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 105south of England, towns in New Zealand’s lower North Island, Sydney, Los Angeles, Honolulu and Noumea). Key research material includes his family’s archive of scrapbooks and photographs, Snelling’s 1964 client presentation portfolio of Max Dupain photographs of his best works to that date, several collections of his building plans, and letters written by Snelling to an American friend, Marion Dudek, during the last 20 years of his life. Complementing that material has been extensive research (from both primary sources and literature) into the contexts within which Snelling operated—especially the mid 20th century arts, design and architecture scenes in Los Angeles and Sydney, and his studies of Asia and Pacific traditional building and decorative arts. From those sources of recently excavated information, I aim to clarify that Snelling was: — a talented ‘early adopter’ of American (mainly Californian) design innovations at a time when all Australian architects were imitating and adapting overseas concepts; — a significant contributor to Sydney’s 1950s and 1960s architecture, selectively interpreting Wrightian organic themes, the International style, Scandinavian and British functionalism and vernacular village buildings of the western Pacific; — a well–known mid–20th century contributor to Australia’s history of furniture design (but not of international calibre in this discipline); — an important designer in the history of Australian commercial interiors, as an early adopter of 1940s and early 1950s American advances in retail, office and film settings; — an unusual 20th century Australian architect: self–educated, registered and successful at the heights of Sydney, Californian and Hawaiian society, despite English working class origins and a provincial New Zealand school education; — a designer–architect who has been unjustly forgotten by most Australian historians, despite extensive publicity for his Sydney designs from 1945 to the early 1970s. His unique position in mid–20th century international design is as the only notable, pan–Pacific, multi–disciplinary and self– educated architect. To help research the above propositions, four background documents have been prepared. They are: — brief biographies of more than 100 leading architects who practiced in Sydney from 1945 to 1975 (Snelling’s decades in the city); — a chronology of buildings produced by the key Sydney architects whose works were most regularly published in architectural magazines during those 30 years; — lists of Snelling’s buildings during that period (compiled after visits to almost all the known, surviving projects), and — an extensive bibliography based on a review of the contemporary literature about him, written by him, and/or relevant to understanding his work and place in architecture and design during his multi–national career from 1936 to 1976. The first two documents are intended to be published as a record of post–war Sydney modernism; the latter two form part of this thesis. DOUGLAS SNELLING DOUGLAS SNELLING 8 9