Stephanie G. Mathis The focus of the exhibition is on modernist architecture, particularly in the southeast corner of “Sunshine State.” It tells a story of a vision that had international inspiration but was shaped by local circumstances. It changed the urban landscape. After the Second World War, whole suburbs appeared with flat, angular, or butterfly roofs. The new houses featured brightly-colored accents and stark geometric patterns.
The Jacobi House, which is recreated in a 1:1 scale in the exhibit (above), is a vivid example. The pavilion’s modest but transformational design is brought to life by its bright orange frame. Hayes and Scott’s design is like walking into an old-fashioned time capsule. It features modern furniture and the design of that era.
The Riverside Expressway (built between 1971 and 1975) is the most striking example of modernist architecture in the exhibit. The northern bank of Brisbane River is defined by its sweeping serpentine line. The city was first seen from a passing perspective.
The curvilinear, sweeping Modernism of James Birrell, especially his earlier Centenary Pool at Spring Hill (1957-60) (main image), is echoed by many. The expressway, which is imposing, marks the boundary between those who criticize the modernist transformation and those who want to understand what it was and what it aimed to achieve.
History fragmented
Hot Modernism aims to demonstrate the diversity and scope of modernist architecture. As Professor of Architecture John Macarthur pointed out on the opening evening, its history in Queensland is fragmented and contested, consisting of “conversations and anecdotes.”
The design of the research project Digital Archive of Queensland Architecture reflects this fragmentary oral history and is the major inspiration behind the exhibition.
Hot Modernism’s exhibition space. Candice Bridger, photographer at SLQ
The period 1945-1975 was marked by rapid population expansion, increased car ownership, and new ideas on how to and what to construct. The social-political atmosphere was insular and often backward-looking, never comfortable with cultural issues (unless they were directly translated into money or reflected political fame); the economy was smaller, which limited architectural opportunities; and there was little recognition of Australian or local architectural history, even at university.
The story of Queensland’s modernist architecture is closely linked to the social, political, and urban history of the state. The amount of detail in this exhibition is very important, even though it is visually a very busy one.
Architectural drawing of La Boite Theatre on Petrie Terrace circa 1972. Wilson Architects, 1972. Wilson Architects Collection
Ironically, the floor-to-ceiling style of this building is reminiscent of a pre-modern display. It can look like a manic result of the architect’s obsession with documentation and the librarians’ love of minutiae in the archives. Plans, drawings, tutorial videos and films, interactives, models, and models all compete for attention.
The exhibition is complemented by memories, such as a poignant interview conducted with Blair Wilson, who died since the opening of the show and discussed the original La Boite Theatre located in Milton, Brisbane.
Modernist subtropical design
All these details reveal an architectural history that is independent of the Sydney-Melbourne perspective. It also breaks away from narratives that Modernism represents a schism with the ongoing imperatives for subtropical design.
Hot Modernism is a complex and confusing reality. Although the styles of subtropical houses may change drastically, the key design principles remain consistent. These include designing for climate and airflow, focusing on the spatial interplay of the open and closed, and standardization.
The “timber-and-tin” tradition is resurrected in the wonderfully eccentric documentary of the same title (above) by Max Bannah (1976). Roger Heathwood’s Speare House in Indooroopilly (1959), which was demolished in 1999, is an example of a complex amalgamation of modernist change with tradition.
John Railton’s Wilson House on Dickey Beach, Sunshine Coast (1971) and Rex Addison’s acclaimed design of his Taringa house (1975) were both examples of this subtropical accommodation. They also showed a confident and secure sense of cultural identities.
Loss of architectural integrity is another major theme. Rapid urban development is a mixed bag. In the 1970s, many buildings of importance were demolished. With the end of Brisbane’s tram system, the Riverside Expressway was built.
Sunbathers by the pool of Lennons Broadbeach Hotel in 1958. Architect: Karl Langer. John Oxley Library in SLQ
Modernist architecture is disappearing without regret. The West Furniture Showroom of Karl Langer (1953), which is featured in the exhibit, has been beautifully restored. However, his Lennons at Broadbeach from 1958 are no longer there.
Hot Modernism aims to bring attention to the important recent heritage that is often overlooked and which is also in danger. Queensland was often slow to commemorate its cultural heritage beyond the default parochialism of a defensive posture.
