wife Johanna. The Schrickers had lived nearby in the Marquette Heights neighborhood. Selma had been educated in the local public schools and graduated from St. Katherines, a private preparatory school for girls in Davenport. She had this house built after her mother&#39;s death in 1898. Selma never married and died in the house in September 1931 at the age of 50. She is buried with her mother, sister and half-brother in a mausoleum in Oakdale Memorial Gardens.</p><br>
<p>The Diocese of Davenport purchased the house as the official residence of its bishop in 1933. It was the home of Bishops Henry Rohlman, Ralph Hayes, Gerald O&#39;Keefe and William Franklin. The diocese sold the house in 1996.</p><br>
<p>Mark and Judy Westrom bought the house in November 2000 and did extensive restoration work for which they received recognition from local preservationists.</p><br>
<h2>Architecture</h2><br>
<p>The Selma Schricker House was designed by the prominent Davenport architectural firm of Clausen & Burrows. The two-story house is one of the finest examples of the Georgian Revival style in the city. The rectangular main block is capped with a bracketed cornice and a hipped roof. It features a symmetrical three-bay front, a large portico on the main façade, a sun porch on the east side, a porte-cochère on the west side, and a gabled wing off the back of the house. The exterior is composed of yellow-tan Roman brick with quoining on the corners of the main block, also in brick. It is built on a stone foundation. The house is situated on a slightly raised terrace, across the street from Riverview Terrace Park.</p><br>
<p>The front of the house is dominated by a large semi-circular, Federal inspired, portico. It features fluted columns following the Ionic order. The main entrance into the house is framed with sidelights and a transom with Adamesque tracery. There is art glass on the double-door entrance onto the upper level of the portico. Above the portico is a large central dormer with a Palladian window. It is flanked by two smaller dormers with round-arch windows. The other dormers on the house have similar windows. The porte-cochere features columns that follow the Doric order and a denticular cornice. There are also two tall, symmetrically placed, interior chimneys with corbelled caps.</p><br>
<p>The J. & O. Irish Store is a historic retail building, now used as a museum, on Maine State Route 140 in Hartford, Maine. Built in 1888 by Orlando Irish, it is virtually unaltered since that time, representing a time capsule of the period in rural Maine. The building was listed on the National Register of Historic Places in 1983.</p><br>
<h2>Description and history</h2><br>
<p>The Irish Store is a 2-1/2 story wood frame structure with a gable roof, which is attached to a similar barn. The main facade of the store has its entrance centered on the main facade, flanked on each side by a single sash window. The second level also has two windows, stepped in from those on the first level, with a sign reading "J&O Store" in between. There are also two windows in the gable. The windows and door all have simple molded surrounds. The barn features a similar array of fenestration, with a wide two-leaf barn door that has an opening for a hay loft above.</p><br>
<p>The interior of the store building has the retail space on the first floor and a residential space above. Both spaces feature original wood flooring and simple trim lacking ornamentation. The store fixtures include wooden counters and shelves, a desk for sorting mail, and a wooden ice box.</p><br>
<p>The store was built by Orlando Irish, a prosperous local farmer, in 1887–88. The store was operated by members of the Irish family, and was given to the Hartford Historical Society by James Irish in 1976. The Society operates the property as a museum and storage facility for its collections.</p><br>
<p>The Barclays Bank building is a four-storey locally listed building overlooking the historic crossroads in the town centre of Sutton in the south London Borough of Sutton. It was built in 1894, originally as the London and Provincial Bank.</p><br>
<h2>Location</h2><br>
<p>The building is situated at the junction of Cheam Road and Sutton High Street, the location of the crossroads of the historic turnpike roads which passed through the town. It is located in the Sutton Town Centre High Street Crossroads Conservation Area, which was designated on 9 May 2011.</p><br>
<h2>Architectural design and features</h2><br>
<p>The building is four storeys in height and of ornate design. It forms a prominent landmark when arriving in the town centre from a westerly direction. There is a series of arches at ground level within rusticated stonework. The main entrance is on the corner where the two roads meet, rounded in shape and surrounded by an ornate architrave and segmental pediment, which together serve to create a sense of importance for the bank.</p><br>
<p>The second storey has fluted columns and simple cross windows. The windows, columns and dentil on the third storey are surrounded by decorative carvings. The attic is on the fourth storey and set within a decorative, balustraded parapet under which there is a decorative frieze.</p><br>
