{"id":3756,"date":"2021-03-05T04:06:30","date_gmt":"2021-03-05T04:06:30","guid":{"rendered":"https:\/\/stanhillmelbourne.com.au\/?p=3756"},"modified":"2024-11-01T02:25:16","modified_gmt":"2024-11-01T02:25:16","slug":"romberg-and-stanhill-and-me","status":"publish","type":"post","link":"https:\/\/stanhillmelbourne.com.au\/?p=3756","title":{"rendered":"ROMBERG AND STANHILL AND ME"},"content":{"rendered":"

Melbourne - March 2021<\/span>STANHILL COMMENTARY <\/span><\/span><\/h1>
By Dr. Norman Day <\/div><\/header>
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About Dr. Norman Day<\/h4>\n

Doctor of Architecture (Honoris Causa), Adjunct Professor of Architecture (RMIT), M. Arch (RMIT), BArch (Melb), ARBV, AIA<\/em><\/p>\n

Dr. Norman Day is an architect, educator, and writer. He worked with the late Robin Boyd and Professor Frederick Romberg before starting his own practice.<\/p>\n

His architecture is contemporary and investigative, it seeks to provide long-life-term constructions rather than short-term solutions,
\nand have won numerous national and international awards.<\/p>\n

Buildings include public and private housing and educational facilities, health buildings, institutional, new and restored buildings.<\/p>\n

He has been involved in architectural education at many universities and worked as a writer and commentator,
\nwriting extensively on architecture in the public and professional media, and is the author of twelve books on architecture.<\/p>\n

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Stanhill is registered as follows:<\/strong><\/p>\n

Victorian Heritage Registrar No. H1875<\/p>\n

National Trust of Victoria<\/p>\n

Australian National Estate No. 15191<\/p>\n

City of Port Phillip listed No. SM 1906<\/p>\n

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NOTE:<\/h5>\n

This article is copyright and a licence is implied for the Stanhill Body Corporate (OC3) \u00a0to use it on their Stanhill website<\/p>\n

Reprinting in part or whole is not\u00a0permitted without my\u00a0written\u00a0permission.<\/p>\n

Dr. Norman Day – Architect<\/p>\n

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PERSONAL INTRODUCTION<\/h4>\n

When I was a very young, about 9 years old, I helped my father, Len, wash his big\u00a0apple-green American Plymouth each Sunday morning. It was a trade-off.<\/p>\n

The trade was that he would then take it for a drive, ostensibly to \u2018dry it off\u2019, but really\u00a0he just enjoyed driving, any excuse. We would go to see new buildings in Melbourne,\u00a0Modern architecture, which I loved (he did not, but he was gracious enough to\u00a0indulge his oldest son for an hour or so, and he got to be on the road in his big V8).<\/p>\n

My favorite building was Stanhill – the big white luxury liner moored down on Queens\u00a0Road, just adjacent to the \u2018huge\u2019 international hotel of the time \u2013 the Chevron. I\u00a0thought it looked as inventive, romantic and courageous as any building could, with\u00a0huge flanks of curved white balconies and deeply setback windows, sheets of glass\u00a0at the foyer which seemed to defy gravity, stepped layers from west to east and a top\u00a0deck, from where I imagined the captain would steer.<\/p>\n

Later, in high school, I studied art, which for me meant architecture. I wrote essays\u00a0about Modernism and especially the modern architecture of Melbourne. Len would\u00a0religiously drive me around still (well, it was Sunday, so we avoided going to church).<\/p>\n

We inspected the Olympic Pool and a huge number of \u2018houses with flat roofs\u2019, which\u00a0my dad said would probably leak. Another favorite of mine was Peter and Dione\u00a0McIntyre\u2019s butterfly house at Kew, just settling halfway up the cliff in a gaudy display\u00a0of red and yellow wings captured in a white exoskeleton. (Len really disliked like that\u00a0one, so I knew I was onto something).<\/p>\n

Even then my school essays investigated my favorite artist \u2013 an emerging Brett\u00a0Whitely working in London \u2013 and my special architects \u2013 Grounds, Romberg and\u00a0Boyd. I trawled them via the art and architecture magazines we had asked our art\u00a0teacher to purchase, and Len continued to oblige on Sundays.<\/p>\n

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STUDIES AND EMPLOYMENT<\/h4>\n

In 1965 I sneaked into architecture studies at Melbourne university, and initially failed\u00a0much of the heavy-duty subjects (maths, computers, structures), but I did well in lifedrawing,\u00a0design and history. By third year I had to catch up with my failings so I\u00a0would take next year off to restore my progress. That meant I had 3 days off each\u00a0week, so I made a list of what I should do, starting with \u2018work with an architect\u2019. Then\u00a0I made a single entry listing of who that might be \u2013 (by then Grounds had left for the\u00a0NGV) \u2013 so it was Romberg and Boyd.<\/p>\n

As luck had it I met Robin Boyd, uninvited, at their office in East Melbourne on a hot\u00a0summer\u2019s afternoon. After some dilly-dallying, once I explained I had just spent some\u00a0months in Japan, he asked me to start work the next week, because he had just\u00a0started working on the Australian pavilion for Osaka Expo 70. Best bit of luck I could\u00a0dream of.<\/p>\n

The practice was small, four architects, two or three students, two admin staff, and\u00a0Boyd. Romberg was then Professor of Architecture at Newcastle University, but\u00a0every month or so he would drive down to Melbourne in his Nash Rambler to check\u00a0us out. He was garrulous, Boyd was reserved, he spoke with a European tongue,\u00a0Boyd\u2019s voice was measured and lyrical. He lectured us, kindly, and spoke of his\u00a0abiding love for the Australian outback. Boyd mostly kept shtum.<\/p>\n

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NEWCASTLE<\/h4>\n

By 1970 Boyd was ailing with a disease that would kill him the next year. I was\u00a0seconded to Newcastle to assist Romberg and Missy Harris on projects there.<\/p>\n

Romberg and his family, especially his wife Diane, were the most generous souls.<\/p>\n

They took me into their home, and we shared days and many nights together, we\u00a0had picnics, went to wineries in the Valley, and most Friday nights I went with him\u00a0(both in black tie), to the Newcastle Club where he went looking for prospective\u00a0clients and friends, many in the medical and academic professions. Later into the\u00a0dark hours I would \u2018assist\u2019 him back up the steep footpath of Newcomen Road, to\u00a0home, and he would usually invite me into his cigar smoked-stained study for a port\u00a0and a talk about architecture.<\/p>\n

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It was in Newcastle that Romberg taught me so much of the precision of architecture\u00a0and making things work, understanding the principles of materials and structures,\u00a0respecting how things were put together, detailing to the nth degree. (I remember\u00a0drawing an elevation of a house, it was a pretty good document, and he came to my\u00a0drafting board, over my shoulder, and commented \u2013 almost sotto voce \u2013 that the roof\u00a0gutter was precisely horizontal. It was. \u201c Norman\u2026\u2026..a gutter must drain the roof\u00a0water and not retain water or it will rust, it must be sloped, ever so gently. If it slopes,\u00a0you must show that on your drawing\u201d). That was probably lesson number 15 \u2013 just\u00a0for that one day.<\/p>\n

When Boyd died in 1971 Romberg organised the Melbourne office for survival, so\u00a0everyone left expect me. I stayed on, guaranteed no salary (we were broke), and\u00a0attempted to piece the place together, collect fees and wrap up projects. I must\u00a0have done well, because Romberg made me, aged 24, a Director of Romberg and\u00a0Boyd Architects, my name in print on the letterhead. (He later told me that Directors\u00a0don\u2019t get paid a salary, just profit dividends, so he was being very canny).<\/p>\n

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The building is a superb example of pre-War European Modernism, transferred, like its author, from the severity of German culture at the time, memories of the Bauhaus in the winds, and nursed in the gentility of a Swiss architectural culture which developed to spread across the globe after WW2.<\/p><\/blockquote>\n

Dr. Norman Day<\/strong><\/p>\n

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NEXT PHASE<\/h4>\n

A couple of years later I established my own practice separately, and soon after\u00a0located it at Stanhill, level 6. It was at that stage run down, concrete cancer affecting\u00a0the concrete walls, beams and balustrades, so my rent was dirt cheap. I then moved\u00a0sideways to a bigger space on level 6, then later Kirsten and I bought the studio\u00a0apartment on level 6 which we renovated it, and later still we bought an apartment on\u00a0level 3 which we renovated completely and with respect for Romberg.<\/p>\n

We are now living in an adjacent apartment, and I have worked on projects to\u00a0renovate some other apartments at Stanhill over the\u00a0 years. I must be bonded to its DNA.<\/p>\n

Who would have suspected that the developer, Romberg\u2019s client, the crafty and\u00a0resourceful Stanley Korman, could have generated such a gift to our built history?<\/p>\n

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KORMAN<\/h4>\n

Stanhill Flats was commissioned in 1943 by Stanley Korman through his company\u00a0Stanville Pty Ltd \u2013 (he was Director of the Centenary Woollen Mllls, who supplied\u00a0clothing products to the military during the war), and it was noted later in 1945 that\u00a0the South Melbourne City Council building permit issued for the building was issued\u00a0to the company, \u201cStanhill Pty Ltd\u201d. Directors of Stanhill were \u2013 Ernest Fookes,\u00a0Stanley Korman, his brother Hilel, the accountant James Gentiles and Stanley\u2019s wife,\u00a0Sylvia Korman, who was noted as an alternate Director.<\/p>\n

It has often been recorded wrongly that the project was named after (Stan) and his\u00a0wife \u2013 Hillary. But according to the Australian Dictionary of Biography, he married an\u00a0english woman, Sylvia Lazarus, in 1930, and they stayed married until his death in\u00a01988, in any case she was named as a Director of Stanhill in 1945, no her name did\u00a0not form part of the building name. In fact the building was named after Stanley and\u00a0his brother Hilel.<\/p>\n

Stanley Korman was a difficult client who paid his professionals irregularly which\u00a0hampered normal ease of construction. Normal practice then was to pay the\u00a0tradespeople regularly based on work done and the architect\u2019s assessments of cost,\u00a0it was not a complex financial management process.<\/p>\n

There\u2019s is an apocryphal quote from the time, maybe true, that Romberg presented\u00a0Korman with a summary of payments he must make at the early stage of building\u00a0when it was just one floor high : Korman just looked at it and flushed, then he yelled,\u00a0\u201cOY GEVALT, look at these costs\u2026\u2026.. enough already\u2026\u2026\u2026.put the roof on now.\u201d<\/p>\n

In 1950 as it was nearing completion The Argus labelled the structure, \u201ca huge\u00a0concrete building\u201d, and it attracted attention for its Modernity and plans then to include\u00a0a small 12 bed private hospital on the ground floor, and other rumours that the\u00a0Australian Government was to buy the building outright.<\/p>\n

Korman went on after Stanhill to make a considerable fortune in retail and property,\u00a0and then lose it during the 1960 credit squeeze which led to him being charged with\u00a0issuing a false prospectus and he was jailed in 1966. Following his release he\u00a0moved to Arizona and continued property development.<\/p>\n

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ROMBERG\u2019S EARLY YEARS<\/h4>\n

Frederick Sigismund Hermann Romberg was born in China in June 1913, in the\u00a0German concession city of Tsing Tao. Just 3 months after his birth, as World War 1\u00a0forced the reclamation of Tsing Tao, the family moved back to Berlin, where his\u00a0father, Kurt, was a Judge, (Kurt later died in action in WW1 in 1915).<\/p>\n

In his early years of 1930s, after leaving Berlin, Romberg studied the family\u00a0profession of law in Geneva, and later Munich and Kiel, but he was dabbling in\u00a0leftist politics and facing the rise of the 3rd <\/span>Reich, so in 1933 he signed up to study\u00a0architecture in Zurich, and then, to avoid military service in Germany should he\u00a0return, and probably influenced by his father\u2019s death in fighting in Belgium in 1915 in\u00a0WW1 – he migrated on a scholarship to Australia in 1938 for a five week journey on\u00a0the German freighter ship the MOSEL.<\/p>\n

So like Harry Seidler, who escaped Vienna in 1938 and migrated to Australia in\u00a01946, Australia became the beneficiary of a direct descendant of Modernism,\u00a0Romberg was steeped in the nature and culture of the new architecture and also\u00a0held out so much promise for the new world he entered.<\/p>\n

It reflected his learning in Switzerland working with Otto Salvisberg – before he\u00a0migrated to Australia in 1938 but also on his earliest employment for a year with the\u00a0renowned architects Stephenson and Turner, where he worked on the Australian\u00a0pavilion for the 1939 New Zealand Centennial Exhibition in Wellington. Stephenson\u00a0and Turner had already produced the Mercy (1934) and Freemasons (1936)\u00a0hospitals in Melbourne which had the characteristics of European Modernism which\u00a0Romberg had been taught in Europe, streamlining, concrete structure, cantilevered\u00a0balconies once described by Professor John Freeland as \u201cclean-cut with the\u00a0precision of a machine\u201d.<\/p>\n

Romberg completed sketch designs for Stanhill with a maximum number of\u00a0apartments but because he was a German national he was soon taken as an Allied\u00a0Works Council internship to join the Civil Aliens Corps in the Northern Territory. He\u00a0worked making roads with others from Germany and Italy, later transferred to\u00a0Katherine and Alice Springs, before being discharged in 1944 to return to Melbourne.<\/p>\n

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LATER STANHILL<\/h4>\n

Eventually Romberg took out Australian citizenship in February 1945, and so he\u00a0returned to the Stanhill project and the building was eventually completed in 1951, but\u00a0there were iterations after that, including the level 9 penthouse, plans for a small\u00a0private hospital on the ground floor and scheme for a supermarket made in 1952. The\u00a0level 9 penthouse was added in 1954.<\/p>\n

The building was hard to construct, there were severe post WW2 rations on building\u00a0materials and many people and unionists at the time did not approve of the use of so\u00a0much precious glass and concrete on what was considered luxury housing.<\/p>\n

Architecture critics at the time wrote that it was, \u201can exaggerated building and\u00a0unorganised jumble and monumental incubator\u201d. It has been noted, \u201cIt appears that\u00a0Romberg was a capable tradesman and physically worked in a ‘hands on’ capacity\u00a0with various elements in the building. He was also reputedly a demanding\u00a0perfectionist\u201d.<\/p>\n

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STANHILL \u2013 OTHER MODELS<\/h4>\n

There are many models for Stanhill, some to do with the external appearance of the\u00a0building, they appear to echo the pre-war architecture of Switzerland and even in\u00a0Finland with Alvar Aalto\u2019s 1932 sanitarium in Paimio. Perhaps there is no accident\u00a0that the architecture of medicine links these buildings across the time of Romberg\u2019s\u00a0professional development. Before migrating to Australia, in 1937, he worked in the\u00a0Swiss office of Otto Rudolf Salvisberg, who died in 1940, and who produced iconic\u00a0examples of Modern architecture in Germany and Switzerland, including a laboratory\u00a0building in Basle.<\/p>\n

In London, the architect Wells Coates had produced an apartment building in 1934\u00a0which does have similar qualities to Stanhill, but his Lawn Road Flats also known as\u00a0Isokon, contain also a radical social agenda, they were intended to be a communal\u00a0community, using a large commercial kitchen for meals (the flats had very small\u00a0kitchenettes).<\/p>\n

It attracted legendary residents, including Gropius, Breuer, Agatha Christie, Henry\u00a0Moore and Barbara Hepworth. It has developed a record of its history and\u00a0uniqueness with a display gallery as part of a 2003 upgrade and accommodation for\u00a0key workers (that is public sector workers who provide essential services) using a\u00a0co-ownership scheme. It may be a model for Stanhill. The plan of Isokon shows a\u00a0layout like Stanhill, with open gallery external passages feeding cellular rooms.<\/p>\n

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MELBOURNE MODERNISM CONTEXT<\/h4>\n

In his apartment buildings and especially Stanhill, Romberg showed the spirit of his\u00a0understanding of European Modernism which coincided with the designs for the\u00a0Mercy and Freemasons hospitals. They were off-form concrete structures, with\u00a0sweeping cantilevered balconies, and stairs, swirling exposed stairs and open pipe\u00a0balustrades \u2013 for all the world like a huge stranded ocean liner \u2013 and making literal le\u00a0Corbusier\u2019s dictum as architecture as, \u201cmachines for living in\u201d.<\/p>\n

As if to underline the message, Stephenson and Turner in 1937 had designed the\u00a0iconic machine of the age \u2013 the Sydney to Melbourne Spirit of Progress train. After a\u00a0year with Stephenson and Turner Romberg began his own practice with his partner\u00a0Molly Turner Shaw \u2013 they worked to construct Newburn Flats just up Queens Road\u00a0which was built before the war in 1939 when he was just 26 years old at the time.<\/p>\n

The building was completed in 1941. Molly Shaw was one of two single women who\u00a0would share many years of productive architecture with Romberg, the other was\u00a0Berenice (Missy) Harris who worked on the Stanhill project (producing many of the\u00a0working drawings which are shown with her initials BGH) and later became a Partner\u00a0and Director of Romberg and Boyd.<\/p>\n

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CONCLUSION<\/h4>\n

Real estate agents generally report that Stanhill is a fine example of Art Deco\u00a0architecture. Wrong. I have read an historical opinion that it predates Brutalism in\u00a0Melbourne. Wrong. Most are unsure what it is, but that\u2019s just identifying the lack of\u00a0architectural education in our schools.<\/p>\n

The building is a superb example of pre-War European Modernism, transferred, like\u00a0its author, from the severity of German culture at the time, memories of the Bauhaus\u00a0in the winds, and nursed in the gentility of a Swiss architectural culture which\u00a0developed to spread across the globe after WW2.<\/p>\n

As if that was not enough, it works like a magnificent machine for living in. North\u00a0facing balconies protect again the sun and rain, southern sheets of windows offer\u00a0views over the parks and sports grounds. Rooms are generously sized and (mostly)\u00a0the plumbing works. Improvements by the Body Corporate over years have pulled\u00a0back the destruction wrought by earlier uncaring developers, there is still much to do,\u00a0but the direction for preservation and sensible reuse is now corrected.<\/p>\n

It aligns Australian architectural expression with the culture of German and Swiss\u00a0Modernism pre 1940s, it is an odd reminder of old school, carefully conceived\u00a0designing, well built, inventive and magnificently constructed (during the immediate\u00a0post-war period when you couldn\u2019t buy a stick of steel to build with).<\/p>\n

It does all of that on the international global architectural stage. I think of Stanhill as\u00a0the best prototype in this country of its time – a historic project, made by a brilliant\u00a0architect, adapting an aesthetic that expanded our history \u2013 his creation straddles\u00a0across the globe from Europe to the Pacific region \u2013 just as its architect had done in\u00a0his lifetime.<\/p>\n

\u00a9 Copyright. Norman Day<\/p>\n

Melbourne. 2021<\/p>\n

norman@normanday.com<\/a><\/p>\n

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