docomomo aust full fiche tocal college cb alexander ......2.1 chronology commission concept: the...

TOCAL COLLEGE – C B ALEXANDER CAMPUS PATERSON NEW SOUTH WALES

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International working party for ISC/R members update 2003 documentation and conservation of buildings, sites and neighbourhoods of the for office use only modern movement 1 of 84

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International working party for documentation and conservation

New International Selection of buildings, sites and neighbourhoods of the Full Documentation Fiche 2003 modern movement

for office use only

composed by national/regional working party of: Australia 0. Picture of building/ group of buildings/ urban scheme/ landscape/ garden

IMAGE 1

Subject of image: Panoramic view, looking east, of Tocal College on completion in 1965. Date of image: 1965 Photographer: Max Dupain Copyright holder: Philip Cox, The Cox Group

IMAGE 2

Subject of image: Panoramic view, looking south, of Tocal College in 2014 Date of image: July 2014 Photographer: Dean Morris, DPI, Tocal College Copyright: NSW Department of Primary Industries


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IMAGE 3 Subject of image: C B Alexander Presbyterian Agricultural College, Tocal looking south to the main quadrangle with the Chapel central in the view, in 1965 Photographer: Max Dupain Date of image: 1965 Copyright holder: Max Dupain

IMAGE 4 Subject of image: Tocal College, C B Alexander Campus, view of Chapel in the Main Courtyard nearly 50 years later, in 2012. Photographer: Richard Desgrand Date of image: 2012 Copyright holder: Richard Desgrand

IMAGE 5 Subject of image: Tocal College, C B Alexander Campus, Paterson, NSW Cloister, main quadrangle in 2012. Photographer: Richard Desgrand Date of image: 2012 Copyright holder: Richard Desgrand


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IMAGE 6 Subject of image: C B Alexander College: Interior of the E A Hunt Hall Date of image: 1965 Photographer: Max Dupain Copyright holder: Australian Institute of Architects (NSW Chapter)

IMAGE 7 Subject of image: C B Alexander College: Interior of E A Hunt Hall Date of image: 29 November 2012 Photographer: Richard Desgrand Copyright holder: Richard Desgrand


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1. Identity of building/ group of buildings/ groups of buildings/ landscape/ garden

1.1 Data for identification

current name: Tocal College, C B Alexander Campus, Tocal from 2006.

former/original/variant name: C B Alexander Presbyterian Agricultural College, Tocal, in 1965. C B Alexander Agricultural College, Tocal, in 1970.

number(s) and name(s) of street(s): 815 Tocal Road

Town/ suburb Paterson

province/state: New South Wales

post code: 2421

block or lot (if known)

co-ordinates:

Lot 110, Deposited Plan 1040928, Parish of Middlehope, County of Durham, Maitland Local Government Area, NSW

Latitude: - 32.62971173 Longitude: 151.59200629 Country

Australia

IMAGE 8 Subject of image: Aerial, Tocal Homestead to the upper view and C B Alexander Agricultural College to the lower view. Date of image: 2011 Photographer: NSW Land and Property Copyright holder: NSW Land and Property

national topographical grid reference:

current typology: Tertiary institution

former/original/variant typology:

comments on typology:


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IMAGE 9 Source of map or plan: NSW Land and Property http://maps.six.nsw.gov.au accessed 3 December 2012. The Tocal College area is green and the Tocal Homestead area is grey on this map.


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1.2 Status of protection protected by: state/province/town/record only

Australian Institute of Architects Nationally Significant 20th - Century Architecture Register

Yes

Australian Institute of Architects (NSW Chapter) Register of Twentieth Century Buildings of Significance

Yes, Number 4700063.

National Trust (NSW) Register College No (Homestead Yes, R4729) Docomomo Australia National Register

Yes, in 2000.

State Heritage Register/Inventory NSW State Heritage Register No. 01908 gazetted 17th April 2013.

LEP On NSW State Government Section 170 Register, No. 3040083.

Grade (ie level of protection) State

Archival Recording exists? No, 2nd draft of Conservation Management Plan, Volumes 1, 2, 3, prepared by Eric Martin and Associates, submitted to the NSW Heritage Office 9th October 2013, still awaiting the outcome.

Date: Not Applicable

valid for: whole area/parts of area/building whole of buildings and surrounds, part of Lot 110, DP1040928

1.3 Visually or functionally related building(s)/site(s)

name(s) of surrounding area/building(s): Adjacent to the Paterson River

visual relations Set in open grazing country

functional relations Built on the hilltop looking north across the valley to the original ‘Tocal’ Homestead of 1841 (Homestead on State Heritage Register No. 00147, gazetted 2nd April 1999)

other relations: Adjacent to Tocal Road from


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Maitland to Paterson.

2. History of building(s) etc.

2.1 Chronology

commission concept: The complex was designed as a series of stages, with Stage 1 construction commencing in 1964.

commission date: Site for Tocal College picked out on 8th July 1963; tenders based on the working drawings were called for construction in November 1963.

design period(s): 1963 -1965 Stage 1, ongoing since then as required.

start of site work: 31st January 1964 first sod turned for construction. The first 15 students were admitted in March 1965, when the campus was functional but incomplete.

completion/inauguration: Inauguration of Stage 1 on 6th November 1965 by Prime Minister of Australia, Sir Robert Menzies.

2.2 Summary of development

commission brief: The main campus buildings are arranged around a cloistered quadrangle, with European monastic references tempered by its loose, open sided, formation. The northern side of the quadrangle is ingeniously left open to direct the eye northwards to the colonial Tocal Homestead on the hill opposite, and to embrace the broader landscape setting, creating one unified and unique composition, encompassing College, Homestead and the Paterson valley setting.

design brief: A tertiary agricultural residential college with accommodation on site for 120 students, with the necessary teaching and ancillary buildings, sporting facilities, and required rural


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buildings around open courtyards.

building/construction: The quadrangle is unified by the simple repetition of forms and structure, enhanced by the play of light and shadow, and by a limited palette of locally sourced materials; brick, timber, and terracotta tile, all chosen for their textural qualities. The rendition is reminiscent of traditional Japanese architecture, yet the selection of materials and their crafting is distinctly derived from local rural traditions. The common palette of materials, of brick, timber and terracotta tile, and the extensive colonnades connecting the main campus buildings make a unified complex. Within this uniformity there are marked contrasts of architectural expression. Each of the main buildings flanking the quadrangle is necessarily varied in design by its function, maintaining an individual character and structural expression.

completed situation: An open quadrangle of buildings facing north, with ancillary courtyards attached. The chapel is in the middle of the campus.

original situation or character of site: Open grazing country

AWARDS Tocal College, C B Alexander Campus won both the RAIA Sir John Sulman Medal for Outstanding Architecture and the RAIA Blacket Award for a Building of Outstanding Merit in rural NSW in 1965. In the 60th Anniversary issue of the Architecture Bulletin (NSW Chapter, RAIA, November/December 2004), the building was nominated as the ‘Building of the Decade’ for the 1960s. The College received the Award for Enduring Architecture from the NSW Chapter, Australian Institute of Architects in 2014, 50 years later.


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2.3 Relevant persons/organisations

original owner(s)/patron(s): Trustees of the Alexander Estates Fund, then from 1969 the C B Alexander Foundation. The College has been operated by the NSW Department of Agriculture, now the NSW Department of Primary Industries since 1st January 1970.

architect(s): Philip Cox and Ian McKay Architects in Association.

project architect: As above.

documentation architects: As above.

landscape/garden designer(s): As above.

other designer(s): The movable collection is limited to the following items: chapel tapestry, chapel chairs, chapel organ, tables and benches in dining room and conference room, padded leather chairs and small square occasional tables. The movable collection was designed by the Cox and McKay office to complement the design of the College and contributes to its integrity. The tapestry is a significant art work designed and made by renowned Australian textile artist Margaret Grafton and is integral to the aesthetic significance of the chapel interior. It is hand spun, hand woven and of hand dyed wool.

consulting engineer(s) etc: Structural Engineers: Professor F S Shaw, University of NSW with Cox and McKay. Civil Engineers: Taylor Thompson Whitting. Mechanical and Hydraulic Engineers: Norman and Addicoat Quantity Surveyor: Thomson and Wark.

building contractor(s): Originally Gardiner Constructions Pty Ltd of Newcastle, NSW.


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2.4 Other persons or events associated with the building(s)/site

name(s): The College is of significance being associated with one of the oldest colonial homesteads in the Hunter River region, the Tocal Homestead which has a pastoral history extending back to one of the initial land grants in the area in 1823. The College continues the historical association of Tocal in the development of agriculture in NSW, established initially by James Webber, and consolidated in the later nineteenth century by the work of Charles and Frank Reynolds in developing the cattle breeding and thoroughbred industries in NSW, and revitalised by Charles Boyd Alexander in the introduction of new technologies replacing labour intensive farming operations. The College is associated with Charles Boyd Alexander, a Presbyterian, who is noted for the introduction of twentieth century mechanised farming practises to Tocal, and who bequeathed Tocal and other property and assets to be used for the training of Protestant children for agricultural careers. The development of the college is associated with Edward Alan Hunt, MBE, twice Mayor of Parramatta, one of the founders of the law firm, Hunt and Hunt, Law Agent for the Presbyterian Church in New South Wales and first Chairman of the College Council. The College is of significance as an important work in the career of one of the most eminent Australian architects, Philip Cox, who played a significant role in Australia’s cultural history and the establishment of the notable architectural firm, the Cox Group which is recognised nationally


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& internationally for its innovative work. The College marks the commencement of Cox's extensive architectural career. The College is of significance as an important work in the career of Ian McKay, confirming his reputation for acute environmental sensitivity and his flexibility and inventiveness in design. The design of the College provided an opportunity to synthesize the influences of Frank Lloyd Wright and traditional Japanese architecture evident in his earlier works to create a highly successful vigorous large scale work. The College marks an increased interest in larger scale community and civic projects undertaken throughout NSW and the ACT, including the medium density Swinger Housing project for which he was awarded the Royal Australian Institute of Architects Canberra Medallion in 1970 as well as the C S Daley Medal in 1977. The College has associations with the St Andrew's Boys Home, Emerald Hill, Leppington, NSW, as being the second major joint commission for Cox and McKay, Architects in Association, following immediately upon the design of St Andrew’s, for which McKay and Cox were awarded the Sir John Sulman Medal two years earlier in 1963 that established their design reputation for environmental sensitivity and the inventive use of materials. The College has associations with Margaret Grafton, a renowned textile artist, with Gardiner Constructions, a reputable and long standing building contractor, with Professor F S (Stan) Shaw, who was a notable expert in timber structural engineering at the University of New South Wales,


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prominent engineering firms, Norman and Addicoat (now Norman Disney Young), Taylor, Thomson and Whitting and cost consultants Thompson and Wark. The opening of the College by Sir Robert Menzies, then Prime Minister of Australia demonstrates the level of regard in which the establishment of the College was held. The College is associated with the timber industry in the Dungog, Shroud and Gloucester regions, being an exemplar of the expressive textural qualities and structural properties of timber, most of which was sourced from forests in these regions.

association: As noted above.

event(s): The College Council bought Glendarra Farm and Athcourt Farm both adjoining Tocal in 1964 with bridging finance guaranteed by the Presbyterian Church Trustees.

In 1972 girls were first admitted to the College and the Government of NSW revealed plans for a vast development of Tocal.

period: 1965 to date.

2.5 Summary of important changes starting with Stage 1, after completion

type of change: alteration/renovation/restoration/extension/other:

The building’s construction consisted of the following stages as a complex originally capable of providing for 120 students:

Stage 1 (construction started at the beginning of1964, completed at the end of 1965)

Bedroom courts – individual rooms – sufficient to care for the first 60 students (2 bedroom wings), the Chapel, the Assembly Hall (gymnasium, basketball etc.), a Common Room, two furnished apartments for the House Supervisor


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and Assistant, the Dining Hall and Kitchen, Administration space, lecture rooms, seminar rooms and the first stage of the laboratories, designed and supervised by Philip Cox and Ian McKay, Architects in Association, built by Gardiner Constructions Pty Ltd.

Stage 2 (1966-1967) Playing fields, two tennis courts, grassing and paving of the Courtyard, landscaping around the College, the new Bedroom wing, rooms 63 to 93, giving a capacity for 90 students, and the construction of the Stables, designed and supervised by Cox's firm, constructed by F H Compton & Sons.

Stage 3 (1974 - 1975) The Crawford Court (SW), Library & Machinery demonstration room, lecture rooms and teaching staff offices, were designed and supervised by Cox's firm and constructed by D F McCloy Pty Ltd. Glendarra 1 Accommodation Block designed by Peter Freeman when at, NSW Public Works.

Stage 4 (1979) Swimming Pool constructed, and Cox 's firm was commissioned to work on the conservation of the Tocal Homestead buildings.

Stage 5 (1987) Conversion of former machinery bay to offices and the creation of McFarlane Court. Completion of the north eastern elements of Crawford Court including substantial extensions to the Library, a Computer Room, extensions to the lecture and demonstration rooms designed by Cox's firm, and constructed by D F McCloy Pty Ltd.

Stage 6 (1995) Stage 7 (1996 – 1997)

Construction of Glendarra 2 for accommodation, designed and supervised by the Department of Agriculture. Construction of the south end of McFarlane Court and extensions to the far north eastern part of the


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Stage 8 (1998) Stage 9 (2010)

campus, North Court, designed and supervised by Cox’s firm (Eric Martin project director) and constructed by C & W Constructions. Construction of Hunter Local Land Services offices at Glendarra (the agency was then known as the Hunter Catchment Management Trust), designed by Cox’s firm (Project Director Eric Martin, Project Architect Pat Gagel). This was later extended by Eric Martin & Associates in 2005 – 2006. Construction of extensions to dining room and kitchen by Thomas Coffey; construction of residential supervisors' cottage; adaptive re-use of former staff cottages as group accommodation; adaptive re-use of a dairy shed as a ruminant field laboratory, constructed by Bilas Knight. All this stage was designed by Eric Martin & Associates.

date(s): As noted above in each stage.

circumstances/ reasons for change Continued expansion of the campus for the needs of the College.

effects of changes: Allowed increased number of students and staff, and new requirements for the College.

persons/organisations involved: Department of Agriculture, C B Alexander Foundation, Department of Primary Industries.


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3. Description of building(s) etc. 3.1 Site/building character The following description is drawn from the SHR Nomination prepared by the RAIA NSW Chapter in 2013. All references are shown in the original document. The Tocal Estate comprises 2,200 hectares in the Hunter Valley region of NSW, approximately 15 kilometres north of Maitland. The estate extends along the valley floor at the confluence of the Paterson River and Webber's Creek, encircled by watershed ranges to the northwest and northeast, forming a remarkably beautiful contained setting. The College forms part of the Tocal Estate, and is set on a long low north facing ridge that overlooks the Paterson River and the lower ridge of the Tocal Homestead complex, the two separated by an extensive meandering lagoon. The first impression of the College via glimpses from Tocal Road through stands of Spotted Gums, is of a long low complex straddled along the ridge; of massive, shielding walls of sandstone coloured brickwork, deeply folded into narrow window openings thrown into deep shadow, and above which rises a spire of unexpected height. The College entrance road winds up the ridge before straightening along the central axis that extends through the entrance vestibule and the Chapel's spire. The broad roof of the entrance vestibule sweeps low over the stepped entrance platform and from this unassuming arrival point one is led into a large open sided quadrangle where the spatial qualities and the architecture of the entire complex unfolds. The main campus buildings are arranged around a cloistered quadrangle, but European monastic references are tempered by its loose, open sided, formation. The northern side of the quadrangle is ingeniously left open to direct the eye northwards to the colonial Tocal Homestead on the opposing hill, and to embrace the broader landscape setting, creating one unified and unique composition, encompassing College, homestead and the Paterson valley setting. The loose fit of the College buildings is reminiscent of Australian farm complexes, importantly the Tocal Homestead, whereby vistas to the surrounding landscape are framed by the array of farm structures. Focus on the quadrangle is retained, and intensified, by the central placement of the College chapel with its dramatic spire, and by the encircling colonnades that serve as the primary circulation between the main campus buildings. The central placement of the chapel divides the quadrangle into two, more intimate, courtyard spaces, each assuming a different character through modelling of the ground plane. The landscape of the campus reinforces the local setting and incorporates original scattered stands of Spotted Gum (Corymbia maculata) with planted stands of Rose She-Oak or Forest Oak (Allocasuarina cunninghamiana), and under plantings of xanthorrhoeas, grevilleas and callistemons. It has been developed and designed to reflect the Australian environment. All plant species are of Australian origin and lawns are mown and maintained. There is no watering of lawns in dry periods. The campus subsequently reflects the various moods of the Australian landscape which is so dominated by seasonal influences. The archaeology is mostly undisturbed. The archaeological potential of the precinct is high. The land on which the Tocal Homestead and C B Alexander College is situated was used by the Gringai clan for many years. Grooves worn into rocks by grinding seeds and plants, indicate Tocal was a popular camp site for the Aboriginal people.


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3.2 Current use

of whole building/site: Agricultural Tertiary College and farm estate with cattle, dairy, sheep, horses and poultry.

of principal components (if applicable):

comments:

3.3 Present (physical) condition

of whole building/site: The whole complex is in excellent condition. The fabric is in good condition. The design of the complex with its low slung roofs and broad eaves, deeply recessed window and door joinery, provide excellent weather protection to the natural materials, and the buildings have been very well maintained. The vision for the buildings to acquire a natural patina with age and merge with the landscape has been realized, ferns grow in the bush sand mortar, lichens have coated the roof in a soft verdigris colour, and the bricks have become speckled with moss and lichen.

of principal components (if applicable):

of other elements (if applicable):

of surrounding area (if applicable):

comments: The complex is highly intact. The loose extendable nature of the original planning of the college purposefully anticipated the need for future additional residential rooms and teaching facilities, particularly the planning of the eastern and western wings. One of the few alterations made to the original construction, is the alteration to the sunken courtyard to the East of the Chapel, whereby the original open pavement with


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ground covers providing margins to the brick pavers has been replaced by a homogeneous brick pavement. The vision for the buildings was to mature with age and merge with the landscape. The selection of materials, such as hardwood timbers and facebrick, and the design of the buildings that incorporates large roof overhangs, colonnades and deeply recessed openings, provides a high degree of weather protection. The complex has proven to be durable and extremely low maintenance.

3.4 Note(s) on context, indicating potential developments Indicate, if known, potential developments relevant for the conservation/threats of the building/site

Over time there may be extensions to and alterations of the existing buildings to improve and update the requirements of the College.


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4. Evaluation

Intrinsic value

4.1 technical evaluation: The quadrangle is unified by the simple repetition of forms and structure, enhanced by the play of light and shadow, and by a limited palette of locally sourced materials; brick, timber, and terracotta tile, all chosen for their textural qualities. The rendition is reminiscent of traditional Japanese architecture, yet the selection of materials and their crafting is distinctly derived from local rural traditions. The hovering, low pitched, stepped roof planes of the campus buildings are swept low over the colonnades supported at their perimeter by robust posts of raw adzed Brushbox (Lophostemon confertus) baulks, supported on sandstone plinths and girt by punched steel collar straps that add to the textual effect. Rubble drains used in lieu of gutters, add texture to the ground plane. Copper gutters are only included where necessary over entrances and the like. A modular grid of 2,700mm (nine feet, zero inches) applied throughout orders the placement of structure and space. The repetition of colonnade posts, exposed projecting rafters, paired above each post, their ends painted white in traditional Japanese fashion, establishes a powerful unifying rhythm, intensified by the dark shadows cast on the ochre coloured pavement and walls. The unglazed terracotta tiled roofs have acquired a green tone of algae almost a verdigris colour that further adds to the rustic effect. Spaces between the main quadrangle buildings lead to smaller courtyards that are treated in the same manner. The brickwork throughout the college is modelled to intensify its visual strength. Walls are buttressed, battered, and folded into reveals being supported at horizontal folds by concealed permanent formwork of reinforced concrete, openings are narrow and glass is deeply recessed to provide shade. The selection of light earth toned, kiln fired bricks throughout, set in unusually thick, flush struck, beds of ochre coloured mortar, enhances the sense of solidity and references the underground brick silos, the stables and barns of the Tocal Homestead. The brickwork is purposefully rough to confirm the rustic and robust nature of the buildings, every clinker or chipped brick utilised. Similar coloured kiln fired bricks are used as paving throughout the colonnades and the interiors of the buildings, and the ground plane is modelled with sunken terraces, such that the walls appear to rise out of the earth. Door openings are spanned by pointed arches locked by keystones of honed sandstone, the shape of the keystones reminiscent of the Tocal stone barn of 1830. The common palette of materials, of brick, timber and terracotta tile, and the extensive colonnades connecting the main campus buildings make for a unified complex but within this uniformity there are marked contrasts of architectural expression. Each of the main buildings flanking the quadrangle is necessarily varied in design by its function, maintaining an individual character and structural expression. Structural expression and the textural qualities of exposed natural finishes, form the major role in defining the character of each space. The timber structure is expressed and robust, referencing the timber woolsheds, barns and tank stands of the Tocal Homestead, yet the ingenuity of some of the college timber structures is such that commonplace structural terminology is not always applicable. Of these, the Chapel and the Edward Alan Hunt Hall, are structurally the most remarkable and innovative, and exhibit the highest level of brick and timber craftsmanship. The Chapel, is pivotal to the design of the complex; cradled within the quadrangle, and centred on the north south axis that runs through the centre of the main entrance and the quadrangle in a northerly direction to the original Tocal homestead building. The building is square in plan with battered brick walls supporting a low clerestory above which a spire that rises a further 30 metres in height, its apex surmounted by a two metre high cast stainless steel cross. The dramatic form of the chapel's spire is not


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only a focal point to the college, but also a landmark that visually links the college complex with the Tocal Homestead and the surrounding Tocal farm estate. In contrast to the lofty steeple, the low massive battered brick walls of the chapel enclose a cave like interior. The level of natural light to the interior is minimal, channelled through deeply recessed and narrow openings confined to the east and west aisles, and its colour rendered by ochre coloured glazing. Four discreet shafts of light reveal the intricate tracery of roof timbers from small gablets high on the steeple. Materials are left in their natural state; brick walls left as exposed face, floors of brick paving, off-form concrete using undressed timber boarding, and roof framing timbers exposed to view beneath ceilings of timber boarding. Despite the simplicity of the square plan form, the design of both the brickwork and the timber structure is highly complex and explores timber technology beyond that of the vernacular Tocal buildings. From the low battered external walls spring brick buttresses that brace a massive concrete ring beam spanning between an inner line of brick pillars. These pillars play a dual role in forming side aisles on the eastern and western sides of the interior. From the four corners of the ring beam spring the low raked intercepting timber trusses that support both the clerestory roof framing and the massive king post of the spire. Both the trusses and the king pole are made from Tallowwood (Eucalyptus microcorys) sourced from forests within the locality, and barked, de-sapped and line dressed on site. The king post is comprised of three lengths, each diminishes in thickness from an initial 450mm, as it ascends suspended over the chapel, over 30 metres in height. The load of the pole is transferred to the trusses by stainless steel shear plates sleeved between the laminated sections that comprise the chords of each truss. Attention to detail extended to every aspect of the interior finishes and the construction: each concrete roof tile of the spire was double wired and further fastened to the timber battens with two brass screws. The raw mediaeval character of the chapel’s interior is reinforced by the furniture and furnishings specifically designed for the space, including the facebrick brick lectern and communion table, and the Blackwood (Acacia melanoxlyon) framed chairs with woven leather webbing designed by Cox and McKay, the organ, and the tapestry hung behind the alter that depicts a passage from the Old Testament vision given to Isaiah, of peace on earth: “wolves and sheep shall live together in peace and leopards will lie down with young goats. Calves and lion cubs will feed together, and little children will take care of them” (Isaiah Chapter 11, verse 6). Created by Margaret Grafton, and woven of hand spun wool dyed with natural dyes, its warm colours and soft texture contrast with the raw spartan interior. The marble commemorative tablet, designed by the architects, rests directly beneath the king post. The main hall, named after Edward Alan Hunt, is located to the western side of the main entrance and was designed as a multifunctional space, for theatre, badminton, basketball, gymnastics and other purposes. For this reason it has a suspended timber floor of Brushbox rather than the brick pavement utilised elsewhere in the common campus buildings. The inspiration for the Hall was the barn of the Tocal Homestead designed by Edmund Blacket in 1867. This barn, dubbed by Cox as 'the cathedral of barns' for its tracery of exposed structural timbers, of king post trusses supported by adzed poles and brackets shaped from tree roots, and closely spaced battens supporting the shingled roofing. The enclosing walls of the hall are articulated by faceted buttresses, between which window and door openings are cradled, achieving massive depth. In the tradition of mediaeval gothic churches, the roof trusses are supported on enormous bolsters, each comprising five pieces of Ironbark, initially dressed with a broad axe, then mortised together, and finally dressed with an adze. Each bolster weighs one tonne. The bolsters rest on off-form concrete corbels, that project from the brick work wall behind. From the bottom chord of each truss radiate a spray of struts supporting intermediary rafters, reminiscent of Alvar Aalto's Saynatsalo Town Hall. In the same plane as the bottom chord of each truss is a dia-grid that supports cylindrical timber lined light fittings. The faceted backdrop of the hall stage is constructed of Blackbutt (Eucalyptus pilularis).


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The Dining Room complex is located at the northern end of the eastern arm of the quadrangle separated from the Chapel by a sunken courtyard. The interior of the Dining Room comprises a similar sunken brick paved floor, focused on a broad brick fireplace spanned by a deep off-form concrete beam. The roof structure is a simpler version of the E A Hunt Hall, comprising roof trusses, from the bottom chord of which radiate a spray of struts supporting inter-mediatory rafters. The Blackwood (Acacia melanoxlyon) refectory style tables and seating benches and the light fittings, designed by the architects, are similar to their previous design for the dining room at Emerald Hill, Leppington. The Kitchen is located adjacent to the Dining Room and opens onto a service courtyard which has direct access to Tocal Road. The student accommodation forms the western side of the main quadrangle, and is flanked by accommodation, further to the West adaptively reused for short term accommodation and visiting groups. The bedrooms are paired and arranged in long rows, accessed from the internal facing colonnades. Each row is linked by cross colonnades so as to enclose a series of intimate courtyards and frame glimpses of the broader landscape of the farm beyond. The design is additive, with potential for additional blocks should they be required in the future. Each row is covered by a simple skillion roof allowing the inclusion of clerestory windows for natural lighting and ventilation, while maintaining privacy. As elsewhere, the brickwork is folded inwards to form deeply recessed openings providing both sun shading and privacy. The Classrooms complex and Administrative offices are located at the southern end of the eastern arm of the quadrangle separated from the entrance vestibule by an intimate courtyard. A separate entrance, a later addition, is marked by a tower form again reminiscent of Aalto's Saynatsalo Town Hall giving direct access to the Classrooms from the entrance driveway.

4.2 social evaluation: The association with the Gringai Clan of the Wonnarua people, with Reynolds who were pioneers in stud cattle and horses and the Alexander family are all important social aspects of the property. Tocal College- C.B. Alexander Campus is held in very high esteem by the architectural profession for its cultural value as a seminal work of architecture that played a significant role in the direction of Australian architectural practice in the latter half of the twentieth century. This is evidenced through numerous publications which demonstrate the high esteem of the profession for example: in the 60th Anniversary issue of the Architecture Bulletin November/December 2004, the building was nominated as the 'Building of the Decade' for the 1960s and the DOCOMOMO survey of modernist buildings included Tocal College in their priority list of 20 buildings. Graduates of the College and the local community also have a special association with the place as evidenced by the popularity of the annual Tocal Field Days.

4.3. cultural and aesthetic evaluation It is important in the course or pattern of the cultural or natural history of NSW. The building is sited on the Tocal estate, one of the oldest colonial pastoral estates in the Hunter River region, and which has played an important role for over 150 years in the development of agriculture in New South Wales. The College has been instrumental in continuing the agricultural tradition of the Tocal estate, extending back to the one of the initial land grants in the region in 1823. Tocal College is historically significant for its association with Tocal Homestead,( itself listed as No. 00147 on the State Heritage Register on 2nd April 1999), and Tocal Farm which is one of the oldest colonial properties in the Hunter Region and played a significant role in the history of agriculture in New South Wales. Tocal College - C.B. Alexander Campus continues to play a


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part in the agricultural history of the state by providing agricultural education. Tocal College - C.B. Alexander Campus represents the historical shift in institutional architecture from one dominated by international modernist trends to one that was more locally based in its ideology. The architecture of Tocal College applies the design characteristics of the Late Twentieth Century Sydney Regional or Sydney School on an institutional scale. Expressive structural use of robust and enduring materials seamlessly integrated within its landscape setting was a ground breaking approach to institutional design. The application of these design principles, previously only domestically applied, was to be influential in the history of Australian architecture. These principles established a new architectural approach which rivalled the prevailing institutional architecture which was based in international modernism. The locally based approach through choice of vernacular materials and forms, (such as the language of the Tocal barn) and the environmentally sensitive response to location is credited with being a truly Australian architecture. The work at Tocal is a unique example of traditional timber milling and crafting techniques dating from early colonial Australia, applied to a large scale educational building, a tradition previously only associated with the rural vernacular tradition. In its rigorous expressive use of timber structure and exploitation of timber for its textural qualities, derived from an appreciation of the rudimentary rural buildings, and the high level of craftsmanship achieved by using traditional tools and methods, the design focused the attention of architects on Australia’s rural homestead architecture as a source of inspiration. Tocal College is an outstanding example of the Sydney School style of architecture as applied on an institutional scale. In 1965 Tocal College received the Royal Australian Institute of Architects (NSW Chapter) highest honour, the Sir John Sulman Medal and also the Blacket Award, and today is held in very high esteem by the architectural profession for its cultural value as a seminal work of architecture that played a significant role in the direction of Australian architectural practice in the latter half of the twentieth century. In 2014, 50 years later, Tocal College received the Australian Institute of Architects (NSW Chapter) Award for Enduring Architecture.

The architects of the College, Philip Cox and Ian McKay, are highly regarded in the architectural profession and the College was an important accomplishment early in their respective careers. The movable collection was designed to complement the design of the College and contributes to its integrity. The tapestry is a significant art work by renowned Australian textile artist Margaret Grafton and is integral to the aesthetic significance of the chapel interior. The commission of the tapestry from the artist Margaret Grafton was the first Australian tapestry to be commissioned by an architect for a site specific project and was instrumental in establishing the incorporation of art works into large scale projects as common practice. The College’s importance in the cultural life of regional NSW, is demonstrated by the popularity of the Tocal Field Days and the number of former students and teachers that retain associations with the College for lengthy periods.

Comparative significance

4.4 canonical status (local, national, international) Tocal College - C.B. Alexander Campus is of State Significance for its association with one of the oldest colonial homesteads in the Hunter River region, the Tocal Homestead which has a pastoral history extending back to the one of the initial land grants in the area in 1823. The College has been instrumental in continuing the agricultural tradition of the Tocal estate, extending back to the one of the initial land


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grants in the region in 1823. The College continues the historical association of Tocal in the development of agriculture in NSW, and its associations with notable figures who played a significant role in the development of European settlement in the Hunter Valley region and in the development of agriculture in NSW. The masterful integration of a contemporary agricultural college and a colonial rural homestead, over a century apart in origin, represents a significant milestone in the development of architecture in Australia in the late twentieth century in the search for architecture of undisputed Australian origin. The successful marriage of the two is achieved through the mirroring of the homestead's hilltop setting and the rediscovery and invigoration of the Australian rural vernacular, epitomized by the Tocal Homestead outbuildings, whilst drawing upon both western and eastern cultural traditions. The design of the College demonstrates an unprecedented appreciation of the Australian rural vernacular in its use of bold simple forms, its rigorous expressive use of timber structure and the exploitation of hand crafted timber for its textural qualities. This appreciation is enriched by references to both western and eastern cultural traditions, acknowledging for the first time, what was common to all traditions, inviting a comparison of Australian woolsheds with the cathedrals of Europe, and loose fit spatial planning of rural homesteads with Japanese retreats. The principles demonstrated in the design of the College epitomize the Late Twentieth Century Sydney Regional style or 'Sydney School' as it became known, including its loose extendable planning, the integration of the built form with the landscape, the application of craftsmanship, the emphasis on clarity of structural expression, the use of locally derived forms and locally sourced materials, and the emphasis on passive climate control. In the application of these principles to a large scale institutional college, it was instrumental in establishing a new approach to rival the prevailing international modernist institutional architecture of its time. The design of the college by Philip Cox and Ian McKay, Architects in Association, is acknowledged as one of the exemplary architectural designs for its period, the architects being awarded the Sir John Sulman Medal for Outstanding Architecture and the Blacket Award for Outstanding Merit for buildings erected in rural NSW in 1965, by the Royal Australian Institute of Architects (NSW Chapter). Together with the St Andrew’s Presbyterian Boys Home, Emerald Hill, Leppington, for which McKay and Cox were awarded the 1963 Sulman Medal two years earlier, the complex has been critically acclaimed nationally as a significant example of late twentieth century architecture demonstrating a high level of creativity in its concept, and a high level of integrity in the execution of the original design concept. Tocal College continues to be held in high esteem, being one of the first 20 buildings to be considered under the modernism theme in Australia in the Docomomo (International working party for documentation and conservation of buildings, sites and neighbourhoods of the modern movement) world survey, in 2000 to 2002. In the 60th Anniversary issue of the Architecture Bulletin (NSW Chapter, RAIA) November/December 2004, the building was nominated as the ‘Building of the Decade’ for the 1960s. In 2014, 50 years later, Tocal College received the Australian Institute of Architects (NSW Chapter) Award for Enduring Architecture. The design and execution of the College was dependent upon skills and knowledge of traditional woodworking methods that are now rare throughout Australia, and upon materials, including indigenous timber species and traditionally fired bricks that are rare in their availability at a cost effective level on the scale utilized at Tocal. The Chapel’s tapestry by Margaret Grafton and the furniture specifically designed for the project by the architects contribute to the significant character of the interiors. The Chapel's tapestry was the first Australian tapestry to be commissioned by an architect for a site specific project and was instrumental in


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establishing the incorporation of art works into large scale projects as common practice. The College’s importance in the cultural life of regional NSW, is demonstrated by the popularity of the Tocal Field Days and the number of former students and teachers that retain associations with the College for lengthy periods.

4.5 historic and reference values: The college was established on land originally part of the colonial Tocal Homestead which is located on a knoll in the Paterson River valley, NSW, the land first granted to James Webber in 1823. Tocal is in the Hunter Valley region of NSW at the junction of the Paterson River and Webbers Creek. The Paterson River valley was once occupied by the Gringgai clan of the Wanaruah (or Wonnarua) Aboriginal people. The diverse ecosystems that were once prevalent in the valley from the rainforest along the river banks to the wetlands, lagoons and surrounding paperbark forests provided an abundance of food, fresh water and materials. The land on which the Tocal Homestead and C B Alexander College is situated was used by the Gringgai clan for many years. Grooves worn into rocks by grinding seeds and plants, indicate Tucal was a popular camp site for the Aboriginal people. ‘Tucal’ is an aboriginal word, and at one stage it was thought to mean ‘ducks-a-plenty’ in the local Aboriginal dialect. However, the weight of recent evidence indicates ‘Tucal’ simply means ‘big’ or ‘plenty’. Aboriginal grinding grooves have been located within the homestead complex at Tocal. In 1801 Colonel William Paterson surveyed the area at the request of Governor King. The first wave of settlers were timber loggers as the alluvial river valley was abundant in red cedar. The Paterson River became known as the ‘Cedar Arm’. The first land grant in the area was made to Captain William Dun in 1821 on land by the river to the south of the town. The river was navigable and the town site was the third to be surveyed in the Hunter Valley and soon became an important river port. Tobacco grains, grapes, wine, citrus fruits and cotton were cultivated in the area. Shipbuilding also commenced with the development of the river trade. Many early settlers were Scots. The land on which the colonial Tocal Homestead and the college are situated was first granted to James Phillips Webber in 1823, a total of 810 hectares. When James Webber moved onto Tocal in March 1822 it was still very much occupied by the Gringai clan. Webber was an enigmatic character, innovative and farsighted man, and explored various types of agriculture that could be supported in the district including establishing vineyards. Tobacco, hops, grapes, beef and dairy cattle, horses and merino sheep were also grown. Under his ownership, the property increased to 3,300 acres by 1828. Webber sold land to Caleb Wilson in 1834, and Caleb’s son, Felix, subsequently acquired it. Felix Wilson engaged Muir to design the homestead and the site selected was on the knoll overlooking the lagoon to the east which was completed in 1845. The homestead was designed in the Georgian Regency style and made of sandstock brick. Charles Reynolds leased the property from Felix in 1844. He has been described as a 'genial man of dignity and intelligence' who was well respected by those associated in the agricultural industry in NSW as a cattle and horse breeder. During the next 82 years, Charles and subsequently, his widow Frances, his son Frank and grandson Darcie managed Tocal, to become one of the most important Hereford, Devon and thoroughbred studs in the country. In this period, the road through the property to Maitland improved, although the river trade began to decline. His son, Frank Reynolds finally managed to purchase Tocal from the Wilson family in 1907. The establishment of the railway in 1911 dislocated the operation of the property.


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In 1926, the Alexander family, Presbyterians, bought Tocal from the Reynolds family continuing the reputation of Tocal for its successful graziers. The family consisted of Isabella, Robert, Jean and Charles Boyd Alexander, all of whom were elderly and unmarried. By 1939 only Charles Boyd remained, and he invited his two nieces, Myrtle and Marguerita Curtis, daughters of his late sister Margaret, to reside with him at Tocal. Charles Boyd Alexander is noted for the introduction of new technologies replacing labour intensive farming operations, moving Tocal in the direction now associated with modern agriculture. Following Charles Boyd’s death in 1947, the terms of his will allowed the two sisters to remain as life tenants until their death just five days apart in 1985, at the ages of 94 and 97 respectively. When Charles Boyd Alexander died in 1947, he left a very large estate and a complex will. His intention was that his substantial estate, comprising not only Tocal but other property and assets, be used to help Protestant orphan and destitute children, for 'their training to fit them for a life on the land’. However, because of the will’s nature, an acceptable proposal for the use of the estate did not come before the Equity Court until 1963. It was due to the efforts of Edward Alan Hunt, MBE, one of the founders of the legal practice Hunt and Hunt, of Sydney and Law Agent for the Presbyterian Church in NSW, that the Equity Court, in 1963, accepted the recommendation of the C B Alexander Trustees that the Presbyterian Church be allowed to use the bequest to establish an Agricultural College in the grounds of Tocal at Paterson in addition to a boy's home at ‘Emerald Hill’, Leppington, north of Camden. By involving Leppington, the Church met the requirement that the bequest be used to help destitute children. Scholarships from Leppington would be offered at Tocal if any of the boys were to show a bent for advanced training in agriculture. On the other hand, the Alexander Estate could underwrite the cost of the home at Leppington and also build an Agricultural College at Tocal. The former would become known as the St Andrew's Boys Home, Emerald Hill, Leppington, NSW, and the latter as the Charles Boyd Alexander Presbyterian Agricultural College. Hunt’s fascination with Tocal that had begun as a child whilst on fishing trips to the Paterson River from his nearby home at Kirkton, near Branxton, was to continue for a life time. In 1962, Philip Sutton Cox graduated from the University of Sydney with honours in architecture, with the award of the Royal Australian Institute of Architect’s Silver Medal, and with already proven experience in the office of Bruce Rickard as well as a practice in New Guinea, with Ted Higgins of Watkins Consolidated, where he designed a number of buildings. Whilst many of his university colleagues travelled overseas to either northern Europe or North America, Cox was content to stay in Australia to work locally. His first post graduate position was with Figgis and Jefferson at 34 Alfred Street, Milson’s Point. It was while working with this firm in 1962 that Cox’s architectural talents were recognised by Edward Alan Hunt who was at the time commencing proceedings in the Equity Court, on behalf of the Presbyterian Church, for the use of the C B Alexander Trust. This eventuated after a visit by Hunt, to the home of Philip’s father, Ron Cox. Philip’s sister, Judith, was married to Edward Alan Hunt’s son, David. Hunt was notably impressed by Philip’s final year design project for an art gallery, and assured Cox that he would be able to offer him a commission in the near future. The confirmation of the commission to Philip Cox from the Presbyterian Church to design the two colleges, Leppington and Tocal, materialised whilst he was still working with Figgis and Jefferson, and the initial intention was that Philip would continue with the project in association with Figgis and Jefferson. An initial sketch design for the 'Emerald Hill' project, which was intended to be a country retreat for 40 adolescent boys who had committed juvenile offences, was completed by Cox in late 1962. The drawings bear the title 'Figgis and Jefferson and Philip Cox, Architects in Association, 36 Alfred Street, Milson’s Point’ (NSW SL PXD 790/398). The buildings are indicated on the elevations more by means of the shadows cast than by line work, a


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style of drawing which Cox retained throughout his early career. However, Cox long realising that there were philosophical differences, parted the association, establishing Philip Cox and Associates and working solitary on the project in the back of a terrace at 68 Blues Point Road, North Sydney, that he and his university friends, Louise Gowing, Philip Atkin, and David Gray, had jointly purchased in 1962, but were obliged to let to cover repayments. Through retained connections with Bruce Rickard, Philip Cox was introduced to Ian McKay and shortly after McKay leased part of the terrace, relocating from the premises he had shared with Bruce Rickard in Phillip Street, Sydney, since 1957. The move was fortuitous. Cox, realising the need for a partner with a greater level of construction experience to make the venture possible, and sharing common architectural interests with McKay, an architect of nearly a decade of experience, the association of the two was inevitable. Both were keenly interested in the Australian landscape and its vernacular buildings, and both admired the architecture of Frank Lloyd Wright, as did many emerging architects in Sydney at the time, for its fundamental principles, celebration of form and structure, textural qualities of natural materials, and the close relationship between the interior of a building and its setting. To these shared interests were added McKay’s fascination with Eastern mysticism and architecture, particularly that of Japan, which was to strengthen over the period of their association. Born 23 September 1934, Ian David McKay grew up on a bush property near Coonabarabran, NSW, the son of a farmer and stock and station agent. His grandfather, Ronald Thomas McKay, was an hydraulic engineer who was involved in the Snowy Mountains scheme and was a strong influence, as McKay recalls, for his innate understanding of mechanics and structure. Ian McKay enrolled in the founding year of architecture at the New South Wales University of Technology, Kensington in 1949, and graduated in 1954. One of his first lecturers was Myles Dunphy, whose knowledge of architectural history and understanding of structure including his ability to draw a large scale cross section of Chartres Cathedral in chalk on the blackboard. As well, Dunphy’s avid interest in conservation, of the Australian landscape, was a lasting source of inspiration to Ian. Following graduation, Ian McKay travelled overseas to Europe and Asia, attending the international architecture congress on urbanism, CIAM X, in Dubrovnik, returning to Sydney in 1956. After establishing his own practice he shared an office, with Bruce Rickard, from 1957 through to 1962. Rickard had graduated in the same year as McKay, but had spent several years abroad undertaking post-graduate studies, including landscape architecture in Pennsylvania, before returning in 1957 having been deeply impressed by the work of Frank Lloyd Wright. Through his interest in Japanese architecture, he became associated with Peter Muller, Bert Read and Adrian Snodgrass. McKay quickly became one of a number of emerging architects working on Sydney’s North Shore. By 1962, in just over five years in practice, McKay’s work displayed both sensitivity to context, flexibility and dynamism in the robust use of natural materials and bold forms that explored the structural and textural properties of materials. Whilst the influence of Frank Lloyd Wright is apparent in his works in this period including several houses, in the fluidity of planning incorporating bushland settings and the use of natural timber offset against robust brickwork to heighten their textural qualities, his work was not as derivative of Wright’s work as was Rickard’s. At the Hill House, Cootamundra, he explored the structural possibilities of preformed plywood, and offset its textural qualities with concrete. His design of the multi-storey experimental vertical shopping block intended solely for women’s retail ‘Lasalle’ at 70 Castlereagh Street, Sydney, for which he received the '10 Best Building Award' in 1961, offset glazed and pressed bronze panels in a curtain wall façade with solid vertical bands of acid etched, precast concrete panels. Work first commenced on the Emerald Hill project. The construction drawings for Emerald Hill are entitled as Ian McKay and Philip Cox, Architects in Association, 68 Blues Point Road, North Sydney and dated January 1963 (NSW SL PXD 790/405-407). The design incorporated a series of pavilions arranged along a colonnade to form a series of courtyard spaces around the nineteenth century rural residence 'Emerald


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Hill' which was to be restored as the warden’s residence. Each of the pavilions utilised low pitched roof forms that reinterpreted forms common in traditional farm buildings particularly skillion roofs that sailed above the lower scale colonnades to provide clerestory skylight. A central bell tower provided a focus to the complex and relieving verticality to the long colonnades and low pitched roofscape, with the advantage that it was climbable. A limited palette of material was maintained throughout. Recycled second hand bricks were laid in enlarged mortar beds of an ochre colour and the joints struck flush to enhance the sense of solidity, and the roof structure comprised exposed rough sawn timbers. It was an intention that the architecture was to be domestic rather than institutional in character, drawing inspiration from the rural residence on the site. Their immediate client for the project was the Reverend Douglas Cole of the Presbyterian Social Services Department. Cole maintained a strong interest in ecclesiastical art and architecture as well as the sociological aspects in the rehabilitation of youths in the court system. Much discussion and effort was therefore centred on architectural solutions that would promote ‘individuality, identity and self-esteem, whilst ensuring that the boys could be part of the college community. It was this aspect of the project that keenly interested McKay, and for which he developed a T-arrangement whereby bedroom accommodation was arranged around courtyards, and each room provided sleeping alcoves for three boys arranged around a common space. McKay and Cox designed much of the furniture including the refectory dining table and chairs, lighting fittings, and signage. The 'Emerald Hill' project was awarded the Sir John Sulman Medal for Outstanding Architecture by the Royal Australian Institute of Architects NSW Chapter, the year of its completion, 1963. Peter Johnson, one of the juror’s, reported in the Sydney Morning Herald as ‘the achievement of architectural values which derived form a deep concern for people who use the building. It fits naturally into the undulating countryside and the simple materials used- here brick and natural timber- show a sincere and unaffected approach to design…its character which is unselfconsciously Australian’. Freeland credited the 1963 award of the Sulman with legitimizing the Sydney School as more than a regional residential style, writing ‘Initiated by a small coterie of Sydney architects, the style was impelled into prominence when the … Sulman was made to the Presbyterian’s Church’s Leppington Boys Home designed by McKay and Cox’. The opportunity to further develop the ideas explored at Emerald Hill on a grander scale followed soon after with the development of the design for the college at Tocal, which was to be designed as a specialist tertiary college for 160 boys and staff on a fully operational farm. The fundamental requirements of the residential college at Tocal were complex and ranged from repetitive sleeping areas to the special use buildings such as a multi-purpose hall, chapel, dining room and kitchen complex for 120 students, residential accommodation for 60 students and associated common room and reading rooms, staff accommodation, classroom accommodation and laboratories, sporting facilities, and outbuildings for piggeries, dairy and poultry, bull pens, barns and stables. An established architect client relationship, a larger scale of project, a more complex brief, and an expansive site incorporating a colonial homestead complex set within a spectacular regional landscape, provided the two architects with greater opportunities than at Emerald Hill to explore an architectural language derived from a response to the unique site. Philip Cox was present at the first meeting of the College Council when the site of the College was chosen in July 1963. Cox describes their first impressions: ‘The site on the crest of the hill overlooking the Paterson Valley was an inspiring one. Tocal is one of the loveliest of settings. It was with excitement and expectation that we wandered around the stone and timber outbuildings; these were some of the best we had ever seen, and were constantly a source for architectural thinking behind Tocal’. The array of stone and timber farm buildings, barns, stables, woolsheds and pens, laid out around the Georgian homestead formed a village environment, suggesting an array of more intimate spaces to discover and framing dramatic views over the valley.


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It was the express wish of the benefactor, Charles Boyd Alexander, that the College be situated somewhere on the spur running parallel to the Tocal Road. The reason for this was that this spur was the least valuable farming land but afforded fine views over the Paterson River and Webber's Creek valleys and consequently over much of the 2,000 hectare property. The site that Cox and McKay initially selected was at the top of this north facing spur. In the initial sketch design (NSWSL PXD 790/455 and PXD 790/482) the college buildings were symmetrically arranged around a traditional enclosed cloistered quadrangle comprising quartered parterres with the chapel forming the fourth side isolating itself from the surrounding farm and the Tocal homestead complex, although the axial relationship with the homestead on the opposing hill was by this time firmly established. The scheme, as it evolved, became far more responsive to its unique setting, drawing greater inspiration from the 'village environment' of the historic homestead complex, and closely integrated with the surrounding landscape. The formal enclosed quadrangle evolved into an open sided quadrangle that embraced the views over the Georgian homestead complex and its encircling lagoon. The location of the college was shifted northwards and lower on the ridge, in order to create a direct visual relationship with the Tocal homestead complex and its meandering lagoons. At the same time, the revised location enabled the incorporation into the quadrangle of a fine copse of existing trees, and was closer to the agricultural facilities, such as the dairy, poultry yards and the piggery located on the eastern side of Tocal Road near the river. The axial relationship with the homestead was retained but relaxed, as indicated on the final Regional Plan (NSW SL PXD 790/467). The evolved scheme was consequently a unique response to its setting and far more dynamic. It also allowed for loose extendable planning along the eastern and western wings, with each of the main functional elements grouped around its own courtyard, echoing the greater quadrangle. The amplification of the village environment of the Tocal homestead complex, the clarity of structural expression and the use of vernacular materials, locally sourced and in a natural state were the fundamental principles for the design of the college. Cox explains: ‘Ian and I were resolved that in building this college we were bound to create a tradition that could last for centuries. Timber, brick and clay tiles were to be the vocabulary. No nonsense, no frills; pure structure. The buildings were to merge with the landscape; a complete marriage’. One of the more important inspirations for the vocabulary of the buildings was to be the barn designed by Edmund Blacket, with its gothic-like tracery of exposed timber structure, that Cox dubbed ’the cathedral of barns’ . Cox later wrote: ‘Most impressive was the uncomplicated way the buildings expressed every piece of structure allowing the anatomy to be clearly legible. There was a dignity here similar to the gothic buildings in Europe where the structural forces within are revealed and traced throughout. These buildings reinforced our belief that the way ahead in architecture was to continue this tradition while employing more recent technologies and developing new forms and strategies’. Throughout the design of the project these first responses and the initial vision were a constant reference point, with the result that the architects achieved a high level of integrity in the execution of the original design concept. Ian McKay and Cox worked seamlessly together throughout the entire project, almost always in agreement on even the most smallest of details and almost always arriving at the same opinion or conclusion for every decision. The only reason that their tasks on the project were divided, was due to time constraints, as the college was planned for the first student intake commencing January 1965. The strength of Cox's relationship with E A Hunt was such that it was more practical for Cox to focus on the main hall, whilst McKay had greater involvement with the chapel. The square plan form of the Chapel reflected the Presbyterian ideals of austerity and simplicity, and limitation of symbolic and ritualistic references. The alter tapestry provides the only biblical reference, depicting a passage from the Old Testament Isaiah. The incorporation of the vertical spire was outside the scope of the brief, but both McKay and Cox considered it a necessary vertical focus to the complex as well as a regional landmark. The inspiration for Cox's design of the hall was the barn of the Tocal Homestead designed by Edmund


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Blacket in 1867. This barn, dubbed by Cox as 'the cathedral of barns' for its tracery of exposed structural timbers, of king post trusses supported by adzed poles and brackets shaped from tree roots, and closely spaced battens supporting the shingled roofing. As with 'Emerald Hill', McKay and Cox designed much more than just the buildings, including furniture such as the Dining Room's refectory tables and chairs, the lectern, the communion table and chairs of the Chapel, the lighting fittings, fixtures, the commemorative plaques, and signage. The practice expanded in reputation and with employees, including Bob Hooper, Alan Ray and Roz Thistleton, and later Andrzej Ceprinski and Andrew Metcalf. Both Cox and McKay acknowledge the work of Ceprinski whose enthusiasm, determination and his immense skill at drawing was an invaluable asset. The intensity and zealousness of the period and the challenges and difficulties entailed in a large scale project that was innovative in Australia, both in terms of its design and its construction. The drawings retained within the NSW State Library Pictures Collections, File Nos PXD 790/449a-551, entitled 'C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, bear the initials of Cox, McKay, Ceprinski and others. Although the set of drawings is incomplete, their finely execution in ink and pencil, and their level of detail, is testament to the level of commitment to resolution of detail, the skill and the care of the architects involved. The architects' working drawings were approved in November, 1963. The contract to build the College was awarded to Gardiner Constructions Pty Ltd of Newcastle in January 1964 and 'the first sod was turned for the start of the work on the main contract on 31st January 1964.McKay and Cox, considered it essential to the design of the college that they exploited the skills and materials locally available, and they maintained at all times a close involvement and oversight of the construction of the college, from the preliminary selection of bricks and trees prior to felling, through to the final detailing of furniture, fixtures, finishes, light fittings, landscaping, hardware and signage . Cox and McKay designed an alphabetic font for the Chapel's commemorative plaque and their staff even wove the leather webbing for the chapel chairs. The inspiration for the bold brick forms of the college were the brick silos and barns of the Tocal homestead. The architects investigated the availability of bricks of a texture and colour approximating the sandstock bricks utilised in the construction of the Victorian buildings in the Paterson valley. The bricks, both for the walls and the paving, were fired in traditional catenary shaped kilns at a number of Maitland brickworks as the capacity of each was limited for such a volume of brick required. Maitland is a town renowned for its clay seams and its historic brickworks, now only one remains. The Baker brickyard at Raworth, East Maitland supplied approximately 1 million bricks, their entire output for 1964. The process produced a high degree of clinkers. Cox recounts the initial dismay of the client in utilising all bricks, including chipped bricks and clinkers traditionally rejected, and the use of thick mortar beds of bush sand with joints struck flush, that emulated the rough masonry of the Tocal farm buildings and achieved a sense of solidity rather than integral units. The stone keystones above every arched brick opening replicate the shape of the keystone above the entrance to the homestead's stone barn constructed in 1830. The roof tiles were initially proposed to be terracotta shingles but the cost was prohibitive and 100,000 Swiss pattern terracotta tiles were finally installed. They were from Newcastle, NSW. The emphasis on timber craftsmanship derived from traditional wood crafting methods utilised in the construction of rudimentary Australian rural buildings, required the sourcing of skills and materials no longer easily acquired on the scale required. Most of the structural timbers were to be hardwoods sourced within the region, Ironbark, Brushbox and Tallowwood. Joinery timbers such as Blackwood for the Chapel chairs and for the Dining Room refectory furniture was sourced locally. The extensive lengths and cross sectional dimensions presented a particular challenge, even at the time. Local people 'bushies' skilled with


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the broadaxe and adze, and carpenters versant with traditional jointing methods were sourced. All timbers were brought to the site directly from felling in the forest, where they were barked, de-sapped and line dressed. Both McKay and Cox recall that the Tallowwood tree for the king pole of the chapel's spire was selected from a forest within the Paterson area by McKay in conjunction with a local miller, the tree felled and brought to the site, where it was barked, roughed squared (or hewn) with a broadaxe and laid on trestles such that the central axis was horizontal. The rough squared trunk was turned every day for several months to ensure even seasoning, so that it its central axis would be straight. McKay recounts that one day it developed a slight bow, and astoundingly, the tree was straightened through releasing the tension on the outer curve of the trunk with a single powerful blow of a broadaxe. After this seasoning process, the trunk was adzed into its final shape. Similarly the adzing of over fifty Brushbox trunks to form the colonnade pillars was also undertaken on site by local woodworkers, as too was the construction of the bolsters, or brackets, supporting the roof of the main hall. Each bolster weighed 1 tonne, and comprised, five pieces of ironbark that were first shaped and dressed with a broadaxe, before being morticed and tenoned together, and finally dressed with an adze. Although technologically the use of traditional methods of construction demonstrates a return to the carpentry and bricklaying of the colonial era of the Tocal homestead, it was an intellectual and emotionally based departure. Roger Pegrum elaborates: 'Joinery details at Tocal celebrate the skills of those who built a century and a half ago without the benefit of electric saws and routers. Rafters sit squarely on beams, which are cut neatly into posts: Struts are halved over purlins; and the beautiful tusk tenon survives in a world just discovering the convenience of punched steel connectors’. Both Cox and McKay explain that the knowledge and skills required to effectively craft timber using traditional tools and methods, and the lengths of timber in the cross sections required, are no longer available. As well, structural statutory codes and standards are less flexible and almost would certainly now prohibit the suspended king pole of the chapel. Norman and Addicoat (now Norman Disney Young) and Taylor, Thomson and Whitting were the consulting mechanical/hydraulic and civil engineers respectively, specialist structural advice for the timber components of the project was provided by Professor F S (Stan) Shaw from the University of New South Wales. The architects undertook most of the structural design themselves, with the final calculations and certification provided by Shaw. This exemplifies the interest of the architects in structure and the role that structural expression played in the spatial design. The design of the chapel spire presented the most challenging of structural problems, the resolution of which required a unique jointing system utilising exposed stainless steel shear connector plates to connect the halved trusses to the king pole. A concrete ring beam was required to take the thrust of the spire, which was greatest at the four corners of the chapel. Cox recalls that the chapel's spire was so structurally unique incorporating a large scale timber structural joint, beyond the scope of calculations, that Shaw was never completely certain that the king pole would withstand being suspended over a void. Prior to any costing being undertaken by a Quantity Surveyor, the architects undertook their own estimations of the first main contract works, in the order of £300,000. Thompson and Wark were the Cost Consultants. Philip Cox advised the commission of Margaret Grafton for the chapel's alter tapestry. Made of hand spun wool dyed with natural dyes, it took 18 months to complete. This was the first Australian tapestry to be commissioned by an architect for a site specific project and was instrumental in establishing the incorporation of art works into large scale projects as common practice. The first stage of the College was completed in time for the first intake of fifteen Foundation students for the first term beginning 26th January 1965. One of these was Malcolm Henderson, who photographically recorded the construction of the college and retains his collection of slides. He taught at the college until retirement.


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On 5th November, 1965 the college was opened by Sir Robert Menzies, then Prime Minister of Australia. Also in 1965, Ian McKay and Philip Cox were awarded the Sir John Sulman Medal for Outstanding Architecture and later in 1965, the Blacket Award, by the Royal Australian Institute of Architects NSW Chapter. In the 60th Anniversary issue of the Architecture Bulletin (NSW Chapter, RAIA, November/December 2004), the building was nominated as the ‘Building of the Decade’ for the 1960s. The College, even during its construction, attracted much interest from the architectural profession. Geoffrey Bawa visited the complex in 1965, remarking that it was 'the only building in Australia that he admired'. However, not all shared similar views. The principles demonstrated, including the application of craftsmanship, the emphasis on clarity of structural expression, the use of locally derived forms and locally sourced materials, passive climate control, and loose extendable planning and the integration of the built form with the landscape, were an anathema to the prevailing modernist, international, institutional architecture of its time. Robin Boyd, an emerging architectural critic, considered the project far too retrospective and nostalgic. The College has been critically acclaimed in numerous written publications by architectural and structural critics, including those by J M Freeland and Jennifer Taylor and continues to be revered as one of the most important late twentieth century works in Australia, being one of the entries in the Docomomo world survey and was one of the first 20 buildings to be considered under the modernism theme in Australia. It is noted as being an exemplary example of a group of buildings referred to in Apperly’s’ Identifying Australian Architecture’ as illustrating late twentieth century Sydney regionalist architecture applied to a large scale non-residential project, as well Freeland in ‘Architecture in Australia’ follows on from his preceding accreditation that the award of the 1963 Sulman Medal to Cox and McKay for the Emerald Hill project impelled the Sydney Style into prominence, further accredits the receipt of both the Sulman and Blacket awards in 1965 to Tocal College, along with the award of the 1964 Sulman Medal to Woolley for the design of Goldstein Hall, as ‘the idiom was established’. Freeland summates the qualities represented as ‘Its underlying qualities were timeless but its appearance was uniquely mid twentieth century. In its development, application and appropriateness it was thoroughly and distinctly Australian…The construction of the buildings, direct, simple and thoughtful, had a crafted quality and was often exposed as a powerful part of the design…. Because it contained much that was Australian generated it seemed to hold a promise that after a century and a quarter Australian architecture might at last be going Australian’. The first Principal was the Reverend Colin Ford, B. Sc. Edward Alan Hunt MBE was the first Chairman of the College Council and remained in that office until the handing over to the state government in 1969, after which he continued his involvement with the college until his death in 1982. In acknowledgement of his contribution, his ashes lie in the college chapel. Hunt's son David, and his wife Judy, Philip Cox's sister, have retained association with Tocal and assist in raising funds for conservation works to the buildings and student scholarships. The Presbyterian Church managed the College until 1970 after which it was transferred on 1st January 1970 to the NSW Department of Agriculture as the C B Alexander Agricultural College, Tocal, after the passing of the C B Alexander Foundation Act in 1969. The extent of the Tocal property has been increased to the current 2,200 hectares through various land purchases since the College commenced, including Athcourt Farm, Glendarra, Bona Vista, Dunnings Hill, Clements Farm and Numeralla. In 1972, the first female students were admitted. Tocal is now operated by the NSW Department of Primary Industries. The Tocal Field Days are regarded as the Hunter Valley's premier agricultural event as well as being a popular regional social attraction. The practice of Ian McKay and Philip Cox, Architects in Association, remained in the small terrace at 68 Blues Point Road, North Sydney until its dissolution in 1967. Other projects completed for the Presbyterian Church including Blacktown Church in 1963 (now Blacktown Catholic Church). Its remarkable simple and


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symmetrical form employed a high exposed truss. Other projects complete during their association included a house at 243A Whale Beach Road Whale Beach, the David and Judy Hunt House at Killara, Avalon Shopping Centre Avalon and Yarrawarra Boys Home at Kurri Kurri, which is now the Kurri campus of the Hunter Institute of Technology (TAFE). The disagreements about the design of the house for Russell Slade at 3 Pindari Place, Bayview exemplified their diverging architectural interests. McKay was becoming more interested in an organic expression based on a deeper environmental sensitivity, whilst Cox was becoming more interested in structural expressionism and technological innovation. After the dissolution of their association Ian McKay relocated his professional offices to 7 Ridge Street, North Sydney forming Ian McKay and Partners. In 1968 Manilla Presbyterian Church near Tamworth, was completed. Here plywood was exploited for its structural capacity as a shear skin in the elements of the roof design, and left in its natural finish and continuing upon his earlier work at Cootamundra in the early 1960s. Between 1969 and 1975, he designed various civic projects throughout New South Wales followed by the Swinger Hill Housing scheme, Stages 1 and 2, for the National Capital Development Commission (NCDC) on a 63 acre site located in the suburb of Phillip, near Woden Town Centre. The scheme was one of the first developments of its kind in Australia designed as a prototype to test medium density design principles and as a demonstration project for private developers, who would later complete the development. It achieved medium density housing in a way that gained wide public acceptance, contrary to general housing expectations at the time, and is regarded by the architectural profession as being important as a social and historical landmark and being an innovative design solution. Ian McKay was awarded the Royal Australian Institute of Architects Canberra Medallion for the project in 1970 and later in 1977, the C. S. Daley Medal. In 1972, he completed the David Moore house, a dramatic extension to a large rock promontory, at Pretty Beach, Lobster Bay near Gosford. In 1975, Ian McKay resigned as director of Ian McKay and Partners moving his practise to northern NSW. At Byron Bay, his Beach Hotel and apartments have transformed the main beach front. McKay has published a minimal amount of his work throughout his career, and retains limited drawings or photographs of his buildings. During the next 10 years after dissolving the association with McKay, Cox undertook further study, graduating from the University of Sydney in 1972 with a Diploma in Town and Country Planning and concentrated on residential and educational projects, some of which have won major awards. He was awarded the NSW Board of Architects Travelling Scholarship which he did not take up. He was awarded the ACI-St Regis Travelling Scholarship, in 1971 and travelled globally for 3 months in 1972 looking at small architectural practices throughout the world. He formed Philip Cox, Storey and Associates in the 1970s and later, Philip Cox Richardson Taylor and Partners Pty Limited. During this period he also developed an acclaimed expertise in the conservation of historic buildings and through his books that focused attention on rural and historic Australian architecture, was an influential exponent for the preservation of Australia's architectural heritage. Such books included Rude Timber Buildings in Australia co-authored with J M Freeland, Building Norfolk Island, The Australian Homestead, Historic Towns of Australia, and Australian Colonial Architecture co-authored with Clive Lucas, all in conjunction with Wesley Stacey, Restoring Old Australian Houses and Buildings: an architectural guide, with Howard Tanner, Peter Bridges and James Broadbent, and with David Moore, the Australian Functional Tradition. In the 1984 AS Hook address, which Cox gave after winning the RAIA Gold Medal, he remarked that 'the architecture which demonstrates a unique Australian language and the best response yet to the Australian environment is the homestead. The Australian homestead was the first building type to unfetter itself and respond to new living conditions and the new landscape, the Australian sunlight and a new society.' In 1979, Cox was commissioned to commence work on the conservation of the historic Tocal buildings. His strong interest in the Australian functional tradition of rural buildings, and the expression of structure, culminated in Cox's mid-career works with the innovative use of tensile steel cable technology. The first


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use of a long span masted tension structural system was in the National Athletics Stadium at Bruce, in 1977, the National Capital Development Commission (NCDC), followed by the adjacent Australian Institute of Sport (AIS) Arena which used one of the most original and innovative roof systems ever seen in Australia when completed in 1981. Cox’s five 1988 Bicentennial projects including the National Tennis Centre, Melbourne, the Sydney Football Stadium, the Sydney Exhibition Centre, the Sydney Aquarium, and the National Maritime Museum, gave Cox opportunity to experiment further with large span structures and afforded the firm international publicity. In turn, they have had tremendous influence internationally. A decade later Cox again received international focus for his projects for the 2000 Sydney Olympics and the relocation of the Sydney Showgrounds that was part of the same redevelopment. These included the Olympic site master plan, the Sydney Superdome and the Royal Agricultural Society Pavilions and Showground. He is a Professor of Architecture at the University of NSW and in 2000 received an Honorary Doctorate of Science from that University. Since the Bicentennial projects, the firm has been reformed with different directors and renamed a number of times and grown to become the Cox Group with around 400 staff. Cox’s work appears throughout Australia also in South-East Asia, China, the Middle East, South Africa and Europe, and its contribution to Australian architecture has been widely recognised nationally and internationally. Professor Philip Cox AO B. Arch (Hon 1), Dip T and CP, University of Sydney, LFRAIA, Hon FAIA, FAHA, MRAPI, has built an astonishing number of major projects and has won over 66 RAIA awards since winning with McKay's his first RAIA Sulman Award in 1963, including two further Sulman Awards and two Wilkinson awards. He has received numerous awards in recognition of his contribution to architecture, including the RAIA Gold Medal in 1984, Life Fellowship of the RAIA in 1987, the Honorary Fellowship of the American Institute of Architects in the same year and the Sir Zelman Cowen Award for Public Buildings for Yulara Tourist Resort in 1985. In 1988 he was awarded the Order of Australia for services to architecture. In 1993 he received the inaugural award for Sport and Architecture from the International Olympic Committee, and was elected a Fellow of the Royal College of Humanities. He is the author of fifteen publications on the history of Australia’s towns, housing and architecture. He has been actively involved as a Past Chairman of the RAIA NSW Chapter Historic Buildings Committee, Past Vice President RAIA NSW Chapter Environment Board, Past Chairman of the RAIA National Education Committee, Councillor NSW Chapter of the Royal Australian Institute of Architects and Past Member of the Historic Buildings Committee of the National Trust of Australia (NSW). He was Vice Chairman of the Architecture and Design Panel of the Visual Arts Board of the Australia Council and Vice President of the Cancer Patients Assistance Society of NSW and Chairman of their Management Committee. 5. Documentation 5.1 archives/written records/correspondence etc. (state location/ address):

Conservation Plan prepared? Yes, 2nd draft of Conservation Management Plan, Volumes 1, 2, 3, prepared by Eric Martin and Associates, submitted to the NSW Heritage Office 9th October 2013, still awaiting the outcome (July 2014).


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Listing & files NSW State Heritage Register Database listing No 01908, excludes the moveable collection.

Listing & Files National Trust (NSW) Tocal Homestead and outbuildings only No. R4729. Tocal College is not listed.

Listing & Files Docomomo Australia On National Register

NSW State Library Pictures Collections, File No PXD 790/449a - 551

‘Cox Richardson Architects and Planners: selected works, 1967 – 1979; Architectural and Technical Drawings’, Tocal, Charles Boyd Agricultural College, Paterson, for Presbyterian Church of Australia, New South Wales, 1967 – 78.

Listing & files of the Australian Institute of Architects Nationally Significant 20th Century Architecture

On National Register

Listing & Files of the Australian Institute of Architects Register of Significant 20th Century Architecture (NSW Chapter)

On NSW Chapter Register (number 4700063)

5.2 principal publications (in chronological order): Brochure I McKay and P Cox ‘The Alexander

Presbyterian Agricultural College at Tocal Paterson New South Wales, Ian McKay and Philip Cox, Architects in Association, N.S.W.’

1964 I McKay and P Cox, Sydney, Australia

Prospect-us

The C B Alexander Presbyterian Agricultural College

‘Tocal Interim Prospectus’ 1964 Tocal College Council, Sydney, Australia

Article Ian McKay ‘Sulman Award (1965)’ RAIA NSW Chapter Architecture Bulletin, vol. 23 (1966), no.7, p.1

1966 RAIA NSW Chapter

Article Ian McKay ‘Blacket Award (1965)’ RAIA NSW Chapter Architecture Bulletin, vol. 23 (1966), no.12, p.2



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Notice Ian McKay and Philip Cox

‘Dissolution of Associateship’ RAIA NSW Chapter Architecture Bulletin, vol. 25 (1968), no. 2, p.2


Book J M Freeland ‘Architecture in Australia, A History’

1968 Penguin Books, Melbourne, Australia

Book Harry Sowden ‘Towards an Australian Architecture’

1968 Lund Humphris, London, United Kingdom

Book Edward A Hunt ‘The Tocal Story - How an Agricultural College was born in the Hunter Valley, New South Wales, Australia’

1972 Erik Jorgensen Pty Ltd, Australia

Book & Exhibition Sydney, NSW

RAIA Editorial Committee: John Dean, Bob Sinclair, Peter Williams, Greg Missingham

‘Australian Architects: Philip Cox’

1984 Royal Australian Institute of Architects Education Division, Mugga Way, ACT, pp 23 -24

Book Judy White ‘Tocal – The Changing Moods of a Rural Estate’

1986 The Seven Press, Scone, Australia

Book Book Book Book Book Book Book

Philip Cox, Judy Vulker, Roger Pegrum Jennifer Taylor Jennifer Towndrow Edited by Stephen Dobney Andrew Metcalf Cameron Archer and David Brouwer Philip Cox and Renée Otmar

‘Australian Architects: Philip Cox, Richardson and Taylor’ ‘Australian Architecture Since 1960’ ‘Philip Cox Portrait of an Australian Architect’ ‘The Master Architect Series: Cox Architects: selected and current works’ ‘Architecture in Transition; The Sulman Awards 1932 -1996’ ‘The Development of the Tocal Campus Buildings’ ‘Cox Architects’

1988 1990 1991 1994 1997 1998 2000

Royal Australian Institute of Architects Education Division, Manuka, ACT Royal Australian Institute of Architects, Sydney, Australia pp 43 - 44 Viking, Victoria, Australia Images Publishing Group, Victoria, Australia pp 146 - 149 Historic Houses Trust of New South Wales C B Alexander Foundation, Paterson, NSW Images Publishing Group, Victoria, Australia p 52


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Book Book Book Book Book Book

Editors; Dennis Sharp & Catherine Cooke Jo Hathway Philip Cox, Stuart Harrison, Sandra Kaji O’Grady, Anna Johnson David Brouwer Philip Goad and Julie Willis Editor: Laura Wise

‘The Modern Movement in Architecture / Selections from the DOCOMOMO Registers’ ‘Guide to Tocal’ ‘Cox Architects and Planners 1960 - 2010’ ‘Tocal College its development and history’ ‘The Encyclopaedia of Australian Architecture’ ‘2014 NSW Architecture Awards’

2000 2003 2008 2011 2012 2014

010 Publishers, Rotterdam, The Netherlands p 30 NSW Agriculture, Alexander Agricultural College, Paterson, Australia Images Publishing Group, Victoria, Australia p122 -126 C B Alexander Foundation and Department of Primary Industries Cambridge University Press, Melbourne, Australia Australian Institute of Architects NSW Chapter Architecture Bulletin, Sydney, Australia pp 50 - 51

5.3 visual material (state location/ address)

original visual records/photographs/others: 1965/1966 photographs/maps, see Images 1, 3, 6, 10, 30,34, 36-39, 41-49

Original drawings See Images 11 to 29

recent photographs and survey drawings: See Images 2, 4, 5, 7-9, 31-33, 35, 40, 50-54.

film/video/other sources: Film ‘The Building of Tocal’, 1965, directed by John Kingsford Smith.

website www.tocal.com


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5.4 List of documents included in supplementary dossier The following description of SECTION E. CRITERIA is drawn from the SHR Nomination prepared by the RAIA NSW Chapter in 2013. Assessment under Heritage Council criteria of state significance Criteria A. It is important in the course or pattern of the cultural or natural history of NSW. The building is sited on the Tocal estate, one of the oldest colonial pastoral estates in the Hunter River region, and which has played an important role for over 150 years in the development of agriculture in New South Wales. The College has been instrumental in continuing the agricultural tradition of the Tocal estate, extending back to the one of the initial land grants in the region in 1823. The commission of the tapestry from the artist Margaret Grafton was the first Australian tapestry to be commissioned by an architect for a site specific project and was instrumental in establishing the incorporation of art works into large scale projects as common practice. The work at Tocal is a unique example of traditional timber milling and crafting techniques dating from early colonial Australia, applied to a large scale educational building, a tradition previously only associated with the rural vernacular tradition. In its rigorous expressive use of timber structure and exploitation of timber for its textural qualities, derived from an appreciation of the rudimentary rural buildings, and the high level of craftsmanship achieved by using traditional tools and methods, the design focused the attention of architects on Australia’s rural homestead architecture as a source of inspiration. Criteria B. It has a strong or special association with the life or works of a person, or group of persons of importance in the cultural or natural history of NSW The College is of significance being associated with one of the oldest colonial homesteads in the Hunter River region, the Tocal Homestead which has a pastoral history extending back to one of the initial land grants in the area in 1823. The College continues the historical association of Tocal in the development of agriculture in NSW, established initially by James Webber, and consolidated in the later nineteenth century by the work of Charles and Frank Reynolds in developing the cattle breeding and thoroughbred industries in NSW, and revitalised by Charles Boyd Alexander in the introduction of new technologies replacing labour intensive farming operations. The College is associated with Charles Boyd Alexander, a Presbyterian, who is noted for the introduction of twentieth century mechanised farming practises to Tocal, and who bequeathed Tocal and other property and assets to be used for the training of Protestant children for agricultural careers. The development of the college is associated with the Edward Alan Hunt, MBE, twice Mayor of Parramatta, one of the founders of the law firm, Hunt and Hunt, and Law Agent (the honorary solicitor) for the Presbyterian Church in New South Wales. The College is of significance as an important work in the career of one of the most eminent Australian architects, Philip Cox, who played a significant role in Australia’s cultural history and the establishment of the notable architectural firm, the Cox Group which is recognised nationally & internationally for its innovative work. The College marks the commencement of Cox's extensive architectural career.


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The College is of significance as an important work in the career of Ian McKay, confirming his reputation for acute environmental sensitivity and his flexibility and inventiveness in design. The design of the College provided an opportunity to synthesize the influences of Frank Lloyd Wright and traditional Japanese architecture evident in his earlier works to create a highly successful vigorous large scale work. The College marks an increased interest in larger scale community and civic projects undertaken throughout NSW and the ACT, including the medium density Swinger Housing project for which he was awarded the Royal Australian Institute of Architects Canberra Medallion in 1970 as well as the C S Daley Medal in 1977. The College has associations with the St Andrew's Boys Home, Emerald Hill, Leppington, NSW, being the second major joint commission for Cox and McKay, Architects in Association, following immediately upon the design of St Andrew’s, for which McKay and Cox were awarded the Sir John Sulman Medal two years earlier in 1963 and that established their design reputation for environmental sensitivity and the inventive use of materials. The College has associations with Margaret Grafton, a renowned textile artist, with Gardiner Constructions, a reputable and long standing building contractor, with Professor F S (Stan) Shaw, who was a notable expert in timber structural engineering at the University of New South Wales, and prominent engineering firms, Norman and Addicoat (now Norman Disney Young) and Taylor, Thomson and Whitting and cost consultants Thompson and Wark. The opening of the College by Sir Robert Menzies, then Prime Minister of Australia, demonstrates the level of regard in which the establishment of the College was held. The College is associated with the timber industry in the Dungog, Shroud and Gloucester regions, being an exemplar of the expressive textural qualities and structural properties of timber, most of which was sourced from forests in these regions. Criteria C. It is important in demonstrating aesthetic characteristics and/or a high degree of creative or technical achievement in NSW. The C B Alexander Agricultural College is of state significance for its masterful integration of a contemporary agricultural college and a colonial rural homestead, over a century apart in origin, represents a significant milestone in the development of architecture in Australia in the late twentieth century in the search for architecture of undisputed Australian origin. The successful marriage of the two is achieved through the mirroring of the homestead's hilltop setting and the rediscovery and invigoration of the Australian rural vernacular, epitomized by the Tocal Homestead outbuildings, whilst drawing upon both western and eastern cultural traditions. The design of the college demonstrates an unprecedented appreciation of the Australian rural vernacular in its use of bold simple forms, its rigorous expressive use of timber structure and the exploitation of hand crafted timber for its textural qualities. This appreciation is enriched by references to both western and eastern cultural traditions, sometimes indirectly through the influences of Alvar Aalto and Frank Lloyd Wright respectively. It acknowledges for the first time, what was common to all traditions, inviting a comparison of Australian woolsheds with the cathedrals of Europe, and loose fit spatial planning of rural homesteads with Japanese retreats. In its spatial organisation of buildings around colonnaded courtyards, European monastic traditions are tempered by the loose fit, extendable nature of both Japanese retreats and Australian colonial homesteads, to achieve a unique campus setting that is seamlessly integrated with the broader landscape and entirely appropriate to the function of an agricultural college. Whilst the emphasis on structural expression to render space is reminiscent of traditional Japanese architecture and gothic Europe, the work at Tocal was the first major exploration of structural expressionism incorporating an inventive use of locally


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sourced materials and a high level of craftsmanship derived from local rural traditions previously only associated with the rural vernacular tradition. The principles demonstrated in the design of the College epitomize the Late Twentieth Century Sydney Regional style or 'Sydney School' as it became known, including its loose extendable planning, the integration of the built form with the landscape, the application of craftsmanship, the emphasis on clarity of structural expression, the use of locally derived forms and locally sourced materials, and the emphasis on passive climate control. In the application of these principles to a large scale institutional college, it was instrumental in establishing a new approach to rival the prevailing international modernist institutional architecture of its time. The design of the College by Philip Cox and Ian McKay, Architects in Association, is acknowledged as one of the exemplary architectural designs for its period, the architects being awarded both the Sir John Sulman Medal for Outstanding Architecture and the Blacket Award by the Royal Australian Institute of Architects (NSW Chapter) in 1965. Together with the St Andrew’s Presbyterian Boys Home, Emerald Hill, Leppington, for which McKay and Cox were awarded the Sulman Medal two years earlier, the complex has been critically acclaimed nationally as a significant example of late twentieth century architecture demonstrating a high level of creativity in its concept, and a high level of integrity in the execution of the original design concept. The Chapel's tapestry was the first Australian tapestry to be commissioned by an architect for a site specific project and was instrumental in establishing the incorporation of art works into large scale projects as common practise. The College retains a high degree of intactness, including the furniture specifically designed for the project by the architects, such as the Chapel chairs, alter, communion table, lectern, the Dining Room refectory tables and benches, light fittings, door hardware, and signage throughout the building. . The vision for the buildings to acquire a natural patina with age and merge with the landscape has been realized and respected, ferns grow in the bush sand mortar, lichens have coated the roof in a soft verdigris colour, and the bricks have become speckled with moss and lichen. Criteria D. It has strong or special association with a particular community or cultural group in NSW for social, cultural or spiritual reasons. The award of the Sulman Medal in 1965, and the numerous publications in which the College is unequivocally revered as a milestone in the development of a uniquely Australian architecture in the late twentieth century architecture, is a testament to the esteem held by the architectural profession at a national level. In the 60th Anniversary issue of the NSW Chapter RAIA Architecture Bulletin November/December 2004, the building was nominated as the ‘Building of the Decade’ for the 1960s. The College received the Award for Enduring Architecture from the NSW Chapter, Australian Institute of Architects in 2014, 50 years later. The College was one of the first 20 buildings to be considered under the modernism theme in Australia in the Docomomo (International working party for documentation and conservation of buildings, sites and neighbourhoods of the modern movement) world survey, in 2000 to 2002. It was published in The Modern Movement in Architecture I Selections from the Docomomo Registers, in 2000. The unique aesthetic qualities of Tocal are recognised, not only by architects, but also by a broad community of regional


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landholders and residents, as evidenced by the popularity of the Tocal Field Days and the number of former students and teachers that retain associations with the College for lengthy periods. Both Cox and McKay were highly regarded by their client, the Presbyterian Church and the C B Alexander Foundation, as evidenced by the continued commissions for further campus buildings at Tocal, for the first stage of major conservation works to the Tocal Homestead buildings, for Blacktown and Manilla Presbyterian Churches, as well as the commission to design a house for David and Judy Hunt, EA Hunt’s son at Killara, NSW. Criteria E. It has potential to yield information that will contribute to an understanding of the cultural or natural history of NSW. Tocal College demonstrates the unique qualities of Australian timber species, particularly those of the Hunter Valley region. The timber structures of the College buildings utilise lengths of local timber species in cross sectional dimensions, the availability of which is now highly limited due to the vastly diminished distribution of the state's wet sclerophyll forests and temperate rainforests. The timber craftsmanship demonstrated in the timber structure of the campus buildings, are dependent upon skills and knowledge of traditional woodworking methods that are now rare throughout Australia. The skill involved in the appropriate selection of trees for felling, in the preparation of the timber using only traditional hand tools such as the broadaxe, the adze, and morticing axe; tools that date from the technology developed in mediaeval times, and the knowledge of timber jointing methods, have become increasingly rare. The brickwork structures at the College demonstrate traditional firing methods in catenary shaped kilns from a number of local historic brickworks. The region was once noted for its historic brickworks that developed because of the clay seams, of which only one survives as operational. The brickwork construction, particularly the battered walls, and buttresses of the Chapel, demonstrates a level of traditional brick craftsmanship that is now rare. Criteria F. It possesses uncommon, rare or endangered aspects of the cultural or natural history of NSW. The College remains one of the best and complete examples of the ‘Sydney School’, a design philosophy of the 1960s which promoted use of natural materials and an approach to use traditional materials in a creative way. It is one of the largest complexes of this Sydney Regional style and a rare non-domestic example. The design and execution of the College was dependent upon materials and skills that are no longer available and rare at a cost effective level on the scale required. The knowledge and skills required to effectively craft timber using traditional tools and methods, and the timber species, locally sourced, in the lengths in the cross sections required, are now rarely available. The traditionally fired bricks utilised in the brick structures of the College are no longer available and rare at a cost effective level on the scale required. Criteria G. It is important in demonstrating the principal characteristics of a class of cultural or natural places/ environments in NSW. The College buildings are excellent examples of late Twentieth Century Sydney Regional style or 'Sydney School' referred to in Apperley's 'Identifying Australian Architecture', applied to a large scale non-residential building. The principles commonly demonstrated, including the application of craftsmanship, the emphasis on clarity of structural expression, the use of locally derived forms and locally sourced materials, passive climate control, and loose extendable planning and the integration of the built form with the landscape, were an anathema to the prevailing modernist, international, institutional architecture of its time.


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6. Additional photographs, maps or other images See Images 10 to 54 hereunder.

IMAGE 10 Subject of image: Aerial view of the College on completion in 1965 Date of image: 1965 Photographer: Not known Copyright holder: NSW Department of Primary Industries


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IMAGE 11 Subject of image: Regional Plan of the C B Alexander Agricultural College on the left hand side view, and the Tocal Homestead on the right hand side view, no date or author. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/467, The drawing is also printed in ‘The Alexander Presbyterian Agricultural College at Tocal Paterson New South Wales’, Ian McKay and Philip Cox, architects in association, published by I. McKay and P. Cox, 1964. Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by Margaret Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 12 Subject of image: Roof plan, C B Alexander Agricultural College, Tocal, no date or author. ‘The Alexander Presbyterian Agricultural College at Tocal Paterson New South Wales’, Ian McKay and Philip Cox, architects in association, published by I. McKay and P. Cox, 1964. Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by Margaret Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 13 Subject of image: Ground floor plan, C B Alexander Agricultural College, Tocal, no date or author. ‘The Alexander Presbyterian Agricultural College at Tocal Paterson New South Wales’, Ian McKay and Philip Cox, architects in association, published by I. McKay and P. Cox, 1964. Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by Margaret Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 14 Subject of image: Ground floor plan, E A Hunt Hall, Entrance Hall, Office and Tocal Court, C B Alexander Agricultural College, Tocal, drawn by Ian McKay, no date, in ink and pencil, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/510. Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by M Desgrand Copyright holder: Philip S Cox and Ian D McKay,


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IMAGE 15 Subject of image: Detail sections and plans of the Chapel, C B Alexander Agricultural College, Tocal, dated 20 May, 1964, no author, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners:

selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/487.

Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by M Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 16 Subject of image: Sections, College Dining Room, C B Alexander Agricultural College, Tocal, dated January, 1963, drawn by A B S, in ink and pencil, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners:


Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by Margaret Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 17 Subject of image: Fireplace details, College Dining Room, C B Alexander Agricultural College, Tocal, dated June 1964, drawn by Philip Cox (P S C), in ink and pencil, on tracing paper.

C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/449a-551.



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IMAGE 18 Subject of image: Section of Ablutions, C B Alexander Agricultural College, Tocal, dated March 1964, drawn by Philip Cox (P S C), in ink and pencil, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/507. Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by Margaret Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 19 Subject of image: Axonometric detail of Student Accommodation, C B Alexander Agricultural

College, Tocal, no date or author, in ink and pencil, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State

Library Pictures Collections, File No PXD 790/449a-551. Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by Margaret Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 20 Subject of image: Detail sections, plan and elevation of Student Accommodation, C B Alexander Agricultural College, Tocal, dated February, 1964, drawn by Ian McKay, in ink and pencil, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/449a-551. Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by Margaret Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 21 Subject of image: Purlin detail, College Dining Room, C B Alexander Agricultural College, Tocal,

dated August 1964, drawn by A R (possibly Alan Ray), in pencil, on detail paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/539.



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IMAGE 22 Subject of image: Section of the Symposium Room, C B Alexander Agricultural College, Tocal, dated March, 1964, drawn by Ian McKay, in ink and pencil, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/503. Date of image: Drawing photographed November, 2012 Photographer: Drawing photographed by Margaret Desgrand Copyright holder: Philip S Cox and Ian D McKay


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IMAGE 23 Subject of image: Dairy sections and details, C B Alexander Agricultural College, Tocal, dated February, 1964, in ink and pencil, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners:

selected works, 1967-1979, Architectural and Technical drawings’, NSW State Library Pictures Collections, File No PXD 790/no sheet reference.



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IMAGE 24 Subject of image: Details of the Chapel’s pulpit, lectern and communion, C B Alexander Agricultural College, Tocal, dated August, 1965, drawn by Ian McKay, in ink and pencil, on tracing paper.

C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/516.



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IMAGE 25 Subject of image: Details of the bronze lights for the Entrance Hall, C B Alexander Agricultural College, Tocal, dated March 1965, drawn by M W, in ink and pencil.




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IMAGE 26 Subject of image: Details of the timber downlights for the E A Hunt Hall, C B Alexander Agricultural College, Tocal, dated August, 1965, drawn by Ian McKay, in pencil, on tracing

paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/no sheet reference.



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IMAGE 27 Subject of image: Detail of the Chapel’s commemorative tablet, C B Alexander Agricultural College, Tocal, no date or author.

C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners: selected works, 1967-1979, Architectural and Technical Drawings’, NSW State Library Pictures Collections, File No PXD 790/no sheet reference.



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IMAGE 28 Subject of image: Initial conceptual regional plan of the C B Alexander Agricultural College and the Tocal Homestead, no date or author, in ink, on tracing paper. C B Alexander Agricultural College, Tocal, Cox Richardson Architects & Planners:




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IMAGE 29 Subject of image: Initial conceptual plan of the C B Alexander Agricultural College and the Tocal Homestead, no date or author, in ink, on tracing paper.




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IMAGE 30 IN 1965 IMAGE 31 IN 2014 Subject of image: C B Alexander College: Subject of image: C B Alexander College:

The king post inside the The king post inside the steeple of the Chapel steeple of the Chapel

Date of image: 1965 Date of image: 2014 Photographer: Max Dupain Photographer: Maja Brkic Copyright holder: Australian Institute of Copyright holder: Maja Brkic

Architects (NSW Chapter)


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IMAGE 32 Subject of image: C B Alexander College: The king post inside the steeple of the Chapel Date of image: Not Known Photographer: Patrick Bingham-Hall Copyright holder: Patrick Bingham-Hall


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IMAGE 33 Subject of image: C B Alexander College: Interior view of the Chapel towards the communion table and Margaret Grafton tapestry Date of image: 18 August 2012 Photographer: Richard Desgrand Copyright holder: Richard Desgrand


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IMAGE 34 IN 1965 Subject of image: C B Alexander College: The interior of the Dining Hall Date of image: 1965 Photographer: Max Dupain Copyright holder: Australian Institute of Architects (NSW Chapter)


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IMAGE 35 IN 2012 Subject of image: C B Alexander College: The interior of the Dining Hall Date of image: 18 August 2012 Photographer: Richard Desgrand Copyright holder: Richard Desgrand


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IMAGE 36 Subject of image: C B Alexander College: Interior view of the Common Room Date of image: 1965 Photographer: Max Dupain Copyright holder: Australian Institute of Architects (NSW Chapter)


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IMAGE 37 Subject of image: C B Alexander College: Interior view of the Common Room Date of image: 1965 Photographer: Max Dupain Copyright holder: Australian Institute of Architects (NSW Chapter)


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IMAGE 38 Subject of image: C B Alexander College: The mezzanine overlooking the Common Room Date of image: 1965 Photographer: Max Dupain Copyright holder: Australian Institute of Architects (NSW Chapter)


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IMAGE 39 Subject of image: C B Alexander College: E A Hunt Hall under construction Date of image: March, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 40 IN 2012 Subject of image: C B Alexander College: Bracket, interior of E A Hunt Hall Date of image: 29 November 2012 Photographer: Margaret Desgrand Copyright holder: Margaret Desgrand


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IMAGE 41 Subject of image: C B Alexander College: View from the sunken courtyard to the East of the Chapel through the colonnade to Tocal Court. Date of image: May, 1966 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 42 Subject of image: C B Alexander College: Chapel under construction. The E A Hunt is in the

foreground Date of image: March, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 43 Subject of image: C B Alexander College: Erection of intercepting trusses of the Chapel clerestory Date of image: March, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 44 Subject of image: C B Alexander College: Chapel spire under construction Date of image: September, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 45 Subject of image: C B Alexander College: Chapel spire under construction Date of image: September, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 46 Subject of image: C B Alexander College: The timber structure of the Chapel spire Date of image: November, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 47 Subject of image: C B Alexander College: Ian McKay climbing the scaffold around the Chapel spire Date of image: November, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 48 Subject of image: C B Alexander College: Chapel Cross being erected Date of image: November, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 49 Subject of image: C B Alexander College: Chapel clerestory roof framing and timber ceilings under construction after removal of scaffolding from spire Date of image: November, 1965 Photographer: Malcolm Henderson, foundation student Copyright holder: Malcolm Henderson


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IMAGE 50 Subject of image: Aerial view of the C B Alexander Agricultural College Date of image: 2011 Photographer: NSW Land and Property Copyright holder: NSW Land and Property


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IMAGE 51 IN 2012 Subject of image: View from the northern edge of the C B Alexander College quadrangle looking

north to the Historic Tocal Homestead complex Date of image: 18 August 2012 Photographer: Margaret Desgrand Copyright holder: Margaret Desgrand


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IMAGE 52 IN 2014 Subject of image: Historic Tocal Homestead designed and built by William Moir in 1841 Date of image: 5 April 2014 Photographer: Noni Boyd Copyright holder: Noni Boyd


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IMAGE 53 IN 2012 Subject of image: Tocal Homestead: The interior of the barn, designed by Edmund Blacket in1867. Date of image: 18 August 2012 Photographer: Richard Desgrand Copyright holder: Richard Desgrand


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IMAGE 54 Subject of image: Tocal Homestead: Detail of column beam joint in the interior of the barn, designed

by Edmund Blacket in1867. Date of image: 18 August 2012 Photographer: Richard Desgrand Copyright holder: Richard Desgrand


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Fiche report

name of reporter: Louise Cox

Information provided by Based on information provided from the Australian Institute of Architects SHR submission to the NSW Heritage Office, from the NSW Heritage Office information and State Heritage Register Listing, from the information from documents listed in the principle publications consulted in Item 5.2 above.

address 70A Blues Point Road, North Sydney, NSW, 2060, Australia

telephone: +61 414 992 967

fax Not applicable

e-mail: [email protected]

date of report July 2014

examination by DOCOMOMO national/regional section

approval by wp co-ordinator/registers correspondent (name): Scott Robertson

sign and date: 29 July 2014

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examination by DOCOMOMO ISC/R name of ISC member in charge of the evaluation:

comment(s):

sign and date: ISC/R approval: date:

wp/ref. no.:

NAI ref. no.:

docomomo aust full fiche tocal college cb alexander ......2.1 chronology commission concept: the...

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