Vial House
Prepared by: Context Pty Ltd
Address: 23-25 and part of 27 Canterbury Road, Camberwell
Name: Vial House
Survey Date: 7 August 2014
Place Type: Residential
Grading: Individually Significant
Architect: Chris A Cowper,
Murphy & Appleford
Builder: C W Ward
Extent of Overlay: To title boundaries
Construction Date: 1923
Historical Context
This area of Camberwell saw the construction of a series of large houses in the 1890s, in
part due to improved rail transport to the area. They include 'Coolattie' at 29 Canterbury
Road and 'Linda' at 19 Canterbury Road, both set on large blocks of land. Many of these
large estates were subdivided and developed during the first three decades of the 20th
century, and developed with single-family houses for the middle classes. The
Camberwell Ridge Estate, creating The Ridge, was surveyed in 1904 and encompassed
the grounds of Victorian mansion ‘Versailles’ (where Marcellin Junior College is now)
(Butler, 1991: Precinct 16). The Ridge, in particular, running as far south as Canterbury
Road, saw extensive development with substantial houses during the interwar period.
History
In October 1919, Lena Mary Vial, married woman of Broadway in Camberwell, became
the owner of four lots on the corner of Canterbury Road and The Ridge. These lots
included the current 23-25 Canterbury Road (including the tennis court) and 2 The Ridge.
Two covenants were noted on the title that defined acceptable future development. The
first covenant noted that upon one lot (current No. 2 The Ridge) ‘no brickmaking or
quarrying operations may be carried upon the said land and that no part of the said land
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may be used as a backyard for any building other than a building erected thereon’. A
second covenant on the title indicated that on two lots fronting Canterbury Road
(currently 23-25 Canterbury Road) ‘not more than one house and no house (except
outbuildings) of less value than £800- or having a main roof of other material than slates
or tiles may be erected on either of the said lots and that no building erected on either of
the said lots may be used as a place for the reception or treatment of persons suffering
from infectious diseases and that no brickmaking or quarrying operation may be carried
on upon the said land and that no part of the lots may be used as a backyard for any
building other than a building erected thereon’ (LV:V4299/F649). Such covenants were
common in the City of Camberwell to ensure the high quality of construction and amenity
for residents.
In August 1921, the Vials sold a small slice of land off the eastern edge of their property
to Ernest and Ethel Goss, to consolidate with their property on the corner of Stanley
Grove (27 Canterbury Road). The first covenant on the property may have resulted in the
Vials selling the northern lot (the current No. 2 The Ridge) to Reginald W Horsley in
December 1921 (LV:V4299/F649), as they could not use it as their backyard.
Lena Vial was the wife of George Oliver Vial. Prior to 1924 George O Vial was listed in
the Sands & McDougall Directory as residing at 71 Broadway, Camberwell. The twostorey attic Queen Anne villa at 71 Broadway (HO159) was designed for Vial by architect
Christopher Cowper in 1909 (Butler, 1991:42).
Builder CW Ward applied for a building permit on behalf of George Vial to construct a 12room brick and tile dwelling at a cost of £5,230 on The Ridge on 20 February 1923 (BP
No. 3232). This was by far the largest and most expensive dwelling for which a building
permit was obtained in the City of Camberwell in January or February 1923. A typical 5room house cost as little as £450, while the second most expensive one in that period
cost £2,850 – about half the price of the Vials’ new residence.
The timing of the building permit corresponds precisely with a tender notice placed by
architects Chris A Cowper, Murphy & Appleford in February 1923 both in the Argus (7
Feb. 1923:3) and Cazaly’s Contract Register (13 Feb. 1923:25) for construction of a
‘large brick residence’ in Camberwell. Tenders were due on 14 February. There were
also earlier notices from that architectural practice in Cazaly’s during January for the
construction of a ‘brick residence at Camberwell’, with tenders due 7 February, which
may have been the same job. There were no other tender notices by other architects in
January or February of that year that could have applied to this site. The grandson of
George Vial confirms that Christopher Cowper was the architect of the house. Apart from
his two Camberwell homes, George Vial reportedly designed George’s business
premises in Queen Street, Melbourne, which does not appear to survive (B Vial, pers.
comm., 2014).
The Vials had a rich social life at the Canterbury Road house, including tennis parties
and hosting guests from leading Melbourne families (B Vial, pers. comm., 2014). In
March 1937 the Vial’s third son, Kenneth (Ken) Vial wed Adele Ball in the Littlejohn
Chapel at Scotch College (Argus 17 Mar. 1937: 15). The young couple moved to
Ashburton and immediately after George and Lena Vial downsized to a house on Mont
Albert Road (B Vial, pers. comm., 2014), selling the Canterbury Road house in April
1937.
IIt was purchased by Winifred M Scott, married woman of Kew (LV:V4299/F649). Shortly
afterward, in October 1937, she commissioned architectural firm Chris A Cowper, Murphy
& Appleford to design a sunporch for the rear of the house (BP plans). In 1948, the
Scotts made internal and external additions to the house, which included the extensions
of two bedrooms. In 1951 further alterations were carried out on the east side of the
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house to create a separate flat for a member of the family. These works were completed
by Master Builders DR Swan Pty Ltd (BP drawings).
Upon Winifred’s death in December 1950, probate was granted to Harry Giddy,
Chartered Accountant of Melbourne, and Alan Scott of 25 Canterbury Road, Camberwell,
an Assistant Manager. In August 1952, the house and property was officially transferred
to Alan Scott and Lillie Tulloch, married woman (LV:V4299/F649; V6106/F045). They
retained ownership until July 1962 when the house was sold to the Bacons
(LV:V6106/F045). In 2013, the covenant described above was removed by the current
owners (LV: V9476/F373).
George Vial
George Oliver Vial and Lena Mary Vial had four sons, Ronald, Alan, Kenneth and
Leonard (Argus 15 Mar 1939:2). After selling 23-25 Canterbury Road in 1937, George
and Lena Vial moved to 107 Mont Albert Road, Balwyn, before George’s death in 1939
(Argus 15 Mar 1939:2).
George Vial worked with his father Frank Vial, as ‘Frank Vial & Sons’, a belt manufactory
of which Frank was the founder. Frank Vial started the business in 1882, named Frank
Vial and Co, located in Kensington (Building Engineering & Mining Journal; Australian 29
Aug 1891:18S). In Frank’s view, the company compared with any in the world in terms of
modern machinery and up-to-date methods. Butler notes that Frank was claimed to be a
‘pioneer of leather belt making industry in Victoria’ (Butler, 1991:42). In 1890, a tender
was accepted from AE Duguid to build a large shed for Frank Vial & Co, belt
manufacturers at Kensington (Building Engineering & Mining Journal), which indicates
the business was successfully growing since its beginning in 1882.
The company named changes to ‘Frank Vial and Sons’ around the turn of the century
(Argus 7 Sep 1901:2). In 1918, the Sands & McDougall Directory described ‘Frank Vial &
Sons’, located at 369-375 Queen Street, Melbourne as ‘Belting manufacturer (leather,
cotton, canvas, mill requirements), machinery merchants; sole agents ‘Dodge’ split
pulleys, wood or iron’ (S&Mc). George and Edgar Vial later inherited the business on
Queen Street (Butler, 1991:42) and George was Managing Director until his death in
1939 (Argus 15 Mar 1939:2).
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Figure 1. Frank Vial & Sons price list, 1920. (Museum Victoria)
Both George and Frank Vial owned and occupied many houses, a number of which were
located within the current City of Boroondara.
Places owned and occupied by Frank Vial:
- 36 Wellington Street, Flemington (HO124) was occupied by Frank Vial for a short period
in the 1890s (Hermes no. 23926).
- Fenhurst Grove, Kew was subdivided by Frank Vial c1893 (HO300) (Hermes nos.
14618; 14770).
- Birralie, 52 Walpole Street, Kew, built for owner Frank Vial in 1907 (HO352) (Hermes
no. 14671).
- 53-63 Victoria Crescent, Abbotsford (HO52) was a factory that Frank Vial occupied
between 1905-10, presumably for Frank Vial & Sons (Hermes no. 103726).
Houses owned or occupied by George Vial:
- 71 Broadway, Camberwell (Significant in HO159), designed by architect Chris Cowper
in 1909 (Butler, 1991:42).
- 23-25 Canterbury Road, Camberwell, designed by architectural firm Chris A. Cowper,
Murphy & Appleford.
- 107 Mont Albert Road, Balwyn (Argus 15 Mar 1939:2).
Chris A. Cowper, Murphy and Appleford, architects
Christopher Alfred Cowper (1868-1954) was a Melbourne-based architect and property
developer, born in Cape Town, South Africa. After migrating to Melbourne in 1883 he
was articled to Evander McIver and was in a solo practice by 1892. However, in 1895 he
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took up farming and other employment before a world tour in 1906, only to re-establish
his architectural career upon his return. His key works at this period include the 33
houses for the Grace Park Estate in Hawthorn (HO152), which George Tibbits described
as ‘a sanctuary of houses in the Melbourne Queen Anne manner’. He designed many
other houses and several commercial buildings within Boroondara and other middle-class
Melbourne suburbs such as Brighton, South Yarra and St Kilda (Logan 2012:179). His
work included houses at 62 Riversdale Road, Hawthorn (HO112, c1910), 71 Broadway,
Camberwell (HO159, 1909), 14 and 22 Studley Avenue, Kew (both Contributory to
HO143), and 14 or 16 Stawell Street (corner Barry Street), Kew (both Contributory to
HO143). Apart from houses, he was also responsible for innovative designs such as the
Hawthorn Motor Garage (1912, VHR H2296), and Summerland Mansions, St Kilda
(1920, VHR H1808)
After 1915, Cowper appointed his young associate Gordon Murphy as the office’s chief
designer. In 1921 he formed Chris A. Cowper, Murphy and Appleford with Gordon
Murphy and young draftsman Reginald W Appleford, moving into an office at Chancery
House, 440 Little Collins Street the following year (Logan 2012:179). Chris A. Cowper,
Murphy and Appleford produced many blocks of flats in the 1920s and were later known
for their work on modern cinemas and hotels (Hermes no. 124662), in particular the
Regent Theatre, Ballarat (1927, VHR H2221) and the Sun Theatre, Yarraville (1938,
VHR H0679).
In the 1920s Cowper focussed on real estate and finance as a speculative builder and
real estate developer, but also continued residential design, which Logan (2012:179)
notes ‘exhibits great refinement in detail and composition. His highly individual handling
of joints and bracket details is especially skilful, and adds not only visual interest to the
houses, but also imparts a craft-like quality to his architecture’ (Logan 2012:179). The
partnership was dissolved in 1930 when Cowper retired from the practice, however,
Murphy and Appleford were able to continue running the practice under the same name
(Argus 3 Jun 1932:1).
Works by the office include buildings at Emerald Country Club Estate (the Clubhouse and
a number of picturesque cottages, 1920s) (Hermes no. 30389), the Spanish Mission Bryn
Flats, Orrong Road, Toorak (Australian Home Beautiful 1 Oct 1927: 19), Okataina Flats,
33 Chelsea Street, Brighton (c1932) (Hermes no. 124662), Sun Theatre in Yarraville (late
1930s) (Hermes no. 28117), the upgrade of the Regent Picture Theatre in Ballarat (1943)
and the Koroit Memorial Hall and cinema (1957) (Hermes nos. 112528; 127276). They
are also known to have designed houses within the current City of Boroondara, including
in Canterbury and Kew in the 1920s and early 1930s (Argus 21 Mar 1925; 20 Mar
1926:2; 2 Apr 1930:3).
Interwar Mediterranean
The Interwar Mediterranean style is also referred to as Mediterranean Revival and
Mediterranean Villa. The style appeared in Australia in the late 1910s in response to the
temperate climate and sunlight, which were conducive to ‘an architecture of simple
shapes, light and shade, bleached pastel colours and accents of classical detail’,
according to Professor of Architecture at the University of Sydney, Leslie Wilkinson, who
is credited with popularising the style in Australia after his arrival in 1918 (Apperley et al.
1989:172). Through his influence, and that of architect Hardy Wilson, the style gained
popularity in the 1920s (Cuffley 1989:74-5). The style was commonly applied to domestic
architecture in upper and upper-middle class suburbs, but later to modest-sized
commercial and institutional buildings (Apperley et al. 1989:172). In the 1920s, many saw
Mediterranean-based design as a potential basis for a future national design (Raworth
2012:450).
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It is related to the Interwar Spanish Mission style, but is intentionally designed with
subtler features, in a simple yet elegant form. Details take on an austere classical or
Renaissance mode, which subtly evokes a vaguely Mediterranean feel, in comparison to
the more blatant and bold Iberian features of Spanish Mission architecture. In particular,
Interwar Mediterranean domestic architecture incorporates pergolas, balconies, arcaded
loggia and a formal entrance, with sidelights and highlights, while Tuscan columns
appear in verandahs and porches. The exterior is lightly bagged or cement-rendered.
Large double-hung sashes have small panes with narrow wooden glazing bars which
reflect Georgian principles, often with louvered shutters (Apperley et al. 1989:172-4;
Cuffley 1989:75-6).
In 1922, architect Rodney Alsop wrote an article on architecture and climate for the
November issue of Australia Home Builder, in which he commented on the growing trend
to draw from Georgian and Mediterranean styles, often in the same building (Cuffley
1989:80). Three years later in 1925, drawings of the style by Melbourne architects
Marcus Barlow and FGB Hawkins, blending Georgian and Mediterranean influences,
were published in the November edition of The Australian Home Beautiful (Cuffley
1989:78-9).
The Prime Minister’s residence, ‘The Lodge’, designed by the Melbourne partnership
Oakley & Parkes in 1926, is one of the best known examples of the Interwar
Mediterranean style in Australia. In addition to their stylistically varied work in Melbourne,
Oakley & Parkes (established in 1926) are known to have designed 150 houses in
Canberra (Dernelley 2012:509-510). They played a key role in the design of Canberra’s
permanent housing for public servants in its initial phase, working with architect John
Scarborough, in the Federal Capital Advisory Committee housing competition in 1924
(ACT RSTCA Register). A significant number of the houses were designed in the
Interwar Mediterranean style, located in Manuka, Forrest, Reed and Barton.
The style was popularised in Australia by the 1930s, appearing as small-scale bungalows
in new suburban subdivisions.
Description & Integrity
The house at 23-25 Canterbury Road is a substantial and sprawling house set behind a
large front garden at the corner of Canterbury Road and The Ridge. The garden retains
the original concrete drive which leads from the intersection (south-west corner), curves
past the front façade of the house and then leads to the garage at the north-east corner
of the site. The garage at part of 27 Canterbury Road appears to be clad in similar
materials to the house: roughcast render to the walls and concrete roof tiles to the hip
roof. The front garden comprises low hedge plantings (possibly rose bushes) along part
of the front drive and up against the front façade of the house. In front of the house is a
large expanse of lawn, with rows of semi-mature exotic trees along the south and west
boundaries, providing a sense of enclosure. On the east side of the house and garden is
a large clay tennis court.
A modern lych gate stands just inside modern metal gates at the south-west corner of the
site. A modern high Colorbond fence has been installed along the south and west
property boundaries, making the main view to the house via the corner gates.
The house is single storey with a high hip roof covered in dark grey Marseille-pattern
tiles. There are hipped side wings, set back from the façade, and an L-shaped service
wing at the rear. The house has two main chimneys along the front slope of the main roof
which are rectangular, finished in roughcast render, with simple banding and terracotta
chimney pots at the top. The roughcast appears to retain an early sand-coloured
limewash on it. There areanother four chimneys of the same design to the rear of the
house, visible from The Ridge.
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The front façade displays a restrained, symmetrical composition with a loggia of three
round arches set in the centre. It is finished in a warm grey roughcast render that either
has never been painted or is covered only with a sheer wash. The front steps, plinth and
associated planter boxes below the loggia are of face brick (overpainted). The arches
have restrained detailing with a neat incised edge in lieu of a raised moulded architrave.
On either side of the arcade is a bank of three double-hung sash windows in a box frame
resting on simple brick corbels. The upper sashes have six panes above a single-paned
sash, as was common for a range of styles in the early 1920s. Above the central window
of each group is a round-arched tympanum expressed in brick headers (overpainted).
Behind the loggia are two pairs of the same type of box windows, as well as an arched
entrance doorway with leadlights to the large fanlight and sidelights. Two lanterns fixed
between the arches may be original.
The east side wing, set back from the main façade, has arched openings of the same
type as the façade, here filled with French doors. The west side wing, also set back from
the main façade, has a single box window of the same type as the façade. In the reentrant corner between the two sections is a flat-roofed porch with an arch on each face.
While slightly smaller than those of the entrance arcade, they have the same incised
edge detail and the masonry is finished with a matching roughcast render. It is believed
that this porch was added in 1948 or 1951 when the house was split into self-contained
flats.
Comparative Analysis
The house at 23-25 Canterbury Road is an early example of the Interwar Mediterranean
style in Boroondara and more widely in the metropolitan area. As discussed in the
history, this style was influenced by classical Italian and Spanish forms and precedents.
There is often crossover between this style and elements of the concurrent Georgian
Revival, particularly the use of dominant hip roofs and louvered shutters. It also has
some relation to the more embellished Spanish Mission style, which has similar massing
and use of loggias but is also characterised by multiple decorative flourishes such as
ogee parapets, twisted columns, Cordoba roof tiles and cast-cement reliefs.
The earliest example of the Interwar Mediterranean style identified in Boroondara is
Lionel San Miguel’s 1921 design, ‘Montalegre’ (HO255, 168A Mont Albert Road,
Canterbury). The two houses share symmetrical massing with a simple loggia at the
centre and the pairing of textured render with a face brick plinth. Unlike the integrated
massing of the loggia into the façade at 23-25 Canterbury Road, ‘Montalegre’ is visually
broken up by the recessed and parapeted loggia set between hipped wings. The two
houses are of a similar scale and are set behind usually generous gardens.
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Figure 2. HO255 ‘Montalegre’, 168A Mont Albert Road, Canterbury, of 1921-22. Designed by
architect Lionel San Miguel. (Jellis Craig, 2011)
In its materiality, 23-25 and part of 27 Canterbury Road is comparable to the HO277 1
Bradford Avenue, Kew, of 1927-28, which is finished in natural roughcast render (as well
as the 1923 bungalow HO382 ‘Mallow’ 33 Deepdene Road, Deepdene, which is also
noted for retaining this original finish). The two also share the typical Mediterranean style
loggia, and the hip roof and multipaned windows also seen with the Georgian Revival. In
contrast, the two-storey 1 Bradford Avenue has unusual massing, balancing solids and
voids across its two levels.
Figure 3. HO277 1 Bradford Avenue, Kew, of 1927-28. (Lovell Chen, 2005)
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Many more examples of the Interwar Mediterranean are seen in the late 1920s and
1930s, including Contributory examples in precincts such as HO1 Golf Links Estate,
Camberwell. Among the later Individually Significant examples there is the more
decorative HO282 Burke Road, Kew, of 1931, which incorporates moulded arch tympani
and quoins.
Figure 4. HO282 Burke Road, Kew, of 1931 (Lovell Chen, 2005)
Of that same year, HO406 1292 Toorak Road, Glen Iris, has a less complete integration
of the style in its design, with an arcaded porch appended to the façade.
Figure 5. HO406 1292 Toorak Road, Glen Iris, of 1931 (Google Streetview, 2009)
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In comparison with these Individually Significant buildings, 23-25 and part of 27
Canterbury Road is of a comparable level of architectural pretension and substantial size,
both house and front garden, which express the status of their owner. While there have
been changes to the internal configuration - converting one very large dwelling into three
flats - this has resulted in minimal external change. The most visible is the new entrance
porch on the west side, which is very sympathetic in its form and materials.
Of the four comparable Individually Significant properties, the architect of only one has
been identified, but all appear to be architect-designed like Cowper, Murphy &
Appleford’s 23-25 and part of 27 Canterbury Road. The house is both an early example
of the Interwar Mediterranean style and a very elegant one in execution, which was
substantial in scale and cost at the time of its construction.
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Assessment Against Criteria
Criteria referred to in Practice Note 1: Applying the Heritage Overlay, Department of
Planning and Community Development, September 2012, modified for the local context.
CRITERION A: Importance to the course, or pattern, of the City of Boroondara's cultural
or natural history (historical significance).
The house at 23-25 and part of 27 Canterbury Road illustrates the subdivision in the
early 20th-century of the large 19th-century estates in this area of Camberwell, to allow for
the development of middle-class housing.
CRITERION B: Possession of uncommon, rare or endangered aspects of the City of
Boroondara's cultural or natural history (rarity).
The house at 23-25 and part of 27 Canterbury Road is an early example of the Interwar
Mediterranean style in Boroondara. It was a style that became very popular in the area
by the early 1930s.
CRITERION C: Potential to yield information that will contribute to an understanding of
the City of Boroondara's cultural or natural history (research potential).
Not applicable
CRITERION D: Importance in demonstrating the principal characteristics of a class of
cultural or natural places or environments (representativeness).
The house at 23-25 and part of 27 Canterbury Road is an elegant and well-preserved
example of a substantial Interwar Mediterranean villa. The style was most often seen in
the domestic architecture in upper and upper-middle class suburbs from the 1920s,
becoming widespread in the following decade for small bungalows. At the time it was
seen as a potential basis for a future national design, due to the similarity in climate and
the quality of light in Australia and the Mediterranean. This was symbolically expressed
by the use of the style for the Prime Minister’s Residence and housing for public servants
in Canberra in the mid-1920s.
CRITERION E: Importance in exhibiting particular aesthetic characteristics (aesthetic
significance).
The house at 23-25 and part of 27 Canterbury Road exhibits a graceful combination of
features that would come to define the Interwar Mediterranean style, including a
symmetrical composition, the use of a loggia as a main design feature, planar surfaces
stripped of ornament relying on voids and textured solids for visual interest, a dominant
hip roof providing a horizontal emphasis punctuated by tall chimneys, and multi-light sash
windows set beneath decorative tympani.
The house is enhanced by the retention of its large front garden, the curved concrete
entrance drive and the original or early garage.
CRITERION F: Importance in demonstrating a high degree of creative or technical
achievement at a particular period (technical significance).
Not applicable
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CRITERION G: Strong or special association with a particular community or cultural
group for social, cultural or spiritual reasons. This includes the significance of a place to
Indigenous peoples as part of their continuing and developing cultural traditions (social
significance).
Not applicable
CRITERION H: Special association with the life or works of a person, or group of
persons, of importance in the City of Boroondara's history (associative significance).
The house was designed by architectural practice Chris A Cowper, Murphy & Appleford.
The practice, formed in 1921, was headed by prominent Melbourne architect Christopher
Cowper who was important in early 20th century Boroondara, with his extensive Queen
Anne residential development in Grace Park, Hawthorn, as well as many other mid to
large-sized houses for the well-to-do residents of other suburbs in Boroondara and other
areas of Melbourne.
The house was built as the home of Lena Mary Vial and her husband George Oliver Vial.
George was the Managing Director of Frank Vial & Sons, founded by his father, which
was a manufacturer of machine belting for industrial use. While the company was
variously based in Abbotsford and the CBD, both Frank and George Vial settled in
Boroondara by the first decade of the 20th century, commissioning substantial houses. In
this they were typical of Boroondara’s residents in the early 20th century: well-off
businessmen who commissioned homes to reflect their status.
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Statement of Significance
What is Significant?
The house at 23-25 and part of 27 Canterbury Road, Camberwell, and its setting
including the front garden, the curved concrete entrance drive, and the garage at part of
27 Canterbury Road situated behind the tennis court. The house was designed by
architectural firm Chris A Cowper, Murphy & Appleford and constructed in 1923 for
married couple Lena Mary Vial and George Oliver Vial and their children. George Vial
was the Managing Director of Frank Vial & Sons, founded by his father, which was a
manufacturer of machine belting for industrial use.
How is it significant?
The place is of local historical, architectural and aesthetic significance to the City of
Boroondara.
Why is it significant?
Historically, the house illustrates the subdivision in the early 20th-century of the large 19thcentury estates in this area of Camberwell for the substantial dwellings erected as homes
for well-to-do businessmen. (Criterion A)
Architecturally and historically, the house is significant for its associations with prominent
Melbourne architect Christopher Cowper, and his practice Cowper, Murphy & Appleford
formed in 1921. Christopher Cowper was a significant architect in early 20th century
Boroondara, best known for his extensive Queen Anne residential development in Grace
Park, Hawthorn, as well as many other mid to large-sized houses for the well-to-do
residents of Kew and Camberwell, and other suburbs of Melbourne. (Criterion H)
Architecturally, the house is an elegant and well-preserved example of a substantial
Interwar Mediterranean villa. The style was most often seen in the domestic architecture
in upper and upper-middle class suburbs from the 1920s, becoming widespread in the
following decade for small bungalows. At the time it was seen as a potential basis for a
future national design, due to the similarity in climate and the quality of light in Australia
and the Mediterranean. This was symbolically expressed by the use of the style for the
Prime Minister’s Residence and housing for public servants in Canberra in the mid1920s. (Criterion D)
Aesthetically, the house exhibits a graceful combination of features that would come to
define the Interwar Mediterranean style, including a symmetrical composition, the use of
a loggia as a main design feature, planar surfaces stripped of ornament relying on voids
and textured solids for visual interest, a dominant hip roof providing a horizontal
emphasis punctuated by tall chimneys, and multi-light sash windows set beneath
decorative tympani. It is enhanced by the retention of its setting, including a large front
garden, curved concrete entrance drive and original or early garage. (Criterion E)
Grading and Recommendations
Recommended for inclusion in the Schedule to the Heritage Overlay of the Boroondara
Planning Scheme as an Individually Significant place.
Recommendations for the Schedule to the Heritage Overlay (Clause 43.01) in the
Boroondara Planning Scheme:
External Paint Colours
Is a permit required to paint an already painted surface?
Internal Alteration Controls
Is a permit required for internal alterations?
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Yes
No
Tree Controls
Is a permit required to remove a tree?
Victorian Heritage Register
Is the place included on the Victorian Heritage Register?
Incorporated Plan
Does an Incorporated Plan apply to the site?
Outbuildings and fences exemptions
Are there outbuildings and fences which are not exempt from
notice and review?
Prohibited uses may be permitted
Can a permit be granted to use the place for a use which would
otherwise be prohibited?
Aboriginal Heritage Place
Is the place an Aboriginal heritage place which is subject to the
requirements of the Aboriginal Heritage Act 2006?
No
No
No
No
No
No
Identified By
G Butler, Camberwell Conservation Study, 1991.
References
Building Engineering & Mining Journal, 16 August 1890, supplement, p3. Cited online in
Miles Lewis’ Australian Architectural Index, 25 August 2014, Record No. 45612.
Building Permit (BP) drawings, held by Boroondara City Council.
Butler, Graeme (1991), ‘Camberwell Conservation Study’, Vol. 3 ‘Significant Areas’ &
Vol.4 ‘Significant Sites’.
Cazaly’s Contract Reporter.
City of Boroondara Building Plan (BP), drawings.
Hermes records, as cited above.
Land Victoria (LV), Certificates of Title, as cited above.
Logan, Cameron (2012), ‘Chris Cowper’, in Philip Goad & Julie Willis (Ed.), The
Encyclopedia of Australian Architecture, Cambridge, p179.
Museum Victoria, online collections, <http://museumvictoria.com.au/collections/>,
accessed 25 August 2014.
Sands & McDougal Directories (S&Mc): 1918, 1919, 1920, 1921, 1922, 1923, 1924.
Table Talk [Melbourne].
The Argus.
The Australian.
Vial, Brian (son of Ken and Adele Vial, grandson of George and Lena Vial), letter to
Boroondara Council dated 24 Nov. 2014.
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