Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105corner at one–storey height—sheltering the garden, swimming pool and fishpond with a two storey embrace. Residential quarters were upstairs, with Snelling’s office and drawing studio downstairs, opening to the garden and pool. Although not as sumptuous or substantial as the Kelly residence, this home incorporated imaginative and romantic gestures. Recording the Kambala compound on several occasions after 1962, Max Dupain captured key design ideas: • The glass–walled covered way between the carport and the front door revealed (yet rain–protected) people walking towards the entrance—and (in another photograph) silhouetted them at night like shadow puppets in a lantern show. • The kitchen could be revealed and concealed by sliding panels, inspired by Japanese shoji screens, across the breakfast/drinks bar. • Papyrus, lilies, reeds, a weeping willow tree, a Japanese lantern, circular stepping stones, a vertical wall panel of decorative brickwork, scattered rocks and wind–bells could elaborate the flowing fishpond beside the entry to his garden–level studio. However, Dupain’s photos do not capture all the idiosyncracies of the Kambala Road environment. For example: • A ‘gentle rain’ could descend upon the fishpond from beneath a balcony. • Gas–driven flames could flare up from jets installed in paving stones around the swimming pool—to warm, illuminate and excite party guests (but they needed to carefully avoid the fires). These were some of the touches that separated Snelling—as a multi–disciplinary artist with Hollywood work experience—from Sydney rivals who had been locally trained only in architecture. As well as working on his own property, Snelling continued to manage a busy small practice, designing diverse buildings. Between 1956 and 1960, he produced a Chinaman’s Beach living pavilion for Jim and Patricia Blau (a couple he had known with Nancy); a guest pavilion on the State’s largest merino property, Haddon Rigg, near Warren; a house for Luke and Sigrid Mueller on a small block subdivided from the Kelly property at Bellevue Hill; the Stardust Café in Hunter Street; various city shops; minor alterations to the Bellevue Hill house of model June Dally–Watkins, and a holiday house overlooking Wallaga Lake, near Tilba Tilba, for another model, Joy Flower, and her American husband, Leroy Brauer (Australian chief of Colombia Pictures). servants’ quarters on top of that and then another building, a laundry, with more servants’ quarters over it. Both buildings were very dilapidated, needing a lot of renovation, but one of the first things he did was to blast through some large windows to get outstanding views back to the city. That’s where we set up the new studio and Douglas moved in too. The Kemps also came over to manage the place—Doug renovated the laundry building for them. He always led a glamorous life. At night, he would often go to Pruniers restaurant or the American Club. I remember once that Dorothy, my wife, and I went with Douglas and a well–known model called Patricia Hackett—her father was a big bookmaker at Randwick—and she was wearing a magnificent blue A line dress. We walked into the American Club bar and everything just stopped; she looked absolutely stunning. Later I remember going out to a restaurant one night with Douglas and we came across Patricia having dinner with someone else—they had just broken up recently. He went over to talk to her and it blew up; we ended up going back home. He could get verbally aggressive if he felt like it. Shortly after moving to his new property at 84 Kambala Road, Snelling began renewing his friendship with Patricia Youdale, who was beautiful, stylish, and well–connected, but emotionally fragile. By then she had separated from her husband, Ken, and was living with her parents, Robin (Rob) and Aida Gale, along with her five–year–old daughter, Amanda, at 78 Kambala Road. As a child of the provinces, Snelling perhaps was conscious of Patricia’s family’s wealth and social prominence. The Gales were graziers and property developers. They looked after relatives’ finances and welfare through a network of trusts and companies, administered by trusted lawyers. During the late 1950s and early 1960s, Snelling focused on designing, financing and building substantial revisions to his property. After the cramped conditions of Marlborough Hall, and the thwarted ambitions for Northbridge, the Bellevue Hill development would help cement his status in Sydney’s elite circles. As part of his Wright– inspired organic philosophies about the harmonious integration of environments, he aimed to combine a gracious and comfortable family home, a stylish indoor–outdoor venue for entertaining valuable contacts, and one of the city’s leading small architectural offices. On his site at the junction of Kambala Road and Sheldon Place (both streets sloped down from the corner), Snelling gradually converted the old Trahlee stables into one of Sydney’s finest modern residences. The new building’s two arms wrapped around the street DOUGLAS SNELLING DOUGLAS SNELLING 62 63 1955–1966 1940–1955