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 105Yeomans, Duffield Young Associates, Edwards Madigan & Torzello, Douglas Gordon, Hely Bell & Horne, Joseland & Gilling, McConnel Smith & Johnson, Oser Fombertaux & Associates, Stephenson and Turner and Stafford Moore & Farrington. Also notable was the partnership of John Allen and Russell Jack, later joined by Keith Cottier to form Allen Jack + Cottier. Snelling had two projects in this exhibition: Bibaringa and his luxurious executive suite for Woolworths’ new headquarters at Market and Pitt Streets. Harry Seidler had three projects: Australia Square, flats at Potts Point, and a house at Lilli Pilli. His main Wrightian peers of the mid–1950s, Neville Gruzman and Peter Muller, were not represented. Their work was no longer considered part of either the local vanguard or the commercial elite. Also fading by this time was Arthur Baldwinson, who turned towards teaching. Like many fashion–conscious practices in Western countries during the late 1950s and early 1960s, Snelling began to demonstrate a less romantic and less obviously Wrightian style in his middle phase of architecture (Wright died in 1959). Influenced by the pragmatism of new British and Scandinavian architects, he adopted a no–frills approach. He began to prefer using pale, smooth brickwork and exposing raw concrete elements. For windows and sliding doors, he also began to replace his former timber frames with metal. Modernism’s mid–20th century International Style, as supervised by the Centre Internationaux des Artes Modernes (CIAM), officially lasted from 1928 to 1959–60 but its anti–organic, unadorned, functionalist themes influenced Snelling’s external aesthetics during the late 1950s and early 1960s. During this time, many Australian architects became influenced by the works of Finland’s Alvar Aalto, Denmark’s Arne Jacobsen and Britain’s Peter and Alison Smithson. Also, there was a worldwide boom in housing towers—styled and planned much more sparsely and economically than the ornate New York models of the 1920s and 1930s. Snelling’s projects of the early 1960s included a house for Doctors Abe and Olga Assef at Bulkara Road, Bellevue Hill; a house for Max Factor’s managing director, Rex Mulholland, overlooking Kensington golf course; a conference room and lounge added to a Victorian mansion, The Hermitage, at Vaucluse (then being used by Woolworths as a staff training centre); a block of bachelor flats at Roslyn Gardens (for the Gales), and house renovations at Darling Point for Norman Sparnon (the entrepreneur who introduced ikebana flower arranging to Australia, and who advised the Snellings on their trip to Japan). built of dry laid stones, each exceeding one ton in weight. In spaciousness and splendour, these structures are greater than Notre Dame, Chartres Cathedral in France, and all the great cathedrals of England, such as Lincoln; neither Greece nor Rome can boast of such immense structures. Architecture, engineering and canal building is on a larger scale than anything in the world. The canals are greater than those in Venice and were not only water reticulation systems but navigable for hundreds of miles and a major means of transportation. The above extract from Snelling’s writings on Angkor Wat give a clear understanding of his remarkable powers of curiosity, detailed observation and analysis. After the Angkor epiphany, the pairs of travellers went their separate ways—the Dudeks back to Phnom Penh, where Marion remembered buying four black and white rubbings of Angkor carvings, and posting them back to the Snellings’ Sydney address. When Snelling returned home, he framed three of the rubbings to hang in a vertical array on the wall of his studio next to the drawing office—and gave one to John Hunt; erroneously saying that he took the rubbing himself. He also made the same claim to a magazine reporter, noted in a one–page feature on ‘rooms planned by men to please themselves’, published in the June–July 1964 issue of Vogue. The rest of the Snellings’ progress through Asia is explained in a letter he sent to the Dudeks at American Express in Rome. Dated 5 March, it read: We had a most delightful drive from Malacca down through Malaya, and this time there was no murder and mayhem. ...Whilst I lost a lot of colour transparencies through the faulty camera, the main shots have so far been rather good ... Naturally, I am anxiously awaiting the Angkor slides. ... By the way, the Angkor book I told you about is called ‘The Red Chapels of Bantai Serai’. Shortly after that trip, Snelling called photographer Max Dupain and commissioned him to take portraits of himself at Kambala Road. One mono image, dated April, shows him standing in a waistcoat and shirtsleeves, inspecting drawings on his desk in a wide–angle view of his immaculately decorated office. The Angkor Wat rubbings hung on the wall behind him. Around this time, Sydney’s architectural scene was being refreshed by a variety of new firms which emerged in the late 1950s. A Royal Australian Institute of Architects’ exhibition at David Jones’ Blaxland Gallery in May–June 1964 indicated that the most admired practices then included Ancher Mortlock Murray & Woolley, Clarke Gazzard DOUGLAS SNELLING DOUGLAS SNELLING 70 71 1955–1966 1940–1955