View allAll Photos Tagged modrian
Description in English and Dutch:
“A Feast of Honor”
Step into my time machine, fasten your seat belts tight and travel with me to the Amersfoort of a few years later. In honor of all famous Dutch people who were born in Amersfoort, a cycling round is being organized. At the start we see the world top cyclist Wilco Kelderman being interviewed by Pieter Jan Hagens. A little further on is the stage where the line-up of artists is Diggy Dex, Bizzey and Jiggy Djé. The stage is decorated with Piet Mondriaan’s typical world-famous patterns. The one who talks everything together is the popular and sympathetic radio DJ Igmar Felicia. World class top athlete Femke Bol has been invited as guest of honour, who will be honored for her latest top performances. An intro by Fien Vermeulen sounds from the speakers ‘Welcome to our medieval city with historic buildings, city walls and canals where the world famous painter Piet Mondriaan(aka Modrian) saw his first light. A city that can be seen as a breeding nest of human talent'. From a cloud former sidecar champion of the world Ton van Heugten, who unfortunately died too early, watches everything together with Piet Mondriaan and the many other deceased famous talents from Amersfoort.
Nederlands
“Het feest der eerbetoon”
Stap in mijn tijdmachine, maak je gordels vast en reis met mij mee naar het Amersfoort van een paar jaar later. Ter ere van alle bekende Nederlanders die in Amersfoort zijn geboren, wordt er een wielerronde georganiseerd. Bij de start zien we de Amersfoortse topwielrenner Wilco Kelderman geïnterviewd worden door presentator en journalist Pieter Jan Hagens. Iets verderop is het podium waar de line-up van Amersfoortse artiesten Diggy Dex, Bizzey en Jiggy Djé is. Het podium is versierd met de typische wereldberoemde patronen van Piet Mondriaan. Degene die alles aan elkaar praat is de populaire en sympathieke radio-dj Igmar Felicia. De in Amersfoort geboren Femke Bol, een van de beste atletes ter wereld, is uitgenodigd als eregast. Zij zal gehuldigd worden voor haar laatste sportprestaties. Uit de speakers klinkt een intro van het Amersfoortse radiotalent Fien Vermeulen ‘Welkom in onze middeleeuwse stad met historische gebouwen, stadsmuren en grachten waar de wereldberoemde schilder Piet Mondriaan zijn eerste levenslicht zag. Een stad die gezien kan worden als een broednest van menselijk talent'. Bovenop een wolk in de hemel kijkt voormalig wereldkampioen Zijspan Ton van Heugten tevreden naar het vrolijke wielerfestijn. Hij doet dit samen met Piet Mondriaan en de vele andere overleden bekende mensen uit Amersfoort.
So kannte ich Modrian bisher nicht.
eine wunderbare Ausstellung,
das Wirken von Modrian...
seine künsterlische Entwicklung.
So gut
K20
Viele kennen den Maler Piet Mondrian (1872-1944) als Schöpfer von strengen geometrischen Kompositionen mit schwarzweißen Linien und Farbfeldern in Rot, Blau oder Gelb. Dass der Niederländer in seinen ersten Jahrzehnten Landschaften und andere gegenständliche Motive wählte und diese oft mit überraschender Farbigkeit inszenierte, ist kaum bekannt. Die Kunstsammlung Nordrhein-Westfalen zeigt Mondrians Weg von den frühen naturalistischen Gemälden bis zu den späten abstrakten Arbeiten und spürt die formalen Zusammenhänge auf, die zwischen den Bildern aus fünf Jahrzehnten bestehen.
IMG_2110abr
Gisteren de keukenhof bezocht in Lisse.
Keukenhof is the Place to enyou millions of flowering tulips,daffodils,hyachinths,and other bulb flowers this spring
Postwar Dialogues:
Europe and the United States
The cataclysm of World War II brought in its wake the obligation of profound reflection as well as an intense desire for a new beginning. The nations of Europe were starting to recover from physical and economic devastation and to recognize that the horrors of war had irrevocably damaged former ways of life, social bonds, and cultural assumptions. Having avoided home-front hostilities, the United States emerged from the war a geopolitical superpower, optimistic about the future but also bearing the scars of wartime sacrifice. The artistic cultures on both sides of the Atlantic remained deeply interconnected, but the perceived balance of authority began to shift toward the Americans.
The Brutally reactionary Nazi regime decimated the progressive cultural communities of Europe, and many of its leading talents—among them Hans Hofmann, Willem de Kooning, Piet Modrian, and Arshile Gorky—fled to the United States, infusing new ambition into the country’s artistic life. Abstract Expressionism (in New York), Art Informel (in Paris), and CoBrA (in Copenhagen, Brussels, and Amsterdam) developed as parallel efforts to delve beneath the compromised façade of Western civilization to seek sources of cultural rebirth in archaic eras and the art of children and the insane. Meanwhile, individualists such as Pablo Picasso, Alberto Giacometti, and Balthus explored universal aspects of the human condition: desire, alienation, and dream.
From the Placard: The Philadelphia Museum of Art, PA
Postwar Dialogues:
Europe and the United States
The cataclysm of World War II brought in its wake the obligation of profound reflection as well as an intense desire for a new beginning. The nations of Europe were starting to recover from physical and economic devastation and to recognize that the horrors of war had irrevocably damaged former ways of life, social bonds, and cultural assumptions. Having avoided home-front hostilities, the United States emerged from the war a geopolitical superpower, optimistic about the future but also bearing the scars of wartime sacrifice. The artistic cultures on both sides of the Atlantic remained deeply interconnected, but the perceived balance of authority began to shift toward the Americans.
The Brutally reactionary Nazi regime decimated the progressive cultural communities of Europe, and many of its leading talents—among them Hans Hofmann, Willem de Kooning, Piet Modrian, and Arshile Gorky—fled to the United States, infusing new ambition into the country’s artistic life. Abstract Expressionism (in New York), Art Informel (in Paris), and CoBrA (in Copenhagen, Brussels, and Amsterdam) developed as parallel efforts to delve beneath the compromised façade of Western civilization to seek sources of cultural rebirth in archaic eras and the art of children and the insane. Meanwhile, individualists such as Pablo Picasso, Alberto Giacometti, and Balthus explored universal aspects of the human condition: desire, alienation, and dream.
From the Placard: The Philadelphia Museum of Art, PA
Postwar Dialogues:
Europe and the United States
The cataclysm of World War II brought in its wake the obligation of profound reflection as well as an intense desire for a new beginning. The nations of Europe were starting to recover from physical and economic devastation and to recognize that the horrors of war had irrevocably damaged former ways of life, social bonds, and cultural assumptions. Having avoided home-front hostilities, the United States emerged from the war a geopolitical superpower, optimistic about the future but also bearing the scars of wartime sacrifice. The artistic cultures on both sides of the Atlantic remained deeply interconnected, but the perceived balance of authority began to shift toward the Americans.
The Brutally reactionary Nazi regime decimated the progressive cultural communities of Europe, and many of its leading talents—among them Hans Hofmann, Willem de Kooning, Piet Modrian, and Arshile Gorky—fled to the United States, infusing new ambition into the country’s artistic life. Abstract Expressionism (in New York), Art Informel (in Paris), and CoBrA (in Copenhagen, Brussels, and Amsterdam) developed as parallel efforts to delve beneath the compromised façade of Western civilization to seek sources of cultural rebirth in archaic eras and the art of children and the insane. Meanwhile, individualists such as Pablo Picasso, Alberto Giacometti, and Balthus explored universal aspects of the human condition: desire, alienation, and dream.
From the Placard: The Philadelphia Museum of Art, PA
Once I made it... I realized that photography as reflexion has also a transparency once we shift the focus of our perception. It can even been seen as translucent (as seen through a glass/ window) . Like a stain glass. These 3 non-sense architectural objects play with transparency, opacity, translucency and reflexion...But the viewer needs to shift his/her way of seeing while looking around at the different photos and let his/her mind engaged in some kind of dialectic of reflexion, transparency, translucency and opacity. It is not anymore about only surface. I find interesting that (digital in particular) photography is facing today the same kind of "crossings/problems than painting when painters tried to go beyond representation ( abstract art, monochromes, minimalism...)
This week I decided to participate in the EtsyMetal Project Runway Challenge.
"Make an "avant garde" piece of jewelry using a work of art as your inspiration. If you have access to a child and want to collaborate on something, go for it!"
I was going to use a child's artwork as an inspiration but then I stumbled upon "Small Picture of Firtrees" by Paul Klee. The color scheme and the assymetrical rectangles completely captivated me. So I made an embroidery piece using a similar color combination and set it in an oxidized copper frame. I made the cord to hang the pendant by tearing and stitching pieces of fabric. The final piece ended up reminding me more of a Modrian than Klee but I guess this can happen :-)
Here is a painting I did a this past month in the tradition of Piet Mondrian's Compositions in red, blue and yellow as the primary colors.
The inspiration for this was from seeing a 24 x 36 vertical print hanging on the wall in Lisa Douglas's penthouse apartment (photo attached in the comments below) in the opening credits of the 1960's TV series, "Green Acres".
I didn't have any rectangle shaped wood so I improvised using a 12 x 12 square piece of wood , 1/4" thick.. The colors are all in the same place as what is seen on TV. The vertical colors had to be shortened accordingly to the size of wood I was working with.
Paint used was Rustoleum's Painters Touch.
~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~~ ~ ~~ ~ ~ ~ ~ ~ ~~
Piet Mondrian
(From Wikipedia)
Pieter Cornelis "Piet" Mondriaan, after 1906 Mondrian (/ˈmɔːndriˌɑːn, ˈmɒn-/; Dutch: [ˈpit ˈmɔndrijaːn], later[ˈmɔndrijɑn]; 7 March 1872 – 1 February 1944), was a Dutch painter and theoretician who is regarded as one of the greatest artists of the 20th century. He is known for being one of the pioneers of 20th century abstract art, as he changed his artistic direction from figurative painting to an increasingly abstract style, until he reached a point where his artistic vocabulary was reduced to simple geometric elements.
Mondrian's art was highly utopian and was concerned with a search for universal values and aesthetics.
He proclaimed in 1914: Art is higher than reality and has no direct relation to reality. To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual. We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man. His art, however, always remained rooted in nature.
He was a contributor to the De Stijl art movement and group, which he co-founded with Theo van Doesburg. He evolved a non-representational form which he termed Neoplasticism. This was the new 'pure plastic art' which he believed was necessary in order to create 'universal beauty'.
To express this, Mondrian eventually decided to limit his formal vocabulary to the three primary colors (red, blue and yellow), the three primary values (black, white and gray) and the two primary directions (horizontal and vertical). Mondrian's arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change. He encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an 'a' from the Dutch spelling of his name (Mondriaan).
Mondrian's work had an enormous influence on 20th century art, influencing not only the course of abstract painting and numerous major styles and art movements (e.g. Color Field painting, Abstract Expressionism and Minimalism), but also fields outside the domain of painting, such as design, architecture and fashion.
Design historian Stephen Bayleysaid: 'Mondrian has come to mean Modernism. His name and his work sum up the High Modernist ideal. I don’t like the word ‘iconic’, so let’s say that he’s become totemic – a totem for everything Modernism set out to be.
Death
Piet Mondrian died of pneumonia on 1 February 1944 and was interred at the Cypress Hills Cemetery in Brooklyn, New York.
On 3 February 1944 a memorial was held for Mondrian at the Universal Chapel on Lexington Avenue and 52nd Street in Manhattan. The service was attended by nearly 200 people including Alexander Archipenko, Marc Chagall, Marcel Duchamp, Fernand Léger, Alexander Calder and Robert Motherwell.
The Mondrian / Holtzman Trust functions as Mondrian's official estate, and "aims to promote awareness of Mondrian's artwork and to ensure the integrity of his work".
For the complete history see Wikipedia.
Quercus cerris L., syn.: Quercus asperata Pers., Quercus austriaca Willd., Quercus authemanii Gand., Quercus bacunensis Vuk., Quercus brachyloba Jord., Quercus budayana Haberle ex Heuff., Quercus cupaniana Guss., and many other names.
Family: Fagaceae
EN: Turkey Oak, DE: Zerreiche, Zerr-Eiche
SI.: cer, turški hrast
Date: Aug. 14, 2009
Lat.: 45,32871 Long.: 13,54649
Code: Bot_0371/2009_DSC2230
Habitat: Forest edge, flat terrain; calcareous ground; elevation 2 m (40 feet); average annual precipitation 900 – 1.000 mm; average temperature 12 – 13 deg C, Sub-Mediterranean phytogeographical region.
Substratum: brown soil.
Location: Croatia, Istria, near Novigrad, north of Pineta campground.
Comment on Flick album Quercus cerris: Quercus cerris is a tree that can grow up to 35 meters tall (although it is usually much smaller), and sometimes reaches a trunk diameter of up to 1 meter. It can live for as long as 200 years, while many other oaks can live 1,000 years or more. It is naturally found in southern and eastern Europe, as well as in Asia Minor, Syria, and Lebanon. Its wood is not highly valued. It is difficult to work with and tends to split unpredictably (Ref.: 3). Most of the wood is used for firewood and cellulose.
The tree has separate male and female flowers. The staminate (male) flowers are arranged in long and thin catkins, while the small pistillate (female) flowers produce acorns. Quercus cerris is characterized by acorns that take two years to mature, which is uncommon among species of this genus. Ripe fruits are brown. The photos published here show immature, still green acorns.
When acorns are present, species identification becomes straightforward. The acorn cups feature filamentous, up to 1 cm long, hooked growths that are impossible to miss. The leaves are mostly deeply pinnately divided. But be cautious! Leaf shape variability is enormous and, therefore, an unreliable trait for novice botanists to use for identification. The wide range of leaf shapes has led to the description of many taxa below the species level: subspecies, varieties, sub-varieties, forms, and sub-forms.
Ref.:
(1) A. Martinči et al., Mala Flora Slovenije (Flora of Slovenia - Key) (in Slovenian), Tehnična Založba Slovenije (2007), p 222.
(2) R. Brus, Drevesne vrste na Slovenskem (Tree species in Slovenia) ( in Slovene), samozaložba (2012), p 138.
(3) R. Brus, Drevesa in grmi Jadrana (Trees and shrubs of Adriatic) (in Slovenian), Modrian, (2012), p 129.
(4) T. Nikolić, Flora Croatica, Vaskularna flora Republike Hrvatske, Vol. 3, Alfa d.d., Zagreb (2020), p 5.
.. an industrial abstract reminding me works of piet modrian.
see CALENDAR 2013 made using set of these images here
As long as I was thinking about racing planes, it seemed sensible to come up with some color schemes for the most fundamental post-war air-racer, the P-51 Mustang. I like Modrian and Legos, so I came up with a Lego-ish color scheme that could always morph into a Modrian... The asymetric blue-green-yellow struck me as fun just because so many symmetric schemes are used. Racers spend a lot of time in steep banks, something that looked good from inside or outside the racing line seemed like a good idea.
Until I make a blank one to color-in, just download this and unsaturate the colors to make one to color yourself.
.. an industrial abstract reminding me works of piet modrian.
kindly press L to view on black.
see my fav SQUARE FORMAT images here
I came across a photographer, his two assistants and a model in the main gallery of Tate Britain. I presume they are working for a fashion magazine as the clothes the model is wearing are strikingly based on Modrian's paintings.
"Mondrian inspired design" shoji screen closet. Design from some architectural aluminum doors built in the 50's. Walnut, Rubio monocoat "charcoal" finish. Kin-Washi paper, Top track with bottom floor guides
Custom built by www.pacificshojiworks.com
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.
MacRobertson Girls High School,
Kingsway,
South Melbourne.
When Norman H. Seabrook won the competition for MacRobertson Girls’ high School in 1934, his design heralded what Robyn Boyd was to term the ‘The 1934 Revolution (Victorian Modern, Melbourne, 1947). Seabrook’s design was the first example in Australia of a modern style of architecture characterised by the use of interlocking planes of various sizes, with a strong contrast between horizontal and vertical elements, and between solid and void. Plain surfaces in neutral tones were enlivened by the use of primary colours (red, yellow and blue) for details. In the world of art, de Stijl was related to the work of cubists, and to the paintings of Modrian. The School of Amsterdam, in contrast, employed the traditional brickwork of the Netherlands, developing it to its limits in terms of plasticity of form while emphasising its intrinsic character.
Dudok successfully combined these disparate elements to create his own distinctive style. In his capacity as official architect to the town of Hilversum, he erected a number of outstanding buildings in this manner, including several schools and the famous Hilversum Town Hall, built between c. 1927 and 1931. This was undoubtedly Dudok’s most influential building. Examples derived from it in Europe include the Cahcan-sur-Seine Town Hall, France (J.B. Mathon and J. Cholet, 1934) and the Hornsey Town Hall, U.K. (R.H. Uren, 1933-5) which won the RIBA Bronze Medal in 1935.
In Australia comparable examples include the Sanitarium Health Food Company Building, Warbuton (E.F. Billson, 1936-9) and the Heidelburg Town Hall (Peck and Kemter and A.C. Leith and associates, 1937). These two examples however, each of which is already classified, date from at least two years after Seabrook’s innovative design for the Girl’s High School.
Source: From info displayed at the school.