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 105Qantas House and Hudson House. Although it was obvious (after a visit to the newly completed Kelly House at Vaucluse) that Snelling was ‘an able architect’, Taverner decided not to risk leaving the security of his position with Rudders to join a small practice. During the remainder of the 1960s, Snelling continued to make new friends and admirers—and he and Patricia often entertained business and social contacts. Amanda remembered that their guests included Vogue editor Sheila Scotter, tennis champion Adrian Quist, scientist Harry Messel and race–driver Donald Campbell. Christopher said his parents told him they had thrown a garden party for The Beatles, when the pop group visited Sydney in late 1964. Snelling impressed and stimulated many acquaintances with his knowledge and passion for architecture, luxury cars, nature, new American technologies and products, tribal handcrafts and antiquities, exotic cultures, films, art, contemporary music, fashion, fine food and wine, interior decoration, travel and history. Despite his lack of formal education, he was a polymath whose conversations were appreciated at the highest levels of society. Property developer Sid Londish—then a young man on his way to financial success but a self–confessed philistine on cultural matters— remembers developing a strong admiration for Snelling when they spent some time together on an early 1960s holiday around Leroy Brauer and Joy Flower’s Snelling–designed house at Wallaga Lake. He was obviously an intelligent thinker—a man probably a little ahead of his time. His whole demeanour was interesting; he was very sensitive to life around him. We went for a walk in the garden at Tilba Tilba and he noticed everything. He had an artist’s eye—he could see something in everything. I also noticed that he wasn’t a strong person physically. He looked fit but also frail and a bit intense. He was a bloke who I wanted to get to know better than I did. He also wanted to get to know me more because there was a real opportunity that I could find him something he might really want to do. I offered him some housing and a small office building, but Doug wasn’t really interested in this. He didn’t jump at everything that came along. He wanted someone to sponsor a very special opportunity. He wanted to do a landmark commercial building or a gallery. Adding a different perspective, Patricia’s cousin, Ross Adamson, said: Some people found Doug a bit abrasive. He’d be a little bit as though most people were beneath him from a brain point of view. It wasn’t pushed at you—it was a subdued thing—but quite a few of my friends found him a Late in 1964, John Hunt resigned from the practice. New challenges beckoned after Bibaringa, the office’s landmark project so far. Also, he had supervised most of the key documents for Snelling’s next important project, a grand residence at Clareville Beach for Bibaringa’s prosperous builder, Arthur F Little. Feeling left out of Douglas’ new married life, Hunt also was concerned about the future of his own young family, and wanted to establish his own practice (eventually becoming a partner with a successful firm, Smith Jesse Payne and Hunt). Moonlighting around his work for Snelling, he already had designed and built several houses for his own clients. Perhaps because his employer condoned these extra–curricular projects—and because Hunt was an unusually valuable senior associate—Douglas became angry about the resignation. Recalls Hunt: I’m very sad about that split with Doug. I’m a flighter—I run away from conflict—and Doug was a little bit like that too. So it was a mutual stand– off. Hunt was replaced by a new employee, Vivian Fraser, who stayed through most of 1965, mainly documenting the Little House and another design (unbuilt) for the Bowes family, which owned another site along the same Clareville beachfront. Fraser had been running a small practice in his home town of Newcastle—and regarded the move to Snelling’s ‘luxurious’ environment at Kambala Road as ‘like being thrown into a freezing pond—a real wake–up call.’ Douglas was a highly intelligent, charming and exciting man—someone you’d expect to see in the cast of Casablanca. I’d been working in a dingy building in the centre of Newcastle and suddenly I was transported to this stunning house—I’d never seen anything like it. He wasn’t easy to work for—he was a stickler for detail and had a very strong sense of what was right and what was wrong. But his detailing was at least 20 years ahead of his time. It took me right out of my provincial, post–war view of detailing for housing. It was a great education, an intense education, about what you could really do in the world of architecture. He offered me an associateship, but I decided to move on. In the mid 1960s, when Snelling’s commissions for prestigious residences were peaking, but he was no longer being employed for commercial buildings, he broached the idea of going into partnership with another architect, Felix Tavener, who he met at a conference in Canberra. Taverner was a designer with the successful city firm Rudder Littlemore & Rudder, working on office buildings, including DOUGLAS SNELLING DOUGLAS SNELLING 72 73 1955–1966 1940–1955