St Luke's Anglican , Vermont, Vic

the university of melbourne • abpl 90020 • measured drawing & digital heritage • winter 2019

st luke’s anglican canterbury rd. & mitcham rd. vermont , vic May 1962

group 12 compiled by

Jennifer Grealy 661521

Jessica Ladlow 319478

Rizal Ambotang 641233

content

page

history 04 photography 14 architectural features 32 ceremonial 38 watercolour 40 appendices

field notes 48 cad drawings 62 pano photos 76 task allocations 82

bibliography 84

Artwotk by : Jennifer Grealy, 2019

4

history

photo by : Rizal Ambotang 2019

5

st luke’s anglican church A History of St Luke’s Church and the Associated Buildings on the Site

In

1872 a foundation stone was laid to earmark the site on the corner of Mitcham and Canterbury Roads, Vermont, as the location upon which a Church of England would be constructed. Initially to be named ‘the Church of St. Clement’, it would be the first church to be constructed in Vermont.1 However, although foundations for the proposed church were laid, the church was never built.2 It wasn’t until September 1907 that the first of two churches to be established on the site would be constructed, with a small chapel built on the south-west corner of 1 Colonial Intelligence, (Melbourne: The Church of England, 1872). 7 2 Margaret Reynolds, “80 Years Serving God and the Community: 19071987,” ed. St Luke’s Anglican Church (Vermont 1987), 4.

the site. The church was called St. Luke’s Church of England and had seating to accommodate 120 people. The architect and builder are unknown. The single storey church was a constructed from timber weatherboards, with “a steeply pitched corrugated galvanised steel roof”.3 The church comprised a simple rectangular nave, with an enclosed porch at the front and small rooms connecting to the rear.

In 1922, due to the growing congregation of the church, a transept extension was added to the southern section of the church comprising a gable roof form.4 In 1925 a single storey timber weatherboard building with a galvanised steel gable roof form called McKeon Hall was constructed along the Mitcham Road frontage. The site was expanded in 1932 and between

the time of the establishment of the 3

City of Whitehorse, “City of Whitehorse Heritage Review: Building Citations St Luke’s Church Complex (Ho61),” (Nunawading: City of Whitehorse 1998), 3.

4 Ibid.

6

Com plaque (see below) inscription “To the glory of god this stone was set by the most reverend Frank Woods M.A. D.D. Archbishop of Melbourne. 21st October 1961”

(Top) Figure 1: Image of the original 1907 St Luke’s Anglican Church (source: Whitehorse Historial Society)

7

Mitcham Roa

site, numerous other buildings were built on the site, including a vicarage and a kindergarten. The post WWII population boom experienced in eastern suburban Melbourne necessitated that a larger church be constructed and assumed to be because of the prominence of the corner, the original 1907 church was moved to the middle of the site along the eastern boundary to accommodate the new church.5 A foundation stone was laid in October 1961 by the Archbishop of Melbourne, Frank Woods, and construction was finalised in May 1962 for the new St Luke’s Peace Memorial Church. The new church was designed by architect Wystan Widdows and could seat 224 people. The design adopted a traditional church form whilst incorporating modernist design practices and a layout that gave way to concepts associated with the liturgical movement. 6

d

original church and the construction of the second church to occupy the

rbury

Cante

Road

5

Reynolds, “80 Years Serving God and the Community: 1907-1987,” 6.

6 City of Whitehorse, “City of Whitehorse Heritage Review: Building Citations St Luke’s Church Complex (Ho61),” 2.

(Top) Figure 2: Site plan 0

10

20

50

8

modernist church architecture The

liturgical movement commenced in the late 19th century and explored the idea that if the church was to remain a relevant institution, it would have to adapt to a progressive society.7,8 The central concept to this movement was that the liturgy was a “communal act undertaken by the whole congregation” and sought more active participation of the congregation in church ceremony.9 This was 7 Moriarty Michael, “Willia m Palmer Ladd and the Origins of the Episcopal Liturgical Movement,” Church History 64, no. 3 (1995): 438.

8 Edwin Heathcote and Laura Moffatt, Contemporary Church Architecture (West Sussex, England: John Wiley & Sons Ltd, 2007), 34.

9 Proctor Robert, Building the Modern Church: Roman Catholic Church Architecture in Britain 1955 to 1975 (Surrey: Ashgate Publishing Ltd, 2014), 134-35.

9

photo by : Ambotang (2019)

unlike centuries passed, where the layout of the church emphasised the hierarchical nature of participation in the ceremony; the clergy was physically separated from the rest of the church, virtually excluding the congregation.10 However, it wasn’t until the 1950s that the ideas espoused by the liturgical movement started to become evident in modern church design. As stated by Robert Proctor, “modernism’s defining characteristic was the rejection of tradition as an objective authority” and as modernist architecture became increasingly widespread in its application for all building types, after a near complete cessation of church building during WWII, post WWII church constructions stylistically embraced modernism.11,12 10 Ibid., 135.

11 Ibid., 19.

12 Philip Goad and Julie Willis, “Churches “ in The Encyclopedia of Australian Architecture (Port Melbourne: Cambridge Publishing 2012).

Modernist architecture can be typified by simplicity of form, which influenced a new expression of church architecture where “new materials, forms and structural techniques were employed”.13 Although for many new modernist church buildings, this meant architectural design cues veered away from historical references, St Luke’s Church is reminiscent of the traditional church form albeit without highly ornamental detailing. The form of St Luke’s evokes continuity with the past through the use of familiar elements to church architecture and can be described as a Romanesque style.14 Romanesque architecture is influenced from detailing reminiscent of early medieval churches in Italy and was considered to be a style that could effectively combine tradition 13 Ibid., 142.

14 City of Whitehorse, “City of Whitehorse Heritage Review: Building Citations St Luke’s Church Complex (Ho61),” 1.

10

with modernity.15 Since its establishment in Australia, the governing body of the Anglican Church did not change significantly, and it could be said that the architectural expression of the 1962 St Luke’s church reflected the liturgical view of the Anglican Diocese at this time. It wasn’t until 1966-1978 that the Anglicans tried a variety of liturgies, all expressing different ideas, which potentially influenced the more modernist forms of their later church buildings.16

Although St Luke’s church took a historical form with regard to architectural style, the original ‘master plan’ for the church

by Widdows included a ‘hall’ building with a highly modernised floorplan, that juxtaposes the plan for the church. The proposed hall, which was never realised, featured a centralised ‘main hall’ and a secondary hall, which directly connected to the 1962 church by means of a ‘covered walk’ The main hall, which would accommodate 345 people, had numerous offshoot rooms to form an irregularly 15 Robert, Building the Modern Church: shaped angular floor plan layout, while the Roman Catholic Church Architecture in Britain plan for the church proposed a layout that 1955 to 1975. was nearly completely symmetrical should 16 Ian Coleman et al., “Twentieth the proposed floorplan be folded east-west Century Churches in Victoria: A Study for through the nave. It could be assumed the Historic Buildings Council “, ed. Historic that the church adopted a traditional style Buildings Council (Melbourne1996), 14.

because the architecture of the hall would incorporate modernist design principles, which emphasised the functionality of the use. Further to this, a preference for a more traditional style of church could have been selected due to the prominence of the location at the intersection of two main roads, as St Luke’s was known as the ‘church on the hill’ and the Anglican Diocese wanted to retain a monumental church presence on the landscape.17

17 St Luke’s Anglican Church, “History of St Luke’s Church,” https://www. stlukesvermont.org.au/history.

11

master plans

1961 MASTER PLAN

Figure 3 Sketch master plan by architect kept by Department of work (source : PROV Archive 1962)

master plans

12

1982 MASTER PLAN, BUILT

Figure 4 Sketch master plan by architect kept by Department of work (source : PROV Archive 1962)

13

14

exterior of st. luke’s The

1962 church has been constructed from cream brick, which is associated with modern buildings of the 1950s-1970s. Cream brick constructions were concentrated in the east and the south-east of Melbourne, where the post-war housing boom was most evident.

Previously, incorporating cream brick into a building design posed a prohibitive cost, however the post-war housing development saw brickmakers opening up new claypits in Burwood, Box Hill and Templestowe.18,19 The clay in 18 Bryce Raeworth, “Former Standard Brickworks - Conservation Management Plan,” ed. Heritage Victoria (Melbourne 2015), 25.

19 Graeme Davison and Tony DIngle, “Introduction: The View from the Ming Wing,” in The Cream Brick Frontier: Histories of

(Right) Western facade photo by : Rizal Ambotang 2019

15

exterior

16

17

these locations that they used for bricks was “lighter than the reddish clay from the Hoffman pits at Brunswick, Northcote and Glen Iris” and was popularised by architects.20 The simplicity of architectural form of plain brick walls merges tradition and

modernity, as a church constructed from brick could be ornamented, though at a cheaper cost than stone constructions. A unifying architectural feature of the western main façade and southern entryway are the “concentric recessed arches” to the windows and doorways.21 The arches feature three Australian Suburbia ed. Tony DIngle and Seamus O’Hanlon Graeme Davison (Clayton: Monash University 1995), 11.

20 Ibid.

21 City of Whitehorse, “City of Whitehorse Heritage Review: Building Citations St Luke’s Church Complex (Ho61),” 4.

(Left) South west facade photo by : Rizal Ambotang 2019

(Right) Concentric recessed arches photo by : Rizal Ambotang 2019

(Right) North east facades photo by : Rizal Ambotang 2019

18

layered bandings of brickwork, which other Anglican churches around Victoria, is reminiscent of the stone archways of Romanesque church architecture and have been constructed around four stained glass windows along the front façade of the building (two of which feature imagery), as well as the door associated with the main pedestrian entryway to the church. Three of the windows along the main façade are contained in narrow round arched windows with steel framed window sashes. The fourth window along this elevation is associated with the pedestrian porch which presents as a “squat tower with corner piers” and features a rectilinear form.22 Along the northern elevation of the church, there are an additional four stained glass windows that feature designs. The stainedglass windows that feature imagery were designed by the European Modernist glass artist B.M Kozak, who also worked with the church architect Widdows on 22 Ibid.

such as St Oswald’s Anglican Church in Glen Iris.23,24 Other windows along the side elevations are smaller and rectangular in shape and feature clear glazed and yellow glass panels. The rear elevation of the church features ornamental detailing in the form of protruding bricks, where the bricks extrude from the outer layer of the elevation, in a stretcher bond pattern.25 Along the corners of the church, the brickwork is overlapped at an angle, to provide further ornamental detailing.

23 Bronwyn Hughes, “The Stained Glass of Holy Trinity Anglican Church “ (2013), http://www.stkildahistory.org.au/ images/Churches/Holy_Trinity_Balaclava/ HTB_stained_glass.pdf.

24 John Maidment, “St Oswald’s Anglican Church,” https://www.ohta.org.au/ organs/organs/GlenIrisAng.html.

25 Heritage South Australia, “Early Bricks and Brickwork in South Australia “, ed.

Department of Environment and Natural Resources (Adelaide Department of Environment and Natural Resources, 1998).

exterior

19

20

Across sits atop the western section of the roof, which has a gable roof form. The roof is a distinguishing architectural feature of the church, and is constructed from black tiles, with the ridgeline pitched over the nave, extending to form skillion roof sections over the transepts.26 There are three main entryways into the church, and historically the principal entryway was accessed from the front corner section of the church, configured to face Canterbury Road. Currently, however, the most commonly used entryway is via the northern elevation, as this entryway is located adjacent to the carpark.

26 City of Whitehorse, “City of Whitehorse Heritage Review: Building Citations St Luke’s Church Complex (Ho61).”

(Left) Fenestrations photo by : Rizal Ambotang 2019

21

(Right) Fenestrations photo by : Rizal Ambotang 2019

22

interior

of st. luke’s

23

The

brick construction offers continuity between the interior and the exterior, with the same coloured bricks featured on the exposed brick walls of the interior. Like the original church building on the site, the 1962 church comprises a rectangular nave with a transept. Although the church features a traditional layout, it is evident that it is a modern structure with visible concrete and steel trusses installed at intervals for the length of the nave. The trusses extend to form exposed steel roof rafters that feature intersecting hardwood purlin beams.

(Left) Reconfigured nave & altar . photo by : Rizal Ambotang 2019

1962 original

24

layouts

Modern structural techniques such as steel trusses allowed wider naves and fewer columns, giving large churches unobstructed interiors, promoting congregational participation in the sermon.27 The original layout of the church was traditional in its configuration, having the alter situated at the eastern section of the church, with the congregation seated in the centralised nave, which had an increased physical separation from the alter (the chancel and sanctuary). This layout emphasised the hierarchy to the participation in the ceremony through the physical separation of the congregation from the ritual of the clergy.28 Moreover, the 27 Robert, Building the Modern Church: Roman Catholic Church Architecture in Britain 1955 to 1975, 78.

28 Heathcote and Moffatt, Contemporary Church Architecture (Right ) Figure 5 Sketch plan by architect kept by Department of work (source : PROV Archive 1962)

post 1980

office music

storage

office

25

architectural features of the eastern section of the church promoted the grandeur of the space, as the congregation seated in the nave would face the highest section of the ceiling, which was adorned with a large cross spanning 6m in height. This section of the church is accentuated through the use of daylight, with numerous upper level windows along the northern elevation and long glass panels that face north and south installed along the eastern elevation.

porch

porch

choir

altar

av control storage

kitchen

porch

0

main entrance

(Right ) Figure 6 Measured drawing , functional pan (source : Rizal Ambotang 2019)

1

2

3

4

5

10

15

The current layout of the church has since moved away from the traditional hierarchical structure towards a configuration that promotes community participation.29 According to Ian Neil, who has attended St Luke’s for many years, the alter was repositioned to where the choir was previously located (in the transept) approximately 25 years 29

Ibid., 34.

26

27

ago, and the previously unadorned brick walls associated with the new alter have been clad in cedar coloured timber panels. Combined with the red carpet, the design features of the alter promote warmth, and uses more of a human scale, achieved through positioning the alter at the section of the church with the lowest ceiling line.

The pews that form the seating for the congregation is positioned around the alter, which is stepped up from the nave. All of the furnishings on the alter are constructed from timber, and feature fixed low balustrades, an alter, lectern and a font, with a cross featured centrally on the wall. Due to the use of a projector screen, this section of the church is considerably darker than the original alter position, with the windows opposite the projector screen covered with black material.

(above) Mezzanine floor over the nave photo by : Rizal Ambotang 2019

(Left) New altar photo by : Rizal Ambotang 2019

interior

28

(Left) Cross installation photo by : Rizal Ambotang 2019

29

The western section of the church features a narthex, which is divided from the nave by clear glazed windows and a centralised door. Above the narthex is a mezzanine level which would have provided additional seating for the church, however is now used as a storage area. Numerous rooms are situated along the eastern aspect of the church, which have been repurposed form their original intent to be used as an office, with other rooms used primarily for community uses such as music lessons. The original alter position is now occupied with chairs and tables and features crafts and artwork by congregants and the original location of the chapel has been converted into a kitchen, all of which highlight both the community engagement aspect of the church and the diversity of the space.

AV control platform photo by : Rizal Ambotang 2019

interior

30

(Left) Typical stain glass design photo by : Rizal Ambotang 2019

Main stain glass window at mezzanine floor (Left) inscription “In loving memory of my dear wife Heather .

Erected by Garnet Dowling”

photo by : Ambotang (2019)

31

architectural features

32

Brick pattern on north west wall photo by : Rizal Ambotang 2019

33

Corner brick work & brick sill photo by : Rizal Ambotang 2019

Step brick work on various facades photo by : Rizal Ambotang 2019

architectural features

34

Romanasque brick arch wall on south east facade photo by : Rizal Ambotang 2019

35

Exposed ceiling with gable roof structure photo by : Rizal Ambotang 2019

architectural features

36

37

Multi level roofs with terracotta tiles and corrugated roofing photo by : Rizal Ambotang 2019

Figure 7 Sketch proposal by Bela Kozak, date unknown (source : church archive)

Figure 8 Stain glass window at ground floor porch photo by : Rizal Ambotang 2019

architectural features

38

Stain Glass Windows 39

Stain glass windows on north west walls

Typical stain glass window design photo by : Rizal Ambotang 2019

ceremonial

40

photos by : Rizal Ambotang 2019

Australia Book of Ptayer photo by : Rizal Ambotang 2019

42

the church architecture of A

lthough Widdows designed churches for other denominations such as St George’s Macedonean Orthodox (since demolished), he was most often associated with designing Anglican churches. As detailed by Goad and Wills, architects associated with designing churches “tended not just to complete one church, but often had appointments as diocesan architects (…) Various architects were often associated with once specific denomination, but this was not always the case”.30 During the 1950s and 1960s Widdows designed numerous Anglican churches, and like St Luke’s church, his church designs often adopted a more traditional form. A very similar church design to that of St Luke’s can be seen in the St Albans Anglican church, which was built in 1958, and is a cream brick construction that has many of the same architectural features such as the tiered 30

Goad and Willis, “Churches “ 142.

“concentric arches”.31 As this church was constructed prior to St Luke’s it could be suggested that the design for St Luke’s was adapted from the design of St Alban’s. Although St Luke’s appears to be larger than St Alban’s church, St Alban’s is taller as it features a belltower along the front façade. Utilising more traditional form of church architecture appeared to be the practice of Widdows when working alone, however, Widdows would also work in partnership with David Caldwell on church designs. The resultant church form that arose from this partnership incorporated far more modernist design, such as St Thomas’s Church in Langwarrin, the All Souls Memorial Church in Edenhope and the former Weslyan Church in Sale.32 31 City of Whitehorse, “City of Whitehorse Heritage Review: Building Citations St Luke’s Church Complex (Ho61).”

32 Coleman et al., “Twentieth Century Churches in Victoria: A Study for the Historic Buildings Council “ 65.

43

wystan widdows (Below ) Figure 8 Image of All Souls War Memorial Church, designed by Wystan Widdows and David Caldwell in 1965 (source: Heritage Alliance)

44

Significance of Anglican Church

St

Luke’s

T

he site is covered by a Heritage Overlay (HO61) and is of local historical significance.33 While the church is a highly intact example of a modern Romanesque architectural style, the design is not unique in that one known example of a similar church design by Widdows predates St Luke’s Church and therefore the church would not be considered to be of state-wide significance.

However, the traditional architectural form of the church is not commonplace in this part of outer-suburban Melbourne, making St Luke’s Anglican Church a particularly noteworthy example of a modernist church construction in this area.

33 City of Whitehorse, “City of Whitehorse Heritage Review: Building Citations St Luke’s Church Complex (Ho61).”

(Right) Watercolour of Church facade Artwork by Jennifer Grealy,2019

45

46

photo by : Rizal Ambotang 2019

appendices

47

appendix

1 2 3 4

field notes cad drawings pano photos task allocations

48

49

50

51

52

53

54

55

56

57

2527

355

4036

355

2528

2982

3327

762

2984

368

3327

1483

2464

483 470 483 470 483 902 350

1784

1800

1800

350 1180 8773

5600 470 2134

10483

610

470

584

1160

610 584 1460

1190 3147 3654

610

820

114

114

114

114

114

114

114 480 820 480

190

610 584

114

114

1776

4220

584

romanesque arch2

480

4320

1383

610 584

480

11910

2970

2543

610 584

114

3962

2540

610

romanesque arch1

584 114

114

114

114

610

114

114

114

114

114

711 710 228

114

1676

2 1

228 710

500??

1150 500 115 927 235 235

965

115

115

1066 965

115 115 1066 965

UNIVERSITYOFMELBOURNE

RIZALAMBOTANG 641233

MEASUREDDRAWINGS& DIGITALHERITAGE

DATE:27/04/2019

115 926

1892 235 235

952

1916 114 114

952 114 114

FIELDNOTES-EXTERIOR WALLS

UNIVERSITYOFMELBOURNE

RIZALAMBOTANG 641233

MEASUREDDRAWINGS& DIGITALHERITAGE

DATE:27/04/2019

FIELDNOTES-BACKELEVATION

field notes

58

59

NorthEastinteriorwalls northeast interiorwalls

5 900

770

1150

1680

columns

2650 2600

150

1800

3340

5320

2600

300

5

2700 1511

1640

2030

1800

2330

1800

exterior

4

350

150

SouthWestinteriorwalls

150 300

708

350

2200

150

4 150

40 960

410 680

1850

680 410

960

640

1800

3632

640

2380

1900

interior 6985

970

212

300

3

150

2470

1700

3124

1700

3124

1500

3

212 150

710 700

19 10

310

219

2

290 950

2700

1640

2374

160

2 219

1

150

219 310 2480

310 150

1

219 160 310

UNIVERSITYOFMELBOURNE

RIZALAMBOTANG 641233

MEASUREDDRAWINGS& DIGITALHERITAGE

DATE:27/04/2019

FIELDNOTES- INTERIORWALLS

UNIVERSITYOFMELBOURNE

RIZALAMBOTANG 641233

MEASUREDDRAWINGS& DIGITALHERITAGE

DATE:27/04/2019

FIELDNOTES-NORTHEAST INTERIORWALLS

2640

NORTHEAST INTERIORWALLS

838

COLUMNS

170 233

5

150

5

233 430 960

240

960 2946

5207 2041

160

150

270 1180

1600

CORNER

838

1192

838 343 1107

1780

1644

1680

130

4 1190

exterior

310

4

3 960 242 0

1380

COLUMNS

310

7186

interior

11365

240

3

6940

5670

7510

170

150

4996

6870

6563

235

170

503

300

6200 1820

212

445 2140

2525

2

1107

250

1330

150

1162 114

2 3632

212 5056

150

3948

3400

2940

2bricks 235

707

114

235 114

235

1

235 235

226

2052

2530

1791

946 1196

963

1194 965 1194 952

1892

114 114 420 420 114 112

842

1077

845

310

1270 150

310 160

960

226

1

960

310

3124

1700

2690

160

700

1640

UNIVERSITYOFMELBOURNE

RIZALAMBOTANG 641233

MEASUREDDRAWINGS& DIGITALHERITAGE

DATE:27/04/2019

950

2374

FIELDNOTES-NORTHWEST INTERIORWALLS

UNIVERSITYOFMELBOURNE

RIZALAMBOTANG 641233

FIELDNOTES-FRONTELEVATION

MEASUREDDRAWINGS& DIGITALHERITAGE

DATE:27/04/2019

SHEET:XOFYY

field notes

60

195 555 335 765

1860

1340

C1

11684

300

1280

115

Balustrade 1000

4040 2700

1290

997?

1320

997

2374

810

990 997

1820 1740 1630

952

952

4280

C1 C2 311

305

155

150

440

150 80

305

375

UNIVERSITYOFMELBOURNE

RIZALAMBOTANG 641233

FIELDNOTES-GALLERY

MEASUREDDRAWINGS& DIGITALHERITAGE

DATE:27/04/2019

SHEET:XOFYY

4280

990

C2

1480

600

field notes

61

cad drawings

62

0

group

th e u n ive r s ity of m e l b o u r n e abpl 90020 • measured draw ings & d igit a l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1: 500 @ a3

10

r iza l a m bota n g 641233

20

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drawing desc.

site pla n , st lu k e ’s a n glic a n

layout no.

drawing no.

D 01

B

A

A

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B group

the u n ive r s ity of m e l b o u r n e abpl 90020 • measured d raw in gs & d igita l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1:100 @ a3

drawing desc.

r iza l a m bota n g 641233

layout no.

grou n d f loor pla n , st lu k e ’s a n glic a n

drawing no.

D 02

0

group

th e u n ive r s ity of m e l b o u r n e abpl 90020 • measured draw ings & d igit a l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1: 100 @ a3

r iza l a m bota n g 641233

1

2

drawing desc.

3

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u ppe r f loor pla n , st lu k e ’s a n glic a n

10

15

layout no.

drawing no.

D 03

0

group

the u n ive r s ity of m e l b o u r n e abpl 90020 • measured d raw in gs & d igita l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1: 10 0 @ a3

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drawing desc.

r iza l a m bota n g 641233

10

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layout no.

re f le c te d c e ilin g pla n , st lu k e ’s a n glic a n

drawing no.

D 04

0

group

th e u n ive r s ity of m e l b o u r n e abpl 90020 • measured draw ings & d igit a l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1: 100 @ a3

r iza l a m bota n g 641233

1

drawing desc.

2

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roof pla n , st lu k e ’s a n glic a n

10

15

layout no.

drawing no.

D 05

0

group

the u n ive r s ity of m e l b o u r n e abpl 90020 • measured d raw in gs & d igita l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1:100 @ a3

1

2

3

drawing desc.

r iza l a m bota n g 641233

4

5

n or th e a st e le va tion , st lu k e ’s a n glic a n

10

15

layout no.

drawing no.

D 06

0

group

th e u n ive r s ity of m e l b o u r n e abpl 90020 • measured draw ings & d igit a l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1: 100 @ a3

r iza l a m bota n g 641233

1

2

3

drawing desc.

4

5

sou th we st e le va tion , st lu k e ’s a n glic a n

10

15

layout no.

drawing no.

D 07

group

the u n ive r s ity of m e l b o u r n e abpl 90020 • measured d raw in gs & d igita l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1:100 @ a3

drawing desc.

je n n if e r gre a ly 661521

sou th e le va tion , st lu k e ’s a n glic a n

layout no.

drawing no.

D 08

group

th e u n ive r s ity of m e l b o u r n e abpl 90020 • measured draw ings & d igit a l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1: 100 @ a3

je n n if e r gre a ly 661521

drawing desc.

n or th e le va tion , st lu k e ’s a n glic a n

layout no.

drawing no.

D

09

group

the u n ive r s ity of m e l b o u r n e abpl 90020 • measured d raw in gs & d igita l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1:100 @ a3

drawing desc.

je n n if e r gre a ly 661521

se c tion a a a n d in te r n a l e le va tion of th e a lta r , st lu k e ’s a n glic a n

layout no.

drawing no.

D 10

group

th e u n ive r s ity of m e l b o u r n e abpl 90020 • measured draw ings & d igit a l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1: 100 @ a3

je n n if e r gre a ly 661521

drawing desc.

se c tion bb, st lu k e ’s a n glic a n

layout no.

drawing no.

D

11

group

the u n ive r s ity of m e l b o u r n e abpl 90020 • measured d raw in gs & d igita l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1:100 @ a3

drawing desc.

je n n if e r gre a ly 661521

de ta ils of c e re m on ia l f u r n itu re , st lu k e ’s a n glic a n

layout no.

drawing no.

D 12

group

th e u n ive r s ity of m e l b o u r n e abpl 90020 • measured draw ings & d igit a l he r i t a g e

grou p 12 • st luke an glican church • vermo n t

date

scale

25/ 05/ 2019

drawn by.

1: 100 @ a3

je n n if e r gre a ly 661521

drawing desc.

de ta ils of win dows , st lu k e ’s a n glic a n

layout no.

drawing no.

D

12

Copy the link to your browser to experience the 360 VR view - https://bit.ly/2w9LA78

pano photos

76

O

360 PANORAMA photo by : Rizal Ambotang 2019

78

Copy the link to your browser to experience the 360 VR view - https://bit.ly/2Emeoxz

O

360 PANORAMA photo by : Rizal Ambotang 2019

80

Copy the link to your browser to experience the 360 VR view - https://bit.ly/2JtP790

O

360 PANORAMA photo by : Rizal Ambotang 2019

Item Task

Lead

1 2 3

Field Notes - Part 1 Field Notes - Part 2 Research

Jenn Rizal Jessica

4 5 6 7 8

Write-up & compilation Drawings - Site plan Drawings - Roof plan Drawings - Ground Floor Plan Drawings - Upper floor Plan Drawings - Reflected Ceiling Plan Drawings - Elevations - south Drawings - Elevations - north Drawings - Elevations - short - north east Drawings - Elevations - short - south west Drawings - Section - AA Drawings - Section - BB Drawings - Detail - Windows Drawings - Detail - Ceremonial furniture Photos - History Photos - Interior - Details Photos - Interior - 360 VR Photos - Interior - Exterior Water colour InDesign - Page layout/Booklet

Jessica Rizal Rizal Rizal Rizal Rizal Jennifer Jennifer Rizal Rizal Jennifer Jennifer Jennifer Jennifer Jessica Rizal Rizal Rizal Jennifer Rizal

9 10 11 12 13 14 15 16 17 18 9 1 20 21 22 23

Notes

Scale : 1:100 @A3, 1:500 @A1 Scale : 1:100 @A3, 1:200 @A1 Scale : 1:100 @A3, 1:50 @A1 Scale : 1:100 @A3, 1:100 @A1 Scale : 1:100 @A3, 1:100 @A1 Scale : 1:100 @A3, 1:50@A1 Scale : 1:100 @A3, 1:50@A1 Scale : 1:100 @A3, 1:50 @A1 Scale : 1:100 @A3, 1:50 @A1 Scale : 1: 100 @A3, 1:50 @A1 Scale : 1: 100 @A3, 1:50 @A1 Scale : 1: 100 @A3, 1:50 @A1 Scale : 1: 100 @A3, 1:50 @A2

tasks allocations

82

group profile

83

jennifer grealy

jessica radlow

rizal ambotang

Jennifer is currently in her second year of the Master of Architecture and when she graduates, would like to undertake universal design, which looks at inclusivity in architectural practices.

This course introduced her

Jessica is undertaking a Master of Urban and Cultural Heritage part-time while working fulltime as an Urban Planner in local government. Although

Rizal is undertaking his final year of the Master of Architecture, and as a result of undertaking this course, believes that he has finally mastered the use of AutoCAD. When Rizal graduates, he hopes to undertake a PhD exploring computational design.

bibliography

84

photo by : Rizal Ambotang 2019

85 City of Whitehorse. “City of Whitehorse Heritage Review: Building Citations St Luke’s Church Complex (HO61).” Nunawading: City of Whitehorse 1998.

Coleman, Ian, Roslyn Coleman, Eleanor Bridger, and Joanna Wills. “Twentieth Century Churches in Victoria: A Study for the Historic Buildings Council “, edited by Historic Buildings Council. Melbourne, 1996.

Colonial Intelligence. Melbourne: The Church of England, 1872.

Davison, Graeme, and Tony DIngle. “Introduction: The View from the Ming Wing.” In The Cream Brick Frontier: Histories of Australian Suburbia edited by Tony DIngle and Seamus O’Hanlon Graeme Davison, 11. Clayton: Monash University 1995.

Goad, Philip, and Julie Willis. “Churches “. In The Encyclopedia of Australian Architecture 142-44. Port Melbourne: Cambridge Publishing 2012.

Heathcote, Edwin, and Laura Moffatt. Contemporary Church Architecture West Sussex, England: John Wiley & Sons Ltd, 2007.

Heritage South Australia. “Early Bricks and Brickwork in South Australia “, edited by Department of Environment and Natural Resources. Adelaide Department of Environment and Natural Resources, 1998.

Hughes, Bronwyn. “The Stained Glass of Holy Trinity Anglican Church “ (2013). http://www.stkildahistory.org. au/images/Churches/Holy_Trinity_Balaclava/HTB_stained_glass.pdf.

Maidment, John. “St Oswald’s Anglican Church.” https://www.ohta.org.au/organs/organs/GlenIrisAng.html.

Michael, Moriarty. “William Palmer Ladd and the Origins of the Episcopal Liturgical Movement.” Church History 64, no. 3 (1995): 438.

Raeworth, Bryce. “Former Standard Brickworks - Conservation Management Plan.” edited by Heritage Victoria. Melbourne 2015.

Reynolds, Margaret. “80 Years Serving God and the Community: 1907-1987.” edited by St Luke’s Anglican Church. Vermont 1987.

86 Robert, Proctor. Building the Modern Church: Roman Catholic Church Architecture in Britain 1955 to 1975. Surrey: Ashgate Publishing Ltd, 2014.

St Luke’s Anglican Church. “History of St Luke’s Church.” https://www.stlukesvermont.org.au/history.

Images and Plans “1950 St Luke’s Church Vermont “. Whitehorse Historical Society, 1950.

“Colonial Intelligence.” In TROVE edited by The Church of England Messanger, p. 7. Melbourne: The Church of England, 1872.

PROV, VA 2695 Department of Health II, VPRS 7882 Public Building Files, Unit 129, 603B St Lukes Church of England Corner Canterbury and Mitcham Roads Vermont Church Halls Sunday Schools Heritage Alliance. Job 2008-07 Survey of Post-War Built Heritage in Victoria. https://www.heritage.vic.gov.au/__data/assets/pdf_ file/0020/61490/Post_war_study_Stage1_Vol2_Religion.pdf

the university of melbourne • abpl 90020 • measured drawing & digital heritage • winter 2019

appreciation

87

We would like to thank the congregational members and minister of St Luke’s Church Mark Simon, Danni Armstrong, Michael Ball and Ian Neil - for their assistance in this project, and for providing us with unfettered access to the church and archival documentation. It was greatly appreciated, and we hope that you enjoy reading and viewing the results of our many hours spent documenting the church.

© 2019 jennifer grealy , jessica radlow & rizal ambotang