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                        <loc>https://luciaamies.com.au/architecture-australia</loc>
            
            
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            <url>
                        <loc>https://luciaamies.com.au/jan-juc-studio</loc>
            
            
            <lastmod>2025-03-23T10:34:33+00:00</lastmod>
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                        <loc>https://luciaamies.com.au/houses</loc>
            
            
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            <url>
                        <loc>https://luciaamies.com.au/walkers-journal</loc>
            
            
            <lastmod>2025-03-23T02:51:18+00:00</lastmod>
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            <url>
                        <loc>https://luciaamies.com.au/inflection-journal</loc>
            
            
            <lastmod>2025-03-23T02:51:17+00:00</lastmod>
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            <url>
                        <loc>https://luciaamies.com.au/architectureau</loc>
            
            
            <lastmod>2025-03-23T02:51:17+00:00</lastmod>
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            <url>
                        <loc>https://luciaamies.com.au/projects</loc>
            
            
            <lastmod>2025-03-23T01:11:32+00:00</lastmod>
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        </url>
            <url>
                        <loc>https://luciaamies.com.au/sites-of-souvenir-production</loc>
            
            
            <lastmod>2025-03-23T06:58:41+00:00</lastmod>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/W856077974638458788499502738012/vertical.svg</image:loc>
                                            <image:caption>In Venice, a suite of three proposed tourist workshops framed by themes of consumption and production cap the ends of popular itineraries (Pictured: Site map with interventions in brown, tourist destinations in blue and waste collection points in pink)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/B2260238763479120946392736344782/01.png</image:loc>
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Made from repurposed Venetian terracotta roof tiles, the perforated facade filters daylight and invites further urban greening (Pictured: Perspective and detail section)

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/M2260238829887399611747122162382/02.png</image:loc>
                                            <image:caption>Sections of repurposed timber mouldings are attached to the walls and suspended from the ceiling, creating shelves to display paper merchandise and conceal feature lighting (Pictured: Perspective and detail section)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/I2260238969086530391959398656718/Booklet_Page_16.jpg</image:loc>
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The Campo San Giacomo dell’Orio concludes the itinerary of the food tourist, and is 

an ideal site for the collection and conversion of residents’ organic waste into produce for a communal cooking school

(Pictured: Tourist itinerary map and collage) </image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Y2260239154586988797182649707214/Booklet_Page_20.jpg</image:loc>
                                            <image:caption>Behind Piazza San Marco’s Ala Napoleonica lies a string of shops leading tourists to the Ponte dell’Accademia and Dorsoduro district (Pictured: Tourist itinerary)




&lt;br /&gt;</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/K2260239414520059539823941528270/F01---VENICE-MAP.png</image:loc>
                                            <image:caption>In Venice, a suite of three proposed tourist workshops framed by themes of consumption and production cap the ends of popular itineraries (Pictured: Site map with interventions in brown, tourist destinations in blue and waste collection points in pink)</image:caption>
                                    </image:image>
            
                
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                    <image:loc>https://freight.cargo.site/t/original/i/M2260239586757308956050024966862/Booklet_Page_11.jpg</image:loc>
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As a popular tourist destination for centuries, Venice has long been a site of production for commercialised viewpoints, itineraries and souvenirs (Pictured: Assorted postcards)

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                    <image:loc>https://freight.cargo.site/t/original/i/J2260240593709727707633319029454/Booklet_Page_58.png</image:loc>
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In the act of redefining the square, the walled Italian Medieval kitchen garden
















– a typology typical of Venice






–



is inverted (Pictured: Floor plan)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/S2260241345894164057213995723470/F12---CAMPO-SITE-A2.png</image:loc>
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An urban frame is set in deliberate contrast to the rather oddly-shaped, leftover space bounded by existing buildings and the church at the campo’s centre

(Pictured: Site plan)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/Y2260252065610739939087502158542/Booklet_Page_60.png</image:loc>
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Drawing upon a tradition of marbled paper production in Venice, a recycled paper workshop invites tourists to 

mill, press and pattern their own paper (Pictured: Floor plan)

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Q2260252393686083290011877649102/Booklet_Page_61.png</image:loc>
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The proposal reconfigures spaces 

from front to back and also from side to side, placing the passerby within the production process (Pictured: Elevation)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/A2260255703880520340896076933838/Booklet_Page_02.jpg</image:loc>
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                    <image:loc>https://freight.cargo.site/t/original/i/Y2260256769161543853548973206222/Booklet_Page_18.jpg</image:loc>
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Along the itinerary of the architecture enthusiast, Carlo Scarpa’s

Monumento alla Partigiana is sited at the intersection of the canal and lagoon basin (Pictured: Tourist itinerary</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/S2260256944940568131927290555086/Booklet_Page_59.png</image:loc>
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Rather than close-off precious green space, the garden is made accessible by elevating the frame above head-height (Pictured: Section)





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                    <image:loc>https://freight.cargo.site/t/original/i/H2260257487938926685641651923662/Booklet_Page_62-2.png</image:loc>
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Being a repository for post-consumer plastic debris, the waterfront site is an ideal location for a proposed recycled plastic workshop, where waste is washed, stored, shredded and converted into art, homewares, sculptures and jewellery by the Biennale tourist (Pictured: Floor plan)&lt;br /&gt;




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                    <image:loc>https://freight.cargo.site/t/original/i/W2260257567499733875550948043470/Booklet_Page_63.png</image:loc>
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Stairs to the canal serve as the tidal markers of the cyclical acqua alta, while stepped skylights highlight thresholds within the building’s interior (Pictured: Section)

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/A2260258333408547815971531139790/F22---CALLE-SITE-A2.png</image:loc>
                                            <image:caption>The Calle del Ridotto runs perpendicular to the city’s major shopping street, while also providing a necessary connection to the waterfront for waste collection (Pictured: Site plan)

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                    <image:loc>https://freight.cargo.site/t/original/i/E2260261622850397783932484856526/F30---CANALE-LOW-TIDE-A2_.jpg</image:loc>
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As in Scarpa’s monument, concrete steps relate the building to the water and the garden behind (Pictured: Perspective)

</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/A2262321142151010376920011778766/F32---CANALE-SITE-A2.png</image:loc>
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The siting of a new tourist intervention bridges the canal and waterfront along an axis that connects Scarpa’s monument (Pictured: Site plan)

</image:caption>
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        </url>
            <url>
                        <loc>https://luciaamies.com.au/leonard&#039;s-hill</loc>
            
            
            <lastmod>2025-03-23T02:43:13+00:00</lastmod>
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                    <image:loc>https://freight.cargo.site/t/original/i/Z2271162218532572558678261377742/P01_42---Photo.jpg</image:loc>
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        </url>
            <url>
                        <loc>https://luciaamies.com.au/gold-coast-great-walk</loc>
            
            
            <lastmod>2025-03-23T02:43:13+00:00</lastmod>
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                    <image:loc>https://freight.cargo.site/t/original/i/I2260112100275997881211071900366/GCGW_01.jpg</image:loc>
                                            <image:caption>

The walk is three days in full — beginning at Green Mountain high up on the Lamington Plateau, traversing Binna Burra, down into the Numinbah Valley and Woonoongoora, and ending in Springbrook (Pictured: Site locality map, site section, isometric and sketches)

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                    <image:loc>https://freight.cargo.site/t/original/i/J2260112972198250013240448133838/GCGW_03.jpg</image:loc>
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Vertical hoop pine and red cedar logs that support the path serve as reminder of the relatively recent clearing of the local valley, as in the dry season they remain bare; yet, in the wet season, they harbour unique species of fungi—from the Beech Orange to polypores and corals (Pictured: 

Floor plan, section, detail and sketches)



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                    <image:loc>https://freight.cargo.site/t/original/i/R2260114260777110538147466717902/Untitled.png</image:loc>
                                            <image:caption>
Instead, this region draws hikers and scientists, drawn to the decade-old Great Walk trail as it meanders through 

the ancient natural wonders of the Gondwanan rainforest and Tweed Volcano caldera (Pictured: Research drawings, collages and postcards)&lt;br /&gt;
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                    <image:loc>https://freight.cargo.site/t/original/i/D2260114980347703365409656154830/Untitled-2.png</image:loc>
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The Gold Coast is an icon of Australian tourism, but its hinterland counterpart is relatively little known to the masses (Pictured: Tourist guide)</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/E2260115302852130006073747057358/W7_Tullawallal_A4.png</image:loc>
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Binna Burra — which translates to “where the Beech trees grow” — is at the heart of the second station’s location at Tullawallal, the local summit, where a pocket of Antarctic Beech (Nothofagus moorei ) trees survives from the Gondwanan era (Pictured: Research postcard)&lt;br /&gt;

</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/C2260116608752483216194034608846/Folio-7.jpg</image:loc>
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Poised on the edge of the volcano caldera,

the first of the stations is exposed to the hinterland’s vital

hydrological systems (Pictured: Working model)</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/V2260267041544575947965852953294/GCGW_02.jpg</image:loc>
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The wind vane and cup anemometer provide a scientific reading of wind velocity, while spinning kites and tensile cords translate the wind into effects which both obscure and reveal the view (Pictured:
Floor plan, section, detail and sketches)




&lt;br /&gt;


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                    <image:loc>https://freight.cargo.site/t/original/i/G2260270168821098763946138413774/Folio-8.jpg</image:loc>
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Here, a meterological station harnesses the effects of extreme weather through visual and haptic sensation, 

with a gently sloping platform immersing the hiker within the spectacular vantage, and a single walkway inviting the hiker to fly a detachable kite at the lookout point, weather conditions permitting 

(Pictured: working drawings)

</image:caption>
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The station transposes the crown-like formation of the trees into an elevated, narrow, ringed walkway for observation, affording hikers the opportunity to discard their packs and engage with the mycology of this region (Pictured: Working collage)</image:caption>
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NAM #40 at Olaver Architecture (Photograph by Nick Carlino)

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NAM #40 at Olaver Architecture (Photograph by Nick Carlino)



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NAM #40 at Olaver Architecture (Photograph by Nick Carlino)



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NAM #40 at Olaver Architecture (Photograph by Nick Carlino)



</image:caption>
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NAM #40 at Olaver Architecture (Photograph by Nick Carlino)



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NAM #40 at Olaver Architecture (Photograph by Nick Carlino)

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/I2267050140754883354781381176014/NAM40-62.jpg</image:loc>
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NAM #40 at Olaver Architecture (Photograph by Nick Carlino)

</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/C2267050891408239946244165085902/NAM40-172.jpg</image:loc>
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NAM #40 at Olaver Architecture (Photograph by Nick Carlino)

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            <url>
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Photograph by Oskar Kazmanli-Liffen

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X2263001971389996124299302677198/000054_OKL.JPG</image:loc>
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Photograph by Oskar Kazmanli-Liffen

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/H2263002104427914383892588931790/000065_OKL.JPG</image:loc>
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Photograph by Oskar Kazmanli-Liffen

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/J2263002104391020895745169828558/000058_OKL.JPG</image:loc>
                                            <image:caption>Photograph by

Oskar Kazmanli-Liffen

</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/P2263002104372574151671460276942/000057_OKL.JPG</image:loc>
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Photograph by Oskar Kazmanli-Liffen

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/D2263002104409467639818879380174/000060_OKL.JPG</image:loc>
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Photograph by Oskar Kazmanli-Liffen

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/R2263002104354127407597750725326/000055_OKL.JPG</image:loc>
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Photograph by Oskar Kazmanli-Liffen

</image:caption>
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        </url>
            <url>
                        <loc>https://luciaamies.com.au/inflection-journal-five-year-party</loc>
            
            
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Photograph by James Rafferty

</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/E2267056036592543729386011372238/MSD08911.jpg</image:loc>
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Photograph by James Rafferty

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X2267056036647883961607140027086/MSD09002.jpg</image:loc>
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Photograph by James Rafferty

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/A2267056036703224193828268681934/MSD09098.jpg</image:loc>
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Photograph by James Rafferty

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X2267056036278949080132948994766/MSD08879.jpg</image:loc>
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Photograph by James Rafferty

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/L2267056036666330705680849578702/MSD09020.jpg</image:loc>
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Photograph by James Rafferty

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/X2267056036629437217533430475470/MSD08918.jpg</image:loc>
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Photograph by James Rafferty

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/L2267056036721670937901978233550/MSD09112.jpg</image:loc>
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Photograph by James Rafferty

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/I2267056036684777449754559130318/MSD09095.jpg</image:loc>
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Photograph by James Rafferty

</image:caption>
                                    </image:image>
            
                
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                    <image:loc>https://freight.cargo.site/t/original/i/M2267056036740117681975687785166/MSD09119.jpg</image:loc>
                                            <image:caption>Photograph by James Rafferty

</image:caption>
                                    </image:image>
            
        </url>
            <url>
                        <loc>https://luciaamies.com.au/excavating-modernism-stylistic-species,-émigré-architects-and-the-south-eastern-suburbs</loc>
            
            
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                    <image:loc>https://freight.cargo.site/t/original/i/W856077974638458788499502738012/vertical.svg</image:loc>
                                            <image:caption>Photograph courtesy of the University of Melbourne</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/B2263007975620724676021258169038/Archival-Material-Book-4.jpg</image:loc>
                                            <image:caption>

Herbert Tisher, Orrong Towers (1959-61). Archival drawing, October 1, 1959

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/B2263007975639171420094967720654/Archival-Material-Book.jpg</image:loc>
                                            <image:caption>

Herbert Tisher, Toorak Towers (1957-58). Archival drawing, March 20, 1957

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/Y2263007975602277931947548617422/Archival-Material-Book-3.jpg</image:loc>
                                            <image:caption>

Ernest Fooks, 26 Melby Avenue. Archival drawing, dates unknown

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/J2263007975251789794547067136718/Archival-Material-Book-2.jpg</image:loc>
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Ernest Fooks, Marine Street. Archival drawing, date unknown

</image:caption>
                                    </image:image>
            
                
                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/J2266151240453138174438971681486/MSD07286.jpg</image:loc>
                                            <image:caption>









Photograph courtesy of the University of Melbourne

</image:caption>
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                    <image:loc>https://freight.cargo.site/t/original/i/N2266151240434691430365262129870/MSD07384.jpg</image:loc>
                                            <image:caption>Photograph courtesy of the University of Melbourne</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/B2266151239991969572596232891086/MSD07343.jpg</image:loc>
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Photograph courtesy of the University of Melbourne

</image:caption>
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                <image:image>
                    <image:loc>https://freight.cargo.site/t/original/i/U2266151811656568416855237470926/Street.png</image:loc>
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Stills from street footage video, 2018

</image:caption>
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                                            <image:caption>

Robin Boyd, “Lecture 3: Integrity in the Artificial Object,” in Artificial Australia: The Boyer Lectures 1967 (Melbourne: Australian Broadcasting Commission, 1967), 28

</image:caption>
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