Thesis (B.A.Hons. 1971) from the Dept. of History, University of Adelaide.

Thesis (M.A.)--University of Melbourne, Australian Centre, Faculty of Arts, 2001. / Typescript (photocopy). Includes bibliographical references (leaves 142-153).

Thesis (Ph. D.)--University of Melbourne, 1987. / Typescript (photocopy). Includes bibliographical references (leaves [10-16] (2nd group)).

Abstract not available

Flinders Street Station in Melbourne, Australia currently serves a dual purpose, providing both a transient space that links the city to its suburban roots and creating a physical barrier between the city and its watercourse. Ultimately, the existing station denies Melbourne the fulfillment of its need for centrality. Historically, the Yarra River was a source of life and sacred feature of the Australian Aboriginal landscape. A renewed interest in the riverfront as the new focus for Melbourne, an emerging global city, has turned the area into an urban destination following years of neglect. Flinders Station stands at the new centre of Melbourne on the North Banks of the Yarra River. The geographical isolation and entrenched suburban nature of Melbourne has led to the celebration of train travel as a cultural phenomenon. Twice daily Flinders Station filters Melbourne's commuters en route between the city and suburbia. The integration of a new public space as a commuter thoroughfare into the existing rail station introduces a transitory space between the disconnected urban/suburban landscapes of the commuter experience. The train station is seen as a fascinating place of cultural significance where the world of fast movement is intermittently juxtaposed with that of dwelling and leisure. This thesis redesigns Flinders Street Station, filtering travelers through a new public landscape to activate the connection between city, river, and suburbia while heightening the sense of urban arrival and departure.

Flinders Street Station in Melbourne, Australia currently serves a dual purpose, providing both a transient space that links the city to its suburban roots and creating a physical barrier between the city and its watercourse. Ultimately, the existing station denies Melbourne the fulfillment of its need for centrality. Historically, the Yarra River was a source of life and sacred feature of the Australian Aboriginal landscape. A renewed interest in the riverfront as the new focus for Melbourne, an emerging global city, has turned the area into an urban destination following years of neglect. Flinders Station stands at the new centre of Melbourne on the North Banks of the Yarra River. The geographical isolation and entrenched suburban nature of Melbourne has led to the celebration of train travel as a cultural phenomenon. Twice daily Flinders Station filters Melbourne's commuters en route between the city and suburbia. The integration of a new public space as a commuter thoroughfare into the existing rail station introduces a transitory space between the disconnected urban/suburban landscapes of the commuter experience. The train station is seen as a fascinating place of cultural significance where the world of fast movement is intermittently juxtaposed with that of dwelling and leisure. This thesis redesigns Flinders Street Station, filtering travelers through a new public landscape to activate the connection between city, river, and suburbia while heightening the sense of urban arrival and departure.

This thesis covers the following: the hospital movement in Port Philip, the care of patients, the hospital and the University, the hospital and the community and the hospital at Parkville.

Thesis (B.A.Hons. 1971) from the Dept. of History, University of Adelaide.

The Picturesque aesthetic emerged in the later 18th century, uniting the Sublime and the Beautiful and had its roots in the paintings of Claude Lorrain. In Britain, and in Australia, it came to link art, literature and landscape with architecture. The Picturesque aesthetic informed much of colonial culture which was achieved, in part, through the production and dissemination of architectural pattern books catering for the aspirations of the rising middle classes. This was against a background of political change including democratic reform. The Italianate villa, codified and promoted in such pattern books, was a particularly successful synthesis of style, form and function. The first Italianate villa in England, Cronkhill (1803) by John Nash contains all the ingredients which were essential to the model and had a deeper meaning. Deepdene (from 1807) by Thomas Hope gave the model further impetus. The works of Charles Barry and others in a second generation confirmed the model's acceptability. In Britain, its public status peaked with Osborne House (from 1845), Queen Victoria's Italianate villa on the Isle of Wight, Robert Kerr used a vignette of Osborne House on the title page of his sophisticated and influential pattern book, The Gentleman's House (1864,1871). It was one of many books, including those of J.C, Loudon and AJ. Downing, current in colonial Victoria. The latter authors and horticulturists were themselves villa dwellers with libraries and orchards, two criteria for the true villa lifestyle. Situation and a sense of retreat were the two further criteria for the villa lifestyle. As the new colony of Victoria blossomed between 1851 and 1891, the Italianate villa, its garden setting and its landscape siting captured the tenor of the times. Melbourne, the capital was a rich manufacturing metropolis with a productive hinterland and international markets. The people enjoyed a prosperity and lifestyle which they wished to display. Those who had a position in society were keen to demonstrate and protect it. Those with aspirations attempted to provide the evidence necessary for such acceptance, The model matured and became ubiquitous. Its evolution can be traced through a series of increasingly complicated rural and suburban examples, a process which modernist historians have dismissed as a decadent decline. These villas, in fact, demonstrate an increasingly sophisticated retreat by merchants from ‘the Town’ and by graziers from ‘the Country’. In both town and country, the towers of villas mark territory newly acquired. The same claim was often made in humbler situations. Government House, Melbourne (from 1871), a splendid Italianate villa and arguably finer than Osborne House, was set in a cultivated landscape and towered above all It incorporated the four criteria and, in addition, claimed its domain, focused authority and established the colony's social status. It symbolised ancient notions of democracy and idealism but with a modem appreciation for the informal and domestic. Government House in Melbourne is the epitome of the Italianate villa in the colonial landscape and is the climax of the Picturesque aesthetic in Victoria.

Abstract not available