former Mareeba Uniting Church - Queensland

IVAN McDONALD ARCHITECTS PTY LTD ABN 43 108 020 284

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210309-1.1-210422 22 April 2021 Chief Executive Heritage Department of Environment and Science GPO Box 2454 BRISBANE QLD 4001 Attention: Nicole Mulholland Dear Nicole, RE: HERITAGE SUBMISSION IN RELATION TO NOMINATION OF

THE FORMER MAREEBA UNITING CHURCH TO THE QUEENSLAND HERITAGE REGISTER

We act on behalf of the Uniting Church in Australia (Queensland Synod), the owner of the property at 189 Walsh Street (corner of Rankin Street, Mareeba) and confirm that our client does not wish to object to the entry of the former church in the Queensland Heritage Register per se. Our client does, however, wish to make a submission (set out herein) in relation to the current nominated heritage register boundary as shown at figure 1. Pursuant to s.41 of the Queensland Heritage Act (the Act), we have reviewed the above nomination and have assessed the current nominated heritage register boundary against the provisions of s.35 Act. Our assessment is set out below. 1. In determining boundaries for State heritage registered places, we acknowledge the Queensland

Heritage Council’s guiding principle:

A heritage boundary is determined by the cultural heritage significance of the place and such immediate surrounds as are required for its conservation.1

2. The cultural heritage significance of the former Mareeba Uniting Church set out in the nomination’s

statement of cultural heritage significance refers only to the church and makes no reference to any aspect of the adjacent hall and manse. This is not surprising as it is our assessment that no cultural heritage significance exists in relation to the adjacent hall or manse for the reasons set out below.

3. There is no suggestion in the nomination, and there is no evidence, that any event or person associated with the adjacent hall and manse is important in Queensland’s history such as to satisfy any of the assessment criteria.

4. There is no suggestion in the nomination, and there is no evidence, that the adjacent hall and manse are of any architectural, aesthetic, creative or technical significance such as to satisfy any of the assessment criteria.

5. If the rationale for nominating the entirety of Lots 4, 5 & 6 as part of the church place is to stifle any limited future development potential on the adjacent hall and manse parts of the site, then that is not a relevant consideration in relation to the s.35 tests of the Act. In any event, if the church is entered in the register with the proposed amended boundary shown at figure 2, any future MCU development on the hall or manse parts of the site would be regulated as development adjoining a State heritage place under State Code 14: Queensland Heritage.

1 Defining boundaries: an illustrated guide - A guide to determining boundaries for places entered in the Queensland Heritage Register Queensland Heritage Council 2007 p.3


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6. The current nominated heritage boundary includes the entirety of Lots 4, 5 & 6 on RP 708296 and includes the former church, hall and manse. Based on the above considerations, the proposed amended heritage boundary shown at figure 2 would contain the entirety of the church, the wayside pulpit and the front gardens, as well as the same extent of road reserve as the current nominated heritage boundary.

7. Importantly, the proposed amended heritage boundary would provide the same clearances to adjacent built forms as currently exists and would continue to provide a similar open space setting for the church to that which currently exists.

8. The proposed amended heritage boundary would provide an appropriate visual setting for the church and would allow the church to be clearly expressed as a free-standing, three-dimensional building set in open space. The extent to which this open space is currently proposed to include part of the Walsh Street and Rankin Street road reserves is not opposed by our client, notwithstanding that it is unclear in the nomination as to why the inclusion of any part of the road reserve is necessary.

9. It is also relevant that the existing cadastre does not relate to the existing built forms on the site (church, hall or manse) and should not necessarily form the basis of determining the heritage boundary. The notion of only part of the current site being entered in the register is neither unconventional nor contentious. Such “part site” boundaries commonly exist for State heritage places such as the Toowoomba Maltings, Brisbane Boys College, the former Sugar Research Institute (Mackay) and many other places. As set out in the Department’s application guide:

The boundary does not have to follow the boundaries of the lot on plan descriptions, but a simple and uncomplicated boundary is best.2

10. Regardless of the ultimate heritage register boundary, it is important for sensible future management of the place that the adjacent hall and manse are clearly identified in the register entry and/or on the heritage boundary plan as being non-significant elements of the place.

11. The church with the proposed amended boundary shown at figure 2 would have sufficient immediate surrounds for its conservation. The adjacent hall and manse parts of the site are not required for the church’s conservation and contain no fabric of cultural heritage significance such as to warrant listing the hall and manse as part of the church site.

Based on the above considerations, it is concluded that the adjacent hall and manse parts of the site do not satisfy any of the s.35 assessment criteria of the Act and do not meet the requirements for entry in the Queensland Heritage Register. Furthermore, entry of the adjacent hall and manse parts of the site in the register would not be consistent with the Queensland Heritage Council’s heritage boundary guiding principles and would create an unnecessarily large boundary which would make future development processes unwieldy and which would be difficult to defend at appeal. We trust this submission assists the assessment process. Should you require any further information, please do not hesitate to contact us. Yours sincerely

Ivan McDonald Architects

2 Application Guide: Entering a State Heritage Place in the Queensland Heritage Register Qld Heritage Branch 2013 p.4


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Figure 1 Plan of nominated heritage register boundary (in red)


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Figure 2 Plan of proposed (amended) heritage register boundary (in red). Note that the 4m. clearance is from the base of the church

wall.

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Wednesday, 24 March, 2021

Joanne McAuley Principal Heritage Officer Heritage branch Department of Environment and Science Brisbane Qld 4001.

[email protected]

Dear Madam,

Re: Mareeba Uniting Church(former), 189 Walsh Street (cnr Rankin Street), Mareeba

I write to confirm support for the listing of the Mareeba Uniting Church into the Queensland Heritage Register.The Church is highly significant at a local and state level as outlined in the application and summarised as follows:

Criterion A. The place is important in demonstrating the evolution or pattern of Queensland’s history.

The Church (1960) is important in demonstrating the evolution of church architecture in Queensland. Its design reflects the spiritual ambitions of the Methodist community at a time when new buildings in support of their mission were being constructed throughout Queensland.

Criterion D. The place is important in demonstrating the principal characteristics of a particular class of cultural places.

The Church is important in demonstrating the principal characteristics of post-World War II church architecture, when architects experimented widely with designs which combined traditional elements, symbols and functions with new construction techniques, materials and forms. The invention, craftsmanship and attention to detail evident in the church’s design are characteristic of the work of Eddie Oribin, whose buildings are remarkable for their unity, complex geometries, unconventional use of a traditional structural form, innovative use of materials, manipulation of natural light and ventilation and custom designed and hand crafted furniture.

Criterion E. The place is important because of its aesthetic significance.

The Church is a prominent and distinctive building of exceptional architectural quality resulting from its innovative siting, form and decorative detailing. The high peaked roof over the entrance and angled and glazed timber screens evoke a sense of openness and invitation. The highly intact interior is a complex composition united by materials, pattern and form, complimented by the original furniture. The design has been enhanced through the unique angles of surfaces such as feature brickwork being layed at angles.This combined with the abundant use of carefully filtered natural light through timber screens creates a calmness and sense of spirituality.

Criterion F. The place is important in demonstrating a high degree of creative or technical achievement at a particular period.

The Church demonstrates an exceptional degree of creativity for the time of its construction, as a small but complex building which utilised standard and local building materials in a controlled but richly detailed and expressive way.

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[HERITAGE APPLICATION]

[MAREEBA UNITING CHURCH

Criterion H. The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland’s history

The church is an outstanding example of the work of Cairns architect Edwin Henry Oribin, who designed innovative and unique buildings in Far North Queensland between 1953 and 1973. His contribution to Queensland architecture has been recognised by the naming after him of the Australian Institute of Architects’ annual award for the Far North Queensland Building of the Year. I have personally had the pleasure of creating 3D models of Eddie Oribin’s work and have come to appreciate the subtlies and unique forms in his work.

In addition to the criteria listed above, the Church is significant as part of a body of work by Edwin (Eddie) Oribin in far north Queensland. Between Innisfail and Mareeba, Eddie’s work includes no less than two significant churches, the former Mareeba shire hall, a former Cairns Civic Theatre, the Hides Hotel in Cairns, and approximately private residences. The Mareeba Uniting Church (former) was created at a time when Eddie was particularly influenced by the work of Frank Lloyd Wright, which is also evidenced in his private residence in Cairns (1958) and Studio (1959). The quality of craftmanship and celebration of local materials in masonry and timber in the Church is exceptional. The church is currently listed on the Mareeba Shire Council War Memorial Heritage Asset List 2015. The Church is part of an important legacy for far north Queensland that should be celebrated and protected.

Kind Regards,

ANDREW JEHNE

Senior Architectural Technician

Belinda Allwood FRAIA

23 March 2021

Joanne McAuley

Principal Heritage Officer

Heritage branch

Department of Environment and Science

Brisbane Qld 4001.

[email protected]

Dear Madam,

Re: HRN 602643- Mareeba Uniting Church(former), 189 Walsh Street (cnr Rankin Street), Mareeba

I write to confirm my support for the listing of the Mareeba Uniting Church into the Queensland Heritage

Register.The Church is highly significant at a local and state level as outlined in the application and

summarised as follows:

Criterion A. The place is important in demonstrating the evolution or pattern of Queensland’s

history.

The Church (1960) is important in demonstrating the evolution of church architecture in Queensland. Its

design reflects the spiritual ambitions of the Methodist community at a time when new buildings in support

of their mission were being constructed throughout Queensland.

The joyful, light filled design reflects the optimism of the post war, mid-century era. The architectural

detailing, such as the push-rod operable vertical ventilation fins in the street façade, demonstrate Eddie’s

innovative mechanical ingenuity, and reflects the careful use of materials common in the mid-20th Century.

As a fourth generation Cairns local, and an architect, I find immense joy and rare craftsmanship in the

regional buildings designed by Eddie Oribin. The Mareeba church is modest in size, but to me it is perfectly

scaled and the most refined and masterfully detailed of all Eddie’s buildings.

Criterion D. The place is important in demonstrating the principal characteristics of a particular

class of cultural places.

The Church is important in demonstrating the principal characteristics of post-World War II church

architecture, when architects experimented widely with designs which combined traditional elements,

symbols and functions with new construction techniques, materials and forms. The invention,

craftsmanship and attention to detail evident in the church’s design are characteristic of the work of Eddie

Oribin, whose buildings are remarkable for their unity, complex geometries, unconventional use of a

traditional structural form, innovative use of materials, manipulation of natural light and ventilation and

custom designed and hand crafted furniture.

2


The Church is a prominent and distinctive building of exceptional architectural quality resulting from its

innovative siting, form and decorative detailing. The high peaked roof over the entrance and angled and

glazed timber screens evoke a sense of openness and invitation. The highly intact interior is a complex

composition united by materials, pattern and form, complimented by the original furniture.

Criterion F. The place is important in demonstrating a high degree of creative or technical

achievement at a particular period.

The Church demonstrates an exceptional degree of creativity for the time of its construction, as a small but

complex building which utilised standard and local building materials in a controlled but richly detailed and

expressive way.

Criterion H. The place has a special association with the life or work of a particular person, group or

organisation of importance in Queensland’s history

Eddie Oribin was known personally by my father, Dennis Allwood. Dad grew up in Cairns and recalls Eddie

was very approachable and was gentle and warm in nature. Dad recalls that Eddie had a reputation for not

designing ‘traditional’ style buildings. Dad stated that Eddie’s designs were thought of as quite avantgarde

and unlike the work of any other local architect. I learned from Dad this evening that his father, my

grandfather Stan Allwood, commissioned Eddie to design a house for the family in Cairns. Sadly, the house

was not built, and the plans misplaced or discarded. The remaining built works by Eddie Oribin, including

the Mareeba church, are a precious part of our regional and state cultural heritage.

The church is an outstanding example of the work of Cairns architect Edwin Henry Oribin, who designed

innovative and unique buildings in far north Queensland between 1953 and 1973. His contribution to

Queensland architecture has been recognised by the naming after him of the Australian Institute of

Architects’ annual award for the Far North Queensland Building of the Year.

In addition to the criteria listed above, the Church is significant as part of a body of work by Edwin (Eddie)

Oribin in far north Queensland. Between Innisfail and Mareeba, Eddie’s work includes no less than two

significant churches, the former Mareeba shire hall, a former Cairns Civic Theatre, the Hides Hotel in

Cairns, and many private residences. The Mareeba Uniting Church (former) was created at a time when

Eddie was particularly influenced by the work of Frank Lloyd Wright, which is also evidenced in his private

residence in Cairns (1958) and Studio (1959). The quality of craftmanship and celebration of local materials

in masonry and timber in the Church is exceptional. The Church is part of an important legacy for far north

Queensland that should be celebrated and protected.

Regards,

Belinda Allwood FRAIA

Architect and Director of POD (People Oriented Design) M. Landscape Architecture Adjunct Research Fellow, Griffith University Queensland Chapter Councillor, Australian Institute of Architects

Insert Name

Insert Address

Insert Phone Number

24 March 2021

Joanne McAuley


Heritage branch


Brisbane Qld 4001.

[email protected]

Dear Madam,


I write to confirm my support for the listing of the Mareeba Uniting Church into the

Queensland Heritage Register.The Church is highly significant at a local and state level as

outlined in the application and summarised as follows:

Criterion A. The place is important in demonstrating the evolution or pattern of

Queensland’s history.

The Church (1960) is important in demonstrating the evolution of church architecture in

Queensland. Its design reflects the spiritual ambitions of the Methodist community at a time

when new buildings in support of their mission were being constructed throughout

Queensland.

Criterion D. The place is important in demonstrating the principal characteristics of a

particular class of cultural places.

The Church is important in demonstrating the principal characteristics of post-World War II

church architecture, when architects experimented widely with designs which combined

traditional elements, symbols and functions with new construction techniques, materials and

forms. The invention, craftsmanship and attention to detail evident in the church’s design are

characteristic of the work of Eddie Oribin, whose buildings are remarkable for their unity,

complex geometries, unconventional use of a traditional structural form, innovative use of

materials, manipulation of natural light and ventilation and custom designed and hand

crafted furniture.

2


The Church is a prominent and distinctive building of exceptional architectural quality

resulting from its innovative siting, form and decorative detailing. The high peaked roof over

the entrance and angled and glazed timber screens evoke a sense of openness and

invitation. The highly intact interior is a complex composition united by materials, pattern and

form, complimented by the original furniture.

Criterion F. The place is important tin demonstrating a high degree of creative or

technical achievement at a particular period.

The Church demonstrates an exceptional degree of creativity for the time of its construction,

as a small but complex building which utilised standard and local building materials in a

controlled but richly detailed and expressive way.

Criterion H. The place has a special association with the life or work of a particular

person, group or organisation of importance in Queensland’s history

The church is an outstanding example of the work of Cairns architect Edwin Henry Oribin,

who designed innovative and unique buildings in far north Queensland between 1953 and

1973. His contribution to Queensland architecture has been recognised by the naming after

him of the Australian Institute of Architects’ annual award for the Far North Queensland

Building of the Year.

In addition to the criteria listed above, the Church is significant as part of a body of work by

Edwin (Eddie) Oribin in far north Queensland. Between Innisfail and Mareeba, Eddie’s work

includes no less than two significant churches, the former Mareeba shire hall, a former

Cairns Civic Theatre, the Hides Hotel in Cairns, and approximately private residences. The

Mareeba Uniting Church (former) was created at a time when Eddie was particularly

influenced by the work of Frank Lloyd Wright, which is also evidenced in his private

residence in Cairns (1958) and Studio (1959). The quality of craftmanship and celebration of

local materials in masonry and timber in the Church is exceptional. The Church is part of an

important legacy for far north Queensland that should be celebrated and protected.

Regards,

Bruce Clarke B. Arch UQ

Dr Bruce Herriott

15/03/2021

Joanne McAuley


Heritage branch


Brisbane Qld 4001.

Dear Madam,






history.


















2

Criterion F. The place is important tin demonstrating a high degree of creative or technical




expressive way.










Cairns, and approximately private residences. The Mareeba Uniting Church (former) was created at a time

when Eddie was particularly influenced by the work of Frank Lloyd Wright, which is also evidenced in his

private residence in Cairns (1958) and Studio (1959). The quality of craftmanship and celebration of local

materials in masonry and timber in the Church is exceptional. The Church is part of an important legacy for

far north Queensland that should be celebrated and protected.

Regards,

Dr Bruce Herriott

Retired Rural GP

004-015 Fee Proposal(r2)

C:\Users\tiorec\Desktop\HRN 602643_Mareeba Uniting Church 250321.docx 1 of 2

CA Architects Pty Ltd Phone 07 4031 6367 Fax 07 4031 1105 Email [email protected] Grove Street PO Box 536 North Cairns QLD 4870 Australia www.caarchitects.com.au ABN 54 061 821 190 ACN 061 821 190

25th March 2021 Joanne McAuley Principal Heritage Officer Heritage branch Department of Environment and Science Brisbane Qld 4001.

RE: Heritage Register Number (HRN): 602643 Mareeba Unition Church (former) 189 Walsh Street (cnr Rankin Street), Mareeba, QLD 4880 Dear Madam, We write to confirm our support for the listing of the Mareeba Uniting Church into the Queensland Heritage Register. CA Architects was established in the far north over 25 years ago. We value climate and place specific design respecting our rich culture and unique landscapes. Preservation of architecture that is significant to our region and unique in its execution is important to CA Architects as it enriches our townscapes and creates individual regions unique identities. Growing up in Mareeba I have long lasting memories of three buildings in Mareeba: the shire hall, the uniting church, both designed by Edwin (Eddie) Oribin, and the catholic church. I found the uniting church and the shire hall to be inspirational long before I decided to become an architect. The buildings stood out and felt ahead of their time, and the detailing always intrigued me. The Church is highly significant at a local and state level as outlined in the application and summarised as follows: Criterion A. The place is important in demonstrating the evolution or pattern of Queensland’s history. The Church (1960) is important in demonstrating the evolution of church architecture in Queensland. Its design reflects the spiritual ambitions of the Methodist community at a time when new buildings in support of their mission were being constructed throughout Queensland. Criterion D. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The Church is important in demonstrating the principal characteristics of post-World War II church architecture, when architects experimented widely with designs which combined traditional elements, symbols and functions with new construction techniques, materials and forms. The invention, craftsmanship and attention to detail evident in the church’s design are characteristic of the work of Eddie Oribin, whose buildings are remarkable for their unity, complex geometries, unconventional use of a traditional structural form, innovative use of materials, manipulation of natural light and ventilation and custom designed and hand crafted furniture. Criterion E. The place is important because of its aesthetic significance. The Church is a prominent and distinctive building of exceptional architectural quality resulting from its innovative siting, form and decorative detailing. The high peaked roof over the entrance and angled and glazed timber screens evoke a sense of openness and invitation. The highly intact interior is a complex composition united by materials, pattern and form, complimented by the original furniture.

004-015 Fee Proposal(r2)

C:\Users\tiorec\Desktop\HRN 602643_Mareeba Uniting Church 250321.docx 2 of 2

CA Architects Pty Ltd Phone 07 4031 6367 Fax 07 4031 1105 Email [email protected] Grove Street PO Box 536 North Cairns QLD 4870 Australia www.caarchitects.com.au ABN 54 061 821 190 ACN 061 821 190

Criterion F. The place is important tin demonstrating a high degree of creative or technical achievement at a particular period. The Church demonstrates an exceptional degree of creativity for the time of its construction, as a small but complex building which utilised standard and local building materials in a controlled but richly detailed and expressive way. Criterion H. The place has a special association with the life or work of a particular person, group or organisation of importance in Queensland’s history. The church is an outstanding example of the work of Cairns architect Edwin Henry Oribin, who designed innovative and unique buildings in far north Queensland between 1953 and 1973. His contribution to Queensland architecture has been recognised by the naming after him of the Australian Institute of Architects’ annual award for the Far North Queensland Building of the Year. In addition to the criteria listed above, the Church is significant as part of a body of work by Edwin (Eddie) Oribin in far north Queensland. Between Innisfail and Mareeba, Eddie’s work includes no less than two significant churches, the former Mareeba shire hall, a former Cairns Civic Theatre, the Hides Hotel in Cairns, and approximately private residences. The Mareeba Uniting Church (former) was created at a time when Eddie was particularly influenced by the work of Frank Lloyd Wright, which is also evidenced in his private residence in Cairns (1958) and Studio (1959). The quality of craftmanship and celebration of local materials in masonry and timber in the Church is exceptional. The Church is part of an important legacy for far north Queensland that should be celebrated and protected. Kind Regards,

CARLO AMERIO DIRECTOR, CA Architects

Dimarco Designs

Monday, 15 March 2021 Joanne McAuley Principal Heritage Officer Heritage branch Department of Environment and Science Brisbane Qld 4001.

Dear Madam,


I write to confirm my support for the listing of the Mareeba Uniting Church into the Queensland Heritage Register.The Church is highly significant at a local and state level as outlined in the application and summarised as follows:





2


The Church is a prominent and distinctive building of exceptional architectural quality resulting from its innovative siting, form and decorative detailing. The high peaked roof over the entrance and angled and glazed timber screens evoke a sense of openness and invitation. The highly intact interior is a complex composition united by materials, pattern and form, complimented by the original furniture.

Criterion F. The place is important tin demonstrating a high degree of creative or technical achievement at a particular period.



The church is an outstanding example of the work of Cairns architect Edwin Henry Oribin, who designed innovative and unique buildings in far north Queensland between 1953 and 1973. His contribution to Queensland architecture has been recognised by the naming after him of the Australian Institute of Architects’ annual award for the Far North Queensland Building of the Year.

In addition to the criteria listed above, the Church is significant as part of a body of work by Edwin (Eddie) Oribin in far north Queensland. Between Innisfail and Mareeba, Eddie’s work includes no less than two significant churches, the former Mareeba shire hall, a former Cairns Civic Theatre, the Hides Hotel in Cairns, and approximately private residences. The Mareeba Uniting Church (former) was created at a time when Eddie was particularly influenced by the work of Frank Lloyd Wright, which is also evidenced in his private residence in Cairns (1958) and Studio (1959). The quality of craftmanship and celebration of local materials in masonry and timber in the Church is exceptional. The Church is part of an important legacy for far north Queensland that should be celebrated and protected.

Regards,

Chris Dimarco

Director | Building Designer

Coburn Architecture Pty Ltd. ABN: 93 165 804 311 Registered Architect: Alanna Coburn BOAQ 4185

1 March 2021

Executive Officer Heritage Branch Department of Environment and Science GPO Box 2454 BRISBANE QLD 4001 Email: [email protected]

Re: Heritage Register Number (HRN): 602643 Mareeba Uniting Church (former) 189 Walsh Street (cnr Rankin Street), Mareeba

Dear Sir We write in support of the above application by Alice-Anne McRobbie, State Manager, Qld - RAIA Qld Chapter in which it is clearly outlined that this valuable building designed by Cairns architect Eddie Oribin, does indeed satisfy the cultural heritage criteria and should be listed on the Queensland Heritage Register as such.

Yours faithfully,

Coburn Architecture Pty Ltd

Alanna Coburn – Director Registered Architect BOAQ 4185

Enc: Nil File: HRN 602643 Mareeba Uniting Church 210301

mailto:[email protected]

Ellen Buttrose

People Oriented Design

25.03.2021

Joanne McAuley


Heritage branch


Brisbane Qld 4001.

[email protected]

Dear Madam,






history.
















2







expressive way.















Regards,

Ellen Buttrose

Associate Architect, People Oriented Design

Frances Pamela Herriott

15/03/2021

Joanne McAuley


Heritage branch


Brisbane Qld 4001.

Dear Madam,






history.




















2



expressive way.















Regards,

Frances Herriott

Retiree

Executive Officer, Heritage Branch Department of Environment and Science GPO Box 2454 Brisbane Q 4001 24 March 2021 Dear Sir or Madam,

Re: HRN: 602643 Mareeba Uniting Church (former) I have viewed a copy of the Queensland Heritage Register Application, visited the place, and am of the opinion: The place is of cultural heritage significance and satisfies criteria A, D, E & F of the Queensland Heritage Act.

Yours sincerely,

Gerard Murtagh

Registered Architect No 2014

JANE HANANEmail: Work Mobile

24 March 2021

Executive Officer, Heritage Branch Department of Environment and Science GPO Box 2454 BRISBANE QLD 4001 Email: [email protected]

Dear Madam/Sir,

Queensland Heritage Register Number (HRN): 602643

Mareeba Methodist Church (original name), Mareeba Uniting Church (name from 1977), 189 Walsh Street (cnr Rankin Street), Mareeba, Far North Queensland. This letter is a submission in support of the application for the above church to become a State Heritage Place. The Royal Australian Institute of Architects Queensland Chapter has made an application for the church to be entered in the Queensland Heritage Register. The ‘statement of cultural heritage significance’ in Section 7 of the application has several criteria accompanied by the applicant’s relevant responses, all of which I support. I consider this place does satisfy the cultural heritage criteria. I think that the building is:

important in history, important as a religious place, unique in design and aesthetic appeal, expressive in craftsmanship and innovation, culturally significant in Mareeba and Queensland, an outstanding example of the work of architect Eddie Oribin.

The church has been described as a gem or a jewel. It is one of the finest buildings in the northern part of the state and I support it being entered on the Queensland Heritage Register.

Yours faithfully

Architect

15th March 2021 Joanne McAuley Principal Heritage Officer Heritage branch Department of Environment and Science Brisbane Qld 4001.

Dear Madam,


I write to confirm our support for the listing of the Mareeba Uniting Church into the Queensland Heritage Register.The Church is highly significant at a local and state level as outlined in the application and summarised as follows:












Regards,

Julianne Field

Director

Julianne McAlloon Architects Pty Ltd

Dr Lisa Marie Daunt architect + architectural historian

email: 24 March 2021 Executive Officer, Heritage Branch Department of Environment and Science GPO Box 2454 BRISBANE QLD 4001 email: [email protected] Dear Sir/Madam, RE: Heritage Register Number (HRN): 602643 Mareeba Uniting Church (former) 189 Walsh Street (cnr Rankin Street), Mareeba I write to confirm my support for the nomination of the (former) Mareeba Uniting/Methodist church into the Queensland Heritage Register. This 1960s church building is highly significant at the local and the state level. I also write to provide further information for the department’s and the heritage council’s consideration of this nomination. This information is from my recently conferred doctoral dissertation entitled ‘Communities of Faith: Modern church architecture in Queensland 1945-1977’, which the nomination lists as a reference. The blue text below are direct quotes from my dissertation. The paper I wrote for SAHANZ in 2019/2020, titled “Communities of Faith: Regional Queensland’s Innovative Modern Post-war Church Architecture,” was reworked and included within my dissertation. I have structured this information in two sections, with supporting illustrations (a small selection from my doctoral research). The first, is a brief overview of Queensland’s modern post-war church architecture, naming some of the progressive designs of the more than 1350 church buildings opened from 1945-1977. The second, provides further contextual information – positioning the (former) Uniting/Methodist church at Mareeba as one of the state’s more progressive early-1960s church buildings. Thanks in advance for your consideration of this submission and the accompanying information. Kind regards,

Dr Lisa Marie Daunt PhD UQ 2021 B.Arch (Hons) UQ 2000 RAIA Registered Architect QLD 3513

mailto:[email protected]

Lisa Marie Daunt

2

Queensland’s post-war church architecture

During the post-war years (1945-1977) over 1350 church-buildings were built in Queensland – a massive quantity in comparison to other (non-residential) building typologies. Most suburban communities and regional townships in the state built upwards of five new church-buildings during these years; an enormous fundraising, labour and social investment by the state’s communities. Indeed, modern church architecture was the physical manifestation of Queenslanders’ (quite literally) building their ‘Communities of Faith’.1

A notable number of these church-buildings were highly experimentally and are architectural significant (though only four post-war church buildings, one chapel and one cathedral are currently recognised by listings in the Queensland Heritage Register).

They constitute some of the best modern architecture in the state, and reveal tensions regarding modernism’s role in cultural expression and regional identity. Queensland architects and their clients drew inspiration from both international and interstate church-buildings, simultaneously seeking to adapt their church designs to the local tropical and sub-tropical (hot, humid and also arid) climate, construction industry and economy, and to give a spatial order to changing liturgies [and worship practices]. Amongst these many churches were many very basic buildings, but also numerous highly accomplished examples.2 However, modern church architecture in Queensland has not been written about in detail. The same is true for Australia in general. There are no thematic compendia on modern church architecture in Australia.3

My doctoral dissertation

seeks to address parts of this lacuna by providing a comprehensive study of the development of modern church architecture in Queensland between 1945 and 1977. It is the first such study and documents over 5500 religious buildings in Queensland, drawing on twenty-five archives and involving over 300 site visits. From this breadth of data, ninety of the state’s post-war church buildings, designed by forty different architectural practices, are discussed.4

Part I of the dissertation “is mostly descriptive and presented as a chronological narrative.”5 Across five chapters the “phases in the development of Queensland’s church architecture”6 are examined. The following is a short summary of these phases.

Prior to WWII Queensland’s church buildings

were gable roofed and rectilinear in plan with a processional centre aisle and the sanctuary to one end. The main difference between denominations was the Catholic’s and CofE’s [Church of England’s] preference for sacramental church types that facilitated the rites of each of the sacraments, and the non-conformists for lesson focused preaching halls.7 This reflected GB’s church design from mid-nineteenth through to the mid-twentieth-century, but the common use of rectilinear forms was also the result of the need in Queensland to build economically with the labour and materials available and comparatively smaller – due to the lower density and also the spread of the population across the vast state.8

1 Lisa Marie Daunt, ‘Communities of Faith: Modern church architecture in Queensland 1945-1977,’ unpublished PhD dissertation, University of Queensland, 4 March 2021, 3; Lisa Marie Daunt, doctoral research “Queensland dataset”, unpublished, 2020. 2 Daunt, ‘Communities of Faith,’ i. 3 Daunt, ‘Communities of Faith,’ 3. 4 Daunt, ‘Communities of Faith,’ i. 5 Daunt, ‘Communities of Faith,’ 8. 6 Daunt, ‘Communities of Faith,’ 8. 7 Philip Goad, “Churches,” in The Encyclopedia of Australian Architecture, eds. Philip Goad and Julie Willis (New York: Cambridge University Press, 2012), 142. 8 Daunt, ‘Communities of Faith,’ 56 and 59.

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The earliest exception to the gable roofed and rectilinear planned church building was the octagon-planned “South Brisbane Congregational, which opened in 1933, designed by Thomas Brenan Femester Gargett (1898-1975) of Atkinson and Conrad”.9 Three early modern churches were realised just ahead of Australia joining WWII: The Shepherd Memorial Church of St Peter’s, Proston (1937), by Kenneth Hamlyn McConnel of Fowell, McConnell & Mansfield, supervised by Lucas and Cummings (QHR listing 602813); The Second Church of Christian Scientist, Clayfield (1938 opened; now a private residence), by Lucas and Cummings; and First Church of Christian Scientist, Brisbane (1941), by Lucas and Cummings (QHR listing 650017). The late-1940s and early-1950s (1945-1954) were a time of recovery (following WWII) as

Australia’s construction industry was slow to re-establish itself in post-war years, with building restrictions for non-essential building only lifted in 1952. During this period church congregations prepared for the future opportunity to build, architects re-established their practices and gathered new ideas from abroad. … the late-1940s and early-1950s were very much ‘thinking years’ that enabled the boom in church building that followed.10

During the latter half of the 1940s at least 101 church-buildings were opened and an additional 183 during the first half of the 1950s (at least 284 from 1945 to 1954).11

During these ten years the “progressive” phases of development towards modern church design can be described as: “loosely applied historical architectures, which introduced a little something modern”,12 with examples including: St Paul’s Church of England, Ashgrove (1952), by R. Moreton Taylor and Donald Bain; Coorparoo Presbyterian (1951), by Thomas H.A. Cross; St Lucia Presbyterian (1953), by Ronald Martin Wilson; and Park Presbyterian, Highgate Hill (1952).

“‘softer modern’, conservative shifts towards modern”,13 with examples including: Windsor Solid Rock Full Gospel (1952; now the Masjid As-Sunnah Islamic Mosque), designed by Eric Murchison Buchanan and T.R. Willis; St Peter’s Church of England, Gympie ( 1954), by A.H. Conrad and T.B.F Gargett; and Holy Rosary Catholic, Windsor (1954), by Frank Leo Cullen. There were also numerous church buildings realised by “the ‘in kind’ and ‘sweat equity’ of the new congregation and members from neighbouring congregations”14 including: Saint Theodores Greek Orthodox, Townsville (1950), designed by M. Vogiatzoglou, with architectural supervision by J. G. Rooney (QHR listing 601635); St John’s Lutheran, Eight Mile Plains (1951), by Reg Waldman; and St Joseph the Worker Catholic, Hammond Island (1952).15 Abroad, in the US, one of the most influential churches for Queensland’s post-war church architecture, was designed and built:

[Frank Lloyd] Wright’s First Unitarian Society Meeting House (Wisconsin, US) was designed in 1948 and opened in 1952 influenced many architects globally (for church and other building types), with its contemporary interpretation of the gable roof form, angled walls and glazing, and the carefully crafted brick and timber details.16

9 Daunt, ‘Communities of Faith,’ 56. 10 Daunt, ‘Communities of Faith,’ 8. 11 Daunt, ‘Communities of Faith,’ 126. 12 Daunt, ‘Communities of Faith,’ 136-148. 13 Daunt, ‘Communities of Faith,’ 148-156. 14 Daunt, ‘Communities of Faith,’ 132. 15 Daunt, ‘Communities of Faith,’ 132-136. 16 Daunt, ‘Communities of Faith,’ 228.

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Figure 1. South Brisbane Congregational (1933), by Conrad Gargett, now the St Nicholas’ Free Serbian Orthodox post-1977. Exterior photographs (Daunt, 2020).

Figure 2. Pre-WWII Early Modern Left: The Shepherd Memorial Church of St Peter’s, Proston (1937), by Fowell, McConnell & Mansfield, supervised by Lucas and Cummings. Exterior photograph (Daunt, 2018). Centre: The Second Church of Christian Scientist, Clayfield (1938 opened; now a private residence), by Lucas and Cummings. (Digital Archive of Queensland Architecture, https://qldarch.net/project/summary?structureId=1107) Right: First Church of Christian Scientist, Brisbane (1941), by Lucas and Cummings. Exterior photograph (Paul Dielemans, 2015).

Figure 3. Saint Theodores Greek Orthodox, Townsville (1950), designed by M. Vogiatzoglou, architectural supervision by J. G. Rooney. Exterior photograph (Daunt, 2018).

Figure 4. Loosely applied historical architectures, which introduced a little something modern Left: St Paul’s Church of England, Ashgrove (1952), by R.M. Taylor and Donald Bain. 1971 exterior photograph (SLQJO http://hdl.handle.net/10462/deriv/192633). Interior photograph (Daunt, 2016). Right: Coorparoo Presbyterian (1951), by Thomas H.A. Cross. Exterior photograph (L. & D. Keen Pty. Ltd., SLQ RAIA collection http://hdl.handle.net/10462/deriv/255938). Interior photograph (http://monumentaustralia.org.au/australian_monument/display/111779).

Figure 5. ‘Softer modern’, conservative shifts towards modern Left: St Peter’s Church of England, Gympie (1954), by A.H. Conrad and T.B.F Gargett. Exterior photograph (Daunt, 2018). Right: Holy Rosary Catholic, Windsor (1954), by Frank Leo Cullen. Exterior photograph (Andersen 2000).

https://qldarch.net/project/summary?structureId=1107

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During the late-1950s (1955-1959)

more churches were built in Queensland than during any five-years prior or since. In this period, several church ‘milestones’ were achieved in the state. In 1955, for instance, the first Church of England (CofE) church was built in Queensland which had the altar positioned forward so the minister could face his congregation [St Luke’s Church of England, Kenilworth (1955), by John Brayton]. Then in 1958 the first church with a fan-shaped floor plan opened in the state [Central Congregational, Ipswich (1958), by Scorer and Scorer].17

It was a time of religious stability and optimism.18 Well over 366 new church-buildings opened across the state.19 This was due, in part, to the implementation of new funding strategies. In 1955, the Wells Organisation, for instance, set up in Queensland, and many churches were labelled ‘War Memorials’, which made donations towards their construction tax deductable.20

During the late-1950s some of the earliest ‘architecturally modern’ church designs were built and opened in Queensland. During these five years the phases of development towards modern church design can be described as: “The further loosening of historical architectures”,21 with examples including: Roma Presbyterian (1955), by Ford Hutton and Newell; St Francis Xavier's Catholic, Railway Estate, Townsville (1955), by Llewellyn Edwin Williams; St Paul’s Church of England, North Talwood (1956) by Edwin James Hayes of Hayes and Scott; and St Finbarr's Catholic, Ashgrove (1957), by Frank Leo Cullen.

“‘Soft’ and ‘humanised’ modern”,22 with examples including: St Philip’s Church of England, Annerley (1955), by Ford Hutton and Newell; Wilston Methodist Memorial (1955), by Ford Hutton and Newell (Trinity Grove Uniting); St James the Great Church of England, Mount Isa (1957), by Ford Hutton and Newell; All Saints Church of England, Gordonvale (1955), by Barnes and Oribin; St Matthew's Church of England, Holland Park (1958), by Cross and Bain; Holy Cross Catholic, Miles (1958), by Donoghue Cusick and Edwards; St Stephen’s Church of England, Coorparoo (1958), by Horace George Driver; St Patrick's Convent Chapel, The Strand, Townsville (1959, demolished 2019), by A. Ian Ferrier; and St Michael and All Angels Church of England, New Farm (1959), by Conrad Gargett.

“Innovative roof shapes: not historical but not too modern”,23 with examples including: St Matthew’s Church of England, Mundingburra (1957), by Ford Hutton and Newell; St Paul’s Church of England, Proserpine (1959), by Edwin Oribin (QHR listing 601589); Camp Hill Latter-Day Saints (1957) by Arnold H. Ehler and A. Neff Taylor of Salt Lake; Chermside Latter-Day Saints (1958) by Arnold H. Ehler and A. Neff Taylor of Salt Lake; Central Congregational, Ipswich (1958), by Scorer and Scorer; Brisbane City Congregational (1959, demolished early-1980s), by Scorer and Scorer; Church of Jesus Christ of Latter-day Saints (Mormons) Brisbane Meetinghouse, Kangaroo Point (1958; demolished 2001), by Arnold H. Ehler and A. Neff Taylor of Salt Lake; St Monica’s Catholic, Tugun (1959), by Frank Leo Cullen; and St Francis of Assisi Church of England, Nundah (1959), by Lund Hutton Newell.

17 Daunt, ‘Communities of Faith,’ 8-9. 18 David Hilliard, “A Church on Every Hill: Religion in Brisbane in the 1950s,” Journal of the Royal Historical Society of Queensland 14, no.6 (1991), 242. 19 Daunt, “Queensland Dataset”, 2020. 20 Daunt, ‘Communities of Faith,’ 158. 21 Daunt, ‘Communities of Faith,’ 182-191. 22 Daunt, ‘Communities of Faith,’ 192-214. 23 Daunt, ‘Communities of Faith,’ 214-250.

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Figure 6. The further loosening of historical architectures Left: Roma Presbyterian (1955), by Ford Hutton and Newell. Exterior photograph (Daunt, 2018). Centre: St Francis Xavier's Catholic, Railway Estate, Townsville (1955), by Llewellyn Edwin Williams. Exterior photograph (Daunt, 2018). Right: St Paul’s Church of England, North Talwood (1956) by Edwin James Hayes of Hayes and Scott. Exterior photograph (Daunt, 2018).

Figure 7. ‘Soft’ and ‘humanised’ modern Left: Wilston Methodist Memorial (1955), by Ford Hutton and Newell (Trinity Grove Uniting). Exterior photograph (L. & D. Keen Pty. Ltd., SLQJO RAIA collection, http://hdl.handle.net/10462/deriv/255980). Centre: All Saints Church of England, Gordonvale (1955), by Barnes and Oribin. Exterior photograph (Cross-Section, vol.55 (May 1957), 2, http://www.csec.esrc.unimelb.edu.au/image_viewer.htm?CSEC00857,2). Right: St Matthew's Church of England, Holland Park (1958), by Cross and Bain. Exterior photograph (L. & D. Keen Pty. Ltd., SLQJO RAIA collection, http://hdl.handle.net/10462/deriv/255941).

Figure 8. Innovative roof shapes: not historical but not too modern Left: St Matthew’s Church of England, Mundingburra (1957), by Ford Hutton and Newell. Exterior photograph (Daunt, 2018). Centre: St Paul’s Church of England, Proserpine (1959), by Edwin Oribin. Exterior photograph (Daunt, 2018). Right: Central Congregational, Ipswich (1958), by Scorer and Scorer. 1958 photograph (Picture Ipswich, Whitehead Collection, WHD-015-NEG-1211 https://ipswich.spydus.com/cgi-bin/spydus.exe/ENQ/WPAC/ARCENQ?RNI=209893)

http://www.csec.esrc.unimelb.edu.au/image_viewer.htm?CSEC00857,2

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During the early-1960s (1960-1964)

the church building boom of the late-1950s continued. Although slightly fewer churches opened in these five years, this period witnessed the highest degree of architectural experimentation in church design, both in plan shapes and forms, and in construction techniques. In 1960 the first A-frame churches opened in the state and in 1963 several highly experimental churches – in material choices and construction methods – were blessed and dedicated. However, as Australian religious historians David Hilliard and Jonathan Holland note, in the mid-1960s the state’s era of religious stability, which commenced in the mid-1950s, came to an end.24 After 1964, there was a marked numerical decline in church construction, which reflected the decline in church attendance.25

During these five years the phases of development towards modern church design can be described as: “Architecturally modernised basilica churches”,26 with examples including: the Stage 2 works to complete St James Church of England Cathedral, Townsville (1960), designed by Louis R Williams, documented and supervised by Ford Hutton and Newell; St Thomas Aquinas AMDC Memorial Catholic, St Lucia (1960), by Hennessy and Hennessy; St Mary’s Catholic, Charleville (1961), by A. Ian Ferrier; St Mary’s Memorial Catholic, Gatton (1963), designed by A. Ian Ferrier; Christ Church, Church of England, St Lucia, (1962) by Ronald Voller; St John’s Lutheran, Bundaberg (1960), by Karl Langer (QHR listing 602815); St John’s Lutheran, Ipswich (1961), by Karl Langer; St Cecilia’s Church of England, Chinchilla, (1960) by Malcolm Just; and St Patrick's Catholic, Ingham (1961), by A. Ian Ferrier.

“Expressive new roof forms – A-frames, angles, pleats and folds”,27 with examples including: St Peter’s Catholic, Halifax, (1960), by A. Ian Ferrier; St Andrew’s Presbyterian, Innisfail (1961), by Edwin Oribin; (the former) The Grove Methodist in Ashgrove (1962), by Cross and Bain; (the former) Holland Park Methodist (1962), by Lund Hutton Newell Black Paulsen; Stuartholme Catholic Girls School Chapel, Toowong (1963) designed by Leo Drinan of Hennessey, Hennessey and Co.; Our Lady of Mt Carmel Catholic, Coorparoo (1964-5), by Cullen Fagg Hargraves and Mooney; Holy Family War Memorial Catholic, Indooroopilly (1963), by Douglas and Barnes; St Alban’s Church of England, Cunnamulla (1963), by Lund Hutton Newell Black and Paulsen; and Good Shepherd Chapel, Bishopsbourne, Hamilton (1964; altered late-2016), designed by Graeme Thiedeke of Conrad Gargett and Partners. “Experiments in plan shape – squares, semi-circles, pentagons, hexagons, octagons and decagons”,28 with examples including: the (former) Mareeba Methodist (1960), by Edwin Oribin; St Joachim’s Catholic, Holland Park (1961) by Phillip Hanman; Our Lady Help of Christians Catholic, Hendra (1961) by Hargraves of Cullen Fagg Hargraves and Mooney; Mt Gravatt Congregational (1963), by A.H. Conrad and T.B.F. Gargett; Southport Methodist (1964), designed by Douglas and Barnes; Holy Trinity Church of England, Blackall (1962), by Robin Gibson; St Paul’s Church of England, Manly (1964), by Cross and Bain; St Peter’s Church of England, West End, Townsville (1964) by Ian Black of Lund Hutton Newell Black and Paulsen, completed by Ian Black and Co.; St Andrew’s Church of England, Longreach (1960), by Neville R Willis; St John the Evangelist Church of England (and the chapel for St George's Home for children, orphanage), Parkhurst (1960, closed in 1978) initial scheme by John Bayton; and South Brisbane Greek Orthodox Church (1960), by Blair Wilson of R. Martin Wilson and Son.

24 David Hilliard, “The Religious Crisis of the 1960s: The Experience of the Australian Churches,” The Journal of Religious History vol.21 no.2 (June 1997), 209-227; and Jonathan Charles Holland, “The Past is a Foreign Country: A history of the Church of England in the Diocese of Brisbane, 1950-1970” (PhD Thesis, UQ, 2006). 25 Daunt, ‘Communities of Faith,’ 9. 26 Daunt, ‘Communities of Faith,’ 276-316. 27 Daunt, ‘Communities of Faith,’ 316-362. 28 Daunt, ‘Communities of Faith,’ 362-421.

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Figure 9. Architecturally modernised basilica churches Left: St John’s Lutheran, Bundaberg (1960), by Karl Langer. Exterior photograph (Daunt, 2018). Centre: St Mary’s Memorial Catholic, Gatton (1963), designed by A. Ian Ferrier. Exterior photograph (Daunt, 2016). Right: Christ Church, Church of England, St Lucia, (1962) by Ronald Voller. Exterior photograph (Daunt, 2019).

Figure 10. Expressive new roof forms – A-frames, angles, pleats and folds Top Left: (the former) St Andrew’s Presbyterian, Innisfail (1961), by Edwin Oribin. Exterior photograph (Daunt, 2018). Top Centre Left: (the former) The Grove Methodist in Ashgrove (1962), by Cross and Bain Exterior photograph (Daunt, 2020). Top Centre Right: (the former) Holland Park Methodist (1962), by Lund Hutton Newell Black Paulsen Exterior photograph (Andersen, 2000). Top Right: Our Lady of Mt Carmel Catholic, Coorparoo (1964-5), by Cullen Fagg Hargraves and Mooney. Exterior photograph (Andersen, 2000). Bottom Left: Holy Family War Memorial Catholic, Indooroopilly (1963), by Douglas and Barnes. Exterior photograph. (L. & D. Keen Pty. Ltd., SLQ RAIA collection, http://hdl.handle.net/10462/deriv/256015) Bottom Centre: St Alban’s Church of England, Cunnamulla (1963), by Lund Hutton Newell Black and Paulsen. Exterior photograph (Daunt, 2018). Bottom Right: Good Shepherd Chapel, Bishopsbourne, Hamilton (1964; renovated and altered late-2016), designed by Graeme Thiedeke of Conrad Gargett and Partners 1965 exterior photograph (H.B. Green, Conrad Gargett Archive).

Figure 11. Experiments in plan shape – squares, semi-circles, pentagons, hexagons, octagons and decagons Left: the (former) Mareeba Methodist (1960), by Edwin Oribin. Exterior photograph (Daunt, 2018). Centre: Southport Methodist (1964), designed by Douglas and Barnes. Exterior photograph (Daunt, 2016). Right: St Paul’s Church of England, Manly (1964), by Cross and Bain. Exterior photograph (L. & D. Keen Pty. Ltd., SLQJO RAIA collection, http://hdl.handle.net/10462/deriv/256114).



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During the late-1960s and the 1970s (1965-1977), Queensland’s church architecture directly responded to global calls for liturgical renewal. In the Catholic Church, The Second Ecumenical Council’s (Vatican II) final session took place in 1965.

In this year [1965], the first Catholic church-building in Queensland opened that – in response to liturgical renewal – had both a gathered plan and the altar positioned in such a way that the priest could face the congregation. In this period and across denominations a visible shift occurred away from landmark churches towards more community focussed and contextual architectural designs. This trend was also informed by the Churches seeking to achieve an architecture of relevance to a shifting society and ‘responsibly’ build more with limited funds.29 In 1977, the Methodist, Congregational and some Presbyterian congregations merged, forming the Uniting Church of Australia (UCA). This led to a re-evaluation and reorganisation of the inherited building stock in the years and even decades ahead. That same year, architectural critic and historian Charles Alexander Jencks (1939-2019) also published his highly influential book The Language of Post-Modern Architecture.30 Concurrent with the rise of post-modernism, was the rise of large neo-Pentecostal and Charismatic congregations. As a result, new types of worship spaces emerged: the auditoria and the mega-church.31

From 1965 to 1977 the phases of development towards modern church design can be described as: “Embracing liturgical renewal”,32 with examples including: Our Lady of Dolours Catholic, Mitchelton (1965) by Cullen Fagg Hargraves and Mooney; Immaculate Conception Catholic Church, Mirani (1965) by A. Ian Ferrier; St Alban’s Church of England, Gatton, (1967), by Brian J. Hodgen of Hodgen and Hodgen; St Matthew’s Lutheran, Maryborough (1968) by Juris Voldemars Rubis; St George Presbyterian (1968), by Douglas and Barnes; St Paul’s Presbyterian (now Uniting), Stafford (1966) by Cross and Bain; St Luke’s Presbyterian, Wavell Heights (1966) by Cross and Bain; St Andrew’s CofE, Caloundra (1967), by Godfrey Aveling Blackburne; St Luke’s Church of England, Wandal, Rockhampton (1971), by Edward Arthur Hegvold; St Peter’s Lutheran College Chapel, Indooroopilly (1968), by Karl Langer (QHR listing 602816); and Holy Spirit Catholic, Auchenflower (1969), by A. Ian Ferrier. “Community-focused, domestic scaled church architecture”,33 with examples including: Kenmore Presbyterian (1968), by Gibson and Associates; Sacred Heart Catholic, Redcliffe (1967), by Cullen Fagg Hargraves and Mooney; St Joseph's War Memorial Catholic, Corinda (1968) by Cullen Fagg Hargraves and Mooney; St Mark’s Catholic, Inala (1969), by Cullen Fagg Hargraves and Mooney; St Pius X Catholic, Salisbury (1969) by Cullen Fagg Hargraves and Mooney; St Ita’s Catholic, Dutton Park (1972) by Cullen Fagg Hargraves and Mooney; St Finbarr's Catholic, Quilpie (1976), by William Durack of Durack and Brammer; Holy Trinity Catholic, Banyo (1977), designed by C. Ham and P McDougall; St Mark’s Church of England, Rangeville, Toowoomba (1970), by Frank Holmes of Conrad, Gargett and Partners; and St Mark’s Church of England, The Gap (1978) by Neville Lund. “Anticipating post-modernism”,34 with examples including: St Brendan's Catholic College Chapel, Yeppoon (1967; renovated in 2000; extended/altered to become a Chapel & Performing Arts Building.in 2012), by McKendry and Cheney; Good Shepherd Chapel, Mitchelton (1969, demolished 2004) by A. Ian Ferrier; Our Lady of Graces Catholic, Carina (1973), by A. Ian Ferrier, Campbell and Struthers; Star of the Sea Catholic, Cleveland, (1974); St Vincent’s Catholic, Wandal, Rockhampton (1974; 2015 cyclone damaged and closed; demolished April 2018), by Neil McKendry; St James Lutheran, Cleveland (1971) by Barry Walduck; St Andrew The Apostle Lutheran, Brisbane, (1976), by Barry Walduck of Walduck and Uscinsk; and St Clements-on-Hill Church of England, Stafford (1979), by Neville Willis of Willis and Van Hoff.

29 Daunt, ‘Communities of Faith,’ 9. 30 Charles Jencks, The Language of Post-modern Architecture (New York: Rizzoli, 1977). 31 Daunt, ‘Communities of Faith,’ 9-10. 32 Daunt, ‘Communities of Faith,’ 450-494. 33 Daunt, ‘Communities of Faith,’ 494-523. 34 Daunt, ‘Communities of Faith,’ 556-593.

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Figure 12. Embracing liturgical renewal Left: Our Lady of Dolours Catholic, Mitchelton (1965) by Cullen Fagg Hargraves and Mooney. Exterior photograph (Daunt, 2016). Centre Left: Immaculate Conception Catholic Church, Mirani (1965) by A. Ian Ferrier. Exterior photograph (Daunt, 2018). Centre Right: St Paul’s Presbyterian (now Uniting), Stafford (1966) by Cross and Bain (Andersen, 2000). Right: St Luke’s Presbyterian, Wavell Heights (1966) by Cross and Bain. Exterior photograph (photos L.&D Keen Pty Ltd, 1966, courtesy Wavell Heights Presbyterian Church).

Figure 13. Community-focused, domestic scaled church architecture Left: Kenmore Presbyterian (1968), by Gibson and Associates. 1968 exterior photograph (Richard Edwin Stringer. SLQ RAIA Collection http://hdl.handle.net/10462/deriv/256229) Centre: St Joseph's War Memorial Catholic, Corinda (1968) by Cullen Fagg Hargraves and Mooney. 1968 exterior photograph (The Catholic Leader, January 2, 1969, CBAA Corinda-Graceville file). Right: Holy Trinity Catholic, Banyo (1977), by C. Ham and P McDougall. 2007 exterior photograph (Bertknot https://www.flickr.com/photos/bertknot/8274779663/in/photostream/)

Figure 14. Anticipating post-modernism Left: St Brendan's Catholic College Chapel, Yeppoon (1967), by McKendry and Cheney. ca.1969 Exterior photograph (Richard Edwin Stringer. Cross-Section no. 206 (January 1970), 2 https://www.csec.esrc.unimelb.edu.au/image_viewer.htm?CSEC01075,4,1,S,80) Centre: Good Shepherd Chapel, Mitchelton (1969, demolished 2004) by A. Ian Ferrier. 1970 Exterior photograph (Ferrier Slide Collection, courtesy Catherine Baudet). Right: St Andrew The Apostle Lutheran, Brisbane, (1976), by Barry Walduck of Walduck and Uscinsk. Late-1970s exterior photograph (David Kitzelman, St Andrew’s Lutheran Church Collection).


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the (former) Mareeba Methodist (1960), by Edwin Oribin. Exterior and Interior photographs (Daunt, 2018). The (former) Mareeba Methodist church Eddie Oribin’s design is an exemplar of Far North Queensland post-war architecture. It is also one of the most progressive church buildings built during this era in Queensland. Its recent publication in Australia Modern firmly positions it as one of the top 100 Australian modern buildings.35 When asked which is the church building that epitomises a Queensland approach to church architecture? Mareeba Methodist is the church building I name. Amongst the more than 1350 churches built during the post-war decades, and the more than 300 opened between 1960 and 1964, Mareeba Methodist is a highly accomplished example. It is inventive in plan, form, geometry, detailing, craftsmanship and construction methods. It directly considers its local setting and tropical climate, while also addressing emergent global changes in worship practices. For the Methodist Church, Mareeba Methodist was one of earliest and very few Methodist early-1960s churches in the state to be built without historical features and adopt an emergent church architecture from abroad. While the Queensland Methodist Church was a prolific builder during the 1950s and early-1960s, the majority of their churches were basic timber preaching halls,36 or when more substantial buildings were built, they were typically conservative, incorporating many historical features.37 In the 1950s only a couple of Methodist churches departed from historical architecture: Wilston Methodist Memorial (1955), by Ford Hutton and Newell; and St Stephen’s Methodist, Yeronga (1956) by Cross and Bain. The other early-1960s Methodist churches to adopt modern architecture were: the (former) The Grove Methodist (1962), by Cross and Bain; Southport Methodist (1964), by Douglas and Barnes; and Atherton Methodist (1961, since altered and extended), by Ford Hutton Newell. As the state’s Churches increasingly adopted new ideas for liturgical renewal and new worship practices more architects and their clients decided to depart from the rectilinear plan types. The (former) Mareeba Methodist (Uniting 1977-2021) is the first church I discussed within the “Experiments in plan shape – squares, semi-circles, pentagons, hexagons, octagons and decagons” early-1960s phase of development. The following text is the part of this sub-section:

Experiments in plan shape – squares, semi-circles, pentagons, hexagons, octagons and decagons In the early-1960s further church-buildings also began to respond to liturgical renewal, following on from Ipswich’s Central Congregational (1958) progressive design. Across denominations, a variety of plan shapes were used to bring the congregation closer to and gather them around the sanctuary, focused on the altar (for the liturgical denominations) and the pulpit and communion table (for the non-conformist denominations).

35 Alice Hampson, “Mareeba Memorial Methodist Church,” in Australian Modern: Architecture, landscape & design, Hannah Lewi and Philip Goad, eds. (Port Melbourne: Thames & Hudson Australia Pty Ltd, 2019), 171. 36 Daunt, “Queensland dataset”, 2020. 37 Most of the latter were designed by Walter James Ernest Kerrison (1902-2000), who was the Methodist Church’s architectural consultant to the conference property board (Daunt, ‘Communities of Faith,’ 180).

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The (former) Mareeba Methodist (1960), by Edwin Oribin. Interior photographs (Daunt, 2018). Floor plan (Majer, “E.H. Oribin,” 78).

The Mareeba Methodist by Oribin, for instance, was designed on the diagonal. It adopted a noticeably different approach to the three other churches by Oribin, which all had tall volumes and rectilinear plans.38 When opened on August 6, 1960, it was amongst the first modern church-buildings in Queensland to arc the seating around the sanctuary. Contemporary periodicals praised the church for its closely gathered plan arrangement, its brick and timber detailing, its structural system, and its adaptation to the local climate:

The Methodist Church at Mareeba, on the Atherton Tablelands is designed to seat 200, so that the congregation is grouped round the preacher, the furthest seat being 30 feet [9 metres] from the pulpit. The building is constructed with red brick structural columns and tower, and natural finish timber elsewhere. The roof is supported internally with an inverted tetrahedron tubular steel space frame, sheeted with tongue and grooved natural timber. Two sides of the church have vertical 12” [300mm] by 2” [50mm] timber louvre blades with glass between, with some movable sections to give sun control and ventilation.39

The church was positioned on the corner of an intersection, which it addressed through the rising of the roof structure, thus covering its dual front entries, each of which faced one of the two streets. The tightness of the site likely led Oribin towards this unconventional kite-shape plan. A source of inspiration for the Mareeba church was likely Kevin J. Curtin’s (of Curtin & Cameron) St Dominic’s Catholic in Flemington (NSW, 1956).40 It has a similar plan arrangement, dual entries and is also positioned to face a street corner. However, Oribin’s design is arguably more rational, with the diagonal arrangement neatly contained within a square plan.41

St Dominic’s Catholic, Flemington, NSW (1956), by Kevin J. Curtin. Exterior photographs (Daunt, 2019). Floor Plan (Architecture in Australia vol.44 no.4 (October-December 1955), 101).

Mareeba Methodist’s design also evidences Oribin’s admiration of Wright’s organic and geometric designs, and craft-based detailing; in particular Wright’s First Unitarian Society Meeting House (1952, Madison

38 All Saints CofE (1955, Gordonvale) with S.G. Barnes; St Paul’s CofE, Proserpine (1959); and St Andrew’s Presbyterian, Innisfail (1961). 39 Martin J. Majer, “E.H. Oribin; the Work of a Far North Queensland Architect” (B.Arch thesis, UQ, 1997), 77 quoting “Building Idea,” C.S.R. Building Materials vol.2 no.10 (December 1964), 14. 40 “St Dominic’s Catholic Church, Flemington,” Architecture in Australia vol.44 no.4 (October-December 1955), 100-101; Cross-Section no.46 (August 1956), 2. 41 Winning the Far North Queensland Regional RAIA enduring architecture award.

Lisa Marie Daunt

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Wisconsin, US), which can be recognised in the angles of Oribin’s design. The connection between the works of Wright and those of Oribin were noted by Martin Majer in his 1997 undergraduate dissertation and has subsequently been confirmed in more recent architectural historiography.42 43

The (former) Mareeba Methodist is also one of five church buildings I critically analysed in Part II chapter seven of my dissertation. This chapter is entitled: “Experiments with Form: Queensland’s architecturally innovative and technically progressive ecclesiastical beacons” and

offers an architectural analysis of a select number of highly innovative and technically progressive church-buildings that were realised in the state between 1959 and 1963. For fewer than five years, the church-building was the architectural building typology progressing the advancement of modern architecture in the state and into its remote regions. This chapter examines these church-buildings’ highly inventive use of laminated timber, timber detailing, steel frames, and concrete construction methods. Arguably, these church commissions were at the forefront of technical achievement in Queensland, in their testing of new materials and construction methods.44

The following text is the part of the “Structural steel frames – enabling expressive angles and pleats” section of this chapter:

Of Queensland’s post-war church-buildings, Oribin’s Mareeba Methodist (1960) and Innisfail Presbyterian (1961), and Lund Hutton Newell Black and Paulsen’s St Alban’s CofE in Cunnamulla (1963) are among the most expressive ecclesiastical buildings that were realised using steel structural frames. The Mareeba and Cunnamulla church-buildings were also amongst the first in the state to break-away from the elongated sacramental basilica and rectilinear preaching hall types; following similar developments abroad and interstate.45 Many steel-framed churches that followed were more restrained in their expression, due to changed economic, religious and community agendas.46 In Australia, from the late-1900s structural steel framing was utilised for factories, railway stations and theatres, then during the post-war era for many high-rise buildings and sporting arenas.47 For each of these secular building typologies steel was used for its efficiency and to achieve a minimalist architectural aesthetic. In church architecture efficiency of construction was also desirable during the post-war church building boom, for wider, column-free spans. Many church architects also used steel for its ability to realise highly expressive building forms and plan shapes. As Australian architectural historian Elizabeth Richardson notes:

42 Majer notes that in September 1950 Oribin obtained work with the Commonwealth Department of Works, with Vick Embeldon. Embeldon gave Oribin a copy of a 1938 Architectural Record, featuring Frank Lloyd Wright (Majer, “E.H. Oribin,” 6). See also: “Methodist Church,” in John Macarthur, Deborah van der Plaat, Janina Gosseye, and Andrew Wilson, eds., Hot Modernism: Queensland Architecture 1945-1975 (London: Artifice Books on architecture, 2015), 272-3; Margaret Lawrence-Drew, “Eddie Oribin, a man of the present and the future,” in Australian Modern Design: Mid 20th Century Architecture & Design, ed. Chris Osborne (Carina, Australia: Chris Osborne Publishing, 2015), 48; Alice Hampson, “Oribin, Eddie,” in The Encyclopedia of Australian Architecture, eds. Philip Goad and Julie Willis (New York: Cambridge University Press, 2012), 519; Hampson, “Mareeba Memorial Methodist Church,” 171. 43 Daunt, ‘Communities of Faith,’ 362 and 368. 44 Daunt, ‘Communities of Faith,’ 10-11. The concrete church building discussed in detail in this chapter is Douglas and Barnes’ Holy Family War Memorial Catholic, Indooroopilly (1963). The laminated timber church building is Oribin’s St Paul’s Church of England, Proserpine (1959). 45 In Europe one of the earliest was Otto Bartning’s Lutheran Stahl Kirche (steel church, 1928 Cologne, Germany), with other steel framed churches soon following – discussed in chapter one. Many interstate churches were realised in the late-1950s and early-1960s with steel frames, including the expressive examples of: Mother of God Catholic, East Ivanhoe (Melbourne, VIC, 1957) designed by Mockridge Stahle & Mitchell which used a steel frame to abstract its processional plan into a six-sided shape; and Pius X Catholic, in Taroona (1959, TAS) designed by J.H. Esmond Dorney with a tubular steel frame to realise its barrel vaulted form – discussed in chapters three and four. 46 Including: Southport Methodist (1964); Our Lady of Dolours Catholic, Mitchelton (1965); Immaculate Conception Catholic, Mirani (1965); St Paul’s Presbyterian, Wavell Heights (1966); Kenmore Presbyterian (1968); St Alban’s CofE, Gatton (1967); St Matthew’s Lutheran, Maryborough (1968); St George Presbyterian (1968); and Holy Spirit Catholic, Auchenflower (1969) – discussed in chapters four and five. 47 For a comparative international and Australia chronology see: Alan Ogg, Architecture in Steel: The Australian Context (Red Hill, ACT: RAIA, 1987).

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The use of steel frames permitted increased spans, resulting in a scale and stability not possible with timber and paving the way for large, unobstructed interiors and unlimited formal possibilities such as round, square, triangular, octagonal or irregularly shaped plans. There were flat and zigzag roof lines, soaring parabolic arches, A-frame structures and all-encompassing expressive roof forms.48

However, unlike most secular building types, for church-buildings steel most frequently features as only a secondary element within the overall material composition, not overtly expressed or even hidden altogether from view when construction is completed. While steel frames enabled structural innovation and complex geometries, other features and details of the design provided spatial ambience and liturgical foci. In Queensland, the steel-framed church-designs of Oribin and Morton epitomise this, using steel to create their experimental forms, but timber, bricks or concrete and daylight as the main materials, visible detailing and overall aesthetic. Oribin’s Mareeba Methodist was designed on the diagonal, with a closely gathered plan arrangement for 200, and positioned on a prominent intersection, from where it commands its surroundings, even in the flat geography of Mareeba. Like St Paul’s CofE in Proserpine, Mareeba Methodist was built by Les Tinsley and Co., with local tradesmen, a number of whom had worked on St Paul’s and went on to build Oribin’s Mareeba Shire Hall (1961). The church’s foundations were dug by hand, and often required water to be poured onto the hard ground to ease the shovelling. The concrete floor was laid and trowelled by hand. Most components of the building were taken on by as few as two tradesmen, with the brickwork, timberwork and window casement work all taking some time, as complex cuts needed to be made to achieve the angles embedded in both the building’s plan and section.

The (former) Mareeba Methodist (1960), by Edwin Oribin. Construction photos of Mareeba Methodist (courtesy of the late Pamela Cowie, Mareeba Uniting Church).

After Mareeba Methodist opened, contemporary Australian construction industry journals brought attention to the church’s inventive structural solution: ‘The roof is supported internally with an inverted tetrahedron tubular steel space frame.’49 However this part of Oribin’s design is not actually on display – this steelwork is all hidden above the timber ceiling boards and the structure reliant on it is also hidden in the roof soffits. Local’s memories and a few construction photographs explain this intriguing feature for us now.50 The steelwork framing of Mareeba Methodist comprised only a few columns, the feature ceiling’s framing – the inverted irregular tetrahedron (triangular pyramid) – and the ridge beam with lugs to receive the timber roof rafters. Temporary supports held the steelwork in place while the brickwork walls were built under and then the timber roof framing installed. The main roof is a gable, with the ridge on the diagonal and pitched upwards at the dual front entries. The timber ceiling boards (that disguise the steelwork) appear to float over the congregation and sanctuary. They are folded into a kite-like form that rises to meet the soffit surface within the church’s interior at the entry end, fall towards the sanctuary, but then folds upwards above the sanctuary subtly defining the sanctuary space from the congregation. The form of the building, enabled by its adoption of a steel frame and other design features, like the windows, give this quite small church its landmark qualities and dignity as a sacred worship place.

48 Elizabeth Richardson, “Worship,” in Australian Modern, Lewi and Goad, 262. 49 “Building Idea,” 14. Hampson in her recent (2019) piece in Australia Modern echoes the innovation of this structural approach (Hampson, “Mareeba Memorial Methodist Church,” 171). 50 Robert McDougall and Pamela Cowie.

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Inspired by the architecture of Frank Lloyd Wright (as discussed in chapter four [and included above]), Oribin’s own rich detailing is evident in both the timber and masonry detailing, both concealing the building’s steel structure. Prominent details within the church’s exterior facades are the bespoke window – the angled and tilted casements to the non-street facades, and the textural combination of glass and timber to the street facades. The street façade window details are highly inventive – using ‘complex geometry’ they are ‘meticulously detailed 300 mm x 50 mm operable timber blades sandwiching glass to temper light, ventilation and solar gain’.51 With many of the fixings concealed, the design was truly craft-based in its construction methods and predominantly built by hand.52 53

The (former) Mareeba Methodist (1960), by Edwin Oribin. Street façade timberwork and glazing detail photographs (Daunt, 2018).

In the conclusion to this chapter I wrote:

Embracing modern architecture, each of the church-buildings discussed in this chapter command their respective locations. All five were innovative in their experimentation with form, materiality and construction methods. They evidence the transfer of ideas for new modern technologies and construction methods being used abroad (and interstate), and also the skill of their architects to adapt these ideas for their Queensland location (scale, economics and topography and to varying extents the local climate). Their designs also challenged their local builders, tradesman and artisans – these new construction methods and materials were not familiar, and neither were the ways each of these architect’s designs used them. For this short period (1959-1963) church-buildings were the architectural building typology progressing the advancement of modern architecture in the state and into its remote regions. … Mareeba Methodist (1960), St Andrew’s Presbyterian in Innisfail (1961) and St Alban’s CofE in Cunnamulla (1963) were each very experimental, but they were not self-demonstrative form-giving. Instead it was materiality, craftmanship, responsiveness to the local climate and the symbolic-transcendent needs of the church that led to the imaginative designs of architects like Oribin and Morton. Their innovative designs align with Kidder Smith’s complementary words (also penned for his 1964 book):

Architecture, being tied to mundane mechanics in addition to ordering space, can rarely by itself evoke in the church – man’s most sublime building effort – that elusive atmosphere which sets the church apart from secular building. The artist – who clarifies and intensifies experience – can often by his talents take the church to greater heights.54 55

51 Hampson, “Mareeba Memorial Methodist Church,” 171. 52 Huber, “Interview with Robert McDougall”. 53 Daunt, ‘Communities of Faith,’ 654-662. 54 George Everard Kidder Smith, The New Churches of Europe (London: The Architectural Press, 1964), 13. 55 Daunt, ‘Communities of Faith,’ 674-675.

MARTIN MAJER

Email: Work Mobile

26 March 2021

Executive Officer, Heritage Branch


GPO Box 2454

BRISBANE QLD 4001 Email: [email protected]

Dear Madam/Sir,

Queensland Heritage Register Number (HRN): 602643

Mareeba Methodist Church (original name), Mareeba Uniting Church (name from 1977), 189 Walsh Street (cnr Rankin Street), Mareeba, Far North Queensland. This letter is a submission in support of the application for the above church to become a State Heritage Place. The Royal Australian Institute of Architects Queensland Chapter has made an application for the church to be entered in the Queensland Heritage Register. The ‘statement of cultural heritage significance’ in Section 7 of the application has several criteria accompanied by the applicant’s relevant responses, all of which I support. I consider this place does satisfy the cultural heritage criteria, because the building is:

• important in history,

• important as a religious place,

• unique in design and aesthetic appeal,

• expressive in craftsmanship and innovation,

• culturally significant in Mareeba and Queensland,

The Building is an outstanding example of the work of the architect Edwin (Eddie) Oribin. I was fortunate to write my thesis on Eddie, and was extremely honoured to have met him and documented a vast range of different projects that he design and had built/ built himself. From my discussions with him the Mareeba Methodist Church was considered one of his finest buildings in the northern part of the state and I fully support it being entered on the Queensland Heritage Register.

Yours faithfully

Architect Qld No. 4387

clarke and prince pty ltd | ARCHITECTS

t: f: e: www.clarkeandprince.com.au

Nicholas Paul Jarvie Watling

13.03.2021

Joanne McAuley


Heritage branch


Brisbane Qld 4001.

Dear Madam,






history.


















2





expressive way.















Regards,

Nicholas P J Watling

Manager Atherton Antiques and Australiana

Nicole Ewing

Director - NEArchitecture

17 March 2021 Joanne McAuley Principal Heritage Officer Heritage branch Department of Environment and Science Brisbane Qld 4001

Dear Madam,

Re: Mareeba Uniting Church(former), 189 Walsh Street (cnr Rankin Street), Mareeba (HRN602643)

I write to confirm NEArchitecture’s support for the listing of the Mareeba Uniting Church into the Queensland Heritage Register.The Church is highly significant at a local and state level as outlined in the application and summarised as follows:







2






Regards,

Nicole Ewing

Director, Architect.

Digby Hoyal

Joanne McAuley Principal Heritage Officer Heritage branchDepartment of Environment and Science Brisbane Qld 4001.

Dear Madam,


I write to confirm our support for the listing of the Mareeba Uniting Church into the Queensland Heritage Register.The Church is highly significant at a local and state level as outlined in the application and summarised as follows:











In addition to the criteria listed above, the Church is significant as part of a body of work by Edwin (Eddie) Oribin in far north Queensland. Between Innisfail and Mareeba, Eddie’s work includes no less than two

significant churches, the former Mareeba shire hall, a former Cairns Civic Theatre, the Hides Hotel in Cairns, and approximately private residences. The Mareeba Uniting Church (former) was created at a time when Eddie was particularly influenced by the work of Frank Lloyd Wright, which is also evidenced in his private residence in Cairns (1958) and Studio (1959). The quality of craftmanship and celebration of local materials in masonry and timber in the Church is exceptional. The Church is part of an important legacy for far north Queensland that should be celebrated and protected.

Regards,

Francis Michael Digby Hoyal

Rev Dr

Cairns Campus PO Box 6811 Cairns Qld 4870 Australia Telephone (07) 4232 1111 International +61 7 4232 1111 www.jcu.edu.au

Cairns - Townsville - Brisbane – Singapore CRICOS Provider Code 00117J

23rd March 2021 Joanne McAuley Principal Heritage Officer Heritage branch Department of Environment and Science Brisbane Qld 4001.

[email protected]

Dear Madam,


We write to confirm our support for the listing of the Mareeba Uniting Church into the Queensland Heritage Register. The Tropical Urbanism and Design Lab (TUDLab) at James Cook University Cairns Campus was founded in 2018. TUDLab researches and advocates design that can improve economies, environments and wellbeing in the Tropical Far North. It important to preserve our region’s innovative, climate specific and unique architectural history and therefore fully support inclusion on the Heritage Register for the Mareeba Uniting Church. The Church is highly significant at a local and state level as outlined in the application and summarised as follows:








Lisa Law Associate Professor Tropical Urbanism and Design Lab Telephone 89 Mobile Email Web https://www.jcu.edu.au/TUDLab





Regards,

Lisa Law, Associate Professor Gisela Jung, Adjunct Associate Professor Chair, TUDLab Founding member, TUDLab

former Mareeba Uniting Church - Queensland

Documents

Transcript of former Mareeba Uniting Church - Queensland