‘Westralia’, the Black Swan State: To Secede or Not to Secede?

Posted on by Sloane Snodgrasse
Local history, Media & Communications, Politics, Popular Culture, Social History

NOW that Scotland have expressed an inclination, but not a preference, to secede from the Union with England (the UK), it would be interesting to take a gander at other secession attempts both closer to home and around the world. The impulse for or advocacy of secession by a section or part of an established, multi-ethnic nation state is a recurring feature in contemporary international relations.

The enthusiasm with which so many Scots embraced the notion of “going it alone” and their, so it seemed up to polling day, excellent prospect of pulling it off, is a fillip for long-lingering secessionist movements around the world – Catalonia, the Basque Country, Québec, Flemish Belgium, Kurdistan (although some of the several Kurdish groups seek only autonomy, not outright independence) [“The Kurdish Conflict: Aspirations for Statehood within the Spirals of International Relations in the 21st Century”, www.kurdishaspect.com]

In the Southern Hemisphere, on this very continent indeed, in the state of Western Australia, an air of secessionism has tended to linger, much like the relieving breeze visited upon Perth in the afternoon from the Indian Ocean’s “Fremantle Doctor”. The Western Australians, from the very outset in 1900, were reluctant to join the Commonwealth of Australia…in fact the state’s name was conspicuously omitted from the original Federation document of 1 January 1901! A special provision (Section 95) guaranteeing that a planned inter-colonial tariff would only be gradually phased in, had to be added to the Constitution before the West would sign up. A further inducement that clinched it was the prospect of a transcontinental railway to be built linking WA with the eastern states.

The proposed colony of ‘Auralia’ – an irredentist goldfields colony

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In the end, what swayed WA in joining (as argued by Tom Musgrove) was the affinity with the East held by recent settlers lured to WA by the goldfield discoveries. The huge population surge in the 1890s in WA, due to the influx of these Eastern fortune-seekers made them more numerous than the established residents on the coast who were, conversely, distinctly isolationist in their outlook. The miners formed a pressure group advocating that the eastern goldfields area (calling itself the colony of ‘Auralia’) break away from the rest of WA and unilaterally federate with the Commonwealth. The WA Parliament eventually succumbed to the threat of being splintered and losing the goldfields, and committed to the Federation [T Musgrove, ‘Western Australian Secessionist Movement’, The Macquarie Law Journal, www.austlil.edu.au; ‘Separation Movement on the Eastern Goldfields, 1894-1904’, West Australian Historical Society 1949, 4(5) 1953]. So, even prior to Federation, a bent for Western secession was evident.

Black Swan State

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The secessionists succeed…or do they?
The threat of ‘Westralian’ succession has been a recurring theme in the state’s history since the early days of colony… lying dormant for years before being triggered into prominence by the emergence of some economic upheaval or issue (more recently over the distribution of mining revenues by the Commonwealth). In 1933 the issue of secession was actually put to the electorate of WA in a referendum held concurrently with the state election. The pre-conditions leading up to such a momentous development were brought about by the Great Depression. Wheat, WA’s top primary product export-earner was decimated (the price per bushel declined by less than half in three years) and unemployment in Perth reached 30 per cent. The WA Dominion League spearheaded by H Keith Watson agitated from 1930 for secession in the West. As a result of the League’s vigorous campaign (contrasting with the lacklustre campaign of the Federal League’s ‘No secession’ campaign), the referendum resulted in a greater than two-thirds vote (68 per cent) in favour of secession. Interestingly, the only region of the state to oppose the secession motion was again the goldfields!

“Westralia Shall Be Free”

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The Electorate’s each-way bet!
Paradoxically at the same time, the WA electors dumped the incumbent Nationalist/Country Party Coalition from power (even though the NCPC had backed the ‘Yes’ camp), and elevated the Labor Party opposition, who had opposed secession, into office in the state. The apparent contradictory behaviour of the electors has been explained thus: support was given to the ‘Yes’ case because there was widespread dissatisfaction with WA’s situation vis-à-vis the eastern states (WA had long identified itself as the “Cinderella State” of the Commonwealth, it’s perception being one of it contributing more to federal funds than it receives back). At the same time, the unacceptable state unemployment situation in 1933 resulted in voters seeking to punish the incumbent conservative government by turfing them out (as was done federally to the Scullin Labor Government in 1932) [‘Secession 1929-39: Western Australia & Federation’ www.slwa.wa.gov.au].

The WA delegation bringing the petition to secede to London

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Westminster or “Yes Minister”!
The new WA premier, Philip Collier, after some prevarication, appointed a delegation which took a petition for WA secession to the UK. Westminster, in a farcical turn of events which the writers of the popular 1980s TV series Yes, Minister would be proud to put their name to, simply sat on the issue, doing nothing! The British Government after a lengthy delay informed the WA Government that it could not act on the petition without the assent of Canberra. By 1935 the economy had recovered somewhat, the secessionist movement and the Dominion League lost momentum and the issue petered way for ordinary West Australians as they got on with the day-to-day task of making the best of what they could with the status quo [ibid.].

Western successionism, a simmering pot!
The media in WA helps to keep the issue alive with periodical appeals to the spectre of “secessionist redux” (with regular articles appearing with titles like “Why the West should secede” and “Secession still on our mind”). Secessionism has remained a rallying cry for disgruntled Western Australians whenever they feel aggrieved about what they see as the excesses and encroaching powers of Canberra. In the 1970s maverick millionaire/WA mining magnate Lang Hancock tried to revive the state’s secessionist trajectory with his short-lived “Westralian Secessionist Movement”, in effect a political campaign against the allegedly ‘socialist’ policies of the Whitlam Labor Government.Most recently this reared its head again in the concerted opposition to the Rudd and Gillard Labor Governments’ mining taxes.

‘Prince’ Leonard & his consort – in the ‘Principality’

PostScript: Fringe micro-secessionists – seceding from the secessionist state!
In 1970 West Australian wheat farmer Leonard Casley declared his 18,500-acre agricultural property near Northampton (south of Geraldton) to be ‘independent’ of the Commonwealth and the state of Western Australia when Canberra and the WA government tried to limit the size of his wheat crop. In true “comic-opera” style, the eccentric Casley turned his farm into the Hutt River Province Principality, adopting the title of “His Majesty Prince Leonard I of Hutt”, and in so doing spawned a whole new wellspring of tourism for the locality. Enthused with the spirit of commercial opportunity Leonard and his Hutt River ‘micro-nation’ has gone the whole hog…flag, coat-of-arms, royal seal, coins, stamps, medallions, passports, souvenirs, etc. The response from the Australian authorities to such a “bold act” of “unilateral independence” has been a “softly-softly” approach, not seeking to unduly push the matter, a bit surprising as the Hutt River ‘Principality’ purportedly owes the Commonwealth many years of unpaid taxes (although it does make rate payments to the local government authority, the Shire of Northampton)…the state and the federal governments seem to gravitate between being nonplussed and amused by the eccentric entity❈ and generally try to ignore it! [M Siegel, “Micronation Master: Prince Leonard of Hutt River”, 17 May 2012, www.businessweek.com]; ‘Principality of Hutt River’, Wikipedia, http://en.m.wiki.org

﹋﹌﹋﹋﹌﹋﹋﹌﹋﹋﹌﹋﹌﹋﹌﹋﹋﹌﹋﹋﹌﹋﹋﹌﹋﹌﹋﹌﹋﹌﹋﹋﹌﹋
❈ the Prince’s pattern of bizarre and idiosyncratic behaviour includes trying to seize government land surrounding his farm to increase his wheat quota; invoking the 1495 British Treason Act as proof of Hutt River Province’s status as a de facto monarchy; and declaring war on Australia (for four days in 1977!)

The Wizard of Castlecrag II: Keeping Faith with the Landscape

Posted on by funambulator@live.com
Biographical, Built Environment, Environmental, Social History, Town planning

The type of dwelling Burley Griffin envisaged as the model house for the new bush suburb of Castlecrag was based on a new technological innovation in building called Knitlock Construction, or as Griffin more grandly termed it, Segmental Architecture. The American had pioneered and co-patented (with D C Jenkins) the Knitlock system in 1917 whilst working on the Canberra Capital Project. The Knitlock technique was to become the archetype for all of WBG’s subsequent domestic architecture.

Griffin’s Segmental Architecture was a quantum step forward from previous building technologies used in Australia (eg, Mack Slab) [M Lewis, ‘Knitlock’, www.mileslewis.net]. Intended by Walter for use on workmen’s cottages in Canberra (before the disintegration of his Capital City dream), the technique heralded a variety of radical advances in construction. With a simplicity and economy of design, the Segmental Architecture method constructed walls from ‘segments’ of precast reinforced concrete which were easier and quicker to construct than other methods (Griffin was one of the early developers of prefabrication). The Knitlock bricks, machine-manufactured on the southern side of the ‘Crag estate in a shed set up on the corner of The Redoubt and The Rampart, were light yet compact and sturdy. The bricks were reinforced with a dual ‘vertebrae’ structure which forms a concrete skeleton. The sections were easy to transport, easy to assemble as walls and cheap to make [W B Griffin, Australian Home Builder, No 1 (August 1922)].

Added to this, another major advantage of Knitlock was the convenience. The bricks did not require cutting, bedding or plastering, working instead on an interlocking join to connect them together (the prefab concept). A further advance was that Knitlock technology allowed for greater diversity in shapes for features of the house [‘Landmarks: Urban Life’ (National Museum of Australia) www.nma.gov.au/.].The beauty of Burley Griffin’s domestic construction using this system was that it could produce buildings that were simply designed and quickly constructed – non-standard workers’ cottages which were affordably priced. Affordability was an important requirement for the Griffins, the capacity of workers to afford their own home squared with their own espoused egalitarian and democratic principles.

The prototype for all of the Knitlock houses built in the Castlecrag and Haven Estates by WBG was ‘Pholiota’, the Griffin’s own small, ultra-modest home set among red gums and bush in Heidelberg, Victoria, before they moved to Castlecrag. This most basic, pared to the bone, single-roomed, utilitarian house, provided an example that any layman self-builder could follow. As proof of this, ‘Pholiota’ was erected in double-quick time apparently by Walter and Marion themselves with the assistance of a local chicken farmer! [P Y Navaretti, ‘Melbourne’, www.griffinsociety.com; Jenny Brown, “Humble ‘humpy’ masters miniature”, (19 May 2012), www.news.domain.com.au/].

Fishwick Fishwick

Burley Griffin’s finest architectural achievement in Castlecrag is probably Fishwick House (№ 15 The Citadel). Because of his client’s requirements (large budget, expansive house), Walter deviated from his usual prescription of a small-scale “no frills”, minimalist, unembellished cottage. Fishwick House is a more grand house, emphasising horizontal eaves and porticos. At the sides and rear of the house judicious placement of large picture windows and glass doors permits cascades of filtered sunlight to enter the living room from varying angles [www.griffinsociety.org/]. This aspect of Fishwick House echoes the interior courtyard of Stanley Salter House in Toorak, Melbourne, which some architectural specialists rate as WBG’s best residential building [eg, James Birrell, cited in ‘Stanley Salter House’, De de ce, www.dedece.com]. Griffin’s use of open-plan interiors demonstrates the architect’s belief that the house shouldn’t be a haven for withdrawal from the outside world, but rather “a place for reflection and engagement with the surrounding environment” [ibid.]. WGB defied the conventions of the day for home design, putting “living rooms at the rear and opening to the landscape and views, and had utility rooms such as kitchens and bathrooms fronting the street” [M Petrykowski, ‘Architecture’, www.griffinsociety.org/].

Duncan Duncan

The attitudes of pioneering residents of the Castlecrag Estate to the Griffin signature home were mixed. Some like Frank and Anice Duncan were delighted with the nature-centredness and functionality of Walter’s dwellings. The Duncans lived in no less than four of the houses over the years. The fourth one, the Duncan House at 8 The Barbette, specially commission by them, was the last Griffin-built home in Castlecrag.

However other residents were less sanguine about the houses – some with very good reason. The flat roofs on the early Knitlock constructed homes had a tendency to leak. Ellen Mower, first occupant of № 12 The Rampart (Mower House), was plagued by leaking roofs and eventually Griffin had to buy back the house from the owner [www.griffinsociety.org]. Mower House, incidentally, was the last home Marion lived in after her return from India after Walter’s death in 1937. Similarly, Mrs A E Creswick, who commissioned the small house built at 4 The Barbette (Creswick House), was similarly dissatisfied with the standard of her home and the Griffins had to re-purchase this dwelling as well [Castlecrag Progress Association, www.castlecrag.com.au/].

WBG fountain memorial

imageDr Edward Rivett, who converted the King O’Malley House in Sortie Porte into Castlecrag’s first hospital, also commissioned the Griffin-designed 148 Edinburgh Road, however he altered the original plans to add a pitched tile roof and interior walls which were brick rendered. Griffin through GSDA, his company, sued Rivett for breach of Covenant and a lengthy legal battled ensued which was eventually won by Dr Rivett. Other potential buyers also had problems with the Covenants imposed by WBG and many turned away from Castlecrag, opting instead for the railway-serviced suburbs on the Upper North Shore which didn’t have restrictions on the size or type of house or on how or whether you landscape your property [‘Castlecrag’,www.sydneyforeveryone.com.au/].Because of the restrictions and other contentious issues surrounding the construction of GSDA dwellings in the estate, banks became less willing to approve loans on Griffin houses. The onset of the Depression strangled the economy which affected development everywhere in Sydney, but subdivisions that were less popular like Castlecrag suffered its effects hardest [ibid.]. Castlecrag had to await the postwar building boom to achieve significant inroads in development.

Another factor holding back Castlecrag’s development at this time was getting to and from the Middle Harbour promontory! In the 1920s the Middle Harbour promontory was severely hamstrung relative to transportation options. Before the Sydney Harbour Bridge was constructed it was a very long haul by road to Castlecrag (cars in the 1920s were in any case still fairly scarce), and the eastern part of the Northern suburbs lacked a main arterial road (Eastern Valley Way was a post-war development). In addition, trams on the north side of the harbour did not go as far as Castlecrag in the interwar period [G Wotherspoon, ‘Ferries’ (2008), www.dictionaryofsydney.org/]. A story told by the son of Edward Haughton, Burley Griffin’s Melbourne estate agent and valuer, is instructive. The father and 10-year-old son came to Sydney to assist WBG in promoting the Castlecrag Estate. Haughton’s son later recalled how difficult it was and how long it took to reach Castlecrag (from the city: walk/ferry/elevator/tram/walk) [recollected for M Walker, et al, ‘forming the Greater Sydney Development Association’, www.teachingheritage.nsw.edu.au/].

imageBurley Griffin’s attitude towards building materials was every bit as rigidly purist as his attitude was to how the finished product should look. He championed the use of concrete and stone (particularly local Castlecrag sandstone which blended in with the natural setting). Conversely, he railed against the popularity of the standard building materials of the day, brick and tile, which he rejected.

Marion was equally purist in her aesthetic preferences. Bernard Hesling, a Castlecrag resident in the Thirties recalled Mahoney “scrambling the hills like a billy goat” and pointing southwards to the predominance of red roofs and lack of trees in Northbridge, exclaiming loudly in her thick Midwest American accent “It’s hoorabul, hoorabul! Walter and I wanna keep the Crag voigin bush!” [‘Willoughby Walking Tours’ (Willoughby City Council), www.walks.willoughby.nsw.gov.au/].

imageThe proportion of Burley Griffin designs converted into houses by GSDA over a 14 year period was quite low. Only 15 built in the Castlecrag and Haven Estates (none built north of Edinburgh Road, the area known as the Wireless or Sunnyside Estate) with about four or five other houses designed by one of WBG’s acolytes but approved by him. In what is somewhat of a trademark feature of Griffin’s oeuvre, many houses proceeded no further than the drawing board. WBG designed in the vicinity of 35 or so others for the ‘Crag that were not carried through to completion [‘The Idealists: creating Castlecrag’, ABC RN, Hindsight, 8 July 2012]. There was a host of reasons for this as outlined above, but sometimes sheer bad luck played its part in Griffin’s fortunes. Global developments had a tendency to intervene to stymie his noble intentions. Just as his vision for a physical landscape in Canberra worthy of the capital city of “a nation of ‘bold democrats” ran smack into the war effort of WWI which redirected valuable Australian resources away from WBG’s project, the development of Griffin’s estate in Castlecrag had its momentum undercut by the crippling effects of the Great Depression [‘Creating a new nation’s capital: The Griffins’ vision for Canberra’, (National Archives) www.naa.gov.au/].

When Walter’s private and GSDA commissions started to dry up, he increasingly took on industrial building design work. By the mid-1930s, frustrated by the lack of work in Castlecrag, Burley Griffin took up an invitation to design buildings for the University of Lucknow. The move to India, only intended to be a temporary one, served to re-energise Griffin’s architectural ambitions, allowing him to explore the fusion of ancient Eastern architecture with Western modernism. WBG engrossed himself in many new Indian projects but unfortunately, in a familiar story, the local colonial bureaucracy obstructed the realisation of most of the projects [G Sherington, ‘India’, W B Griffin Society, www.griffinsociety.org/].

'Camelot' ‘Camelot’

EM Nicholls: Keeper of the Griffin flame
After the Griffins left Australia, his protege-cum-associate Eric Milton Nicholls took over the running of GSDA in Sydney and became the “keeper of the flame” for Griffin’s architectural vision. Nicholls soon started to design houses in Castlecrag in his own right. The pick of Nicholls’ work are probably Camelot (formerly called Pangloss) at № 3 The Bastion, and the all-white Moriaty House at № 215 Edinburgh Road. Camelot, with castle features including a Martello tower, is distinctively Nicholls’, but its circular stone design shows the clear influence of WGB’s earlier design for the Symington Parapet project [‘Castlecrag’, (Willoughby Dist. Hist. Soc.), www.willoughbydhs.org.au/].

Nicholls was a prominent architect in the Willoughby area, designing many domestic and public buildings in Sydney and Melbourne. An Anthroposophist like the Griffins, he was involved in the establishment of Steiner Glenaeon Schools in Middle Cove and Pymble [‘Eric Nicholls’, (Willoughby City Council), www.willoughby.nsw.gov.au]. Burley Griffin’s influence lives on in Castlecrag and elsewhere … The Griffin (8 Rockley Street), designed by Alex Popov in 1990, won the Robin Boyd Award (Australia’s leading residential architecture prize) – the building was described by the judges as “a reverent tribute to Griffin” [WDHS, op.cit (‘Castlecrag’).].

8 The Barbette

FN: The WBG sales pitchThe sales brochure of the Greater Sydney company (the Griffin’s firm) reads: “Castlecrag architecture has struck a distinct bold note in Australia. In place of the high peaked tile roofs … the handsome landscape style, with the stone walls and flat roofs, has been introduced in harmony with the great amphi-theatre of stone and forest”.

Miraflores: Flower Watchers, Weed Worshippers and Oddbod Gringos

Posted on by funambulator@live.com
Travel
Antigua Miraflores Antigua Miraflores

The Hotel, Antigua Mirafores, has a kind of old colonial hacienda look to it, perhaps more accurately I might say, estancia, as it was probably not big enough to be considered a hacienda. Old it is, but it is in good shape and looks like it’s had a recent facelift. At the check-in desk I experience some more of the familiar communications problems that comes with trying to converse in Spanglish. The receptionist, who had ‘Anglicised’ herself to Tanya, seems to be saying that I am entitled to a complimentary aperitif upon arrival. After waiting for a short period, during which no such free drink materialises, I return to the front desk and query this. The woman at the desk (Tanya has disappeared out the back somewhere), explains to me that the complementary item refers to the fact that I have been given a larger room (larger than what I couldn’t be sure?). Not certain how one confuses an aperitif with room space?

imageWhen I arrived in Lima the first time round, the Costa del Sol at Jorge Chávez didn’t hesitate to offer me a complimentary Pisco sour. Nonetheless I decide to head for the bar anyway and encounter a warm welcome from the young Limanese bartender, this guy whose nombre was Juan José (‘JJ’ he proffers for guest convenience) turns out to be one super-laid back young dude. After conversing with to him for a short while I form a sneaking suspicion that possibly he is a struggling actor making ends meet behind the bar, such are is the exaggerated nature of his theatrical flourishes. Later on when I get accustomed to him, I think the hyper-talking JJ is just sort of high.

imageAs I sip my obligatory Pisco sour JJ (or Jota-Jota) is only too happy to tell me all about his hopes and aspirations to leave the provincial confines of Peru and escape to the US where the opportunities to succeed are plentiful (or so he believes). The more we talk (I have nothing better to do: arriving in the mid afternoon after a long flight and taxi ride and feeling too tired to go downtown), the more aware I am that the effusive JJ is something of a devotee of ganja weed. This becomes quite apparent when he starts asking questions about my homeland and the conversation somehow gets round to the weed-friendly town of Nimbin – the marijuana capital of New South Wales, something that interests him greatly. I let JJ play around with my iPad for a bit. “What are you interested in JJ?”, I randomly ask the question which of course when posed to my youthful interlocutor is a superfluous one. “I like weed”, is his instant, matter-of-fact and singular reply accompanied by a dense smile forming on his face. Next moment JJ is googling weed on the Net.

Later on other guests gravitate toward the bar. Most of the guests staying at the Hotel Antigua appear to be Gringos, as the Latin Americans say. I get talking to a cashed-up elderly Florida retiree and his daughter (granddaughter?) who closely resembles a young Shane Gould. The Floridians are followed slightly later by Judy and Stephen, a friendly couple of vegetarians from New Jersey but now self-exiled to Las Vegas. I get on quite well with Judy and Stephen, and I find each of these Yanks amiable enough company, but I am struck by the strident tone of anti-Obamaism freely expressed by them! I guess that I shouldn’t be too surprised given the widespread economic misfortunes plaguing America in recent times but they are not holding back on their condemnation of the Democrat President.

Potent Pisco Potent Pisco

I finish a second Pisco sour by now, and then quite suddenly as I get ready to go out for a meal with Jude and Steve, the full potency of the Pisco hits me! I’m not sure what JJ put in it, whatever it is, I’m sure its a double, it packs a real wallop, no question about it! My head feels very fuzzy indeed, and I spend several minutes in the bar washroom splashing water on my face before I am anywhere near up to going downtown with the Vegans to eat. Next day one of the tour guides warns me the about the pitfalls of over-imbibing on Pisco (too late!!!).

Despite still feeling rather ‘Piscolated’ I stumble off to the “eat street” strip at Avenida Diagonal for a pizza meal with the Americans. Now, I’m not normally the quickest person at choosing from the menu but compared to these two I am positively express! The Nevadans appear to be on a very tightly-budgeted holiday and give the menu very careful scrutiny. After ordering, I sit back, bemused, observing Judy and Stephen as they mull at great length over the menu, discuss the various permutations of mixing and matching different items whilst firing umpteen questions at the exceedingly patient waitress – the cost of various pizzas with or without certain variables, what combination of ingredients they can substitute for the carne ones that they don’t eat, and how much of the substitute vegetable items they are allowed!

JFK statue in his eponymous park JFK statue in his eponymous park

Finally they make a decision, and as we wait for the pizzas, I get another chapter of the Obama “No we won’t!” refrain from the Lost Vegans. Stephen, who up to that point I think the more reserved of the two, lets fly with a very impassioned denunciation of Obama as “illegitimate”, dredging up, much to my incredulity, the old conspiratorial theory “chestnut” that Barack is in fact (sic) foreign-born! Now, aside from the self-promoting Donald Trump and a hard core of Tea Party hacks, I didn’t think anyone in America was still peddling that hoary old tale … talk about Crank Yankers! But I guess, we are talking about America, so nothing really surprises. I certainly get a sense of the Right wing Republican backlash against Obama following the GFC from the sample of Americans I meet in Lima.

I get a sense that there’s something kinda “New Agey” naturopathic(?) about Judy and Stephen, but I can’t quite put my finger on it. Stephen with his free-flowing and greying locks certainly looks the part of the ageing hippy. Interestingly, Judy tells me she’s a pop/rock music journalist which I find implausible as she doesn’t look hip enough…can’t imagine her popping up in the cast of Almost Famous! Based entirely on an intuitive and non-scientific hunch I make an assumption that she is some sort of self-medicator.

Parque Kennedy Flea Markets Parque Kennedy Flea Markets

After the meal we wander across the Diagonal to the Parque Kennedy Night Markets, AKA Mercado de Pulgas, (the local flea markets) to look for bargains. These are pretty thin on the ground however as Miraflores is a quite upmarket part of Lima and the stallholders are fairly resistant to any attempts to haggle. The usual mix of decent and rubbishy things are on offer – silver jewelry, bracelets, earrings, trinkets, beads, garments, toy and puppet llamas, and some assorted oddities such as old Peruvian coins and rusty pieces of metal whose purpose I can’t fathom. Judy buys numerous junky items whilst Steve and I stand around looking unimpressed with the merchandise on offer.

This JFK park should really be called Parque El Gato y Perro…during the day every canine owner in town seemed to be exercising his or her dog in the park, now it is full of stray cats, everywhere we walk along each aisle of the stalls there are cats underfoot! By this time I have sobered up enough to make a rational decision – I finally spot something out-of-the-box that really captivates my eyes – a really gorgeous blue alpaca scarf with a bit of grey in it – I unhestitatingly buy it for a very reasonable 15 Nuevo Sols! As we walk back to the hotel I feel a tangible sense of relief that I have managed to salvage something out of the tatters of a misspent night with these two oddball gringos.

OLYMPUS DIGITAL CAMERAI breakfast with Stephen and Judy the next morning. Judy, confides that she is given to certain (unnamed) medical conditions and pulls out a multitude of different coloured pills and proceeds to progressively down each one with every separate morsel of breakfast. I think I just found the empirical evidence for my earlier assumption.

Judy’s mannerisms and eccentricities are beginning to look a bit like Yiddish theatricality, she displays an unnerving touch of the Bette Middlers bordering on Woody Allen paranoia in her over-the-top remonstrations about most things. Submitting her omelette to forensic scrutiny at the table, she loudly declares it devoid of cheese and after calling the waitress, aggressively defies her to identify any dairy products within the egg. When the girl tries to point out clear visual evidence of cheese on the plate, Judy summarily rebuffs the suggestion and insists that another, more cheesier omelette be fetched from the kitchen! While Judy waits and continues to complain about the ‘criminal’ withholding of cheese, her partner Stephen is obviously not so picky as he quickly wolfs down the rejected omelette. They then argue about their differing assessments of the offending omelette!

I am not disappointed when 9 o’clock ticks over and I have to take my leave of this slightly loopy American couple. As I go upstairs to fetch my bag and camera for the Lima city tour, Judy’s attention turns quickly and seamlessly from me to the newly-arrived replacement omelette. I hear her say “Finally, some cheese!” her voice trailing away as I mount the staircase.

The Wizard of Castlecrag I: Utopia in a Garden Suburb?

Posted on by funambulator@live.com
Biographical, Built Environment, Environmental, Social History, Town planning

Walter Burley Griffin had been captivated by the magnificent harbour of Port Jackson upon first sailing into Sydney. Now, free of the seven-year Canberra fiasco, he was able to turn his mind to the search for a new project. After investigating sites at Longueville and Beauty Point Griffin’s creative energies were given direction when he discovered a large and quite choice stretch of virgin ground situated on two peninsulas on the upper part of Sydney’s Middle Harbour. WBG managed to secure an option to buy 263 hectares of largely cleared land, which included nearly 6.5km of untouched water frontage (still forested), for a very reasonable amount of money (there is some disagreement about whether the amount was $25,000 or £25,000). The scoop netted the Griffins the entire south-west part of what was to become Castlecrag, a large chunk of modern day Castle Cove, and around half of Middle Cove [“The Legacy of the Griffins” (Castlecrag Community), www.castlecrag.org.au/history/history.htm].

The original Castle Rock The original Castle Rock, Edinburgh EH1

Griffin’s focus fixed itself on the southernmost of these promontories (Castlecrag), which he decided to subdivide and develop into different estates (while Middle and Castle Cove were put on hold for the time being to be developed later). WGB formed his own public company, the Greater Sydney Development Association (GSDA), to build homes in the Castlecrag Estate (and later the Haven Estate) which he would design. Shareholders in GSDA were offered a free block of land if they bought a home off the plan. Walter planned the first estate using a similar geometric pattern to the Canberra design, with a series of parallel semi-circular roads rippling out from a central point (a high rock), which he thought resembled the castle rock of Edinburgh Castle in Scotland (hence the name ‘Edinburgh’ chosen for the main road dissecting the peninsula). This resemblance also accounted for Griffin’s choice of name for the rocky promontory, Castlecrag. The fortress theme extended to the connecting roads which fanned out from Edinburgh Rd, with each of the streets given names that were derived from the concept of a castle – The Rampart, The Parapet, The Bastion, The Citadel, The Redoubt, The Outpost, etc, etc.

Griffin’s town planning ethos reflected his Prairie School training, but in Castlecrag he was to take urban development to a degree that was quite radical and purist in its strictures. Walter’s approach to the model community experiment in Middle Harbour was to be characteristically holistic. The natural features of Castlecrag defined how the suburb took shape. WBG planned the streets to follow a curvilinear line to fit in with the rocky sandstone contours of the promontory, parallel-running roads would be linked by pathways.

imageGriffin mapped out the road and allotment pattern of the estate by foot, walking all over the rocky terrain and leaving markers for the surveyor to follow [Teaching Heritage, “Forming the Greater Sydney Development Association”, www.teachingheritage.nsw.edu.au]. He then placed the planned homes very carefully and very strategically so that they didn’t impinge on the natural setting. It was all about the harmonisation of the built and the organic environment. Griffin stated that “a building should be the logical outgrowth of the environment in which it is located” [Walter Burley Griffin Society, S Read, “Landscape Architecture”; M O’Donohue, “Castlecrag”, Sydney, www.griffinsociety.org]. The young Griffin was guided by the famous maxim of his fellow Chicagoan and architectural mentor, Louis Sullivan – “form follows function”. Intended to blend in with the natural world rather than clash with it like much of modern architecture, Griffin’s houses were designed to recede into the landscape.

Griffin Prairie style cottage, The Parapet, Castlecrag Griffin Prairie style cottage, The Parapet, Castlecrag

One story recounted by one of the early Castlecrag residents emphasises the extent to which Walter went to pursue his own peculiar brand of the “back to nature” philosophy in architecture. When one of the cottages was being built, several branches of particular trees were encroaching upon the site. Instead of simply cutting the ‘offending’ trees, WBG tied them back until the cottage was completed and then released the branches so that they sprang back and engulfed most of the house [“Willoughby Walking Tours” (Burley Griffin’s Castlecrag), www.walks.willoughby.nsw.gov.au/].

Griffin summarised his vision for Castlecrag in what is an oft-repeated quotation of his: “I want Castlecrag to be built so that each individual can feel the whole landscape is his. No fences, no boundaries, no red roofs to spoil the Australian landscape: these are some of the features that will distinguish Castlecrag.” [Griffin, 1922, AHB, S Read, op.cit., www.griffinsociety.org]. The Castlecrag Estate (and subsequent subdivisions) were to be characterised by tree retention, roofs were to be flat, not pitched in shape. WBG insisted on the use of building materials with textures and colours which mixed in well with the sandstone and native bushland, using local stone where possible. WGB also planned for ‘traffic islands’ at the intersections of streets, small triangular oases of planted natives and bush which allowed pedestrians respite from the vehicle-dominated roadway.

Grant House Grant House

All over the estate, strategically positioned between each clutch of houses, Griffin planned bushland reserves for the residents, created to preserve the major landforms and rocky outcrops of the terrain. These ‘internal’ reserves were easily accessible from the houses by specially allocated pathways and were meant to encourage the owner-residents to take an interest in the maintenance of the retreats [ibid.]. In the Griffins’ idealistic philosophy, by creating these ‘common spaces’ which accentuate the natural beauty of the bush, for all of the neighbourhood to use, Castlecrag would realise the high democratic ideal of a model urbanised community that Canberra had failed to be. WGB forbid development along the foreshore of the promontory so that it would be kept as public open space for everyone to enjoy, therefore, access to all of the natural beauty of Castlecrag would be democratised. He implemented a system of covenants which was intended to control land use in the estate so that out-of-character development didn’t occur, and flora and fauna could be protected [M Walker, A Kabos, & J Weirick, Building for Nature: Walter Burley Griffin and Castlecrag, (WBGS)].

Haven Amphitheatre Haven Amphitheatre

The Griffins moved permanently to Castlecrag in Autumn 1925 with the intention of fully and actively embracing the local community. Whilst WBG set about creating his utopian vision for Castlecrag, MMG as usual provided the behind-the-scenes support. She assisted in GSDA’s work by preparing drawings, promoting sales, hosting VIPs, etc. Marion’s main role at Castlecrag however was to be a leader of the community, organising various cultural activities and meet-ups, from ballet classes to classical drama. She organised productions for the Haven Scenic Theatre in an amphitheatre in a rock-gully in Castlehaven Reserve, doing set and costume designs for plays [Peter Harrison, “Griffin, Walter Burley (1876–1937)”, Australian Dictionary of Biography, Vol 9, 1983, http://adb.anu.edu.au; Bronwyn Hanna, “Marion Mahony Griffin”, Dictionary of Sydney, www.dictionaryofsydney.org, 2008].

Marion’s key role in the cultural and artistic life of Castlecrag allowed her to revisit her past interest in acting, she had been enthusiastically engaged in drama back in her undergraduate days at MIT. The type of people that were attracted to the Griffins’ new garden suburb, were an intriguing mix. Often, they were drawn from non-conformist circles, including literary types, artists, musicians, environmentalists, spiritualists, bohemians, people of ethnic background, people with radical political convictions and other outsiders [“The Idealists: creating Castlecrag”, Hindsight, broadcast 8 July 2012, ABC Rational National]. Certainly in her leading role in Castlecrag, Marion affected the appearance of a bohemian lifestyle with lavish, ostentatious costume parties, but as her friend Louise Lightfoot said, “Marion could be said to be a ‘square bohemian’ …. completely unconventional yet strict” [L Esther, The Suburb of Castlecrag: A community history].

MMG MMG

Griffin and GDSA initiated a number of measures to try and promote Castlecrag and boost house sales on the estate. A brief silent promotional film made in 1927 and entitled “Beautiful Middle Harbour” was shown in local cinemas. In it, the Castlecrag model suburb is presented as comprising “cool forests”, “Sylvan Glades”, “verdant bush” and “picturesque stone villas”. The last part of the film suggests the theatrical touch of Mahony with maidens frolicking in the Middle Harbour bush and being carried off by exotic masculine types dressed like Rudolph Valentino in ‘The Sheik’ (a Hollywood movie phenomena of the day) [‘Beautiful Middle Harbour’ (Keepin’ Silent series of Australian doco films) www.aso.gov.au]. Griffin wrote articles for architectural and trade journals as well as detailed brochures, all extolling the merits of Castlecrag. Large advertisements for home sales for the estate were also placed in Sydney newspapers [Teaching Heritage, op.cit.].

Although road construction on the rocky promontory was difficult and therefore slow (not to mention costly) [‘Castlecrag’, Willoughby District Historical Society, www.willoughbydhs.org.au/], the GSDA methodically went about the construction of stone cottages in accordance with Griffin’s plans. Two demonstration homes were quickly erected in Edinburgh Road, one became Marion and Walter’s temporary home and the other was used as the Castlecrag office for GSDA. Others followed including King O’Malley House, later converted into a hospital and a small strip of shops (extended into what is today the Griffin Centre). Many in the community who agreed with the Griffins’ emphasis on the fusion of human life with the natural world began to refer to Walter as the “Wizard of Castlecrag”, but Griffin’s idealism was to be lost on some who had the experience of living in his ‘model’ homes.