Henry Hill, a renowned architect with Bay Area roots, built the “Herspring House” in 1945 on a hillside in Kentfield, California. A classic example of the regions Second Bay Tradition, a blend of the international style and vernacular influences, the house has been lovingly cared for over the past 70 years.
Henry Hill, a renowned architect with Bay Area roots, built the “Herspring House” in 1945 on a hillside in Kentfield, California. A classic example of the regions Second Bay Tradition, a blend of the international style and vernacular influences, the house has been lovingly cared for over the past 70 years.
Sterling house plans for 1945 reflect the architectural styles prevalent before World War II but begin to hint at the changes to come. These homes are typical of the modest bungalows and minimal traditional style houses that sprouted up in profusion around the US as GIs returned, purchased homes, and started families. Built in tracts
1940s vintage advertising images for linoleum flooring. Lots of great ideas for the vintage home.
Reviving a midcentury house nestled in woodlands, blending modern living with the original design's open concept and natural integration.
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
This house plan is from this old tattered book called "The Small Home of Tomorrow" by Paul R. Williams AIA, from 1945 I got a few years ago.
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
94 p., ill., 28 cm., trade catalog
This house plan is from this old tattered book called "The Small Home of Tomorrow" by Paul R. Williams AIA, from 1945 I got a few years ago. The initials by the rendering stand for Frank W. Jamison.
This house plan is from this old tattered book called "The Small Home of Tomorrow" by Paul R. Williams AIA, from 1945 I got a few years ago.
Det perfekta cityhemmet, lugnt beläget vid en innergård med en egen uteplats, och på en central adress med det mesta i stan på promenadvänligt avstånd – välkommen till Dalagatan 6 A! Denna nyrenoverade funkislägenhet ligger i ett hus från 1945 ritat av arkitekt Sture Frölén. Lägenheten har en genomgående planlösning där ytorna gett det sociala livet mycket utrymme, samtidigt som man också har ett rymligt sovrum. Köket är placerat mitt i lägenheten, och ansluter direkt till vardagsrummet och dess fina och fullt fungerande öppna spis. Sovrummet ligger på motsatt sida, och leder till lägenhetens uteplats som vetter mot husets stora innergård. Dessutom finns ett badrum med dusch och tvättmaskin. Att lägenheten ligger i en välmående förening med låga avgifter hamnar såklart också på pluskontot. Välkommen!
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
Explore MidCentArc's 43063 photos on Flickr!
I showcase 8 distinct looks popular in 1940s interior design. Furniture, colors & decor inside 1940s homes were sunny, patriotic, 'sanitary' & more.
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
Explore MidCentArc's 43063 photos on Flickr!
94 p., ill., 28 cm., trade catalog
All images are for educational purposes and are under copyright of creators and owners
Designer Leanne Ford embraces an (almost) all-white palette in her freshly renovated 1945 Pittsburg farmhouse.
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
Explore MidCentArc's 42744 photos on Flickr!
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
Atelier de Troupe is a niche lighting and furniture brand inspired by Modernism, Art Deco, and cinema, taking a narrative approach to its collections.
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
Explore MidCentArc's 42957 photos on Flickr!
Explore MidCentArc's 43063 photos on Flickr!
Trade catalog, Text, Illus, CCA ID:96-B1717, 1945, 34 p, 22 x 30 cm
Explore MidCentArc's 42744 photos on Flickr!
What Style is My House?Pre-colonial Australia – Indigenous architectureEarly Australian – old colonial Georgian (1788–1850)Early Victorian (1840–1860)Victorian Gothic (1850–1880)Workers’ cottage (1840–1900)Queenslander (1840–1939)Mid-Victorian (1860–1875)Late-Victorian/Italianate/Boom Style (1875–1901)Queen Anne (1895–1910)Federation/Edwardian (1901–1920)Californian Bungalow (1920s–30s)Interwar (1918–1939)Post-war (1945–1960)Modern (after 1960)1960s1970s/80s1990sContemporary Australian living (2000–Present) What Style is My house? If you are planning to build or renovate a home, or buy an established home, one of the first steps you often take is to search online for architectural styles that inspire you. Luckily, we have a rich history of Australian House Styles that have flourished since British settlement in 1788. However, with such an array of home styles, it can be difficult to identify your own home or preferred style; and if you are building rather than buying, it can be daunting to create an authentic replica of a period style home, or implement elements of these styles into a modern home. In this comprehensive guide, we will help understand what style your home is and explore some of the major architectural home styles that have appeared through Australian history, and delve into the major features, characteristics, and historical backdrop that inspired them. Pre-colonial Australia – Indigenous Architecture Recently there has been a greater understanding of the agricultural, aquaculture and architectural practices that were utilised by Indigenous Australians prior to British settlement. Research shows a range of permanent and semi-permanent dwellings were common across the country, from temporary windbreaks and sophisticated dome-like shelters to richly decorated caves and ancient stone dwellings.There are also early journal entries that shed light on the building and maintenance of dams and wells, and houses and sheds. Sites like Budj Bim in Gunditjmara land exhibits the complex aquaculture practices of the Gunditjmara who built it, and evidence exists of stone structures in addition to the dams and channels. Semi-permanent structures were designed according to the climate in which they were built and utilised commonly available materials such as reeds, driftwood, spinifex and melaleuca bark. These structures were sometimes interconnected, allowing for multiple rooms and living spaces. With the hundreds of individual Aboriginal languages across the country, many words exist to describe a house or dwelling. These words include gunyah, wiltija, mia-mia, goondie and wurley as well as many others, and their variety represents the rich diversity and cultural history of Aboriginal languages. While there is limited recorded history on pre-colonial architecture and design, it certainly existed for thousands of years as Indigenous Australians cultivated and cared for the land on which we now live. Back to top of page Early Australian – Old Colonial Georgian (1788–1850) The first major waves of home styles in Australia date back to the colonial era, ranging from 1788 to around 1840, and there were three distinct groups of settlers that required housing at this time – convicts, free settlers and wealthy landed gentry. The standard of living for these three groups was markedly different. While convicts often slept outdoors or in rough tents or sheds, freed convicts or early settlers used cheap and readily available materials to build rough dwellings. Common materials and techniques were thatched reeds and stripped melaleuca bark for roofing, rough wooden logs or planks for structure and the ancient ‘wattle and daub’ technique for walls and insulation from the weather. The wattle and daub technique involves a mixture of readily available substances such as clay, sand, animal dung and wet soil, which is combined with straw to create a thick, sticky substance that is packed over ‘wattle’ – thin branches woven into a lattice frame – and left to dry solid. These homes often only consisted of a single room, with a chimney and small windows for ventilation. During this period we also begin to see the rise of what is now known as the traditional Australian rural homestead. In New South Wales, early examples of these homesteads were often built by recipients of land grants, which entitled any male free settler or ex-convict of ‘good conduct’ to 30 acres of land, with more granted if he married or had children. This style is typified by the long sloping tin roof and wide verandah, and famous examples include Elizabeth Farm in Parramatta NSW, considered the oldest colonial building in Australia. This style of home might consist of a main room, with two or more rooms that adjoined in a central hallway. While many of these land grants have been subsumed by progress and the sprawl of suburban Sydney, this style was replicated across the country for some decades after the initial colonial period and is often seen in rural farms through to the early 20th century. The wealthy also took advantage of the locally available materials of their new island home and recalled the popular architectural styles of their British homeland, now referred to as Georgian. Imported materials and complex tools being at a premium, local materials such as sandstone and lime plaster were common in the homes of the wealthy and in public buildings, which were often built by convicts. During the early Georgian era, Britain and Europe were enamoured by Palladianism, which originated from the classical ideals of the ancient Greeks and Romans, as well as 16th century Italian villas. It was believed that if a new colony established itself with buildings of this style, it would imbue a sense of refinement and civilisation. So, it was a natural consequence that architects sought to replicate this style in Australian public buildings and wealthy homes. However, given the limitations of materials, tools and resources, these early buildings were often simplistic and understated, marked by utility rather than beauty or architectural sophistication. Other hallmark features of the period include an emphasis on symmetry and refined elegance, utilising neutral interior tones such as browns, whites, and creams, and typically a fireplace in numerous rooms. This understated style became the typical Australian homestead of the time; and while public buildings were necessarily larger and grander in scale, they still retained a classical restrained style without ornamentation. Materials: Sandstone, reeds, lime, clay, wood, corrugated ironPaints & colours: browns – whites – creams Iconic buildings: Old Government House (Parramatta, NSW) – Englefield (Maitland, NSW) – Elizabeth Farm Cottage (Parramatta, NSW) Back to top of page Early Victorian (1840–1860) The next major architectural style that swept through Australia was early Victorian, which occurred in line with the vernacular style in Britain during this period. Building upon the simplicity of the old colonial Georgian era, early Victorian architecture had restrained ornamentation and design. The movement away from old colonial Georgian homes, and towards Victorian homes, coincided with the greater wealth from the Gold Rush, predominantly in the newly founded state of Victoria in 1851. Functionally, early Victorian homes – particularly in Melbourne and Sydney – were terraced or detached and had a formal yet pared back style. While there was minimal ornamentation, homes often featured moulded skirtings and architraves, with small cornices in front rooms. The external colour palette was limited to neutral and earthy tones; however, detailing was completed in darker shades such as the iconic Deep Brunswick Green and Deep Indian Red. Outside, there were simple or no verandahs at all; the fence was pickets, the pitched roof was made from natural slate, timber shingles, or galvanised metal/corrugated iron, and the house was often constructed from face brick (which was usually rendered) or painted weatherboards. This trend laid the foundations for later iterations of the revered Victorian architectural style, such as Victorian Gothic, Victorian Italianate, and mid-Victorian. Even now, nearly two hundred years later, the instantly recognisable Victorian home remains revered in Australian society. Materials: face brick/brickwork – painted weatherboards – picket fence – natural slate – timber shingles – galvanised metal – corrugated ironPaints & colours: stone – biscuit – earth – terracotta – deep Brunswick green – light cream – brown – deep Indian red Back to top of page Victorian Gothic (1850–1880) After the advent of early Victorian architecture, a trend towards Victorian Gothic style architecture arose in Melbourne. Inspired by the Gothic period of the 12th-15th centuries in Europe, and concurrent with the increase of wealth in Australia due to the Gold Rush, homes and buildings began to be built with a greater emphasis on post-Gothic ornamentation and design. Victorian Gothic was inspired by a sense of nationalism, morality, and seriousness. It was viewed as not only an architectural style, but as a representation of truth and virtuousness. One of the most well-known Victorian Gothic architects in Australia was William Wardell, who designed the iconic St. Patrick’s Cathedral in Melbourne, and St. Mary’s in Sydney. Other examples of distinctive Victorian Gothic public buildings include the Quadrangle at the University of Sydney, and St. Andrew’s Anglican Cathedral in Sydney, which were both designed by Edmund Blacket. While Victorian Gothic style produced a great number of ecclesiastical buildings, this style also extended to residential homes. The Victorian Gothic home is identifiable by its use of post-gothic romanticised elements, such as an asymmetrical design with larger windows and steeply pitched gables. The housing material was often determined by local supply, such as bluestone in Melbourne and sandstone in Sydney, and had heavy timber detailing. If brick was used, the front façade was usually rendered and lined to imitate a masonry style. The house would be detailed with elaborately carved timber barge boards and fretwork, and there would be pointed arch forms in the verandahs and windows, and tall chimneys. The garden contained trees, shrubbery, walkways, and geometric flower beds, often surrounded by a picket fence. Materials: bluestone – sandstone – timber – brickworkPaints/colours: creams – greys – beiges – reds – whites Iconic buildings: St Patrick’s Cathedral in Melbourne, VIC – The Rialto in Melbourne, VIC Lighting suggestion: If you’re renovating, decorating, or even building a replica Victorian Gothic home, we recommend lighting that transitions effortlessly with the period style of the home, such as heritage wall lights (for both inside and outside), vintage chandeliers and ornate pendant lights. Conversely, if you wish to have a modern interior with the Victorian Gothic exterior, you could opt for modern lights such as downlights, up/down wall lights, lantern pendant lights, and modern vintage table lamps. Back to top of page Workers’ cottage (1840–1900) Concurrent to the initial rise of early Victorian architecture was the rise of workers’ cottages from the mid-19th century until the turn of the 20th century. Workers’ cottages were predominant in the inner-city working-class suburbs of the major cities, such as Melbourne, Sydney, and Brisbane, due to their proximity to industrial working hubs. In Melbourne, this included Fitzroy, Port Melbourne, and Albert Park; in Sydney they were common in Balmain and Pyrmont; and further north in Brisbane, workers’ cottages were predominant in the West End and Nundah. Given the working-class roots of the homeowners, these homes were simple with no ornamentation, as was economically necessary. As was the case with most homes of the time, the toilet was adjacent to the house as an outhouse. A humble home, workers’ cottages were oftentimes constructed from weatherboard; if there was a verandah, it was a simple and unadorned affair. Due to this frugality, workers’ cottages were small, dark, and damp structures that allowed little natural light. For this reason, the upper class considered these homes to be slums. When the bubonic plague spread throughout Australia in the early 1900s, workers’ cottages were erroneously blamed for the plague’s spread. Many homes were razed as a result, leading to workers’ cottages becoming a scarce commodity in the Australian real estate market. They are now highly sought after for their historical charm and character, despite their austere working-class roots.Materials: weatherboard – locally available materials Lighting suggestion: If you’re renovating a workers’ cottage, we recommend considering the lack of natural light. If you’re not able to knock down walls or add extra windows, then we recommend installing plenty of general lighting such as downlights, which not only provide ambient light but also maximise space in a very small interior space. Back to top of page Queenslander (1840–1939) Jumping north to the sunshine state of Queensland (as well as northern NSW) is the iconic Queenslander home. Designed for both form and function, the Queenslander home is a response to Australia’s extreme climate conditions. The Queenslander’s central feature is its raised design; set high on timber stumps or stilts to allow for the free movement of humid air and floodwater. As such, the Queenslander is not restricted to a stylistic design and is centred around this raised architectural feature instead. Because of this, you can find Queenslander homes that have elements of various architectural movements, such as Queen Anne, Federation, Inter-war, etc. Originating in the 1840s, it has become an iconic and distinctive local style that, while mostly applies to residential homes, has also been seen in commercial and public buildings. While these homes are still built today, they largely fell out of favour around the Second World War due to a trend towards the ‘modern’ American bungalow style that consisted of a single storey home, often as part of a home and land package. The Queenslander home is a single storey detached home made from timber weatherboards. Due to its unique construction, Queenslander homes can be easily renovated, or even relocated. The roof is often constructed from corrugated steel (as well as slate and tiles, amongst others) and is traditionally steeply pitched. The verandah is spacious and spread around the house on several sides, allowing for plenty of shade and passive cooling from the harsh Australian sun. This emphasis on passive cooling design continued indoors. The use of high ceiling fans, ideally positioned doors and windows, and light-coloured interior were all used to improve airflow and cooling, and reduce heat. It is important to note that a lot of internal walls were constructed from asbestos; so, if you are planning to renovate a Queenslander home, ensure you have consulted an asbestos expert beforehand. A unique variation of the Queenslander architectural type is the Ashgrovian. Built between the late 1920s and WWII, this subtype evolved in Ashgrove, Brisbane. Inspired by the Californian bungalow style, this architectural style had a large gable roof, and was surrounded by smaller gables. Like the mainstream Queenslander, these homes were high set on timber stumps, and featured a front-facing staircase that led to a first-floor verandah. These homes were popular among middle-class families and are a key example of how Queenslander homes have evolved over time and location. Materials: timber weatherboards – timber stumps – corrugated steel – slates – tilesPaints/colours: whites – creams – neutrals Iconic buildings: Lighting suggestion: Because of the high ceilings and ceiling roses, you can easily decorate a Queenslander home with a statement chandelier or pendant light that commands attention and utilises a larger space. We also recommend LED light bulbs as they do not emit heat. Back to top of page Mid-Victorian (1860–1875) Delving back into the Victorian theme, the progression of the 19th century led to a refinement of the Victorian home style, which is now referred to as mid-Victorian. Due to the growth in wealth from the Gold Rush, a growing middle class emerged who desired and valued a greater emphasis on ornamentation and stylised design compared to the austerity of early Victorian architecture. Compared to the use of locally available and affordable materials in the early-Victorian era, there was now a greater use of decorative brickwork, as well as the use of stucco on exterior surfaces. While verandahs were still made from timber, there was a shift towards the use of cast iron lacework both on the exterior façade as well as the fencing, to create a more ornate and decorative appearance. The roof was generally constructed from corrugated iron or terracotta tiles, and the eaves would feature decorative designs. In contrast to the neutral tones of early Victorian style, the exterior colours included bolder colours such as salmon pink and pink beige, while the external detailing relied on tried and tested favourites such as Deep Brunswick Green, Deep Indian Red, Fawn and Venetian Red. Inside the home, the interior was adorned with sharply polished wooden floors with plaster walls (sometimes wallpapered) that were finished with skirting, cornices, architraves, and ceiling roses. Blue and red stained glass near the front doors would complement this interior detailing. This ornate interior detailing has created an iconic Victorian period home ‘look’ that lends itself to a variety of vintage and modern decors. Given that this style was derived from the humble beginnings of early Victorian architecture, many consider mid-Victorian to be the perfect balance between the overly simplistic earlier architecture, and the exceedingly decorative architecture of the late-Victorian and Queen Anne periods. Materials: brickwork – stucco – timber – cast iron – corrugated iron – terracotta tilesPaints/colours: Deep Brunswick Green – Deep Indian Red – Fawn – Venetian Red – pinks – beiges Iconic buildings: General Post Office (GPO) in Melbourne, VIC Back to top of page Late-Victorian/Italianate/Boom Style (1875–1901) After the mid-Victorian era, Australian architecture progressed into what is considered the late-Victorian period. Not long after this era commenced, Australian homes were introduced to the wonder of electricity in the early 1880s. This era of Australian architecture coincides with Italianate and Boom Style, and the home styles share similar characteristics. The Italianate style was inspired by the romanticised paintings of Claude Lorrain and Nicolas Poussin. Boom Style echoed the prosperity of the economic boom of the 1880s, and naturally fit within the late-Victorian and Italianate architectural styles. Based on the movement towards more ornate design, this period is marked by its increase in grandiosity and detailing, as well as a shift towards asymmetrical façades. In freestanding homes, the front room is often projected forward; while in terrace homes, the buildings become much taller. Incorporating elements of Italianate style, these homes utilise parapets, arches, moulded decorations, and other ornate detailing. The parapets were highly decorated – many with sculptures of shells and urns. In Italianate style homes, there was often a tower atop the home, of varying sizes. While the colour palette is largely the same as in early and mid-Victorian architecture, it was bolder and more vivid. There was also a shift towards polychromatic solid brickwork (sometimes rendered or textured) or square-edged weatherboards, and the verandah featured complex tiling, filigrees and iron lacework on the arches and fencing. Towards the end of this era, timber fretwork was increasingly used, which later led into the Queen Anne and Federation/Edwardian styles. Inside the home, there was a greater emphasis on patterned and complex wallpaper with bolder colour schemes. The finishing of architraves, arches, skirting, cornices, and eaves was far more intricate and ornate than in the past. This also extended to the doorways and windows. The windows were double hung timber and often featured brick arches and elaborate pilasters, while the doorways utilised stained glass for maximum decorative impact. Overall, the late-Victorian home style is the most decorative and hyper-stylised architectural style of the Victorian era and is revered for its over-the-top design and historical charm. It remains one of the most desirable and popular home types among homebuyers, renovators, and investors today. Materials: polychromatic solid brickwork – weatherboards – timber fretwork – wallpaper Paints/colours: creams – pinks – browns – deep greens – deep redsIconic buildings: Rippon Lea Estate, Elsternwick VIC, Royal Exhibition Building in Melbourne, VIC Back to top of page Queen Anne (1895–1910) Inspired by the early 1700s, Queen Anne architecture in Australia was a revival of baroque and Tudor design elements. This unique architectural style was inspired by Richard Norman Shaw, a renowned British architect during the late-Victorian period. This eclectic home style is instantly recognisable with its complex and grand design. Despite its major source of influence being the design of the Queen Anne era, this style blended other elements such as old English ribbed chimneys and gabled roofs, Australian verandahs, and some American influences. In terms of construction materials, Queen Anne homes were constructed from brickwork or weatherboard; weatherboards were commonly painted cream, while brickwork was generally red, rarely painted, and with stone dressing. Other woodwork could be painted in contrasting colours, such as Cream, Dark Brown, and Olive Green. The true focal point was the roof, which had steeply pitched and complex forms that were made from terracotta tiles, though slate versions do exist. There was a prolific use of exterior decoration, such as post brackets, verandah posts, chimney cornices, gargoyles, finials, etc. In contrast to the popularity of wrought iron during the Victorian period, this style focused on the use of fretwork for its ability to instil grandeur in the home. And while coloured glass had been used in the past, there was now a greater trend towards more complex glass forms and colours in leadlight windows. The gardens were similarly stylised; the fences were usually pickets, and sometimes featured fretted picket heads. The flora consisted of a variety of native Australian plants as well as statement trees such as palms. Inside the home, there were many unique features, such as fireplaces that had an inglenook – a recess connected to a fireplace. The inside of a Queen Anne home also featured an asymmetrical floorplan with ceilings that were divided into panels, adorned with plaster straps, patterns, and motifs. The walls had picture rails, and were decorated with paint, wallpaper, metal, or timber. Despite the relatively short lifespan of this architectural style, the Queen Anne home remains a quirky, unique, and highly sought-after piece of Australian history.Materials: Brickwork – weatherboards – leadlight coloured windows – wallpaper – paint Paints/colours: Cream (Light/Pale) – Dark Brown – Brilliant Green – Olive Green – Manila Iconic buildings: Caerleon in Bellevue Hill, NSW – Tay Creggan in Hawthorn, VIC – Weld Club in Perth, WA Back to top of page Federation/Edwardian (1901–1920) Known as both the Federation and Edwardian era, this architectural style ranged from approximately 1901 to 1920. Beginning after the federation of Australia in 1901, this architectural style drew on the influences of both the Victorian and Queen Anne periods. Named after the reign of King Edward who ruled Britain and the Commonwealth between 1901 and 1910, the Edwardian architectural style originated in Britain and spread throughout the colonies, including the newly federated Australia. Like the Queen Anne period, the Federation/Edwardian architectural style emphasised the use of red brickwork. Or, if the house was made of weatherboards, it was carved to emulate the fine details of stone and bricks. The roof was influenced by the Queen Anne style, and emphasised steep, hipped roofs with front-facing gable ends, made from terracotta tiles, slate, or corrugated iron. The verandahs were prominent and were adorned with fretwork for ornamentation, rather than wrought iron. The colour palette of this period drew influence from all previous periods, and included creams, deep reds, neutrals, and the ever-popular Mid Brunswick Green. Inside the home, the Federation/Edwardian home featured many details of the Victorian period, such as cornices, ceiling roses, architraves, and timber skirtings. The windows drew influence from the Queen Anne period, and featured rich stained and coloured glass in complex patterns and forms. While the Federation and Edwardian styles are often regarded as one and the same, there are some subtle differences. In Federation style homes, a standout feature that you will scarcely find elsewhere are unique motifs evoking Australian nationalism, such as kangaroos, emus, native flora, and the rising sun. Structurally, the homes featured a similar floorplan and structure to Victorian homes, while retaining some mid-Victorian details. The fence was often constructed from pickets, and the garden again featured a mixture of native Australian flora and palms. Overall, these homes were far less ostentatious and grandiose than the Queen Anne and Victorian styles. Materials: red brickwork – weatherboards – terracotta tiles – slate – corrugated iron – fretworkPaints/colours: creams – deep reds – neutrals – Mid Brunswick GreenIconic buildings: Booloominbah in Armidale, NSW Back to top of page Californian Bungalow (1920s–30s) Fast forward to the 1920s and 1930s, a new type of American home rapidly swept across Australia – the Californian Bungalow. While Indian and British variants existed, the bungalow home was exceedingly popular in Australia during a time of increasing frugality and austerity, following the First World War and just prior to the Great Depression. The style forwent the grandeur and ostentatiousness of the Victorian, Queen Anne and Edwardian periods, and there was a trend towards living in a simple yet cosy home. Mainly single storey homes, the exterior of a Californian bungalow exudes a natural rustic charm. The construction material was often dependent on the region in which it was built. Red brick was common in Melbourne; liver-coloured brick in Sydney; weatherboards in Queensland; and limestone in South Australia. The sloping roofs were gabled, and often featured a dormer window as the focal point. It was common to see roughcast timber, which was rendered with small pebbles or gravel to create a lumpy yet natural finish. The colour palette drew on Australian influences of the past, often stripping them down to simplistic variations, in keeping with the restricted budget and materials available.. Exterior colours included cream, pale green, buff, and light stone. The house was detailed in contrasting bold colours such as dark brown, dark Indian red, white, and dark green. It was around this time that asbestos began to be manufactured on a mass scale in Australia, and Californian bungalow homes were often constructed with it. Please ensure that when buying, renovating, or decorating this kind of home that you consult an asbestos expert to ensure complete peace of mind and safety. Inside the home, the floorplan was a simple and unpretentious affair, focusing on the centrality of the hallway. Unlike previous periods, servants quarters were largely obsolete with changing social standards. The colour palette consisted of earthy colours on rough cut walls. The ceilings were unadorned, while the walls were painted or wallpapered with picture rails over the top. The doors and windows were constructed from timber and oftentimes detailed in contrasting colours. A unique interior feature of Californian bungalow homes is the windows. With panes in shapes such as diamonds and rectangles, the windows also included stained glass and decorative leadlight (much like previous periods), but with new motifs and patterns from the Arts & Crafts style period. Set back from the street, Californian bungalow homes utilised a wide verandah with a serpentine path towards the door. In the garden, hedges and shrubs of variegated appearance were more frequently used, as well as ornamental bushes such as roses. The fence was often made from wire, pickets, or bricks, and was designed similarly to the thick and chunky balustrades that dominated the verandahs. Materials: red brick – liver-coloured brick – weatherboards – limestone Paints/colours: creams – greens – browns – reds – whites Back to top of page Interwar (1918–1939) The interwar period in Australia was largely marked by the trend towards greater austerity due to the financial ramifications of WWI, as well as the long-term impact of the Great Depression. There was the beginnings of a trend towards modernism in art, which naturally filtered down into home design and architecture. This interwar period covers several architectural styles, including Art Deco, Streamline Moderne/Ocean Liner (a subset of Art Deco design with maritime influences) Spanish mission, and more. The overarching architectural style of the interwar period is marked by further shifting towards understated elegance due to economic stringency. Set well back from the street and generally single storey, these homes had a simplicity of style that replaced verandahs with porches. Inspired by the Art Deco style that was sweeping across the world, these homes were imbued with the artistic influences of Cubism, Futurism, Modernism, and Constructivism; they often had a solid and heavy appearance, and utilised geometric and non-organic shapes to convey style. Art Deco homes were often constructed from red brickwork, though weatherboard, rendered and roughcast variants exist. The exterior ornamentation was largely confined to the front porch, with simple patterning on the chimney. Other features included the hipped roof and double hung windows. The fence and was generally constructed from brick and would be decorated with wrought iron with art deco motifs. The exterior colour palette consisted of whites, pinks, ochres, browns, reds, and greens. The interior of the home was decorated with ceiling moulds, cornices, stained glass, sharp geometric lines, wood panelling, etc, and bright tiling, painted doors and cupboards, and built-in features such as ice boxes were common. Glass doors between rooms would often feature Art Deco motifs. Building on earlier Art Deco architectural styles, the Streamline Moderne/Ocean Liner architectural style featured exaggerated curved shapes reminiscent of the aerodynamic shapes found in maritime vessels, aeroplanes and locomotives of the time. The nautical inspiration came to the fore with ship railing balustrades and porthole windows, evoking the romance of ocean liners of the era. Spanish Mission homes took inspiration from the red terracotta tiles and curved stucco arches of Spanish homes, seen as luxurious by the Australian middle class and influenced by the rise of the Spanish Mission style and subsequent waning popularity of the California Bungalow in Hollywood. In layout, Spanish Mission homes were often similar to bungalow styles with the Spanish influence only being realised on the exterior. The small gables, ridges and arches created a sense of informality that encouraged the linking of exterior living spaces like courtyards and loggias (outdoor corridors with open arches on one side. This creation of outdoor living space was a new concept at the time, and anecdotal evidence suggests that though the Spanish Mission style was sought after for its laidback glamour, many who owned these homes were unsure of how to utilise these outdoor spaces. Materials: red brickwork – weatherboard – wrought iron – stucco – terracottaPaints/colours: whites – pinks – ochres – browns – reds – greens Iconic buildings: ANZAC War Memorial Sydney NSW, Palais Theatre St Kilda VIC Back to top of page Post-war (1945–1960) Beginning in the middle of the 20th century in Australia is the post-war architectural style. This style coincides with slowly growing wealth and the post-war push towards family and home life, influenced by the end of WWII. Suffering from a lack of skilled labour, equipment and materials due to the war, post-war homes were often manufactured on a mass scale with cheap materials to address the post-war housing boom. Designed with family living in mind, post-war home were often larger than typical family homes of the past, featuring interconnecting rooms that would later lead to open plan living. Oftentimes considered the ‘ugly duckling’ of Australian architecture, post-war homes were often double or triple brick veneer, chosen due to its low cost speed of manufacture compared to brick. Houses were often 'L' shaped in overall layout, and triple fronted (that is, three or more front facing walls). Post-war housing commission homes are typical of the architectural style, and can easily be found in Melburnian suburbs such as Hampton and Heidelberg, however these homes are ubiquitous across suburban Australia. On the exterior façade, the roof was hipped, the house was single-storey, and the brick veneer was usually wire-cut bricks in light tan, light red, or brown. Glass was mass-produced on a much larger scale, making windows cheaper than ever, a fact that building companies took advantage of when designing homes that would be built en masse. They often featured a timber awning with a brick edge, or perhaps a terracotta tiled windowsill. As ownership of personal motor vehicles became more prominent, the installation of a garage into the house was also increasingly common. The exterior colour palette focuses on contrasting colours, such as canary yellow, signal red, parchment, royal blue, pale blue, off white, rose pink, and golden tan. In the interior décor, the colour palette comprised whites, off whites and creams, with boldly coloured feature walls being a unique and eclectic introduction to Australian homes. Inside the home, the floor was constructed from timber while the rest of the home had very little decoration. The floor plan consisted of a trend towards more open plan living with interconnected living rooms. The kitchen décor often was dependent on the types of appliances used, but could often include built in appliances such as ovens. Melamine bench tops (such as Formica) became increasingly more common for its resistance against moisture, heat and abrasion, making it a hardwearing yet affordable material compared to more expensive materials of the time. Kitchen flooring was often linoleum, rubber or vinyl, as these materials offered hardwearing surfaces with excellent moisture resistance that was cheaper than tiling or hardwood. Post-war houses were not limited to this style however, and modernist inspired architecture in the International and Bauhaus styles was also increasingly popular. Harry Seidler and Robin Boyd are two popular architects who employed these design principles, operating primarily in Melbourne and Sydney. Boyd was particularly prolific in the eastern suburbs of Melbourne. The International style that he employed is typified by the use of mass produced materials with no ornamentation and little colour. Wide, flat modular forms separated by glass were common. It is important to note that similar to previous periods, asbestos was prolific in post-war homes. It was particularly used in eaves, internal and external wall cladding, ceilings (particularly wet areas such as bathrooms and laundries) and fences. The use of asbestos in Australia wasn’t phased out until the 1980s, and it wasn’t banned until after the turn of the 21st century. Due to this, it is critical that you do not begin to renovate a post-war home without precautionary measures, and employing a trained asbestos removalist. Materials: brick veneer – weatherboards – timber – terracotta Paints/colours: canary yellow – signal red – parchment – royal blue – pale blue – off white – rose pink – golden tan – whites – off whites – creams Back to top of page Modern (after 1960) In line with the growing trend towards modernism in art, design, and society, residential homes in Australia after 1960 began to be reconceptualised as more than just traditional living spaces for a standardised idea of family life. Back to top of page 1960's The 1960's marked a shift in the concept of what a home was, its design, how it was used, and what it said about the homeowners and their identity. Eschewing the shackles of overly traditional architectural design, homes in the 1960's began to be designed with an emphasis on individual features, new materials, new styles, and new forms. The 1960's continued the trend towards modernist design which was characterised by geometric forms, natural light, and bold shapes, fully coming into its own during this time. This changing attitude was clear in the iconic Beachcomber home designed by Lend Lease, who launched their revolutionary design in 1961. Featuring sharp angular lines and floor-to-ceiling natural light, the Beachcomber perfectly exemplifies the style of the 60's – modernist in build and design, Bauhaus inspired, progressive in living, yet affordable in price. The 'Sydney School' of architecture were concerned with increasing the quality of living for the average Australian, and designed homes inspired by the brutalism movement, arts and crafts, and organic architecture that took cues from the landscape on which is was built. Pettit & Sevitt were prolific in this particular style and examples of their homes can be found throughout Sydney. Architects of the time also took inspiration from the increasing globalisation brought on by increased immigration, travel and access to television. The Hoyt's Cinema Centre in Bourke Street Melbourne, designed by Peter Muller, was inspired by Japanese and Chinese architecture and despite the modernist International style, recalls the shape of a traditional pagoda. Common features of the modernist and budding brutalist styles were wide, flat roofs, concrete blocks, brick, and metal. Purveyors of the Sydney School style favoured face brick and stained timber, replacing flat roofs with canopies at low or unusual angles. Windows were wide and often stood in counterpoint to the concrete and brick. Interiors during this period were often wood panelled, with wallpaper, shag carpet and melamine and vinyl common features in many homes. Pastel kitchens and bathrooms were a ubiquitous sight, as were bright colours and patterns throughout the home. Swedish giant IKEA and other Nordic designers continued to introduce the aesthetic of Scandi to a wider audience, the modernist styles of low, wide furniture with clean simple lines becoming synonymous with mid-century design. Looking for more information on Scandi design have read through our guide to Scandi design and lighting. Back to top of page 1970's/1980's Designed with simplicity of design and décor in mind, modern homes, particularly in the 70s and 80s, emphasised open plan living with a revolutionary approach to traditional materials and structures. While such highbrow concepts were more easily adopted by the upper classes in their freestanding homes, there was also a trend towards instilling modernism in units and apartment blocks, thereby becoming more accessible to the masses. As part of this trend towards open plan living, there was a shift towards more natural light in the home, particularly with large floor-to-ceiling windows. Bold geometric shapes framed the house, while ornamentation was restrained to maintain a modernist look. Continuing on from the previous decade outside the home, walls could be geometric or rectilinear, while the roofs were flat to create a more brutalist design. External flourishes of the past were therefore left behind to create a uniquely forward-thinking home. The external colour palette comprised a mixture of neutrals with occasional pops of colour, though it did differ historical colour trends. It consisted of whites, creams, pinks, ochres, natural greens, and occasional reds and blacks. Inside the home, the plaster walls displayed minimal cornices (if at all), and the walls could be decorated with stone, wallpaper, feature walls, textured wood, and stained wood. The construction material of the modern home differed little from previous decades, though variety and budget meant that anything from painted timber weatherboards to intricate brickwork was common. Despite these traditional materials, they were used in new and innovative ways, and gone were the days of the over-embellished and grandiose Victorian home. Given this modernist design, there was a greater transition between the home and the natural world, and the garden was no different. Incorporating more native plants (compared to traditional cottage gardens or European styles of decades past) the natural Australian environment was more readily embraced, combining native and introduced varieties to create uniquely Australian gardens. Further contributing to a shift away from our identity as an extension of Britain with strong ties to the Commonwealth, were the waves of migration that occurred. While the 'Ten Pound Pom' is commonly known, Australia offered assistance schemes to members of various European nations in the decades after WWII, and with this influx greater development of homes that mimicked the styles of the migrant’s homelands began to appear. For example, among Southern European migrants, there was a proliferation of Mediterranean inspired villas, often affectionately referred to as ‘wog mansions’ or ‘wog castles’. Even a part of the Australian Macquarie Dictionary, it’s defined as ‘a large Italianate mansion, often red-brick with columns and large expanses of concrete instead of lawn. Used in West Ryde in the 1970s.’ These European-inspired homes are common in pockets of Melbourne and Sydney where migrants settled in small communities. While homes in these working-class migrant suburbs were initially looked down upon as lower class, they are now popular among millennial first-home buyers, as they are an affordable entry point into a growingly inaccessible real estate market. These working-class suburbs have also grown over the last several decades to become multicultural hubs that embrace a wide variety of cultures and ethnicities. This desire to create Mediterranean inspired homes, coupled with the steadily increasing wealth of these migrants, has created a unique twist in Australian architectural style history, whereby the trend of the day was no longer as a direct result of British or American influence. The rise of ‘McMansions’ in Australia, particularly in the 1990's-2000's, can be said to be a continuation of the grandiose and over-the-top homes that were built during this period in the 1970's-80's. Back to top of page 1990's Towards the end of the 20th century, there was a shift towards designing homes that reflected individual tastes and preferences, rather than the overarching trend of the day. Given that homeowners during this period had significantly more wealth than previous generations, these homes cannot be defined by common characteristics, as they exemplified individualist rather than collective design. While materials and features of traditional homes were incorporated, there was no rulebook with which homeowners stylised their homes, mixing and matching to meet their own individual preferences.This period was also marked by a redefinition of traditional buildings as homes, such as warehouse, pub, and church conversions, as well as dual occupancy homes. This was the beginning of what we now refer to as ‘contemporary living’, which tends to focus on more modern living spaces compared to the traditional homes of the past. Materials: Timber – weatherboards – brick – concretePaints/colours: whites – creams – pinks – ochres – greens – reds – blacks Iconic buildings: Rose Seidler House in Wahroonga, NSW Back to top of page Contemporary Australian living (2000–Present) Since the turn of the century, Australian homes have evolved insofar as homeowners are more likely to adopt differing architectural styles, not just the trend of the time. However, with this increasing freedom of individual choice over societal trends, there has been a desire by some homeowners to create over-the-top mansions that are out of touch with the rest of the neighbourhood. These are now mockingly referred to as ‘McMansions’. McMansions are defined by several characteristics: they are considerable in size, mass-produced (and therefore cheaply made), multi-storey, and belonging to no identifiable architectural style or movement. These homes are built with an emphasis on size rather than their inherent quality or attention to detail. While these types of homes surged after the 21st century, there has been some decline in recent years given the growing criticism of McMansions around the world. Despite this, particularly since the 2010s, there has been a shift towards even more modern and simple living, and this is partly due to the rise in compact apartment living. According to the Australian Bureau of Statistics, high density housing is most common in capital cities such as Sydney, where one in four households live in flats, units, and apartments. This number is even greater when you consider the age bracket of those living in apartments, which is significantly weighted towards millennials and Generation X tenants. Multi-purpose spaces, compact furniture design and a simpler lifestyle that may include a tendency towards eating out, extensive organisation and minimalism, or prioritising travel over improving living spaces are features of a lifestyle that is less tied to the size or function of one's home. An even more radical extension of this trend towards simple living is the tiny home movement. This movement strikes a perfect balance for those who have both ecological and financial concerns in mind, and who are willing to compromise in the way they live. These homes are extremely compact and are often trailers that can be moved. This allows a greater freedom to move your tiny home should you wish to relocate, and are a unique, innovative, and entirely different way to live. Conclusion The evolution of Australian architectural style encompasses a history of constant change. From the early years of colonisation that saw strong influence from British and early European architecture in Victorian, Queen Anne and Edwardian styles, to US influences in the Californian bungalow and a proud history of multi-culturalism that brought us cultural and artistic influences from across Europe, including Italianate, Spanish mission, Beachcomber, Streamline Moderne and even the infamous McMansion. Through war, economic boom and depression, social change and artistic revolutions, Australian architectural design has always retained an element that is uniquely Australian while still embracing the bounty of the wider world. While this article touches on the highlights of Australian home design, it is by no means an exhaustive list and we encourage you to delve further into the fascinating history of this country through its architecture. If you have any design, décor, or lighting questions, please feel free to get in touch with our friendly team at Fat Shack Vintage. No matter where you are in Australia, we’re only a phone call away! Feeling inspired? We stock a range of lighting options suitable for many of the architectural styles we've covered in this article. Check out our styled based collections or take a look at out lighting range here. Back to top of page
Encyclopedia of Home Decorating,1954. The photos in the book are from the mid-40s and come from a series of decorating booklets. Published by Book Production Industries, Written by Helen Koues. Containing material from home decorating booklets previously published by Book Production Industries, Inc. 1945, 1946, and 1947.
79 p. ; ill., plans ; 28 cm. ; trade catalog
For architects and prospective homeowners alike, the most seductive promise of the immediate postwar years was the prospect of a clean slate, an opportunity to build new, light-filled, houses appropriate to Australian conditions.Good design should be brought within the reach of home builders of modest means. In the 1940s, daily newspapers and industry associations ran design competitions for the postwar house.
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