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John Skinner Prout, Elizabeth Street, Melbourne, 1847, lithograph and watercolour, 22.5 x 35.6 cm (image). The University of Melbourne Art Collection. Gift of the Russell and Mab Grimwade Bequest 1973
Conrad Martens, Untitled (Toorak), c. 1860, watercolour and tempera on paper, 44.4 x 64.6 cm (sight). The University of Melbourne Art Collection. Gift of the Russell and Mab Grimwade Bequest 1973
Following on from his first talk, Dr Ong presents a theory that the dominance of visual aesthetics has led to the demise of livable architecture. He identifies some turning points in the course of modern architecture that have led us to this point. He then suggests that embracing a thermal approach to architecture would lead to visually new and exciting forms in architecture.
Dr Boonlay Ong is a lecturer in the Faculty of Architecture, Building and Planning. He is currently researching architecture as aesthetics of heat: climate, culture and behaviour; environmental systems design: an integrated approach to sustainable design; and greenery and architecture: ecological approach and environmental benefits of plants.
Dr Ong provides expertise on the use of plants (greenery) in buildings. Starting with the premise that the urban and built environment operates as a part of the earth's ecosystem and focusing on the key roles of plants in providing us with oxygen and other ecological services, Dr Ong has developed two key ideas to further the ecological understanding of greenery in the context of the urban and built environment.
These two ideas—the green plot ratio and nurtured landscapes—provide a basis towards understanding how human habitats and communities can become more ecologically benign in the future.
More information about the exhibition here.
Now open, The world is not a foreign land brings together work by Timothy Cook, Djambawa Marawili, Ngarra, Rusty Peters, Freda Warlapinni and Nyapanyapa Yunupingu. Crossing three geographically and culturally distinct regions—the Tiwi Islands, the Kimberley, and North-eastern Arnhem Land—each artist presents sometimes strikingly different perspectives on what constitutes Indigenous contemporary art.