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DESIGN Anytime - Robin Boyd

To connect with audiences who cannot physically make it to Canberra during the festival, DESIGN Canberra is curating a DESIGN Anytime program. This new program includes self-guided tours of iconic architecture and contemporary design throughout Canberra. This will promote and celebrate Canberra as a global city of design every day of the year. This zine was created for the 2020 DESIGN Canberra festival, as a curated collection of highlights of Robin Boyd’s architectural career in Canberra. This design experience can be enjoyed as a series of leisurely reflections over a week or an exciting day trip through the city.

To connect with audiences who cannot physically make it to Canberra during the festival, DESIGN Canberra is curating a DESIGN Anytime program. This new program includes self-guided tours of iconic architecture and contemporary design throughout Canberra. This will promote and celebrate Canberra as a global city of design every day of the year.
This zine was created for the 2020 DESIGN Canberra festival, as a curated collection of highlights of Robin Boyd’s architectural career in Canberra. This design experience can be enjoyed as a series of leisurely reflections over a week or an exciting day trip through the city.

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<strong>Robin</strong> <strong>Boyd</strong><br />

Self-guided architectural tour<br />

One city<br />

200+ events<br />

9—29 November<br />

DesignCanberraFestival.com.au<br />

<strong>DESIGN</strong><br />

<strong>Anytime</strong>


Introduction<br />

<strong>DESIGN</strong> Canberra celebrates and promotes<br />

Canberra as a global city of design. It is an<br />

annual program that has been running seven<br />

years strong.<br />

The festival is presented by Craft ACT: Craft + Design Centre, a respected<br />

and nearly 50-year-old membership organisation which represents the<br />

Canberra region’s designers, artists and craftspeople at every stage of<br />

their careers. Craft ACT is home to a community of glass artists, furniture<br />

makers, textiles artists, ceramic artists and jewellers, and collaborates with<br />

designers and architects across many disciplines.<br />

CANBERRA<br />

<strong>DESIGN</strong><br />

FESTIVAL<br />

Back Cover: Manning Clark House<br />

2<br />

Photo: Martin Miles


H1<br />

Heading<br />

H2 Heading<br />

The self-guided tour<br />

To connect with audiences who cannot physically<br />

make it to Canberra during the festival, <strong>DESIGN</strong><br />

Canberra is curating a <strong>DESIGN</strong> <strong>Anytime</strong> program.<br />

This new program includes self-guided tours of iconic<br />

architecture and contemporary design throughout<br />

Canberra. This will promote and celebrate Canberra as<br />

a global city of design every day of the year.<br />

Quote –“It was the biggest job ever built in<br />

Australia at the time – a million square feet – it<br />

was a city not a building! And I’m much more<br />

interested in the building as part of the city,<br />

in the urban forms of things, than I am in the<br />

individual gem.”<br />

This zine was created for the 2020 <strong>DESIGN</strong> Canberra<br />

festival, as a curated collection of highlights of <strong>Robin</strong><br />

<strong>Boyd</strong>’s architectural career in Canberra. This design<br />

experience can be enjoyed as a series of leisurely<br />

reflections over a week or an exciting day trip through<br />

the city.<br />

3<br />

Guidelines and etiquette<br />

When taking this self-guided tour please be respectful<br />

of the occupants of the buildings. By using this zine<br />

you agree to comply with the following housekeeping<br />

Body – Design Canberra celebrates and promotes Canberra<br />

rules:<br />

as a global city of design. It is an annual program that has<br />

• View private property been running from the six street years or strong. footpath. The Do festival is presented by<br />

not step onto private Craft ACT: property Craft at + any Design time. Centre, a respected and nearly<br />

• Do not take photographs<br />

50-year- old<br />

of<br />

membership<br />

house interiors<br />

organisation<br />

or the<br />

which represents the<br />

buidling owners<br />

Canberra<br />

and occupants<br />

region’s<br />

and<br />

designers,<br />

respect their<br />

artists and craftspeople at every<br />

property.<br />

stage of their careers. Craft ACT is home to a community<br />

of glass artists, furniture makers, textiles artists, ceramic<br />

artists and jewellers, and collaborates with designers and<br />

architectsacross many disciplines.<br />

Access. Body –Access details


<strong>Robin</strong> <strong>Boyd</strong><br />

<strong>Robin</strong> <strong>Boyd</strong> was a distinguished architect, writer and social<br />

commentator and throughout the 1940s and 1950s was<br />

Australia’s leading proponent of the modern movement. <strong>Boyd</strong><br />

made an important contribution to Canberra’s architectural<br />

landscape during the 1950s and 1960s.<br />

In 1953, <strong>Boyd</strong> formed the practice of Grounds, Romberg<br />

and <strong>Boyd</strong> alongside Melbourne architects Roy Grounds and<br />

Frederick Romberg. They practiced extensively in Australian<br />

capital cities, including Canberra, where they maintained an<br />

office<br />

<strong>Boyd</strong> held a lifelong interest in modern architecture, and the<br />

suburban house was often the focus of his work, both in design<br />

and writing. <strong>Boyd</strong>’s influential book, The Australian Ugliness<br />

(1960), critiqued the prevailing cultural and architectural tastes<br />

in Australia at the time, condemning the visual pollution of<br />

ornamental styles and decrying featurism.<br />

With 2019 being the centenary of design for architect <strong>Robin</strong><br />

<strong>Boyd</strong>, this tour revisits the work of one of Australia’s most<br />

influential designers.<br />

Photo: <strong>Robin</strong> <strong>Boyd</strong>, 1979 by Mark Strizic.<br />

Sourced from robinboyd.org.au<br />

4


Travel Route<br />

Scan the QR code or click on<br />

this click to access the map<br />

A. Churchill House<br />

B. Roche House<br />

C. Manning Clark House<br />

D. Verge House<br />

216 Northbourne Avenue, Braddon<br />

4 Bedford Street, Deakin<br />

11 Tasmania Circuit, Forrest<br />

204 Monaro Crescent, Red Hill


Churchill House<br />

1969-1971<br />

Churchill House was <strong>Boyd</strong>’s last major commission, and<br />

he died prior to its completion in 1971. It is one of a small<br />

number of opportunities <strong>Boyd</strong> had to work on a larger<br />

project.<br />

Churchill House was commissioned for the Winston<br />

Churchill Memorial Trust of Australia. The complex is<br />

made up of a main building that connects an east and<br />

south wing, a separate pavilion, the central pool, and a<br />

rear car park. The main building and northern pavilion<br />

form an L shape which encloses the courtyard, an<br />

example of <strong>Boyd</strong>’s interest in creating intimate outdoor<br />

spaces in his designs.<br />

The key feature of the building is the central pool,<br />

flanked by walls of precast concrete fins for sun<br />

protection and vertical slit windows.<br />

ADDRESS. 216 Northbourne Avenue, Braddon<br />

Churchill House. Photo: Darren Bradley @modarchitecture.


8


Roche House<br />

1954<br />

‘The suburb was the major<br />

element of Australian society.”’<br />

This unpretentious, one bedroom plus study house was<br />

designed by <strong>Boyd</strong> for Dr Hilary and Barbara Roche in<br />

1954. Dr Roche came to Canberra from Melbourne in the<br />

early 1950s to work in the Department of Health (Division<br />

of Tuberculosis).<br />

The house was designed in the early stages of the<br />

Grounds, Romberg and <strong>Boyd</strong> partnership and is a good<br />

example of <strong>Boyd</strong>’s more economical designs from the<br />

early 1950s: linear, single storey houses sited on narrow<br />

blocks with long unbroken rooflines, widely projecting<br />

eaves and large areas of timber-framed windows.<br />

These high-set windows are of particular interest here,<br />

allowing the roof form to appear to ‘float’ above the<br />

simple rectangular shape of the house. The waist height,<br />

horizontal windows are designed to offer glimpses of the<br />

landscape while the inhabitants of the house are seated.<br />

9<br />

ADDRESS. 4 Bedford Street, Deakin 2600<br />

Roche House. Photo: By AYArktos - Own work, CC BY-SA 2.5, https://<br />

commons. wikimedia.org/w/index.php?curid=554721 wikimedia.<br />

org/w/index.php?curid=554721


8710


Manning Clark<br />

House<br />

1952<br />

<strong>Boyd</strong> designed this house for Professor Manning and<br />

Dymphna Clark in 1952. In July 1949, the Clarks had<br />

moved to Canberra from Melbourne for Manning<br />

to take up the post of professor of history at what<br />

would become the Australian National University. The<br />

Manning Clark House was one of the first modernist<br />

houses built in post-war Canberra.<br />

The house has a low-pitched gable roof, widely<br />

projecting eaves and large areas of timber framed<br />

windows. Two separate parallel wings divide the<br />

living and sleeping areas, which are connected by a<br />

glass walled passage and entrance. Either side of this<br />

passage is a courtyard, one facing north and the other<br />

(the main entrance) facing south.<br />

Visible from the street is the famous study, positioned<br />

over the entrance. It is here that Clark wrote his six<br />

volume History of Australia.<br />

11<br />

ADDRESS. 11 Tasmania Circuit, Forrest<br />

Manning Clark House. Photo: ManningClarkHouse.com


12


The Verge<br />

House<br />

1963-64<br />

The Verge House was designed by <strong>Robin</strong> <strong>Boyd</strong> in 1964<br />

for Will Graves Verge, the grandson of the leading<br />

colonial architect, John Verge.<br />

<strong>Boyd</strong> had a keen interest in early colonial architecture<br />

and believed that John Verge’s Elizabeth Bay House<br />

had ‘the most famous architectural detail in the<br />

country’—a cantilevered staircase which lead to a<br />

gallery capped by a domed ceiling with lantern-like<br />

windows.<br />

<strong>Boyd</strong> paid homage to this by constructing a central<br />

staircase for the Verge House which led to a gallery<br />

connecting all the main rooms. The house is topped<br />

by an octagonal skylight, which lights the central<br />

space of the dwelling.<br />

Observe from the street how the house is flanked<br />

by wide timber-lined eaves which are shaved back<br />

at the four corner pillars: the house is essentially a<br />

square with truncated corners, but with an octagonal<br />

roof. All rooms are arranged aroeyeund a two-storey,<br />

octagonal central atrium and main stair landing.<br />

13<br />

ADDRESS. 204 Monaro Crescent, Red Hill<br />

Verge House. Photo: Darren Bradley @modarchitecture.


PROUDLY PRESENTED BY<br />

GOVERNMENT PARTNERS<br />

Craft ACT Craft and Design Centre is<br />

supported by the ACT Government, the Visual<br />

Arts and Craft Strategy - an initiative of the<br />

Australian, State and Territory Governments,<br />

and the Australia Council for the Arts - the<br />

Australian Governments arts funding and<br />

advisory body.<br />

PLATINUM PARTNERS<br />

HOTEL PARTNER

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