Pub Date : 2023-09-12DOI: 10.1080/10331867.2023.2249214
Lisa Marie Daunt, Janina Gosseye
This paper examines the shifting urban and architectural manifestations of Christian churches built in twentieth century Brisbane, the capital of Queensland and the third most populous city in Australia. In doing so, it considers how religious communities contributed to the formation of Brisbane’s modern cityscape. Based on texts published in the journals of Brisbane’s four largest Christian denominations, a chronological mapping of the development of the city’s religious territories from 1945 to 1977, and an architectural analysis of a select number of Brisbane churches, this paper demonstrates how during the post-war era Brisbane’s Churches shifted their urban planning approach from representational hilltop landmarks to community centres, and their architectural manifestation from grand (modern) monuments to suburban place makers. It also discusses what urban and community building strategies were pursued in this multi-denominational religious territory, and how this affected church architecture. While comparable shifts did occur elsewhere, both abroad and interstate, the paper argues that Brisbane, with its hilly topography, property-oriented religious leaders, and lack of government-funded community infrastructures, heightened opportunities for the Churches to use modern architecture and urban planning to express their faith and social values.
{"title":"From Hilltop Landmarks to Suburban Place Makers: Brisbane’s Post-War Religious Territories and Communities","authors":"Lisa Marie Daunt, Janina Gosseye","doi":"10.1080/10331867.2023.2249214","DOIUrl":"https://doi.org/10.1080/10331867.2023.2249214","url":null,"abstract":"This paper examines the shifting urban and architectural manifestations of Christian churches built in twentieth century Brisbane, the capital of Queensland and the third most populous city in Australia. In doing so, it considers how religious communities contributed to the formation of Brisbane’s modern cityscape. Based on texts published in the journals of Brisbane’s four largest Christian denominations, a chronological mapping of the development of the city’s religious territories from 1945 to 1977, and an architectural analysis of a select number of Brisbane churches, this paper demonstrates how during the post-war era Brisbane’s Churches shifted their urban planning approach from representational hilltop landmarks to community centres, and their architectural manifestation from grand (modern) monuments to suburban place makers. It also discusses what urban and community building strategies were pursued in this multi-denominational religious territory, and how this affected church architecture. While comparable shifts did occur elsewhere, both abroad and interstate, the paper argues that Brisbane, with its hilly topography, property-oriented religious leaders, and lack of government-funded community infrastructures, heightened opportunities for the Churches to use modern architecture and urban planning to express their faith and social values.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135884528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.1080/10331867.2023.2249278
Sanja Rodeš, Mirjana Lozanovska
This paper investigates “immigrant architecture”Footnote1 in Australia and argues that the reception of the “architecture of the other” is mediated by the visual appearance of this architecture. The paper investigates the politics of multiculturalism and migration in Melbourne, Australia, and more specifically its representation in Melbourne's tourist brochures. We argue that tourist brochures portray the image of the city to both national and international audience, and that the decisions around which architecture to include (and exclude) correspond with that image, and are hierarchical.The inclusion and exclusion of Melbourne’s architecture in selected tourist brochures are central to this paper, juxtaposing the reality and diversity of Melbourne’s architecture, to the selection of architecture which is represented in the brochures. This corresponds with the collision of two different images of Australia as a nation, the first being the image of Australian as hegemonic and related to white, Anglo-Celtic culture, and the second as image of Australian culture as multicultural, diverse and in flux. The paper proposes that mainstream tourist brochures rely on out-dated colonial-settler narratives and selectively represent the contributions of Indigenous and minority ethnic immigrants to Australian society.
{"title":"The Politics of the Visual: Immigrant Architecture in Melbourne’s Tourist Brochures","authors":"Sanja Rodeš, Mirjana Lozanovska","doi":"10.1080/10331867.2023.2249278","DOIUrl":"https://doi.org/10.1080/10331867.2023.2249278","url":null,"abstract":"This paper investigates “immigrant architecture”Footnote1 in Australia and argues that the reception of the “architecture of the other” is mediated by the visual appearance of this architecture. The paper investigates the politics of multiculturalism and migration in Melbourne, Australia, and more specifically its representation in Melbourne's tourist brochures. We argue that tourist brochures portray the image of the city to both national and international audience, and that the decisions around which architecture to include (and exclude) correspond with that image, and are hierarchical.The inclusion and exclusion of Melbourne’s architecture in selected tourist brochures are central to this paper, juxtaposing the reality and diversity of Melbourne’s architecture, to the selection of architecture which is represented in the brochures. This corresponds with the collision of two different images of Australia as a nation, the first being the image of Australian as hegemonic and related to white, Anglo-Celtic culture, and the second as image of Australian culture as multicultural, diverse and in flux. The paper proposes that mainstream tourist brochures rely on out-dated colonial-settler narratives and selectively represent the contributions of Indigenous and minority ethnic immigrants to Australian society.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136024472","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-06DOI: 10.1080/10331867.2023.2240147
Catherine Townsend, P. Goad, P. Walker
ABSTRACT This paper traces the influence that pioneering Australian architectural historian David Saunders (1928–1986) exerted over the development of the University of Melbourne’s Cross Street Co-operative Housing Development in Carlton designed by Earle, Shaw & Partners (1970–1971). Cross Street is one of a number of public–private medium-density housing developments that were constructed on large sites resumed by the Housing Commission of Victoria after World War II. While the Housing Commission was demolishing large areas of inner Melbourne for tabula rasa high-rise modernist development, Saunders argued for the retention, adaptation, and acculturation of urban form, exemplified in the house he and architect wife Doreen designed for themselves in Parkville (1962). Saunders took an active role in commissioning Cross Street and his influence meant that it became the first large-scale urban project in Australia that consciously articulated an understanding of its historic environment. The project demonstrates many of his key urban ideas such as the importance of the nineteenth-century terrace form and shared pedestrianised spaces. This paper argues that the project presaged the so-called rediscovery of the city in Australia, emerged amidst the rise of local architectural history as a discipline, heritage activism, and an institution positioning itself for expansion.
{"title":"Magnifying the Terrace: David Saunders and the Cross Street Co-Operative Housing Development","authors":"Catherine Townsend, P. Goad, P. Walker","doi":"10.1080/10331867.2023.2240147","DOIUrl":"https://doi.org/10.1080/10331867.2023.2240147","url":null,"abstract":"ABSTRACT This paper traces the influence that pioneering Australian architectural historian David Saunders (1928–1986) exerted over the development of the University of Melbourne’s Cross Street Co-operative Housing Development in Carlton designed by Earle, Shaw & Partners (1970–1971). Cross Street is one of a number of public–private medium-density housing developments that were constructed on large sites resumed by the Housing Commission of Victoria after World War II. While the Housing Commission was demolishing large areas of inner Melbourne for tabula rasa high-rise modernist development, Saunders argued for the retention, adaptation, and acculturation of urban form, exemplified in the house he and architect wife Doreen designed for themselves in Parkville (1962). Saunders took an active role in commissioning Cross Street and his influence meant that it became the first large-scale urban project in Australia that consciously articulated an understanding of its historic environment. The project demonstrates many of his key urban ideas such as the importance of the nineteenth-century terrace form and shared pedestrianised spaces. This paper argues that the project presaged the so-called rediscovery of the city in Australia, emerged amidst the rise of local architectural history as a discipline, heritage activism, and an institution positioning itself for expansion.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45218435","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-04DOI: 10.1080/10331867.2023.2240079
Miles Lewis
ABSTRACT The Lady Franklin Museum at Ancanthe, near Hobart, is a pivotal building. It represents a conscious attempt by Jane Franklin to evoke Attica in Australia, an important essay in the Greek Revival by James Blackburn, and a key element in Hardy Wilson’s interpretation of classicism in Australia. In its conception and its realisation it was enmeshed with two other projects—the unrealised scheme for St John’s College, New Norfolk, and the realised but mauled portico on the Government Offices in Hobart. All three were involved in the conflict between Blackburn’s Greek Revival and the collegiate Gothic espoused by the incoming Colonial Architect W. P. Kay. Historically the Museum, which was first conceived as a “glyptothek” and then as a natural history museum, is a core element in the development of the Tasmanian Society of Natural History and its successor the Royal Society of Tasmania.
{"title":"An Antipodean Attica","authors":"Miles Lewis","doi":"10.1080/10331867.2023.2240079","DOIUrl":"https://doi.org/10.1080/10331867.2023.2240079","url":null,"abstract":"ABSTRACT The Lady Franklin Museum at Ancanthe, near Hobart, is a pivotal building. It represents a conscious attempt by Jane Franklin to evoke Attica in Australia, an important essay in the Greek Revival by James Blackburn, and a key element in Hardy Wilson’s interpretation of classicism in Australia. In its conception and its realisation it was enmeshed with two other projects—the unrealised scheme for St John’s College, New Norfolk, and the realised but mauled portico on the Government Offices in Hobart. All three were involved in the conflict between Blackburn’s Greek Revival and the collegiate Gothic espoused by the incoming Colonial Architect W. P. Kay. Historically the Museum, which was first conceived as a “glyptothek” and then as a natural history museum, is a core element in the development of the Tasmanian Society of Natural History and its successor the Royal Society of Tasmania.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47036668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-04DOI: 10.1080/10331867.2023.2237756
Philipp Nobis, Ursa Komac, K. London
ABSTRACT The reengagement of Jørn Utzon on the Sydney Opera House in 1999 was considered an international coup and opportunity for healing and closure to the controversy sparked by his departure 32 years earlier. This paper investigates the consequences of Utzon’s reengagement and analyses the work completed by Utzon and his collaborators thereafter, both with respect to Utzon’s original work and to the work of Utzon’s successor, Peter Hall. A focus of the paper is the proposal by Utzon and JPW Architects, for a New Opera Theatre to replace the existing theatre completed by Hall in 1973. This controversial project challenges pre-existing narratives which focus on the Sydney Opera House as either an “unfinished” or “salvaged” masterpiece. While 50 years of successful operation can be attributed to the contribution of both Utzon and Hall, this becomes more complicated when considered within the context of monumentality. The need to accommodate evolving functional requirements within a fixed external form highlights inherent contradictions in the concept of a “modern monument.” By agreeing to become reassociated with his most important work, Utzon signalled that he recognised these challenges and, through three projects, demonstrated how the building could continue to evolve into the future.
{"title":"Form, Function and Monumentality: A Critical Analysis of Jørn Utzon’s Late Work on the Sydney Opera House","authors":"Philipp Nobis, Ursa Komac, K. London","doi":"10.1080/10331867.2023.2237756","DOIUrl":"https://doi.org/10.1080/10331867.2023.2237756","url":null,"abstract":"ABSTRACT The reengagement of Jørn Utzon on the Sydney Opera House in 1999 was considered an international coup and opportunity for healing and closure to the controversy sparked by his departure 32 years earlier. This paper investigates the consequences of Utzon’s reengagement and analyses the work completed by Utzon and his collaborators thereafter, both with respect to Utzon’s original work and to the work of Utzon’s successor, Peter Hall. A focus of the paper is the proposal by Utzon and JPW Architects, for a New Opera Theatre to replace the existing theatre completed by Hall in 1973. This controversial project challenges pre-existing narratives which focus on the Sydney Opera House as either an “unfinished” or “salvaged” masterpiece. While 50 years of successful operation can be attributed to the contribution of both Utzon and Hall, this becomes more complicated when considered within the context of monumentality. The need to accommodate evolving functional requirements within a fixed external form highlights inherent contradictions in the concept of a “modern monument.” By agreeing to become reassociated with his most important work, Utzon signalled that he recognised these challenges and, through three projects, demonstrated how the building could continue to evolve into the future.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46233871","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.1080/10331867.2023.2237760
A. Murray
ABSTRACT This paper explores four publications produced by the Architectural Students Association of Western Australia (ASAWA), and the shifting intellectual contexts in which they were created. Between 1937 and 1961, the ASAWA published three independent journals, each of which reflected a particular moment of student activity and the ambitions of a distinct, yet related, student group. Tee Square Journal (1937), Phi (1950–1953), and Aedicule (1960–1961), along with a guest edited issue of the national broadsheet Aspect (1952), were part of a suite of student journals that were produced across Australasia but which have so far largely evaded scholarly attention. Through an exploration of these publications, and the context which underpinned their creation, this paper contributes to a growing understanding of student activity in Australasia, particularly as it unfolded before the well-known global ferment of the late 1960s.
{"title":"Tee Square Journal, Phi, Aspect, and Aedicule: The Publications of the Architectural Students Association of Western Australia","authors":"A. Murray","doi":"10.1080/10331867.2023.2237760","DOIUrl":"https://doi.org/10.1080/10331867.2023.2237760","url":null,"abstract":"ABSTRACT This paper explores four publications produced by the Architectural Students Association of Western Australia (ASAWA), and the shifting intellectual contexts in which they were created. Between 1937 and 1961, the ASAWA published three independent journals, each of which reflected a particular moment of student activity and the ambitions of a distinct, yet related, student group. Tee Square Journal (1937), Phi (1950–1953), and Aedicule (1960–1961), along with a guest edited issue of the national broadsheet Aspect (1952), were part of a suite of student journals that were produced across Australasia but which have so far largely evaded scholarly attention. Through an exploration of these publications, and the context which underpinned their creation, this paper contributes to a growing understanding of student activity in Australasia, particularly as it unfolded before the well-known global ferment of the late 1960s.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45888646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-29DOI: 10.1080/10331867.2023.2220254
L. Tipene
{"title":"Architectural Drawings: Collecting in Australia","authors":"L. Tipene","doi":"10.1080/10331867.2023.2220254","DOIUrl":"https://doi.org/10.1080/10331867.2023.2220254","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47995542","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.1080/10331867.2023.2223822
T. Reeves
ABSTRACT Architectural competitions have played a significant role in Australia’s development, yet their wider story is largely absent from its architectural histories. This paper foregrounds the topic by examining the origins, context, aims and outcomes of the nation’s first three competitions, held in Sydney from October 1826 to January 1827 during Governor Ralph Darling’s administration. Darling abolished the position of Colonial Architect—partly on the grounds it was uneconomic—and made the Engineer’s Office responsible for all public architectural works. The competitions were heralded by the actions of New South Wales’ first archdeacon, who brought with him the concept for a British church construction program. The competitions were ambitious undertakings that should have produced the city’s main Anglican church, a series of country churches and a new Government House at Sydney, but all failed when funding evaporated. The band of architectural practitioners of varying ability—including Francis Greenway—then operating were invited to compete to design what would be some of the colony’s most important buildings. However, mismanagement in the conceptualisation and running of the competitions, and even fraud—which overshadows the extraordinary Government House win by Darling’s wife—ultimately undermined their key objective of achieving architectural excellence.
{"title":"Australia’s First Architectural Competitions, 1826–27","authors":"T. Reeves","doi":"10.1080/10331867.2023.2223822","DOIUrl":"https://doi.org/10.1080/10331867.2023.2223822","url":null,"abstract":"ABSTRACT Architectural competitions have played a significant role in Australia’s development, yet their wider story is largely absent from its architectural histories. This paper foregrounds the topic by examining the origins, context, aims and outcomes of the nation’s first three competitions, held in Sydney from October 1826 to January 1827 during Governor Ralph Darling’s administration. Darling abolished the position of Colonial Architect—partly on the grounds it was uneconomic—and made the Engineer’s Office responsible for all public architectural works. The competitions were heralded by the actions of New South Wales’ first archdeacon, who brought with him the concept for a British church construction program. The competitions were ambitious undertakings that should have produced the city’s main Anglican church, a series of country churches and a new Government House at Sydney, but all failed when funding evaporated. The band of architectural practitioners of varying ability—including Francis Greenway—then operating were invited to compete to design what would be some of the colony’s most important buildings. However, mismanagement in the conceptualisation and running of the competitions, and even fraud—which overshadows the extraordinary Government House win by Darling’s wife—ultimately undermined their key objective of achieving architectural excellence.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44991078","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-21DOI: 10.1080/10331867.2023.2223393
Seth Dias
ABSTRACT This article investigates the history of the 1988 Invasion Day rally to understand the spatial and urbanistic implications of First Nations protest. By broadening the methods of architectural history to include the transient embodied acts of political actors within the context of the First Nations justice social movement, the article aims to read Sydney’s urban fabric against the grain of its established colonial meanings. Through this, a new historical reading that centralises the First Nations urban perspective is interrogated and analysed. The spatial experiences of colonised communities have previously been considered as “outside history” due to previously established norms within architectural historical collection. This article seeks to respond to these historiographic norms and present a case for one way to genuinely disrupt the Eurocentric foundations of architectural history and move to a reconciliatory discourse.
{"title":"Urban Counter-Place within the 1988 Sydney Invasion Day Convergence","authors":"Seth Dias","doi":"10.1080/10331867.2023.2223393","DOIUrl":"https://doi.org/10.1080/10331867.2023.2223393","url":null,"abstract":"ABSTRACT This article investigates the history of the 1988 Invasion Day rally to understand the spatial and urbanistic implications of First Nations protest. By broadening the methods of architectural history to include the transient embodied acts of political actors within the context of the First Nations justice social movement, the article aims to read Sydney’s urban fabric against the grain of its established colonial meanings. Through this, a new historical reading that centralises the First Nations urban perspective is interrogated and analysed. The spatial experiences of colonised communities have previously been considered as “outside history” due to previously established norms within architectural historical collection. This article seeks to respond to these historiographic norms and present a case for one way to genuinely disrupt the Eurocentric foundations of architectural history and move to a reconciliatory discourse.","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":" ","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-06-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49287117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-13DOI: 10.1080/10331867.2023.2220253
Cathi Ho Schar
{"title":"The Architecture of Confinement: Incarceration Camps of the Pacific War","authors":"Cathi Ho Schar","doi":"10.1080/10331867.2023.2220253","DOIUrl":"https://doi.org/10.1080/10331867.2023.2220253","url":null,"abstract":"","PeriodicalId":42105,"journal":{"name":"Fabrications-The Journal of the Society of Architectural Historians Australia and New Zealand","volume":"1 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41962340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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