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https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/54617cade4b0f587f5d0d62a/54617df8e4b0b862de606789/1415675386121/Renault-SnowDome-58.jpg 2014 Events https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/54617cade4b0f587f5d0d62a/54617e00e4b0b862de6067b5/1415675396367/Renault-SnowDome-82.jpg 2014 Events https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/54617cade4b0f587f5d0d62a/54617e00e4b0ca233d44fcea/1415675394713/Renault-SnowDome-60.jpg 2014 Events http://www.stewiedonn.com/events daily 0.75 2013-04-01 http://www.stewiedonn.com/events/qa0mv3yfx8cedj3hcdftxvxieuzdps monthly 0.5 2013-04-01 http://www.stewiedonn.com/mount-john daily 0.75 2016-10-05 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a6bbd8e4b0fd1b00157f9f/51a6bc2ee4b0f071f28d66c3/1475709809748/MtJohn1V2.jpg Mount John University Observatory (MJUO), NZ - Mount John University Observatory (MJUO), NZ Mount John University Observatory (MJUO), is New Zealand's premier astronomical research observatory.[1] It is situated at 1,029 metres (3,376 ft) ASL atop Mount John at the northern end of the Mackenzie Basin in the South Island, and was established in 1965.[1] There are many telescopes on site including: one 0.4-meter, two 0.6-meter, one 1.0-meter, and a new 1.8-meter "MOA Telescope" (see details below). The nearest population center is the resort town Lake Tekapo (pop. <500). Approximately 20% of nights at MJUO are photometric, with a larger number available for spectroscopic work and direct imaging photometry. MJUO is operated by the University of Canterbury, and is the home of HERCULES (High Efficiency and Resolution Canterbury University Large Echelle Spectrograph), and the observational wing of the Japanese/New Zealand MOA collaboration (Microlensing Observations in Astrophysics) led by Professor Yasushi Muraki of Nagoya University. A Japanese funded, 1.8-meter telescope is now in place and will be used initially by the MOA Project, before handover to the University of Canterbury at the conclusion of the MOA Project in 2012. In June 2012 an area of 430,000 hectares (1,700 sq mi) around the observatory was declared as the Aoraki Mackenzie International Dark Sky Reserve by the International Dark-Sky Association, one of only four such reserves around the world.[2] The area has a Bortle Scale of 2.[3] There are 5 large telescopes on the mountain that are in regular use. There is also a cafe and night-tours run by tourist operators, Earth and Sky. There is accommodation for visiting researchers within the 1.0m building. A Superintendent lives on the mountain. MOA Telescope[edit] Opened in 2004 December, this telescope was built by Japanese astronomers and is dedicated to the MOA project. It is a 1.8m prime focus reflector. The MOA telescope is the largest telescope in New Zealand. McLellan Telescope[edit] This is a 1.0m Dall-Kirkham reflecting telescope run at either f/7.7 or f/13.5. Photometric imaging is by CCD camera and spectroscopy is by fibre-optic cable to the HERCULES spectrograph. Boller & Chivens Telescope[edit] This is a 0.61m reflecting telescope run at either f/13.5 or occasionally f/6.25. Photometry is usually carried out using an Apogee Alta CCD camera. Optical Craftsmen Telescope[edit] This is a 0.61m fork mounted reflecting telescope operating at f/16. This telescope is used exclusively for CCD photometry. It is currently being upgraded and commissioned for robotic use as part of the AAVSO's Robotic Telescope Network. This is the AAVSO's first Southern Hemisphere telescope. Earth and Sky Telescope[edit] This telescope, used exclusively for visual tourist operations is a 0.4m Meade LX200 telescope.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a6bbd8e4b0fd1b00157f9f/51a6bc2be4b06a70036bd409/1475709767174/MtJohn2V2.2.jpg Mount John University Observatory (MJUO), NZ - Mount John University Observatory (MJUO), NZ Mount John University Observatory (MJUO), is New Zealand's premier astronomical research observatory.[1] It is situated at 1,029 metres (3,376 ft) ASL atop Mount John at the northern end of the Mackenzie Basin in the South Island, and was established in 1965.[1] There are many telescopes on site including: one 0.4-meter, two 0.6-meter, one 1.0-meter, and a new 1.8-meter "MOA Telescope" (see details below). The nearest population center is the resort town Lake Tekapo (pop. <500). Approximately 20% of nights at MJUO are photometric, with a larger number available for spectroscopic work and direct imaging photometry. MJUO is operated by the University of Canterbury, and is the home of HERCULES (High Efficiency and Resolution Canterbury University Large Echelle Spectrograph), and the observational wing of the Japanese/New Zealand MOA collaboration (Microlensing Observations in Astrophysics) led by Professor Yasushi Muraki of Nagoya University. A Japanese funded, 1.8-meter telescope is now in place and will be used initially by the MOA Project, before handover to the University of Canterbury at the conclusion of the MOA Project in 2012. In June 2012 an area of 430,000 hectares (1,700 sq mi) around the observatory was declared as the Aoraki Mackenzie International Dark Sky Reserve by the International Dark-Sky Association, one of only four such reserves around the world.[2] The area has a Bortle Scale of 2.[3] There are 5 large telescopes on the mountain that are in regular use. There is also a cafe and night-tours run by tourist operators, Earth and Sky. There is accommodation for visiting researchers within the 1.0m building. A Superintendent lives on the mountain. MOA Telescope[edit] Opened in 2004 December, this telescope was built by Japanese astronomers and is dedicated to the MOA project. It is a 1.8m prime focus reflector. The MOA telescope is the largest telescope in New Zealand. McLellan Telescope[edit] This is a 1.0m Dall-Kirkham reflecting telescope run at either f/7.7 or f/13.5. Photometric imaging is by CCD camera and spectroscopy is by fibre-optic cable to the HERCULES spectrograph. Boller & Chivens Telescope[edit] This is a 0.61m reflecting telescope run at either f/13.5 or occasionally f/6.25. Photometry is usually carried out using an Apogee Alta CCD camera. Optical Craftsmen Telescope[edit] This is a 0.61m fork mounted reflecting telescope operating at f/16. This telescope is used exclusively for CCD photometry. It is currently being upgraded and commissioned for robotic use as part of the AAVSO's Robotic Telescope Network. This is the AAVSO's first Southern Hemisphere telescope. Earth and Sky Telescope[edit] This telescope, used exclusively for visual tourist operations is a 0.4m Meade LX200 telescope.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a6bbd8e4b0fd1b00157f9f/51a6bc41e4b0930fcb065ae3/1475709834924/MtJohn3.V.4.jpg Mount John University Observatory (MJUO), NZ - Mount John University Observatory (MJUO), New Zealand Mount John University Observatory (MJUO), is New Zealand's premier astronomical research observatory.[1] It is situated at 1,029 metres (3,376 ft) ASL atop Mount John at the northern end of the Mackenzie Basin in the South Island, and was established in 1965.[1] There are many telescopes on site including: one 0.4-meter, two 0.6-meter, one 1.0-meter, and a new 1.8-meter "MOA Telescope" (see details below). The nearest population center is the resort town Lake Tekapo (pop. <500). Approximately 20% of nights at MJUO are photometric, with a larger number available for spectroscopic work and direct imaging photometry. MJUO is operated by the University of Canterbury, and is the home of HERCULES (High Efficiency and Resolution Canterbury University Large Echelle Spectrograph), and the observational wing of the Japanese/New Zealand MOA collaboration (Microlensing Observations in Astrophysics) led by Professor Yasushi Muraki of Nagoya University. A Japanese funded, 1.8-meter telescope is now in place and will be used initially by the MOA Project, before handover to the University of Canterbury at the conclusion of the MOA Project in 2012. In June 2012 an area of 430,000 hectares (1,700 sq mi) around the observatory was declared as the Aoraki Mackenzie International Dark Sky Reserve by the International Dark-Sky Association, one of only four such reserves around the world.[2] The area has a Bortle Scale of 2.[3] There are 5 large telescopes on the mountain that are in regular use. There is also a cafe and night-tours run by tourist operators, Earth and Sky. There is accommodation for visiting researchers within the 1.0m building. A Superintendent lives on the mountain. MOA Telescope[edit] Opened in 2004 December, this telescope was built by Japanese astronomers and is dedicated to the MOA project. It is a 1.8m prime focus reflector. The MOA telescope is the largest telescope in New Zealand. McLellan Telescope[edit] This is a 1.0m Dall-Kirkham reflecting telescope run at either f/7.7 or f/13.5. Photometric imaging is by CCD camera and spectroscopy is by fibre-optic cable to the HERCULES spectrograph. Boller & Chivens Telescope[edit] This is a 0.61m reflecting telescope run at either f/13.5 or occasionally f/6.25. Photometry is usually carried out using an Apogee Alta CCD camera. Optical Craftsmen Telescope[edit] This is a 0.61m fork mounted reflecting telescope operating at f/16. This telescope is used exclusively for CCD photometry. It is currently being upgraded and commissioned for robotic use as part of the AAVSO's Robotic Telescope Network. This is the AAVSO's first Southern Hemisphere telescope. Earth and Sky Telescope[edit] This telescope, used exclusively for visual tourist operations is a 0.4m Meade LX200 telescope.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a6bbd8e4b0fd1b00157f9f/51a6bc40e4b0fd1b0015802b/1475709856318/MtJohn4.V3.jpg Mount John University Observatory (MJUO), NZ - Mount John University Observatory (MJUO), NZ Mount John University Observatory (MJUO), is New Zealand's premier astronomical research observatory.[1] It is situated at 1,029 metres (3,376 ft) ASL atop Mount John at the northern end of the Mackenzie Basin in the South Island, and was established in 1965.[1] There are many telescopes on site including: one 0.4-meter, two 0.6-meter, one 1.0-meter, and a new 1.8-meter "MOA Telescope" (see details below). The nearest population center is the resort town Lake Tekapo (pop. <500). Approximately 20% of nights at MJUO are photometric, with a larger number available for spectroscopic work and direct imaging photometry. MJUO is operated by the University of Canterbury, and is the home of HERCULES (High Efficiency and Resolution Canterbury University Large Echelle Spectrograph), and the observational wing of the Japanese/New Zealand MOA collaboration (Microlensing Observations in Astrophysics) led by Professor Yasushi Muraki of Nagoya University. A Japanese funded, 1.8-meter telescope is now in place and will be used initially by the MOA Project, before handover to the University of Canterbury at the conclusion of the MOA Project in 2012. In June 2012 an area of 430,000 hectares (1,700 sq mi) around the observatory was declared as the Aoraki Mackenzie International Dark Sky Reserve by the International Dark-Sky Association, one of only four such reserves around the world.[2] The area has a Bortle Scale of 2.[3] There are 5 large telescopes on the mountain that are in regular use. There is also a cafe and night-tours run by tourist operators, Earth and Sky. There is accommodation for visiting researchers within the 1.0m building. A Superintendent lives on the mountain. MOA Telescope[edit] Opened in 2004 December, this telescope was built by Japanese astronomers and is dedicated to the MOA project. It is a 1.8m prime focus reflector. The MOA telescope is the largest telescope in New Zealand. McLellan Telescope[edit] This is a 1.0m Dall-Kirkham reflecting telescope run at either f/7.7 or f/13.5. Photometric imaging is by CCD camera and spectroscopy is by fibre-optic cable to the HERCULES spectrograph. Boller & Chivens Telescope[edit] This is a 0.61m reflecting telescope run at either f/13.5 or occasionally f/6.25. Photometry is usually carried out using an Apogee Alta CCD camera. Optical Craftsmen Telescope[edit] This is a 0.61m fork mounted reflecting telescope operating at f/16. This telescope is used exclusively for CCD photometry. It is currently being upgraded and commissioned for robotic use as part of the AAVSO's Robotic Telescope Network. This is the AAVSO's first Southern Hemisphere telescope. Earth and Sky Telescope[edit] This telescope, used exclusively for visual tourist operations is a 0.4m Meade LX200 telescope.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. http://www.stewiedonn.com/2012-events daily 0.75 2013-06-04 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51ad4a30e4b0ae1d9bf5d75e/51ad4d9ee4b0ee05f179f3ed/1370312107728/Pitcher+Partners+Christmas+Party+2012-1.jpg 2012 Events https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/51ad4a98e4b0bd3a9449fba5/1370311320315/AIME+Lunch+2012-1.jpg 2012 Events https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51ad4a30e4b0ae1d9bf5d75e/51ad4da7e4b0591097096dab/1370312106902/Pitcher+Partners+Christmas+Party+2012-2.jpg 2012 Events 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https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/5189b493e4b01dba4e6a19a2/1335549635316/tumblr_lznz58s0tm1qzu15ho1_1280.jpg Blog - Parker Fitzgerald http://www.stewiedonn.com/blog/nqolmj7fvx551kf3ry8joep9e2tpz4 monthly 0.5 2012-04-29 http://www.stewiedonn.com/blog/category/Casual+Shoots monthly 0.5 http://www.stewiedonn.com/blog/tag/camera monthly 0.5 http://www.stewiedonn.com/blog/tag/lunch monthly 0.5 http://www.stewiedonn.com/blog/tag/photography monthly 0.5 http://www.stewiedonn.com/industry daily 0.75 2013-05-13 http://www.stewiedonn.com/royal-exhibition-building-gallery daily 0.75 2016-11-15 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/582a89019f7456fa1e159ef1/1479182469842/ Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e1ae4b0534aaae914f9/1479182469842/REB-Interiors-1.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e63e4b0534aaae91522/1479182478131/REB-Interiors-11.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e49e4b0f18fde0f9254/1479182494124/REB-Interiors-10.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e29e4b02ecd0ea9f82c/1479182503272/REB-Interiors-2.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f715e4b05f6bb242f7b4/1479182511127/REB-Interiors-3.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e67e4b0cf61a0136ef2/1479182519196/REB-Interiors-17.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f768e4b02f35a70c2459/1479182527270/REB-Interiors-5.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f6dae4b03d0bdb62d6c2/1479182535870/REB-Interiors-27.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e82e4b0f18fde0f927a/1479182543080/REB-Interiors-19.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f6eee4b0d0905b204c92/1479182550362/REB-Interiors-25.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907df8e4b0eb1ecff40374/1479182557781/REB-Design-Made-Trade-28.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f7aae4b06a742d4e9ad6/1479182564988/MuseumVic-ArtFair-.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/519085a8e4b065f564955f91/1479182585196/REB-AusBike-23.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907ddbe4b054ba752c8556/1479182593012/MuseumVic-ArtFair-20.jpg Royal Exhibition Building Gallery - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. http://www.stewiedonn.com/melbourne-museum-gallery daily 0.75 2017-01-26 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/588a8005c534a5fc8385abe8/1485471449096/ Melbourne Museum Gallery - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/519193eae4b077a76c771140/1485471449096/Museum+Vic+4.jpg Melbourne Museum Gallery - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/51919478e4b08f73818ab24d/1485471468939/Museum+Vic.jpg Melbourne Museum Gallery - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/51919424e4b0307de17f85bb/1485471558437/Museum+Vic+10.jpg Melbourne Museum Gallery - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/5191942be4b0774db75dd339/1485471612822/Museum+Vic+13.jpg Melbourne Museum Gallery - Rubik's Cube Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/5191945ee4b08798de82599c/1485471565902/Museum+Vic+23.jpg Melbourne Museum Gallery - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/51a6a679e4b01ba7ba187264/1485471632663/Museum+Vic+1V2.jpg Melbourne Museum Gallery - Melbourne Museum Forecourt Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/519193a2e4b0038fc580006a/1485471689275/Museum+Vic+2.jpg Melbourne Museum Gallery - Whale skeleton Interior Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/519193d0e4b03488d35e863a/1485471706665/Museum+Vic+4-3.jpg Melbourne Museum Gallery - Glass Walk Way Interior Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/519193f5e4b00c14f4f52222/1485471732168/Museum+Vic+8.jpg Melbourne Museum Gallery - Room With A View Interior Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/5191944ae4b0774db75dd359/1485471749834/Museum+Vic+16.jpg Melbourne Museum Gallery - Structure Interior Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. http://www.stewiedonn.com/enviromix-gallery daily 0.75 2016-10-04 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/57f31faa5016e1315fe71d1d/1475551024710/ Enviromix Gallery - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908fdce4b00c72ce74014d/1475551024710/stewiedonnHR_Treasury-Truck-4.jpg Enviromix Gallery - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908fa4e4b0f96e0eb3b28a/1475551034615/stewiedonnHR_Treasury-Spreading-2.jpg Enviromix Gallery - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908fbce4b0c6f6d72f3898/1475551042508/stewiedonnHR_Treasury-Spreading-3.jpg Enviromix Gallery - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f7fe4b0454b98ae0375/1475551051049/stewiedonnHR_Treasury-2.jpg Enviromix Gallery - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908fcee4b07b22f532344c/1475551063010/stewiedonnHR_Treasury-Spreading-7.jpg Enviromix Gallery - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f9ee4b0c6f6d72f3882/1475551071152/stewiedonnHR_Treasury-3.jpg Enviromix Gallery - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f4ae4b07b7f3ea4d795/1475551096240/stewiedonnHR_CarltonSouth-3.jpg Enviromix Gallery - Royal Exhibition Building Carlton Gardens Melbourne City Landscaped Victorian-era park now containing the Royal Exhibition Building and Melbourne Museum. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f25e4b0536c559e8a5f/1475551107637/stewiedonnHR_CarltonSouth-2.jpg Enviromix Gallery - Royal Exhibition Building Carlton Gardens Melbourne City Landscaped Victorian-era park now containing the Royal Exhibition Building and Melbourne Museum. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f28e4b05913b69f772d/1475551115982/stewiedonnHR_CarltonSouth-1.jpg Enviromix Gallery - Royal Exhibition Building Carlton Gardens Melbourne City Landscaped Victorian-era park now containing the Royal Exhibition Building and Melbourne Museum. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f5ae4b0454b98ae0363/1475551135262/stewiedonnHR_Fitzroy-1.jpg Enviromix Gallery - Fitzroy Gardens Melbourne City Historic 26-hectare site in city centre with model Tudor village, tree-lined walking paths & cafes. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f6ae4b04bb35e254315/1475551146796/stewiedonnHR_Fitzroy-2.jpg Enviromix Gallery - Fitzroy Gardens Melbourne City Historic 26-hectare site in city centre with model Tudor village, tree-lined walking paths & cafes. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. http://www.stewiedonn.com/fundere-artist-foundry-gallery daily 0.75 2018-05-18 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/5afe26cc352f530714de2ba2/1476057886260/ Fundere Artist Foundry Gallery - Naz, at Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/51918466e4b03cb724dce4cb/1476057886260/NazHalfFlt.jpg Fundere Artist Foundry Gallery - Naz, at Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191846be4b00c14f4f501f0/1476057936404/JetWashRoomV2CropFlt.jpg Fundere Artist Foundry Gallery - The wash room at Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191842ce4b03cce7f1cd62a/1476058283688/CameronHelmetFltV2.jpg Fundere Artist Foundry Gallery - Cameron McIndoe at work in the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191842ce4b08f73818a97fb/1476058292354/CamronFull.jpg Fundere Artist Foundry Gallery - Cameron McIndoe at work in the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191847be4b0bcf02be5e984/1476058335539/SeanFltV2.jpg Fundere Artist Foundry Gallery - Sean at the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/51918444e4b0a84c2e1b479b/1476058396426/Crucible.jpg Fundere Artist Foundry Gallery - Cameron and Naz during a bronze pour at the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191847be4b00c14f4f501fb/1476058407930/PourFlt.jpg Fundere Artist Foundry Gallery - Cameron and Naz during a bronze pour at the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/51918457e4b03cce7f1cd64e/1476058426588/grindersFltV2.jpg Fundere Artist Foundry Gallery - Tool sky line at the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   http://www.stewiedonn.com/paper-manufacturing-gallery daily 0.75 2016-10-07 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/57f716bce4fcb57b44275aa2/1475811004555/ Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918956e4b0307de17f7148/1475811004555/Panorama-Edit_Alt.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188e6e4b0038fc57fef8f/1475809486782/_DSC0804.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188abe4b077a76c76fc71/1475810025076/_DSC0711.jpg Paper Manufacturing in Australia - Nuplex Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188a0e4b0bcf02be5f34a/1475810036600/_DSC0649.jpg Paper Manufacturing in Australia - Nuplex Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918bc4e4b006802d8f9856/1475810142195/_DSC0940.jpg Paper Manufacturing in Australia - Visy Campbellfield Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/5191886ee4b0f499a538845d/1475810151073/_DSC0938.jpg Paper Manufacturing in Australia Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918ba6e4b0d444c4e70f25/1475810169352/_DSC0818.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918908e4b08798de8248e2/1475810270340/_DSC0839.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918944e4b0038fc57feff2/1475810306198/_DSC1019.jpg Paper Manufacturing in Australia - Australian Paper Mill Maryvale Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188efe4b0553538adc111/1475810205149/_DSC0823.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918949e4b0d444c4e70c41/1475810316893/_DSC1200.jpg Paper Manufacturing in Australia - Australian Paper Mill Maryvale Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188f8e4b00c14f4f50c7f/1475810260044/_DSC0828.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       http://www.stewiedonn.com/science-gallery daily 0.75 2018-05-18 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/5afe27281ae6cff5bd7f854a/1476139225377/ Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918f9fe4b0033da8952c20/1476139225377/100LtReactorFLTCropV1.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fa5e4b08f73818aad92/1476139211784/ChrisLabFlt.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918f85e4b0bcf02be600a6/1476139198644/_DSC1215.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fc0e4b0774db75dc99b/1476140350803/HawkNose.jpg Australian Science and Technology - Boeing Defence and Technology Australia Boeing Australia Holdings Pty Ltd, or simply Boeing Australia, is Boeing's largest footprint outside the United States. Established in 2002, the company oversees its seven wholly owned subsidiaries, consolidating and co-ordinating Boeing’s businesses and operations in Australia. Boeing has played a role in Australia’s aerospace industry through its products and services, and has 3500 employees spread across 28 locations in every state and territory except Tasmania. With an investment of more than $800 million, Boeing generates approximately $400 million in export revenue for Australia through its commercial and defence products and services.   Boeing began working in Australia through its subsidiary Boeing Aerostructures Australia, which was formerly known as de Havilland Australia and established in 1927. Boeing acquired de Havilland Australia in 2000, and prior to this Boeing’s first direct investment in Australia came through its acquisition of the Rockwell International in 1996. Rockwell Australia became Boeing Australia Ltd (now Boeing Defence Australia) in 1996.[3] The five remaining subsidiaries were acquired as follows: Jeppesen Australia and Jeppesen Marine in 2000, Alteon in 2002, Aviall in 2006 and Insitu Pacific in 2009.   In Australia, IDS is represented in by its business unit Boeing Defence Australia (BDA), which is a defence aerospace enterprise. BDA supports some of the largest and most complex programs for the Commonwealth of Australia, the Australian Defence Force and commercial customers. BDA also conducts operations and maintenance for classified programs and Australian Government sites, and operates in line with the three divisions of Boeing IDS - Boeing Military Aircraft, Global Services & Support, and Network & Space Systems. Other IDS activities in Australia are carried out by Boeing Australia Component Repairs (BACR) and Boeing Aerostructures Australia (BAA). BACR provides maintenance, repair and overhaul (MRO) on composite and metallic structures, and BAA offers design, manufacture, testing and repair of airframe structural components. Despite predominantly commercial customers, BAA is responsible for the manufacture of the F/A-18 C/D trailing-edge flaps, while BACR provides MRO services as needed. Boeing Commercial Airplanes[edit] Boeing Commercial Airplanes (BCA) is a manufacturer of commercial planes. In Australia, BCA is represented by BCA Sales, which operates out of Boeing Australia’s Sydney office and provides sales and marketing support of BCA products, customer engineering and quality control/procurement functions. BCA opened its first Australian office in Sydney in 1959 when Qantas became the first international customer for Boeing’s first passenger jet, the 707, which changed air travel for Australians by drastically reducing flight times to the rest of the world. The Boeing 737 has also played an important role in the growth of aviation in Australia. BCA is also supported in Australia by Boeing Aerostructures Australia (BAA, formerly Hawker de Havilland). BAA manufactures aircraft components including the use of composite carbon fibre technology. BAA won the sole-source contract for designing and manufacturing the moveable trailing edges on the Boeing 787 Dreamliner. Another component of BCA is its Commercial Aviation Services (CAS) unit, which provides materials and engineering services and solutions to Boeing customers in-country. In Australia, Alteon Training Australia, Aviall, Jeppesen Australia and Jeppesen Marine come under CAS' family of companies. Boeing Field Service is also part of CAS. Field Service provides on-site technical advice to Boeing customers and can call resolve operator problems with access to BCA technical resources. Field Service representatives are located in Brisbane, Sydney and Melbourne.   Boeing Research and Technology[edit] In March 2008, Boeing established a branch of its advanced research and development (R&D) unit – Boeing Research & Technology (BR&T) – in Australia to provide an R&D organisation for its in-country businesses and to collaborate with Australian R&D organisations, including universities and private sector R&D providers, the Commonwealth Scientific and Industrial Research Organisation (CSIRO) and the Defence Science and Technology Organisation (DSTO). Current areas of BR&T research includes unmanned systems research, the manufacture of advanced composite components, and biofuels. In September 2003, Boeing Company initiated with the University of Queensland School of IT and Electrical Engineering (ITEE) a new Boeing Systems Engineering Teaching Laboratory to fill skills shortages in aviation and aerospace industry in Australia. [8] Boeing also made a $1.55M grant for founding of a Boeing Professorship in Systems Engineering for 5 years occupied by Prof Peter A Lindsay. Boeing provided funding with respect to the Wedgetail 737 Airborne Early Warning and Control (AEW&C) project with the Commonwealth of Australia and expected to deliver 2 by 2006. This fostered Defence Industries Queensland in Queensland Department of State Development, Infrastructure and Planning with Boeing Defence Australia at RAAF Base Amberley. Company affairs[edit] President Boeing Australia and South Pacific[edit] Ian Thomas is the President Boeing Australia and South Pacific. He was appointed to the role in March 2009, and is responsible as a figurehead to Boeing's activities in the region. Previously, Thomas was president of Boeing India since January 2007. He replaced former president of Boeing Australia and South Pacific Craig Saddler, who returned to the US to accept the position of chief financial officer for Boeing Integrated Defense Systems division, Network & Space Systems. Prior to Saddler, Andrew Peacock, a former Australian Liberal politician, held the role.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fcde4b08f73818aadae/1476140319570/HawkHeroVschool.jpg Australian Science and Technology - Boeing Defence and Technology Australia Boeing Australia Holdings Pty Ltd, or simply Boeing Australia, is Boeing's largest footprint outside the United States. Established in 2002, the company oversees its seven wholly owned subsidiaries, consolidating and co-ordinating Boeing’s businesses and operations in Australia. Boeing has played a role in Australia’s aerospace industry through its products and services, and has 3500 employees spread across 28 locations in every state and territory except Tasmania. With an investment of more than $800 million, Boeing generates approximately $400 million in export revenue for Australia through its commercial and defence products and services.   Boeing began working in Australia through its subsidiary Boeing Aerostructures Australia, which was formerly known as de Havilland Australia and established in 1927. Boeing acquired de Havilland Australia in 2000, and prior to this Boeing’s first direct investment in Australia came through its acquisition of the Rockwell International in 1996. Rockwell Australia became Boeing Australia Ltd (now Boeing Defence Australia) in 1996.[3] The five remaining subsidiaries were acquired as follows: Jeppesen Australia and Jeppesen Marine in 2000, Alteon in 2002, Aviall in 2006 and Insitu Pacific in 2009.   In Australia, IDS is represented in by its business unit Boeing Defence Australia (BDA), which is a defence aerospace enterprise. BDA supports some of the largest and most complex programs for the Commonwealth of Australia, the Australian Defence Force and commercial customers. BDA also conducts operations and maintenance for classified programs and Australian Government sites, and operates in line with the three divisions of Boeing IDS - Boeing Military Aircraft, Global Services & Support, and Network & Space Systems. Other IDS activities in Australia are carried out by Boeing Australia Component Repairs (BACR) and Boeing Aerostructures Australia (BAA). BACR provides maintenance, repair and overhaul (MRO) on composite and metallic structures, and BAA offers design, manufacture, testing and repair of airframe structural components. Despite predominantly commercial customers, BAA is responsible for the manufacture of the F/A-18 C/D trailing-edge flaps, while BACR provides MRO services as needed. Boeing Commercial Airplanes[edit] Boeing Commercial Airplanes (BCA) is a manufacturer of commercial planes. In Australia, BCA is represented by BCA Sales, which operates out of Boeing Australia’s Sydney office and provides sales and marketing support of BCA products, customer engineering and quality control/procurement functions. BCA opened its first Australian office in Sydney in 1959 when Qantas became the first international customer for Boeing’s first passenger jet, the 707, which changed air travel for Australians by drastically reducing flight times to the rest of the world. The Boeing 737 has also played an important role in the growth of aviation in Australia. BCA is also supported in Australia by Boeing Aerostructures Australia (BAA, formerly Hawker de Havilland). BAA manufactures aircraft components including the use of composite carbon fibre technology. BAA won the sole-source contract for designing and manufacturing the moveable trailing edges on the Boeing 787 Dreamliner. Another component of BCA is its Commercial Aviation Services (CAS) unit, which provides materials and engineering services and solutions to Boeing customers in-country. In Australia, Alteon Training Australia, Aviall, Jeppesen Australia and Jeppesen Marine come under CAS' family of companies. Boeing Field Service is also part of CAS. Field Service provides on-site technical advice to Boeing customers and can call resolve operator problems with access to BCA technical resources. Field Service representatives are located in Brisbane, Sydney and Melbourne.   Boeing Research and Technology[edit] In March 2008, Boeing established a branch of its advanced research and development (R&D) unit – Boeing Research & Technology (BR&T) – in Australia to provide an R&D organisation for its in-country businesses and to collaborate with Australian R&D organisations, including universities and private sector R&D providers, the Commonwealth Scientific and Industrial Research Organisation (CSIRO) and the Defence Science and Technology Organisation (DSTO). Current areas of BR&T research includes unmanned systems research, the manufacture of advanced composite components, and biofuels. In September 2003, Boeing Company initiated with the University of Queensland School of IT and Electrical Engineering (ITEE) a new Boeing Systems Engineering Teaching Laboratory to fill skills shortages in aviation and aerospace industry in Australia. [8] Boeing also made a $1.55M grant for founding of a Boeing Professorship in Systems Engineering for 5 years occupied by Prof Peter A Lindsay. Boeing provided funding with respect to the Wedgetail 737 Airborne Early Warning and Control (AEW&C) project with the Commonwealth of Australia and expected to deliver 2 by 2006. This fostered Defence Industries Queensland in Queensland Department of State Development, Infrastructure and Planning with Boeing Defence Australia at RAAF Base Amberley. Company affairs[edit] President Boeing Australia and South Pacific[edit] Ian Thomas is the President Boeing Australia and South Pacific. He was appointed to the role in March 2009, and is responsible as a figurehead to Boeing's activities in the region. Previously, Thomas was president of Boeing India since January 2007. He replaced former president of Boeing Australia and South Pacific Craig Saddler, who returned to the US to accept the position of chief financial officer for Boeing Integrated Defense Systems division, Network & Space Systems. Prior to Saddler, Andrew Peacock, a former Australian Liberal politician, held the role.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/5191901ce4b0ab849dd6b543/1476140334897/TopView.jpg Australian Science and Technology - Boeing Defence and Technology Australia Boeing Australia Holdings Pty Ltd, or simply Boeing Australia, is Boeing's largest footprint outside the United States. Established in 2002, the company oversees its seven wholly owned subsidiaries, consolidating and co-ordinating Boeing’s businesses and operations in Australia. Boeing has played a role in Australia’s aerospace industry through its products and services, and has 3500 employees spread across 28 locations in every state and territory except Tasmania. With an investment of more than $800 million, Boeing generates approximately $400 million in export revenue for Australia through its commercial and defence products and services.   Boeing began working in Australia through its subsidiary Boeing Aerostructures Australia, which was formerly known as de Havilland Australia and established in 1927. Boeing acquired de Havilland Australia in 2000, and prior to this Boeing’s first direct investment in Australia came through its acquisition of the Rockwell International in 1996. Rockwell Australia became Boeing Australia Ltd (now Boeing Defence Australia) in 1996.[3] The five remaining subsidiaries were acquired as follows: Jeppesen Australia and Jeppesen Marine in 2000, Alteon in 2002, Aviall in 2006 and Insitu Pacific in 2009.   In Australia, IDS is represented in by its business unit Boeing Defence Australia (BDA), which is a defence aerospace enterprise. BDA supports some of the largest and most complex programs for the Commonwealth of Australia, the Australian Defence Force and commercial customers. BDA also conducts operations and maintenance for classified programs and Australian Government sites, and operates in line with the three divisions of Boeing IDS - Boeing Military Aircraft, Global Services & Support, and Network & Space Systems. Other IDS activities in Australia are carried out by Boeing Australia Component Repairs (BACR) and Boeing Aerostructures Australia (BAA). BACR provides maintenance, repair and overhaul (MRO) on composite and metallic structures, and BAA offers design, manufacture, testing and repair of airframe structural components. Despite predominantly commercial customers, BAA is responsible for the manufacture of the F/A-18 C/D trailing-edge flaps, while BACR provides MRO services as needed. Boeing Commercial Airplanes[edit] Boeing Commercial Airplanes (BCA) is a manufacturer of commercial planes. In Australia, BCA is represented by BCA Sales, which operates out of Boeing Australia’s Sydney office and provides sales and marketing support of BCA products, customer engineering and quality control/procurement functions. BCA opened its first Australian office in Sydney in 1959 when Qantas became the first international customer for Boeing’s first passenger jet, the 707, which changed air travel for Australians by drastically reducing flight times to the rest of the world. The Boeing 737 has also played an important role in the growth of aviation in Australia. BCA is also supported in Australia by Boeing Aerostructures Australia (BAA, formerly Hawker de Havilland). BAA manufactures aircraft components including the use of composite carbon fibre technology. BAA won the sole-source contract for designing and manufacturing the moveable trailing edges on the Boeing 787 Dreamliner. Another component of BCA is its Commercial Aviation Services (CAS) unit, which provides materials and engineering services and solutions to Boeing customers in-country. In Australia, Alteon Training Australia, Aviall, Jeppesen Australia and Jeppesen Marine come under CAS' family of companies. Boeing Field Service is also part of CAS. Field Service provides on-site technical advice to Boeing customers and can call resolve operator problems with access to BCA technical resources. Field Service representatives are located in Brisbane, Sydney and Melbourne.   Boeing Research and Technology[edit] In March 2008, Boeing established a branch of its advanced research and development (R&D) unit – Boeing Research & Technology (BR&T) – in Australia to provide an R&D organisation for its in-country businesses and to collaborate with Australian R&D organisations, including universities and private sector R&D providers, the Commonwealth Scientific and Industrial Research Organisation (CSIRO) and the Defence Science and Technology Organisation (DSTO). Current areas of BR&T research includes unmanned systems research, the manufacture of advanced composite components, and biofuels. In September 2003, Boeing Company initiated with the University of Queensland School of IT and Electrical Engineering (ITEE) a new Boeing Systems Engineering Teaching Laboratory to fill skills shortages in aviation and aerospace industry in Australia. [8] Boeing also made a $1.55M grant for founding of a Boeing Professorship in Systems Engineering for 5 years occupied by Prof Peter A Lindsay. Boeing provided funding with respect to the Wedgetail 737 Airborne Early Warning and Control (AEW&C) project with the Commonwealth of Australia and expected to deliver 2 by 2006. This fostered Defence Industries Queensland in Queensland Department of State Development, Infrastructure and Planning with Boeing Defence Australia at RAAF Base Amberley. Company affairs[edit] President Boeing Australia and South Pacific[edit] Ian Thomas is the President Boeing Australia and South Pacific. He was appointed to the role in March 2009, and is responsible as a figurehead to Boeing's activities in the region. Previously, Thomas was president of Boeing India since January 2007. He replaced former president of Boeing Australia and South Pacific Craig Saddler, who returned to the US to accept the position of chief financial officer for Boeing Integrated Defense Systems division, Network & Space Systems. Prior to Saddler, Andrew Peacock, a former Australian Liberal politician, held the role.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918f92e4b03cb724dcfccb/1476139243714/-4.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918ff0e4b0774db75dc9be/1476139257341/MagnifyGlassFlt.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fcee4b0932556ee8370/1476319151361/LabCoatsGekko.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fdfe4b0553538adce4a/1476140754307/merge1Flt.jpg Australian Science and Technology - Autralian Synchrotron, Clayton The Australian Synchrotron is a 3 GeV national synchrotron radiation facility located in Clayton, in the south-eastern suburbs of Melbourne, Victoria, which opened in 2007. The Australian Synchrotron is a light source facility (in contrast to a collider), which uses particle accelerators to produce a beam of high energy electrons that are boosted to nearly the speed of light and directed into a storage ring where they circulate for many hours. As the path of these electrons are deflected in the storage ring by either bending magnets or insertion devices, they emit synchrotron light. The light is channelled to experimental endstations containing specialised equipment, enabling a range of research applications including high resolution imagery that is not possible under normal laboratory conditions,. The Australian Synchrotron supports the research needs of Australia’s major universities and research centres, and businesses ranging from small-to-medium enterprises to multinational companies. During 2014-15 the Australian Synchrotron supported more than 4,300 researcher visits and close to 1,000 experiments in areas such as medicine, agriculture, environment, defence, transport, advanced manufacturing and mining. In 2015, the Australian Government announced a ten-year, $520 million investment in operations, through the Australian Nuclear Science and Technology Organisation (ANSTO).   Electron gun The electrons used to provide the synchrotron light are first produced at the electron gun, by thermionic emission from a heated metal cathode. The emitted electrons are then accelerated to an energy of 90 keV (kilo-electron volts) by a 90 kilovolt potential applied across the gun and make their way into the linear accelerator.   Linear accelerator The linear accelerator (or linac) uses a series of RF cavities, operating at a frequency of 3 GHz, to accelerate the electron beam to an energy of 100 MeV, over a distance of around 15 metres. Due to the nature of this acceleration, the beam must be separated into discrete packets, or 'bunches'. This bunching process is done at the start of the linac, using several 'bunching' cavities. The linac can accelerate a beam once every second. Further along the linac quadrupole magnets are used to help focus the electron beam.   Booster synchrotron The booster is an electron synchrotron which takes the 100 MeV beam from the linac and increases its energy to 3 GeV. The booster ring is 130 metres in circumference and contains a single 5-cell RF cavity (operating at 500 MHz) which provides energy to the electron beam. Acceleration of the beam is achieved by a simultaneous ramping up of the magnet strength and cavity fields. Each ramping cycle takes approximately 1 second (for a complete ramp up and down).   Storage ring The storage ring is the final destination for the accelerated electrons. It is 216 metres in circumference and consists of 14 nearly identical sectors. Each sector consists of a straight section and an arc, with the arcs containing two dipole 'bending' magnets each. Each dipole magnet is a potential source of synchrotron light and most straight sections can also host an insertion device, giving the possibility of 30+ beamlines at the Australian Synchrotron. Two of the straight sections are used to host the storage ring 500 MHz RF cavities, which are essential for replacing the energy that the beam loses through synchrotron radiation. The storage ring also contains a large number of quadrupole and sextupole magnets used for beam focusing and chromaticity corrections. The ring is designed to hold 200 mA of stored current with a beam lifetime of over 20 hours.   Vacuum systems The electron beam is kept within a very high vacuum at all times during the acceleration process and within the storage ring. This vacuum is necessary as any beam collisions with gas molecules will quickly degrade the beam quality and reduce the lifetime of the beam. The vacuum is achieved by enclosing the beam in a stainless steel pipe system, with numerous vacuum pump systems continually working to keep the vacuum quality high. Pressure within the storage ring is typically around 10−13 bar (10 nPa).   Control system Each digital and analogue I/O channel is associated with a database entry in a customised distributed open source database system called EPICS (Experimental Physics and Industrial Control System). The condition of the system is monitored and controlled by connecting specialised GUIs to the specified database entries. There are about 45,000 database entries (also known as process variables), most of which relate to the physical I/O. About 35,000 of these are permanently archived at intervals ranging from milliseconds to minutes. Some high level control of the physics-related parameters of the beam is provided through MATLAB which also provides data analysis tools and an interface with a computerised model of the accelerator. Personnel and equipment protection is achieved through the use of PLC-based systems, which also transfer data to EPICS. The Beamlines also use EPICS as the basis for their control.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/5191900ee4b0774db75dc9e1/1476140157015/PipesFlt.jpg Australian Science and Technology - Australian Synchrotron, Clayton The Australian Synchrotron is a 3 GeV national synchrotron radiation facility located in Clayton, in the south-eastern suburbs of Melbourne, Victoria, which opened in 2007. The Australian Synchrotron is a light source facility (in contrast to a collider), which uses particle accelerators to produce a beam of high energy electrons that are boosted to nearly the speed of light and directed into a storage ring where they circulate for many hours. As the path of these electrons are deflected in the storage ring by either bending magnets or insertion devices, they emit synchrotron light. The light is channelled to experimental endstations containing specialised equipment, enabling a range of research applications including high resolution imagery that is not possible under normal laboratory conditions,. The Australian Synchrotron supports the research needs of Australia’s major universities and research centres, and businesses ranging from small-to-medium enterprises to multinational companies. During 2014-15 the Australian Synchrotron supported more than 4,300 researcher visits and close to 1,000 experiments in areas such as medicine, agriculture, environment, defence, transport, advanced manufacturing and mining. In 2015, the Australian Government announced a ten-year, $520 million investment in operations, through the Australian Nuclear Science and Technology Organisation (ANSTO).   Electron gun The electrons used to provide the synchrotron light are first produced at the electron gun, by thermionic emission from a heated metal cathode. The emitted electrons are then accelerated to an energy of 90 keV (kilo-electron volts) by a 90 kilovolt potential applied across the gun and make their way into the linear accelerator.   Linear accelerator The linear accelerator (or linac) uses a series of RF cavities, operating at a frequency of 3 GHz, to accelerate the electron beam to an energy of 100 MeV, over a distance of around 15 metres. Due to the nature of this acceleration, the beam must be separated into discrete packets, or 'bunches'. This bunching process is done at the start of the linac, using several 'bunching' cavities. The linac can accelerate a beam once every second. Further along the linac quadrupole magnets are used to help focus the electron beam.   Booster synchrotron The booster is an electron synchrotron which takes the 100 MeV beam from the linac and increases its energy to 3 GeV. The booster ring is 130 metres in circumference and contains a single 5-cell RF cavity (operating at 500 MHz) which provides energy to the electron beam. Acceleration of the beam is achieved by a simultaneous ramping up of the magnet strength and cavity fields. Each ramping cycle takes approximately 1 second (for a complete ramp up and down).   Storage ring The storage ring is the final destination for the accelerated electrons. It is 216 metres in circumference and consists of 14 nearly identical sectors. Each sector consists of a straight section and an arc, with the arcs containing two dipole 'bending' magnets each. Each dipole magnet is a potential source of synchrotron light and most straight sections can also host an insertion device, giving the possibility of 30+ beamlines at the Australian Synchrotron. Two of the straight sections are used to host the storage ring 500 MHz RF cavities, which are essential for replacing the energy that the beam loses through synchrotron radiation. The storage ring also contains a large number of quadrupole and sextupole magnets used for beam focusing and chromaticity corrections. The ring is designed to hold 200 mA of stored current with a beam lifetime of over 20 hours.   Vacuum systems The electron beam is kept within a very high vacuum at all times during the acceleration process and within the storage ring. This vacuum is necessary as any beam collisions with gas molecules will quickly degrade the beam quality and reduce the lifetime of the beam. The vacuum is achieved by enclosing the beam in a stainless steel pipe system, with numerous vacuum pump systems continually working to keep the vacuum quality high. Pressure within the storage ring is typically around 10−13 bar (10 nPa).   Control system Each digital and analogue I/O channel is associated with a database entry in a customised distributed open source database system called EPICS (Experimental Physics and Industrial Control System). The condition of the system is monitored and controlled by connecting specialised GUIs to the specified database entries. There are about 45,000 database entries (also known as process variables), most of which relate to the physical I/O. About 35,000 of these are permanently archived at intervals ranging from milliseconds to minutes. Some high level control of the physics-related parameters of the beam is provided through MATLAB which also provides data analysis tools and an interface with a computerised model of the accelerator. Personnel and equipment protection is achieved through the use of PLC-based systems, which also transfer data to EPICS. The Beamlines also use EPICS as the basis for their control.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/5191901ce4b08798de8254ad/1476140180186/Untitled_Panorama2.jpg Australian Science and Technology - Australian Synchrotron, Clayton The Australian Synchrotron is a 3 GeV national synchrotron radiation facility located in Clayton, in the south-eastern suburbs of Melbourne, Victoria, which opened in 2007. The Australian Synchrotron is a light source facility (in contrast to a collider), which uses particle accelerators to produce a beam of high energy electrons that are boosted to nearly the speed of light and directed into a storage ring where they circulate for many hours. As the path of these electrons are deflected in the storage ring by either bending magnets or insertion devices, they emit synchrotron light. The light is channelled to experimental endstations containing specialised equipment, enabling a range of research applications including high resolution imagery that is not possible under normal laboratory conditions,. The Australian Synchrotron supports the research needs of Australia’s major universities and research centres, and businesses ranging from small-to-medium enterprises to multinational companies. During 2014-15 the Australian Synchrotron supported more than 4,300 researcher visits and close to 1,000 experiments in areas such as medicine, agriculture, environment, defence, transport, advanced manufacturing and mining. In 2015, the Australian Government announced a ten-year, $520 million investment in operations, through the Australian Nuclear Science and Technology Organisation (ANSTO).   Electron gun The electrons used to provide the synchrotron light are first produced at the electron gun, by thermionic emission from a heated metal cathode. The emitted electrons are then accelerated to an energy of 90 keV (kilo-electron volts) by a 90 kilovolt potential applied across the gun and make their way into the linear accelerator.   Linear accelerator The linear accelerator (or linac) uses a series of RF cavities, operating at a frequency of 3 GHz, to accelerate the electron beam to an energy of 100 MeV, over a distance of around 15 metres. Due to the nature of this acceleration, the beam must be separated into discrete packets, or 'bunches'. This bunching process is done at the start of the linac, using several 'bunching' cavities. The linac can accelerate a beam once every second. Further along the linac quadrupole magnets are used to help focus the electron beam.   Booster synchrotron The booster is an electron synchrotron which takes the 100 MeV beam from the linac and increases its energy to 3 GeV. The booster ring is 130 metres in circumference and contains a single 5-cell RF cavity (operating at 500 MHz) which provides energy to the electron beam. Acceleration of the beam is achieved by a simultaneous ramping up of the magnet strength and cavity fields. Each ramping cycle takes approximately 1 second (for a complete ramp up and down).   Storage ring The storage ring is the final destination for the accelerated electrons. It is 216 metres in circumference and consists of 14 nearly identical sectors. Each sector consists of a straight section and an arc, with the arcs containing two dipole 'bending' magnets each. Each dipole magnet is a potential source of synchrotron light and most straight sections can also host an insertion device, giving the possibility of 30+ beamlines at the Australian Synchrotron. Two of the straight sections are used to host the storage ring 500 MHz RF cavities, which are essential for replacing the energy that the beam loses through synchrotron radiation. The storage ring also contains a large number of quadrupole and sextupole magnets used for beam focusing and chromaticity corrections. The ring is designed to hold 200 mA of stored current with a beam lifetime of over 20 hours.   Vacuum systems The electron beam is kept within a very high vacuum at all times during the acceleration process and within the storage ring. This vacuum is necessary as any beam collisions with gas molecules will quickly degrade the beam quality and reduce the lifetime of the beam. The vacuum is achieved by enclosing the beam in a stainless steel pipe system, with numerous vacuum pump systems continually working to keep the vacuum quality high. Pressure within the storage ring is typically around 10−13 bar (10 nPa).   Control system Each digital and analogue I/O channel is associated with a database entry in a customised distributed open source database system called EPICS (Experimental Physics and Industrial Control System). The condition of the system is monitored and controlled by connecting specialised GUIs to the specified database entries. There are about 45,000 database entries (also known as process variables), most of which relate to the physical I/O. About 35,000 of these are permanently archived at intervals ranging from milliseconds to minutes. Some high level control of the physics-related parameters of the beam is provided through MATLAB which also provides data analysis tools and an interface with a computerised model of the accelerator. Personnel and equipment protection is achieved through the use of PLC-based systems, which also transfer data to EPICS. The Beamlines also use EPICS as the basis for their control.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fede4b03cce7f1ce7c4/1476140211107/phoneFlt.jpg Australian Science and Technology - Australian Synchrotron, Clayton The Australian Synchrotron is a 3 GeV national synchrotron radiation facility located in Clayton, in the south-eastern suburbs of Melbourne, Victoria, which opened in 2007. The Australian Synchrotron is a light source facility (in contrast to a collider), which uses particle accelerators to produce a beam of high energy electrons that are boosted to nearly the speed of light and directed into a storage ring where they circulate for many hours. As the path of these electrons are deflected in the storage ring by either bending magnets or insertion devices, they emit synchrotron light. The light is channelled to experimental endstations containing specialised equipment, enabling a range of research applications including high resolution imagery that is not possible under normal laboratory conditions,. The Australian Synchrotron supports the research needs of Australia’s major universities and research centres, and businesses ranging from small-to-medium enterprises to multinational companies. During 2014-15 the Australian Synchrotron supported more than 4,300 researcher visits and close to 1,000 experiments in areas such as medicine, agriculture, environment, defence, transport, advanced manufacturing and mining. In 2015, the Australian Government announced a ten-year, $520 million investment in operations, through the Australian Nuclear Science and Technology Organisation (ANSTO).   Electron gun The electrons used to provide the synchrotron light are first produced at the electron gun, by thermionic emission from a heated metal cathode. The emitted electrons are then accelerated to an energy of 90 keV (kilo-electron volts) by a 90 kilovolt potential applied across the gun and make their way into the linear accelerator.   Linear accelerator The linear accelerator (or linac) uses a series of RF cavities, operating at a frequency of 3 GHz, to accelerate the electron beam to an energy of 100 MeV, over a distance of around 15 metres. Due to the nature of this acceleration, the beam must be separated into discrete packets, or 'bunches'. This bunching process is done at the start of the linac, using several 'bunching' cavities. The linac can accelerate a beam once every second. Further along the linac quadrupole magnets are used to help focus the electron beam.   Booster synchrotron The booster is an electron synchrotron which takes the 100 MeV beam from the linac and increases its energy to 3 GeV. The booster ring is 130 metres in circumference and contains a single 5-cell RF cavity (operating at 500 MHz) which provides energy to the electron beam. Acceleration of the beam is achieved by a simultaneous ramping up of the magnet strength and cavity fields. Each ramping cycle takes approximately 1 second (for a complete ramp up and down).   Storage ring The storage ring is the final destination for the accelerated electrons. It is 216 metres in circumference and consists of 14 nearly identical sectors. Each sector consists of a straight section and an arc, with the arcs containing two dipole 'bending' magnets each. Each dipole magnet is a potential source of synchrotron light and most straight sections can also host an insertion device, giving the possibility of 30+ beamlines at the Australian Synchrotron. Two of the straight sections are used to host the storage ring 500 MHz RF cavities, which are essential for replacing the energy that the beam loses through synchrotron radiation. The storage ring also contains a large number of quadrupole and sextupole magnets used for beam focusing and chromaticity corrections. The ring is designed to hold 200 mA of stored current with a beam lifetime of over 20 hours.   Vacuum systems The electron beam is kept within a very high vacuum at all times during the acceleration process and within the storage ring. This vacuum is necessary as any beam collisions with gas molecules will quickly degrade the beam quality and reduce the lifetime of the beam. The vacuum is achieved by enclosing the beam in a stainless steel pipe system, with numerous vacuum pump systems continually working to keep the vacuum quality high. Pressure within the storage ring is typically around 10−13 bar (10 nPa).   Control system Each digital and analogue I/O channel is associated with a database entry in a customised distributed open source database system called EPICS (Experimental Physics and Industrial Control System). The condition of the system is monitored and controlled by connecting specialised GUIs to the specified database entries. There are about 45,000 database entries (also known as process variables), most of which relate to the physical I/O. About 35,000 of these are permanently archived at intervals ranging from milliseconds to minutes. Some high level control of the physics-related parameters of the beam is provided through MATLAB which also provides data analysis tools and an interface with a computerised model of the accelerator. Personnel and equipment protection is achieved through the use of PLC-based systems, which also transfer data to EPICS. The Beamlines also use EPICS as the basis for their control.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. 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He owns several restaurants in Melbourne. In 1996, Grossi was awarded the L’insegna Del Ristorante Italiano, by the president of Italy, for his dedication to presenting and promoting “La Cucina Italiana” and life style. He has published five cookbooks “Grossi Florentino – secrets and recipes”, “My Italian Heart”,"Recipes From My Mother's Kitchen" "Italian Food Safari", based on the SBS TV series and most recently "Love Italy" Grossi was born in Melbourne and raised by his parents Pietro Grossi and Marissa Grossi. His father Pietro came to Australia from Milan in 1960 to work as a chef at Mario's in Exhibition Street, Melbourne. He attended Dallas North Primary School before moving to Glenhuntly Primary, then Caulfield Technical School where he completed up to year 10 From 1980 to 1980, Grossi completed an apprenticeship in commercial cookery at the Box Hill Institute.At the age of fifteen he began working in a Malvern seafood restaurant before progressing to Tolarno's, where his father led the kitchen.Later, he moved to Massoni's in Fitzroy Street, owned by his father Pietro, Leon Massoni, and David GibsonFollowing a stint at Two Faces, he and his wife, Melissa opened Quadri, a restaurant of their own in Armadale. Guy’s father Pietro joined them to open Caffé Grossi in 1988. In 1999, Grossi purchased an Italian restaurant in Melbourne, The Florentino.Later, he purchased Mirka Continental Bistro in St Kilda, Victoria and had the building's murals restored by the original artist, Mirka Mora.The murals were first painted in the 1960s when Mora and her husband Georges owned the Tolarno Hotel. In 2009, he opened Grossi Trattoria and Wine Bar at the Intercontinental Hotel in Bangkok, Thailand In 2010, he opened The Merchant in the Rialto Towers as a joint venture with Lorenz Grollo saw the opening of a new restaurant, The Merchant. Merchant features traditional dishes from Veneto, where Guy’s mother and the Grollo family originate. In 2012, Guy opened Ombra Salumi Bar next door to Grossi Florentino in central Melbourne. Guy has appeared on various Australian television programs including Food Safari, Masterchef,9am with David and Kim, Fresh, Postcards, Getaway, Neighbours, My Kitchen Rules, A Current Affair, and Sunrise. He has also appeared on various American shows such as CBS in New York and Good Day Philadelphia. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570d8e4b00f442896a0c7/1479181675456/Sweets2012-7.jpg People Gallery - Guy Grossi Guy Grossi (born 13 May 1965) is an Australian chef and media personality. He owns several restaurants in Melbourne. In 1996, Grossi was awarded the L’insegna Del Ristorante Italiano, by the president of Italy, for his dedication to presenting and promoting “La Cucina Italiana” and life style. He has published five cookbooks “Grossi Florentino – secrets and recipes”, “My Italian Heart”,"Recipes From My Mother's Kitchen" "Italian Food Safari", based on the SBS TV series and most recently "Love Italy" Grossi was born in Melbourne and raised by his parents Pietro Grossi and Marissa Grossi. His father Pietro came to Australia from Milan in 1960 to work as a chef at Mario's in Exhibition Street, Melbourne. He attended Dallas North Primary School before moving to Glenhuntly Primary, then Caulfield Technical School where he completed up to year 10 From 1980 to 1980, Grossi completed an apprenticeship in commercial cookery at the Box Hill Institute.At the age of fifteen he began working in a Malvern seafood restaurant before progressing to Tolarno's, where his father led the kitchen.Later, he moved to Massoni's in Fitzroy Street, owned by his father Pietro, Leon Massoni, and David GibsonFollowing a stint at Two Faces, he and his wife, Melissa opened Quadri, a restaurant of their own in Armadale. Guy’s father Pietro joined them to open Caffé Grossi in 1988. In 1999, Grossi purchased an Italian restaurant in Melbourne, The Florentino.Later, he purchased Mirka Continental Bistro in St Kilda, Victoria and had the building's murals restored by the original artist, Mirka Mora.The murals were first painted in the 1960s when Mora and her husband Georges owned the Tolarno Hotel. In 2009, he opened Grossi Trattoria and Wine Bar at the Intercontinental Hotel in Bangkok, Thailand In 2010, he opened The Merchant in the Rialto Towers as a joint venture with Lorenz Grollo saw the opening of a new restaurant, The Merchant. Merchant features traditional dishes from Veneto, where Guy’s mother and the Grollo family originate. In 2012, Guy opened Ombra Salumi Bar next door to Grossi Florentino in central Melbourne. Guy has appeared on various Australian television programs including Food Safari, Masterchef,9am with David and Kim, Fresh, Postcards, Getaway, Neighbours, My Kitchen Rules, A Current Affair, and Sunrise. He has also appeared on various American shows such as CBS in New York and Good Day Philadelphia. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/52f308b8e4b02564de2c1f82/1479181475966/MitchWallis-WesternBulldogs-5.jpg People Gallery - Mitch Wallis, Western Bulldogs The Western Bulldogs (formerly the Footscray Football Club) is a professional Australian rules football club that competes in the Australian Football League (AFL), the sport's premier competition. Founded in 1877 in Footscray, an inner-western suburb of Melbourne, Victoria, the club won nine premierships in the Victorian Football Association (VFA) before gaining entry to the Victorian Football League (since renamed the AFL) in 1925. The club has won two VFL/AFL premierships, in 1954 and 2016, and was runner up in 1961. The Western Bulldogs' home guernsey features two thick horizontal hoops—one red and one white—on a royal blue background. The club's traditional rivals include St Kilda and geographical rival Essendon. The club's headquarters and training facilities are located in Footscray at Whitten Oval, nicknamed "The Kennel", its original home ground. The club draws much of its supporter base from Melbourne's traditionally working class western region, and plays its home matches at Docklands Stadium (currently known as Etihad Stadium) in the Docklands area, also in the city's inner-west. In 1996, the club changed its name from the "Footscray Football Club" to its nickname, the "Western Bulldogs". In 2016, the Bulldogs fought through numerous injuries to finish 7th in the home and away season and, after a series of against-the-odds finals victories, qualified for the AFL Grand Final for the first time in 55 years. In doing so, it became the first club to reach the premiership contender from such a low position on the ladder.The club ended a 62-year premiership drought with a 22-point victory over minor premiers the Sydney Swans. Jason Johannisen won the Norm Smith Medal, while coach Luke Beveridge gave his Jock McHale Medal to captain and club veteran Robert Murphy—who suffered a season-ending injury in round 3—saying, "This is yours, mate. You deserve it more than anyone." This gesture, described as "one of the most touching" in football history, was met with a standing ovation by the crowd. Though thankful, Murphy returned the medal to Beveridge the following morning, saying he could not keep it. They decided to place the medal in the Western Bulldogs' museum. Footscray went by a variety of nicknames during the VFA years, including the Bone Mill Fellows, the Saltwater Lads, and, most popularly, the Tricolours, in reference to the club guernsey.The Western Bulldogs adopted its current nickname during the 1928 VFL season after a bulldog ran onto the field and accidentally led the players out against Collingwood at the Western Oval (now Whitten Oval), "to the wild applause of the callow youth", wrote one match reporter. Supporters felt that the bulldog typified Footscray's "bulldog spirit" that season, and it became the club's nickname and mascot. The club played its home matches at the Western Oval, located in the inner-western Melbourne suburb of Footscray, from 1884 until 1997 (except for a brief period at nearby Yarraville Oval, from 1941 to 1943). Home to the club's training facilities and administrative headquarters, the oval, nicknamed "The Kennel", was officially renamed Whitten Oval in 1995 in honour of club legend Ted Whitten, who died that year. It underwent a A$20 million redevelopment in 2005.[18] Melbourne's Princes Park became the Western Bulldogs' primary home ground from 1997 until 1999. Since 2000, the club has been based at Docklands Stadium (currently known as Etihad Stadium). Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570bde4b0f0ad735bd981/1476405254177/Kellie_Chadstone_Store-1PrintA3.jpg People Gallery - Officeworks. Officeworks is a chain of Australian office supplies stores in Australia and the market leader. The company was established in the early 1990s by Coles Myer (which became Coles Group, now part of and owned by WA-based company Wesfarmers). Its head office is located in Bentleigh East, Melbourne. The store concept adopted by Officeworks was based on the US chain Office Depot. The first Officeworks store opened in the inner city suburb of Richmond in Melbourne on the 16th of June 1994. Harris Technology, an IT retailer, was purchased by Coles Myer in 1999 and became a subsidiary of the larger office supplies retailer. Viking Australia (a subsidiary of Office Depot) was purchased by Coles Myer in December 2002 and was merged with Officeworks Direct to form Officeworks BusinessDirect, now referred to as Officeworks Business. By late 2006 the business opened its 100th store in South Yarra, just kilometres from the first store in Richmond. Officeworks had 139 retail stores as at May 2011,with a presence in every Australian state and territory. Following the purchase of Coles Group by Wesfarmers in November 2007, Officeworks and Harris Technology became part of Wesfarmers' Home Improvement and Office Supplies division. Officeworks rebranded in 2008, revising its logo, uniforms, store department names, and slogan - "Lowest Prices Everyday". The revised branding positioned Officeworks as a low cost warehouse similar to that of its sister company Bunnings Warehouse. Officeworks also adopted the "Lowest Price Guarantee" similar to that found at Bunnings, where Officeworks will beat any competitor's price of an identical item by 5%. In 2011 Officeworks cut ties with paper supplier APRIL over claims that the paper supplier was illegally logging Indonesian forests. Officeworks changed its slogan in August 2012 to "Big Ideas. Lowest prices". Under the new advertising campaign, commercials focussed on store prices being checked "twice daily", and slogans such as "we buy in bulk, so you get the lowest prices" were used.Officeworks "lowest price guarantee" still remains with a 5% discount offered if a lower price is found elsewhere. Officeworks also began offering free Wi-Fi access in all stores. By 2016 Officeworks reached 158 stores in total. Most Officeworks stores feature the following departments: Print & Copy (aka Copy Centre, formerly Printworks) - Provides services including printing, photocopying, laminating, custom promotional products, Photobooks, business cards, printed stationery, stamps and name badges Technology (aka Business Machines, formerly Techworks) - Computers, business machines, consumables and other electronic products. Furniture (formerly Furnitureworks) - Chairs, desks, workstations, filing cabinets, pedestals, lighting and other office furniture. Stationery - Pens, paper and other stationery needs. Some stores formerly featured Inkworks, which provided ink and toner replacements and recycling. This is now part of Technology/Business Machines. Officeworks Business is the internet and phone sales division of Officeworks, with its own warehouses. It stocks a larger range to retail stores on a delivery only basis, with a focus on day-to-day needs of medium to large businesses rather than small business and general consumers that shop in store. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a5707be4b0d5c254dec7c2/1476405241475/Aidan-Hooper_Boutique-Homes-15.jpg People Gallery - Boutique Homes At Boutique, we build homes for better living. That means designing for functionality and flexibility as well as beauty. It means a commitment to quality and craftsmanship. And it means striving to provide an enjoyable process from the moment you speak with a New Homes Consultant through to completion of your new home. Boutique is part of the ABN Group, Australia’s leader in construction, property and finance. This gives us access to an extensive range of talent and experienced suppliers, which allows us to back each home with a 25 year structural guarantee and industry leading aftercare program. We’re driven by a desire to build a home you will be proud of the moment you first walk through the door. Boutique balances the clever design and personalised attention of a specialist builder with the stability and experience of a larger company. We’re proudly part of the ABN Group, Australia’s leader in construction, property and finance, and owned by partners Aidan Hooper and Dale Alcock. The ABN Group was established in 1978. More than 38 years on, we’re still true to our philosophy of building every home as if it’s our own. We’ve built more than 55,000 homes in Western Australia and Victoria, and we’ve steadfastly maintained our attention to quality, while always striving to innovate in design and customer service. The ABN Group consists of a number of residential builders including: APG Homes, Celebration Homes, Dale Alcock Homes, Homebuyers Centre and Webb & Brown Neaves. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51ada3b0e4b0ae1d9bf64352/1476763425750/untitled-1.jpg People Gallery - Cotton On Cotton On was founded in 1991, with the first store being opened in Geelong, Australia.[2] As of 2013, the Cotton On chain has over 1000 stores worldwide.[3] As of 2011 the company employed around 5,500 people.[4] The company was established by Nigel Austin in Geelong, Australia, at the time it only sold women's clothing. Since January 2006, it had expanded with Cotton On Body and Cotton On Kids in 2007. It expanded to Typo (stationery and gifts), and also Rubi Shoes in February 2008. The design team in the company's Australian office controls the steps of production from merchandise planning to establishing specifications, and production is outsourced to approximately 150 factories in Europe and Asia. These facilities are used for horizontal division of labor rather than being integrated. After the collapse of the Rana Plaza building in Bangladesh in April 2013, Cotton On, along with other major Australian retailers, became the focus of a campaign by Oxfam Australia to get the company to sign the Bangladesh Fire and Safety Accord.[5] In 2013, Cotton On acquired Australian fast-fashion brand Supré and plans to expand the brand internationally. Cotton On hired Australian TV personality Lara Bingle to be the spokesperson of their One launch, which offered comfortable cotton basic shirts offered in a variety of necklines including V-neck, scoop and crew. Lara Bingle has also designed swimwear for the Australian Brand under their Body label. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570aee4b01fcfc74c0459/1476764058320/JohnnySat.jpg People Gallery - John Haliday, FAD Gallery Contemporary paintings, photography, taking it easy on Tuesdays and Wednesdays, then live music on Thursdays, a great DJ on Friday and Saturday, playin’ groooovy tunes from the last five to six decades. Considered one of Melbourne’s iconic art gallery venues and bars since 1995, FAD Gallery presents regular exhibitions, music, the occasional private party and hopefully some interesting events throughout the year. So come enjoy a bit of culture, some good times and some mad people in the heart of Chinatown… The bar has a range of local and imported beers, very basic cocktails, spirits, juices blah blah blah, our drinks prices are pretty reasonable – we do try to please.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a57090e4b0406339344bdd/1476764257578/DHSV-HeadShots-Pair.jpg People Gallery - Dental Health Services Victoria Dental Health Services Victoria (DHSV) was established in 1996 and is the leading public oral health agency in Victoria.We aim to improve the oral health of all Victorians, particularly vulnerable groups and those most in need. DHSV is funded by the State Government to provide clinical dental services to eligible Victorians.We help to provide Victorians with quality oral healthcare through The Royal Dental Hospital of Melbourne (RDHM) and by purchasing dental services for public patients from more than 53 community health agencies throughout Victoria.DHSV uses its leadership role to add value to its relationships with agencies to improve oral health and provide as many oral health services to as many eligible people as possible.We are also guided by Victorian and national oral health plans, regional oral health plans, evidence-based oral health promotion resources and research publications.As trusted advisors in public oral health policy and program and guideline development, we continue to contribute to improving oral health in our communities. The history of The Royal Dental Hospital of Melbourne dates back to 1890 when dentists began providing voluntary services out of premises at 225 Lonsdale Street, Melbourne. Known then as the Melbourne Dental Hospital, it moved to 189 Lonsdale and then 193 Spring Street, before Victoria’s first purpose-built dental hospital was opened in Grattan Street, Parkville, in 1963. In 1969 its name was changed to The Royal Dental Hospital of Melbourne. In 2003 the Hospital moved to its current location at 720 Swanston Street, Carlton. The Royal Dental Hospital of Melbourne is Victoria’s leading dental teaching facility, working in partnership with The University of Melbourne, RMIT University and La Trobe University in the education of dental and oral health professionals. Healthy Families, Healthy Smiles aims to improve the oral health of Victorian children aged 0-3 years and pregnant women by building capacity of health and early childhood professionals to promote oral health. Healthy Families, Healthy Smiles has a range of training and professional development packages for professionals working with young families to support better oral health. Healthy Families, Healthy Smiles works with: Midwives involved in antenatal health care Maternal and Child Health nurses Early childhood professionals including child care educators, supported playgroup facilitators and family support workers Aboriginal health services General practitioners, practice nurses and refugee health nurses Dietitians and other allied health professionals Pharmacists For more information about how you can promote oral health in your work visit our professionals’ page www.dhsv.org.au/professionals. The Victorian Government Department of Health and Human Services funds Dental Health Services Victoria (DHSV) to deliver the Healthy Families, Healthy Smiles initiative. The Midwifery Initiated Oral Health Education Program (MIOH) is an online training course that equips midwives working in antenatal care with the skills and confidence to include oral health in their practice. The MIOH e-learning program is a collaborative partnership with the Centre for Applied Nursing Research, Western Sydney University, Sydney and South Western Sydney Local Health District/Ingham Institute Applied Medical Research. Midwives working in antenatal care can click on the button to express interest in enrolling in this course. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570a6e4b0d80d8a76a827/1476764475784/Jana-2012-Pair.jpg People Gallery - Jana Investment Australia JANA is a leading investment consulting firm with offices in Melbourne & Sydney. Our core business is providing traditional and implemented consulting to institutional clients. Our strategic advice has helped clients to outperform through all market cycles. JANA was established in 1987 to provide institutional investment advice and became a fully-owned subsidiary of National Australia Bank (NAB) Limited in December 2000. NAB is one of Australia’s top banking groups [1] and largest listed institutions [2], managing relationships with retail, corporate and institutional clients in Australia and internationally. Our clients benefit from the bank’s organisational strength as well as its expert resources and infrastructure support. JANA operates free of any requirements or direction affecting our independence. We are in no way influenced or compelled to favour NAB services or products in our investment approach and recommendations to our clients. After 15 years exclusively providing advisory consulting services, we established our implemented consulting business in 2002. This service was developed in response to the requirements of clients and not built as a discrete investment product. JANA operates as a single business for our advisory and implemented consulting services. Investment consulting is our core business. In February 2012, the JANA and MLC Implemented Consulting businesses combined. Then in April 2014, JANA and MLC Investment Management came together – all under the JANA name – to cement our ‘best‐of-breed’ research and portfolio construction expertise with a clear focus on delivering superior investment outcomes for clients. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570c7e4b0d5c254dec802/1479181384879/PromoPair.jpg People Gallery - Jana Investment Australia JANA is a leading investment consulting firm with offices in Melbourne & Sydney. Our core business is providing traditional and implemented consulting to institutional clients. Our strategic advice has helped clients to outperform through all market cycles. JANA was established in 1987 to provide institutional investment advice and became a fully-owned subsidiary of National Australia Bank (NAB) Limited in December 2000. NAB is one of Australia’s top banking groups [1] and largest listed institutions [2], managing relationships with retail, corporate and institutional clients in Australia and internationally. Our clients benefit from the bank’s organisational strength as well as its expert resources and infrastructure support. JANA operates free of any requirements or direction affecting our independence. We are in no way influenced or compelled to favour NAB services or products in our investment approach and recommendations to our clients. After 15 years exclusively providing advisory consulting services, we established our implemented consulting business in 2002. This service was developed in response to the requirements of clients and not built as a discrete investment product. JANA operates as a single business for our advisory and implemented consulting services. Investment consulting is our core business. In February 2012, the JANA and MLC Implemented Consulting businesses combined. Then in April 2014, JANA and MLC Investment Management came together – all under the JANA name – to cement our ‘best‐of-breed’ research and portfolio construction expertise with a clear focus on delivering superior investment outcomes for clients.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a57058e4b0643b1caa1ee2/1476836560994/_DSC0727.jpg People Gallery - Paper Manufacturing Australia Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a57057e4b062a74b5b236d/1476836574429/_DSC1162.jpg People Gallery - Paper Manufacturing Australia Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a6ade6e4b044668aec38c7/1476836960234/PaintballDouble.jpg People Gallery - Paint Ballers Paintball is a game developed in the 1980s in which players eliminate opponents from play by hitting them with dye-filled, breakable, oil and gelatin paintballs, or pellets, usually shot from a carbon dioxide or compressed air (Nitrogen) powered “paintball marker”. The game is regularly played at a sporting level with organized competition involving major tournaments, professional teams, and players.[2][3] Paintball technology is also used by military forces, law enforcement, para-military and security organizations to supplement military training, as well as playing a role in riot response, and non-lethal suppression of dangerous suspects. Games can be played on indoor or outdoor fields of varying sizes. A game field is scattered with natural or artificial terrain, which players use for tactical cover. Game types in paintball vary, but can include capture the flag, elimination, ammunition limits, defending or attacking a particular point or area, or capturing objects of interest hidden in the playing area. Depending on the variant played, games can last from seconds to hours, or even days in scenario play. The paintball equipment used may depend on the game type, for example: woodsball, speedball, or scenario; on how much money one is willing to spend on equipment; and personal preference. However, almost every player will utilize three basic pieces of equipment: Paintball marker: also known as a "paintball gun", this is the primary piece of equipment, used to mark the opposing player with paintballs. The paintball gun must have a loader or "hopper" or magazines attached to keep the marker fed with paint, and will be either spring-fed, gravity-fed (where balls drop into the loading chamber), or electronically force-fed. Modern markers require a compressed-air tank or CO2 tank. In contrast, very early bolt-action paintball markers used disposable silver capsules (12-gram CO2 cartridges) normally seen in pellet guns. In the mid to late 1980s, marker mechanics improved to include constant air pressure and semi-automatic operation.[4][5][6] Further improvements included increased rates of fire; carbon dioxide (CO2) tanks from 3.5 to 40 ounces, and compressed-air or nitrogen tanks in a variety of sizes and pressure capacities up to 5000 PSI. The use of unstable CO2 causes damage to the low-pressure pneumatic components inside electronic markers, therefore the more stable compressed air is preferred by owners of such markers. Paintballs (pellets): Paintballs, the ammunition used in the marker, are spherical gelatin capsules containing primarily polyethylene glycol, other non-toxic and water-soluble substances, and dye. The quality of paintballs is dependent on the brittleness of the ball's shell, the roundness of the sphere, and the thickness of the fill; higher-quality balls are almost perfectly spherical, with a very thin shell to guarantee breaking upon impact, and a thick, brightly colored fill that is difficult to hide or wipe off during the game. The highest-grade paintballs incorporate cornstarch and metallic flake into the fill to leave a thick glittery "splat" that is very obvious against any background color, and hard to wipe off. Almost all paintballs in use today are biodegradeable. All ingredients used in the making of a paintball are food-grade quality and are harmless to the participants and environment. Manufacturers and distributors have been making the effort to move away from the traditional oil-based paints and compressed CO2 gas propellant, to a more friendly water-based formula and compressed air in an effort to become more "eco-friendly". Paintballs come in a variety of sizes, including of 0.50" (.50 Caliber) an 0.68" (.68 Caliber). Mask or goggles: Masks are safety devices players are required to wear at all times on the field, to protect them from paintballs.[7] The original equipment used by players were safety goggles of the type used in labs and wood shops; today's goggles are derived from skiing/snowboarding goggles, with an attached shell that completely covers the eyes, mouth, ears and nostrils of the wearer. Masks can also feature throat guards. Modern masks have evolved to be less bulky compared with older designs. Some players may remove the mouth and/or ear protection for aesthetic or comfort reasons, but this is neither recommended nor often allowed at commercial venues. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a57069e4b018b736e5c284/1476837336589/3climbers.jpg People Gallery - Rock Climbers Mount Arapiles Mount Arapiles is a rock formation that rises about 140 metres (460 ft) AHD above the Wimmera plains in western Victoria, Australia. It is located in Arapiles approximately 10 kilometres (6.2 mi) west of the town of Natimuk and is part of the Mount Arapiles-Tooan State Park. Arapiles is a very popular destination for rock climbers due to the quantity and quality of climbs. It is one of the premier climbing sites in Australia along with the nearby Grampians. The Aboriginal name for Arapiles is Djurite. Although there are many hiking routes to the top (including one resembling a via ferrata), most ascentionists choose to free climb one of the thousands of vertical routes on the mountain. Since the advent of modern rock climbing, thousands of routes have been recorded. History Note: the modern history of Mount Arapiles is covered in greater detail in many of the works listed in the References section. Arapiles was first considered for climbing in a recreational manner in September 1963, when Bob and Steve Craddock travelled to Mitre Rock after seeing it in a tourist guide, and saw that their destination was dwarfed by Mount Arapiles. It was a number of weeks and visits before climbing was actually attempted at Arapiles, with the first climbs being recorded in November 1963 on what is now called "The Pinnacle Face". The pioneering group, consisting of the Craddocks, Doug Angus, Peter Jackson, and Greg Lovejoy split into two parties, with each party claiming a route on the same day. Many more climbs were put up in the following days and weeks, including the classic climb Tiptoe Ridge (5), and in 1964 Steve Craddock and his father Bob produced the first Arapiles climbing guidebook on a school duplicating machine (featuring 15 routes). March 1965 saw the establishment of two significant climbs: The Bard (12) and Watchtower Crack (16). These climbs were done on the same day and are still regarded as classic climbs, often seeing numerous ascents per day. Activity steadily increased at Arapiles and in August 1966, Mike Stone and Ian Speedie released the second guidebook, Mt Arapiles. It was the first hardcover guide in Australia and featured 108 climbs. The rest of the 1960s saw many more new routes put up of increasing difficulty, with many including numerous aid points. The focus was on "getting up the climb... and staying alive", whether free climbing or not. The early 70s saw a lull in activity at Arapiles as attention shifted to the Grampians and Mount Buffalo. Interest in Arapiles resurfaced in late 1973 with many imposing lines being climbed with a few aids. These routes brought a sense of accomplishment to the climbing community as new grades were continually being created. In 1975, American visitor "Hot" Henry Barber arrived and began freeing these routes with minimal protection. The 21-year-old made a significant impact at Arapiles, and his visit was a pivotal point in Australian climbing, as climbers worked to support the legacy of Barber by freeing their new lines instead of being content to leave in aid points. Word of Barber’s achievements spread and attracted a number of new young climbers to Arapiles. This group was later given the name "The New Wave" and throughout the rest of the 70s and early 80s they were responsible for scores of routes in the grade 20–25 range. The likes of Kim Carrigan, Mike Law and Mark Moorhead helped introduce a number of 26+ climbs, though the latter two did not often grade their climbs accurately (choosing to 'undergrade' them instead). This purposeful undergrading is known as "sandbagging" and is still common in Australian climbing (some would call it tradition), though not as much as it once was. German climber Wolfgang Güllich's ascent of Punks in the Gym in April 1985 was major achievement. The route blasts up the middle of a blank, attractive orange wall and gave Arapiles (and Australia) international exposure. At the time it was graded 32 and was the hardest climb in the world, setting a new benchmark for difficulty. Following Güllich's triumph, a number of routes of similar difficulty have been put up, though none take the "easiest way up" such an impressive feature. The fact that 'Punks' is chipped rarely makes it into most histories. In the early 90's a climber who was unable to do the climb added a glue hold which remains to this day. Arapiles is still a popular climbing destination, with some visitors staying for months at a time. The warm weather, accessibility, quantity and quality of climbs have helped to maintain the popularity of Arapiles with locals, Australians and international travellers alike. Mount Arapiles is mainly regarded as a traditional climbing area – where climbers are expected to place their own protection, and remove it after climbing. The vast majority of climbs are therefore done using removable protection such as nuts, cams and RPs. Contrary to popular belief, Arapiles also has quite a bit of sport climbing. Indeed, many of the most interesting sport routes in the country are to be found tucked away in a cool gully or a beautiful orange face. However, there are not many sport routes easier than 23. Popular bolted routes can be found at the following areas: Dec Crag, Flight Wall and surrounds, Skyline Walls, The Bluffs, Strolling Wall, Castle Crag, The Pharos, Yesterday Gully, Doggers Gully, Poosticks Wall. Many routes at Arapiles have lower-offs, so they can be approached from above or via an easier route. There is a strong tradition dating to the '80s of bringing the route down to your level, and it is now commonplace to rap in and pre-place gear. There are many routes with a mixture of fixed and natural gear for which this approach is suitable. Chipping the rock to 'improve' holds is regarded as vandalism and is theoretically not tolerated. However, the many exceptions to this stance include routes such as: Steps Ahead, London Calling, 'Sean's route in The Bluffs', Ethiopia, Punks, Lord of the Rings, Wackford direct, Pet Abuse, Slopin' Sleazin' and Cecil B de Mille. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/55cc00a3e4b07457fdfaadce/1476837517451/ People Gallery - Standard Dress Diving Suit with Warren Jackman Standard diving dress consists of a copper and brass or bronze diving helmet, an airline or hose from a surface supplied diving air pump, a waterproofed canvas diving suit, diving knife and weights, generally on the chest, back and shoes, to counteract the buoyancy.[1] Later models were equipped with a diver's telephone for voice communications with the surface. Some variants used rebreather systems to extend the use of gas supplies carried by the diver, and were effectively self-contained underwater breathing apparatus, and others were suitable for use with helium based breathing gases for deeper work. Divers could be deployed directly by lowering or raising them using the lifeline, or could be transported on a diving stage. Most diving work using standard dress was done heavy, with the diver sufficiently negatively buoyant to walk on the bottom. This type of diving equipment is also known as hard-hat or copper hat equipment, or heavy gear. It is sometimes known as a "Diver Dan" outfit, from the television show of the same name. It was commonly used for all underwater work which required more than breath-hold duration, and included marine salvage, civil engineering, pearl shell diving and other commercial diving work, and similar naval diving applications. The first successful diving helmets were produced by the brothers Charles and John Deane in the 1820s.[3] Inspired by a fire accident he witnessed in a stable in England,[4] he designed and patented a "Smoke Helmet" to be used by firemen in smoke-filled areas in 1823. The apparatus comprised a copper helmet with an attached flexible collar and garment. A long leather hose attached to the rear of the helmet was to be used to supply air - the original concept being that it would be pumped using a double bellows. A short pipe allowed breathed air to escape. The garment was constructed from leather or airtight cloth, secured by straps.[5] The brothers had insufficient funds to build the equipment themselves, so they sold the patent to their employer, Edward Barnard. It was not until 1827 that the first smoke helmets were built, by German-born British engineer Augustus Siebe. In 1828 they decided to find another application for their device and converted it into a diving helmet. They marketed the helmet with a loosely attached "diving suit" so that a diver could perform salvage work but only in a full vertical position, otherwise water entered the suit. In 1829 the Deane brothers sailed from Whitstable for trials of their new underwater apparatus, establishing the diving industry in the town. In 1834 Charles used his diving helmet and suit in a successful attempt on the wreck of Royal George at Spithead, during which he recovered 28 of the ship's cannon. In 1836, John Deane recovered from the discovered Mary Rose shipwreck timbers, guns, longbows, and other items. By 1836 the Deane brothers had produced the world's first diving manual, Method of Using Deane's Patent Diving Apparatus which explained in detail the workings of the apparatus and pump, plus safety precautions. In the 1830s the Deane brothers asked Siebe to apply his skill to improve their underwater helmet design.[6] Expanding on improvements already made by another engineer, George Edwards, Siebe produced his own design; a helmet fitted to a full length watertight canvas diving suit. The real success of the equipment was a valve in the helmet that meant that it could not flood no matter how the diver moved. This resulted in safer and more efficient underwater work. Siebe introduced various modifications on his diving dress design to accommodate the requirements of the salvage team on the wreck of the HMS Royal George, including making the helmet be detachable from the corselet; his improved design gave rise to the typical standard diving dress which revolutionised underwater civil engineering, underwater salvage, commercial diving and naval diving.[6] More recent diving helmet designs can be classified as free-flow and demand helmets. They are generally are made of stainless steel, fiberglass, or other strong and lightweight material. The copper helmets and standard diving dress are still widely used in parts of the world, but have largely been superseded by lighter and more comfortable equipment. Standard diving dress can be used up to depths of 600 feet (180 m) of sea water, provided a suitable breathing gas mixture is used. Air or other breathing gas may be supplied from hand pumps, compressors, or banks of high pressure storage cylinders, generally through a hose from the surface, though some models are autonomous, with built-in rebreathers. In 1912 the German firm Drägerwerk of Lübeck introduced their own version of standard diving dress using a gas supply from an oxygen rebreather and no surface supply. The system used a copper diving helmet and standard heavy diving suit. The breathing gas was circulated by using an injector system in the loop. This was developed further with the Modell 1915 "Bubikopf" helmet and the DM20 oxygen rebreather system for depths up to 20m, and the DM40 mixed gas rebreather which used an oxygen cylinder and an air cylinder for the gas supply for depths to 40m.[7] A continuous flow of compressed air is provided to the helmet and vented to the surrounding water at a pressure very close to the ambient pressure at the exhaust port,[1] which lets the diver breathe normally. The helmet must have a non-return valve at the air inlet port of the helmet, to prevent massive and fatal squeeze, should the air line be cut at the surface. Diving helmets, while very heavy, displace a great deal of water and combined with the air in the suit, would make the diver float with his head out of the water.[2]:33 To overcome this, some helmets are weighted, while other divers wear weighted belts which have straps that go over the base of the helmet. Some divers have an air inlet control valve, while others may have only one control, the exhaust back-pressure. Helmet divers are subject to the same pressure limitations as other divers, such as decompression sickness and nitrogen narcosis.[2]:1 The full diving dress can weigh over 80 kilos.[citation needed] The one piece diving suit is called a diver's dress.[citation needed] The earliest suits were made of waterproofed canvas invented by Charles Mackintosh. From the late 1800s and throughout most of the 20th century, most Standard Dresses consisted of a solid sheet of rubber between layers of tan twill. Their thick vulcanized rubber collar is clamped to the corselet making the joint waterproof. The inner collar (bib) was made of the same material as the dress and pulled up inside the corselet and around the diver's neck. The wrist cuffs are also made of vulcanized rubber.[citation needed] The twill was available as heavy, medium, and light with the heavy working best against rough surfaces like barnacles and rocks. Different types of dress are defined by the clamping of the outer collar clamps to the corselet. The legs may be laced to reduce inflated volume, which could prevent excess gas from getting trapped in the legs and dragging an inverted diver to the surface.[2]:56 In normal UK commercial standard dress diving activities, the dress often did not have the lace up option.[citation needed] The diver remains dry - a big advantage during long dives, and wears sufficient clothing under the suit to keep warm depending on the water temperature. A diving helmet may be described by the number of bolts which hold it to the suit or to the corselet, and the number of vision ports, known as lights. For example, a helmet with four vision ports, and twelve studs securing the suit, would be known as a "four light, twelve bolt helmet".[citation needed] The helmet is usually made of two main parts: the bonnet, which covers the diver's head, and the corselet which supports the weight of the helmet on the diver's shoulders, and is clamped to the suit to create a watertight seal. The bonnet is attached and sealed to the corselet at the neck, either by bolts or an interrupted screw-thread, with some form of locking mechanism.[citation needed] When the telephone was invented, it was applied to the standard diving dress. The bonnet is usually a copper shell with soldered brass fittings. It covers the diver's head and provides sufficient space to turn the head to look out of the glazed faceplate and other viewports (windows). The front port can usually be opened for ventilation and communication when the diver is on deck, by being screwed out or swung to the side on a hinge. The other lights (another name for the viewports) are generally fixed. Viewports are glass, and are usually protected by brass or bronze grilles. The helmet has fittings to connect the air line and the diver's telephone.[citation needed] Later helmets include a non-return valve where the airline is connected, which prevents potentially fatal helmet squeeze if the pressure in the hose is lost. The difference in pressure between the surface and the diver can be so great that if the air line is cut at the surface and there is no non-return valve, the diver would be partly squeezed into the helmet by the external pressure, and injured or possibly killed.[citation needed] Helmets also have a spring-loaded exhaust valve which allows excess air to leave the helmet. The spring force is adjustable by the diver to prevent the suit from deflating completely or over-inflating and the diver being floated uncontrollably to the surface. Some helmets have an extra manual exhaust valve known as a spit-cock. This allows the diver to vent excess air when he is in a position where the main exhaust can not function correctly.[citation needed] The corselet, also known as a breastplate, is an oval or rectangular collar-piece resting on the shoulders, chest and back, to support the helmet and seal it to the suit, usually made from copper and brass, but occasionally steel.[citation needed] The helmet is usually connected to the suit by placing the holes around the rubberised collar of the suit over bolts along the rim of the corselet, and then clamping the brass straps known as brailes against the collar with wing nuts to press the rubber against the metal of the corselet rim to make a water-tight seal. An alternative method was to bolt the bonnet to the corselet over a rubber collar bonded to the top of the suit.[7] Most bonnets are joined to the corselet by 1/8th turn interrupted thread. The helmet neck thread is placed onto the neck of the corselet facing the divers left front, where the threads do not engage, and then rotated forward, engaging the thread and seating on a leather gasket to make a watertight seal. The helmet usually hs a safety lock which prevents the bonnet from rotating back and separating underwater. Other styles of connection are also used, with the joint secured by clamps or bolts (usually three). Some helmets were made with the bonnet and corselet in one piece and secured to the suit in other ways. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/55d413f7e4b05537993aae6d/1476838662417/ People Gallery - Tim Muscat, Cave Diver in Weebubbie Cave Nullarbor WA Cave diving is an extreme sport in which a diver visits water-filled caves. The equipment used varies depending on the circumstances, and ranges from breath hold to surface supplied, but almost all cave diving is done using scuba equipment, often in specialised configurations. Cave diving is generally considered to be a type of technical diving due to the lack of a free surface during large parts of the dive, and often involves decompression. In the United Kingdom it is an extension of the more common sport of caving, and in the United States an extension of the more common sport of scuba diving. Compared to caving and scuba diving, there are relatively few practitioners of cave diving. This is due in part to the specialized equipment (such as rebreathers, diver propulsion vehicles and dry suits) and skill sets required, and in part because of the high potential risks, including decompression sickness and drowning. Despite these risks, water-filled caves attract scuba divers, cavers, and speleologists due to their often unexplored nature, and present divers with a technical diving challenge. Underwater caves have a wide range of physical features, and can contain fauna not found elsewhere. Cave diving is one of the most challenging and potentially dangerous kinds of diving or caving and presents many hazards. Cave diving is a form of penetration diving, meaning that in an emergency a diver cannot swim vertically to the surface due to the cave's ceilings, and so must swim the entire way back out. The underwater navigation through the cave system may be difficult and exit routes may be at considerable distance, requiring the diver to have sufficient breathing gas to make the journey. The dive may also be deep, resulting in potential deep diving risks. Visibility can vary from nearly unlimited to low, or non-existent, and can go from one extreme to the other in a single dive. While a less-intensive kind of diving called cavern diving does not take divers beyond the reach of natural light (and typically no deeper than 100 ft, and penetration not further than 200 ft), true cave diving can involve penetrations of many thousands of feet, well beyond the reach of sunlight. The level of darkness experienced creates an environment impossible to see in without an artificial form of light. Caves often contain sand, mud, clay, silt, or other sediment that can further reduce underwater visibility in seconds when stirred up. Caves can carry strong water currents. Most caves emerge on the surface as either springs or siphons. Springs have out flowing currents, where water is coming up out of the Earth and flowing out across the land's surface. Siphons have in-flowing currents where, for example, an above-ground river is going underground. Some caves are complex and have some tunnels with out-flowing currents, and other tunnels with in-flowing currents. If currents are not properly managed, they can cause serious problems for the diver. Cave diving has been perceived[1] as one of the more deadly sports in the world. This perception is arguable because the vast majority of divers who have lost their lives in caves have either not undergone specialized training or have had inadequate equipment for the environment.[1] Cave divers have suggested that cave diving is in fact statistically much safer than recreational diving due to the much larger barriers imposed by experience, training, and equipment cost.[1] There is no reliable worldwide database listing all cave diving fatalities. Such fractional statistics as are available, however, suggest that very few divers have ever died while following accepted protocols and while using equipment configurations recognized as acceptable by the cave diving community.[1] In the very rare cases of exceptions to this rule there have typically been unusual circumstances.[1] Most cave divers recognize five general rules or contributing factors for safe cave diving, which were popularized, adapted and became generally accepted from Sheck Exley's 1979 publication Basic Cave Diving: A Blueprint for Survival.[1] In this book, Exley included accounts of actual cave diving accidents, and followed each one with a breakdown of what factors contributed to the accident. Despite the uniqueness of any individual accident, Exley found that at least one of a small number of major factors contributed to each one. This technique for breaking down accident reports and finding common causes among them is now called Accident Analysis, and is taught in introductory cave diving courses. Exley outlined a number of these resulting cave diving rules, but today these five are the most recognized: Training: A safe cave diver does not intentionally exceed the boundaries of his/her training.[1] Cave diving is normally taught in stages, each successive stage focusing on more complex aspects of cave diving. Furthermore, each stage of training is intended to be coupled with real world experience before moving to a more advanced level. Accident analysis of recent cave diving fatalities has proven[citation needed] that academic training without sufficient real world experience is not enough in the event of an underwater emergency. Only by slowly building experience[citation needed] can one remain calm enough to recall their training should a problem arise. An inexperienced diver (who may be recently trained) is more likely to panic than an experienced diver when confronted with a similar situation.[citation needed] Guide line: A continuous guide line is maintained at all times between the leader of a dive team and a fixed point selected outside the cave entrance in open water.[1] Often this line is tied off a second time as a backup directly inside the cavern zone.[2] As the dive leader lays the guideline he takes great care to ensure there is appropriate tension on the line.[2] and that it does not go into line traps. Should a silt out occur, divers can find the taut line and successfully follow it back to the cave entrance.[2] Failure to use a continuous guide line to open water is cited as the most frequent cause of fatality among untrained, non-certified divers who venture into caves.[1] Depth rules: Gas consumption and decompression obligation increase with depth, and it is critical that no cave diver exceeds the dive plan or the maximum operating depth (MOD) of the gas mixture used.[1] Also, the effects of nitrogen narcosis are more critical in a cave, even for a diver who has the same depth experience in open water. Cave divers are advised not to dive to "excessive depth," and to keep in mind this effective difference between open water depth and cave depth. It should be noted that among fully trained cave divers' deaths, excessive depth is frequently cited as the cause.[1] Air (gas) management: The most common protocol is the 'rule of thirds,' in which one third of the initial gas supply is used for ingress, one third for egress, and one third to support another team member in the case of an emergency.[1][3] UK practice is to adhere to the rule of thirds, but with an added emphasis on keeping depletion of the separate air systems "balanced," so that the loss of a complete air system will still leave the diver with sufficient air to return safely. The rule of thirds makes no allowance for increased air consumption that the stress caused by the loss of an air system may induce. Dissimilar tank sizes among the divers are also not included by the rule of thirds, and a sufficient reserve should be calculated for each dive. UK practice is to assume that each diver is completely independent, as in a typical UK sump there is usually nothing that a buddy can do to assist a diver in trouble. Most UK cave divers dive solo. US sump divers follow a similar protocol.[citation needed] The rule of thirds was devised as an approach to diving Florida's caves[citation needed] - they typically have high outflow currents, which help to reduce air consumption when exiting. In a cave system with little (or no) outflow it is mandatory[by whom?] to reserve more air than is provided by the rule of thirds. Lights: Each cave diver must have three independent sources of light.[1] One is considered the primary and the other two are considered backup lights. Each light must have an expected burn time of at least the planned duration of the dive. If any one of the three light sources fail for one diver, the dive is called off and ended for all members of the dive team.[citation needed] Cave divers were taught to remember the five key components with the mnemonic: "The Good Divers Always Live".[4] In recent years new contributing factors were considered after reviewing accidents involving solo diving, diving with incapable dive partners, video or photography in caves, complex cave dives and cave diving in large groups. With the establishment of technical diving, the usage of mixed gases—such as trimix for bottom gas, and nitrox and oxygen for decompression—reduces the margin for error. Accident analysis suggests that breathing the wrong gas at the wrong depth and/or not analyzing the breathing gas properly has led to cave diving accidents.[citation needed] Cave diving requires a variety of specialized techniques. Divers who do not correctly apply these techniques, greatly increase the risk to the members of their team. The cave diving community works hard to educate the public on the risks they assume when they enter water-filled caves.[citation needed] Warning signs with the likenesses of the Grim Reaper have been placed just inside the openings of many popular caves in the US, and others have been placed in nearby parking lots and local dive shops.[5] Many cave diving sites around the world contain basins, which are also popular open-water diving sites. The management of these sites try to minimize the risk of untrained divers being tempted to venture inside the cave systems. With the support of the cave diving community, many of these sites enforce a "no-lights rule" for divers who lack cave training—they may not carry any lights into the water with them.[citation needed] It is easy to venture into an underwater cave with a light and not realize how far away from the entrance (and daylight) one has swum; this rule is based on the theory that, without a light, divers will not venture beyond daylight.[citation needed] New available technology and diver experience are no longer matching the initial phase of local cave diving accident analysis.[clarification needed] In the early phases the analysis shows that 90% of accidents were not trained cave divers; from the 2000s on the trend has reversed to 80% of accidents involving trained cave divers.[citation needed] Modern cave divers' capability and available technology allows divers to venture well beyond traditional training limits[clarification needed] and into actual exploration. The result is an increase of cave diving accidents, in fact in 2011 alone the yearly average of 2.5 fatalities a year triple.[citation needed] Furthermore, in 2012 fatality rate average had already been surpassed and actually reach the highest peak ever at over 20.[citation needed] As response to the increase in fatalities during the years 2010 onwards, the International Diving Research and Exploration Organization (IDREO) was created in order to "bring awareness of the current safety situation of Cave Diving" by listing current worldwide accidents by year and promoting a community discussion and analysis of accidents through a "Cave Diver Safety Meeting" held annually.[6] Equipment used by cave divers ranges from fairly standard recreational scuba configurations, to more complex arrangements which allow more freedom of movement in confined spaces, extended range in terms of depth and time, allowing greater distances to be covered in acceptable safety, and equipment which helps with navigation, in what are usually dark, and often silty and convoluted spaces. Scuba configurations which are more often found in cave diving than in open water diving include independent or manifolded twin cylinder rigs, side-mount harnesses, sling cylinders, rebreathers and backplate and wing harnesses. Bill Stone designed and utilized epoxy based tank for exploration of the San Agustín and Sistema Huautla caves in Mexico to decrease the weight for dry sections and vertical passages.[7][8] Stage cylinders are cylinders which are used to provide gas for a portion of the penetration. They may be deposited on the bottom at the guideline on preparation dives, to be picked up for use during the main dive, or may be carried by the divers and dropped off at the line during the penetration to be retrieved on the way out. One of the high risk hazards of cave diving is getting lost in the cave.[citation needed] The use of guidelines is the standard mitigation for this risk.[citation needed] Guidelines may be permanent or laid and recovered during the dive, using cave reels to deploy and recover the line. Permanent branch lines may be laid with a gap between the start of the branch line and the nearest point on the main line. Gap spools with a relatively short line are commonly used to make the jump. Line arrows are used to point towards the nearest exit, and cookies are used to indicate use of a line by a team of divers. Silt screws are short lengths of rigid tube (usually plastic) with one sharpened end and a notch or slot at the other end to secure the line, which are pushed into the silt or detritus of the cave floor as a place to tie off a guideline when no suitable natural tie-off points are available. Diver propulsion vehicles, or Scooters, are sometimes used to extend the range by reducing the work load on the diver and allowing faster travel in open sections of cave. Reliability of the diver propulsion vehicle is very important, as a failure could compromise the ability of the diver to exit the cave before running out of gas. Where this is a significant risk, divers may tow a spare scooter.[citation needed] Dive lights are critical safety equipment, as it is dark inside caves. Each diver generally carries a primary light, and at least one backup light. A minimum of three lights is recommended.[1] The primary light should last the planned duration of the dive, as should the backup lights.[1] The procedures of cave diving have much in common with procedures used for other types of penetration diving. They differ from open water procedures mainly in the emphasis on navigation, gas management, and operating in confined spaces. As most cave diving is done in an environment where there is no free surface with breathable air allowing an above-water exit, it is critically important to be able to find the way out. This is ensured by the use of a continuous guideline between the dive team and outside of the cave. Two basic types of guideline are used: permanent lines, and temporary lines. Permanent lines include a main line starting near the entrance/exit, and side lines or branch lines. Temporary lines include exploration lines and jump lines. Decompression procedures may take into account that the cave diver usually follows a very well defined route, both into and out of the cave, and can reasonably expect to find any equipment temporarily stored along the guideline while making the exit. In some caves, changes of depth of the cave along the dive route will constrain decompression depths, and gas mixtures and decompression schedules can be tailored to take this into account. Skills[edit] Good buoyancy control, trim and finning technique help preserve visibility in areas with silt deposits. The ability to navigate in total darkness using the guideline to find the way out is a safety critical emergency skill. Line management skills required for cave diving include laying and recovering guide lines using a reel, tie-offs, the use of a jump line to cross gaps or find a lost guide line in silted out conditions, and the skills of dealing with a break in a guide line. Cave diving training includes equipment selection and configuration, guideline protocols and techniques, gas management protocols, communication techniques, propulsion techniques, emergency management protocols, and psychological education.[clarification needed] Cave diver training stresses the importance of safety and cave conservation ethics. Most training programs contain various stages of certification and education. Cavern training covers the basic skills needed to enter the overhead environment. Training will generally consist of gas planning, propulsion techniques needed to deal with the silty environments in many caves, reel and handling, and communication. Once certified as a cavern diver, a diver may undertake cavern diving with a cavern or cave certified "buddy," as well as continue into cave diving training. Introduction into cave training builds on the techniques learned during cavern training and includes the training needed to penetrate beyond the cavern zone and working with permanent guidelines that exist in many caves. Once intro to cave certified, a diver may penetrate much further into a cave, usually limited by 1/3 of a single cylinder, or in the case of a basic cave certification, 1/6 of double cylinders.[citation needed] An intro cave diver is usually not certified to do complex navigation. Apprentice cave training serves as the transition from intro to full certification and includes the training needed to penetrate deep into caves working from permanent guide lines as well as limited exposure to side lines that exist in many caves. Training covers complex dive planning and decompression procedures used for longer dives. Once apprentice certified, a diver may penetrate much further into a cave, usually limited by 1/3 of double cylinders. An apprentice diver is also allowed to do a single jump or gap (a break in the guideline from two sections of mainline or between mainline and sideline) during the dive. An apprentice diver typically has one year to finish full cave or must repeat the apprentice stage. Full cave training serves as the final level of basic training and includes the training needed to penetrate deep into the cave working from both permanent guidelines and sidelines, and may plan and complete complex dives deep into a system using decompression to stay longer. Once cave certified, a diver may penetrate much further into a cave, usually limited by 1/3 of double cylinders. A cave diver is also certified as competent to do multiple jumps or gaps (a break in the guideline from two sections of mainline or between mainline and sideline) during the dive. Australia has many spectacular water filled caves and sinkholes, but unlike the UK, most Australian cave divers come from a general ocean-diving background. The "air-clear" water conditions experienced in the sinkholes and caves found in the Lower South East (now called the Limestone Coast) of South Australia (SA) has attracted many visiting divers with the first cave and sinkhole dives taking place in the very late 1950s.[16] Until the mid-1980s divers generally used single diving cylinders and homemade torches, and reels, resulting in most of their explorations being limited. Mixed-gas and rebreather technologies can now be used in many sites. The area is usually known within the cave diving community as the Mount Gambier region. A series of incidents between 1969 and 1974 in the former Lower South East of SA in which 11 divers died (including a triple and a quadruple fatality) in the following four karst features - Kilsbys Hole, Piccaninnie Ponds, Death Cave (also known as Alleyns Cave) and The Shaft - created much public comment and led to the formation of the Cave Divers Association of Australia Inc. (CDAA) in September 1973.[17] The introduction of a testing program by the CDAA in 1974, which involved the assessment of prospective cave divers' cave diving ability led to a reduced fatality rate. In 1989, this testing system was replaced by a training system which consists of three levels of qualification - Deep Cavern, Cave and Advanced Cave.[18] Five further deaths have occurred since 1974; two died at Piccaninnie Ponds in 1984, one person died at Kilsbys Hole in 2010, and two people died in separate incidents at Tank Cave in 2011 including noted cave diver Agnes Milowka.[19][20][21][22] During the 1980s, the Nullarbor Plain was recognized as a major cave-diving area, with one cave, Cocklebiddy, being explored for more than 6 kilometres, involving the use of large sleds to which were attached numerous diving cylinders and other paraphernalia, and which were then laboriously pushed through the cave by the divers. In more recent years divers have been utilizing compact diver-towing powered scooters, but the dive is still technically extremely challenging. A number of other very significant caves have also been discovered during the past 20 years or so; the 10+ (Lineal) kilometre long Tank Cave near Millicent in the Limestone Coast, other very large features on the Nullarbor and the adjacent Roe Plain as well as a number of specific sites elsewhere, and nowadays the cave diving community utilizes many techniques, equipment and standards from the U.S. and elsewhere. The CDAA is the major cave diving organisation in Australia and is responsible for the administration of cave diving at many sites. All cave diving in the Limestone Coast as well as at some New South Wales sites and the Nullarbor requires divers to be members of the CDAA, whether in the capacity of a visitor or a trained and assessed member. A number of other organisations participate in cave diving activities within Australia. The Australian Speleological Federation Cave Diving Group which was formed in 2005 coordinates projects focused on exploration and mapping at sites throughout Australia.[23] The following diving training organisations offer courses in various aspects of cave diving via instructors either resident in Australia or visiting from overseas Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/56b14b8640261dd5dfcbe451/1476838808935/ People Gallery - Bradley Dohnt, Cave Diver, Olwolgin Cave, Hampton Tablelands, WA Cave diving is an extreme sport in which a diver visits water-filled caves. The equipment used varies depending on the circumstances, and ranges from breath hold to surface supplied, but almost all cave diving is done using scuba equipment, often in specialised configurations. Cave diving is generally considered to be a type of technical diving due to the lack of a free surface during large parts of the dive, and often involves decompression. In the United Kingdom it is an extension of the more common sport of caving, and in the United States an extension of the more common sport of scuba diving. Compared to caving and scuba diving, there are relatively few practitioners of cave diving. This is due in part to the specialized equipment (such as rebreathers, diver propulsion vehicles and dry suits) and skill sets required, and in part because of the high potential risks, including decompression sickness and drowning. Despite these risks, water-filled caves attract scuba divers, cavers, and speleologists due to their often unexplored nature, and present divers with a technical diving challenge. Underwater caves have a wide range of physical features, and can contain fauna not found elsewhere. Cave diving is one of the most challenging and potentially dangerous kinds of diving or caving and presents many hazards. Cave diving is a form of penetration diving, meaning that in an emergency a diver cannot swim vertically to the surface due to the cave's ceilings, and so must swim the entire way back out. The underwater navigation through the cave system may be difficult and exit routes may be at considerable distance, requiring the diver to have sufficient breathing gas to make the journey. The dive may also be deep, resulting in potential deep diving risks. Visibility can vary from nearly unlimited to low, or non-existent, and can go from one extreme to the other in a single dive. While a less-intensive kind of diving called cavern diving does not take divers beyond the reach of natural light (and typically no deeper than 100 ft, and penetration not further than 200 ft), true cave diving can involve penetrations of many thousands of feet, well beyond the reach of sunlight. The level of darkness experienced creates an environment impossible to see in without an artificial form of light. Caves often contain sand, mud, clay, silt, or other sediment that can further reduce underwater visibility in seconds when stirred up. Caves can carry strong water currents. Most caves emerge on the surface as either springs or siphons. Springs have out flowing currents, where water is coming up out of the Earth and flowing out across the land's surface. Siphons have in-flowing currents where, for example, an above-ground river is going underground. Some caves are complex and have some tunnels with out-flowing currents, and other tunnels with in-flowing currents. If currents are not properly managed, they can cause serious problems for the diver. Cave diving has been perceived[1] as one of the more deadly sports in the world. This perception is arguable because the vast majority of divers who have lost their lives in caves have either not undergone specialized training or have had inadequate equipment for the environment.[1] Cave divers have suggested that cave diving is in fact statistically much safer than recreational diving due to the much larger barriers imposed by experience, training, and equipment cost.[1] There is no reliable worldwide database listing all cave diving fatalities. Such fractional statistics as are available, however, suggest that very few divers have ever died while following accepted protocols and while using equipment configurations recognized as acceptable by the cave diving community.[1] In the very rare cases of exceptions to this rule there have typically been unusual circumstances.[1] Most cave divers recognize five general rules or contributing factors for safe cave diving, which were popularized, adapted and became generally accepted from Sheck Exley's 1979 publication Basic Cave Diving: A Blueprint for Survival.[1] In this book, Exley included accounts of actual cave diving accidents, and followed each one with a breakdown of what factors contributed to the accident. Despite the uniqueness of any individual accident, Exley found that at least one of a small number of major factors contributed to each one. This technique for breaking down accident reports and finding common causes among them is now called Accident Analysis, and is taught in introductory cave diving courses. Exley outlined a number of these resulting cave diving rules, but today these five are the most recognized: Training: A safe cave diver does not intentionally exceed the boundaries of his/her training.[1] Cave diving is normally taught in stages, each successive stage focusing on more complex aspects of cave diving. Furthermore, each stage of training is intended to be coupled with real world experience before moving to a more advanced level. Accident analysis of recent cave diving fatalities has proven[citation needed] that academic training without sufficient real world experience is not enough in the event of an underwater emergency. Only by slowly building experience[citation needed] can one remain calm enough to recall their training should a problem arise. An inexperienced diver (who may be recently trained) is more likely to panic than an experienced diver when confronted with a similar situation.[citation needed] Guide line: A continuous guide line is maintained at all times between the leader of a dive team and a fixed point selected outside the cave entrance in open water.[1] Often this line is tied off a second time as a backup directly inside the cavern zone.[2] As the dive leader lays the guideline he takes great care to ensure there is appropriate tension on the line.[2] and that it does not go into line traps. Should a silt out occur, divers can find the taut line and successfully follow it back to the cave entrance.[2] Failure to use a continuous guide line to open water is cited as the most frequent cause of fatality among untrained, non-certified divers who venture into caves.[1] Depth rules: Gas consumption and decompression obligation increase with depth, and it is critical that no cave diver exceeds the dive plan or the maximum operating depth (MOD) of the gas mixture used.[1] Also, the effects of nitrogen narcosis are more critical in a cave, even for a diver who has the same depth experience in open water. Cave divers are advised not to dive to "excessive depth," and to keep in mind this effective difference between open water depth and cave depth. It should be noted that among fully trained cave divers' deaths, excessive depth is frequently cited as the cause.[1] Air (gas) management: The most common protocol is the 'rule of thirds,' in which one third of the initial gas supply is used for ingress, one third for egress, and one third to support another team member in the case of an emergency.[1][3] UK practice is to adhere to the rule of thirds, but with an added emphasis on keeping depletion of the separate air systems "balanced," so that the loss of a complete air system will still leave the diver with sufficient air to return safely. The rule of thirds makes no allowance for increased air consumption that the stress caused by the loss of an air system may induce. Dissimilar tank sizes among the divers are also not included by the rule of thirds, and a sufficient reserve should be calculated for each dive. UK practice is to assume that each diver is completely independent, as in a typical UK sump there is usually nothing that a buddy can do to assist a diver in trouble. Most UK cave divers dive solo. US sump divers follow a similar protocol.[citation needed] The rule of thirds was devised as an approach to diving Florida's caves[citation needed] - they typically have high outflow currents, which help to reduce air consumption when exiting. In a cave system with little (or no) outflow it is mandatory[by whom?] to reserve more air than is provided by the rule of thirds. Lights: Each cave diver must have three independent sources of light.[1] One is considered the primary and the other two are considered backup lights. Each light must have an expected burn time of at least the planned duration of the dive. If any one of the three light sources fail for one diver, the dive is called off and ended for all members of the dive team.[citation needed] Cave divers were taught to remember the five key components with the mnemonic: "The Good Divers Always Live".[4] In recent years new contributing factors were considered after reviewing accidents involving solo diving, diving with incapable dive partners, video or photography in caves, complex cave dives and cave diving in large groups. With the establishment of technical diving, the usage of mixed gases—such as trimix for bottom gas, and nitrox and oxygen for decompression—reduces the margin for error. Accident analysis suggests that breathing the wrong gas at the wrong depth and/or not analyzing the breathing gas properly has led to cave diving accidents.[citation needed] Cave diving requires a variety of specialized techniques. Divers who do not correctly apply these techniques, greatly increase the risk to the members of their team. The cave diving community works hard to educate the public on the risks they assume when they enter water-filled caves.[citation needed] Warning signs with the likenesses of the Grim Reaper have been placed just inside the openings of many popular caves in the US, and others have been placed in nearby parking lots and local dive shops.[5] Many cave diving sites around the world contain basins, which are also popular open-water diving sites. The management of these sites try to minimize the risk of untrained divers being tempted to venture inside the cave systems. With the support of the cave diving community, many of these sites enforce a "no-lights rule" for divers who lack cave training—they may not carry any lights into the water with them.[citation needed] It is easy to venture into an underwater cave with a light and not realize how far away from the entrance (and daylight) one has swum; this rule is based on the theory that, without a light, divers will not venture beyond daylight.[citation needed] New available technology and diver experience are no longer matching the initial phase of local cave diving accident analysis.[clarification needed] In the early phases the analysis shows that 90% of accidents were not trained cave divers; from the 2000s on the trend has reversed to 80% of accidents involving trained cave divers.[citation needed] Modern cave divers' capability and available technology allows divers to venture well beyond traditional training limits[clarification needed] and into actual exploration. The result is an increase of cave diving accidents, in fact in 2011 alone the yearly average of 2.5 fatalities a year triple.[citation needed] Furthermore, in 2012 fatality rate average had already been surpassed and actually reach the highest peak ever at over 20.[citation needed] As response to the increase in fatalities during the years 2010 onwards, the International Diving Research and Exploration Organization (IDREO) was created in order to "bring awareness of the current safety situation of Cave Diving" by listing current worldwide accidents by year and promoting a community discussion and analysis of accidents through a "Cave Diver Safety Meeting" held annually.[6] Equipment used by cave divers ranges from fairly standard recreational scuba configurations, to more complex arrangements which allow more freedom of movement in confined spaces, extended range in terms of depth and time, allowing greater distances to be covered in acceptable safety, and equipment which helps with navigation, in what are usually dark, and often silty and convoluted spaces. Scuba configurations which are more often found in cave diving than in open water diving include independent or manifolded twin cylinder rigs, side-mount harnesses, sling cylinders, rebreathers and backplate and wing harnesses. Bill Stone designed and utilized epoxy based tank for exploration of the San Agustín and Sistema Huautla caves in Mexico to decrease the weight for dry sections and vertical passages.[7][8] Stage cylinders are cylinders which are used to provide gas for a portion of the penetration. They may be deposited on the bottom at the guideline on preparation dives, to be picked up for use during the main dive, or may be carried by the divers and dropped off at the line during the penetration to be retrieved on the way out. One of the high risk hazards of cave diving is getting lost in the cave.[citation needed] The use of guidelines is the standard mitigation for this risk.[citation needed] Guidelines may be permanent or laid and recovered during the dive, using cave reels to deploy and recover the line. Permanent branch lines may be laid with a gap between the start of the branch line and the nearest point on the main line. Gap spools with a relatively short line are commonly used to make the jump. Line arrows are used to point towards the nearest exit, and cookies are used to indicate use of a line by a team of divers. Silt screws are short lengths of rigid tube (usually plastic) with one sharpened end and a notch or slot at the other end to secure the line, which are pushed into the silt or detritus of the cave floor as a place to tie off a guideline when no suitable natural tie-off points are available. Diver propulsion vehicles, or Scooters, are sometimes used to extend the range by reducing the work load on the diver and allowing faster travel in open sections of cave. Reliability of the diver propulsion vehicle is very important, as a failure could compromise the ability of the diver to exit the cave before running out of gas. Where this is a significant risk, divers may tow a spare scooter.[citation needed] Dive lights are critical safety equipment, as it is dark inside caves. Each diver generally carries a primary light, and at least one backup light. A minimum of three lights is recommended.[1] The primary light should last the planned duration of the dive, as should the backup lights.[1] The procedures of cave diving have much in common with procedures used for other types of penetration diving. They differ from open water procedures mainly in the emphasis on navigation, gas management, and operating in confined spaces. As most cave diving is done in an environment where there is no free surface with breathable air allowing an above-water exit, it is critically important to be able to find the way out. This is ensured by the use of a continuous guideline between the dive team and outside of the cave. Two basic types of guideline are used: permanent lines, and temporary lines. Permanent lines include a main line starting near the entrance/exit, and side lines or branch lines. Temporary lines include exploration lines and jump lines. Decompression procedures may take into account that the cave diver usually follows a very well defined route, both into and out of the cave, and can reasonably expect to find any equipment temporarily stored along the guideline while making the exit. In some caves, changes of depth of the cave along the dive route will constrain decompression depths, and gas mixtures and decompression schedules can be tailored to take this into account. Skills[edit] Good buoyancy control, trim and finning technique help preserve visibility in areas with silt deposits. The ability to navigate in total darkness using the guideline to find the way out is a safety critical emergency skill. Line management skills required for cave diving include laying and recovering guide lines using a reel, tie-offs, the use of a jump line to cross gaps or find a lost guide line in silted out conditions, and the skills of dealing with a break in a guide line. Cave diving training includes equipment selection and configuration, guideline protocols and techniques, gas management protocols, communication techniques, propulsion techniques, emergency management protocols, and psychological education.[clarification needed] Cave diver training stresses the importance of safety and cave conservation ethics. Most training programs contain various stages of certification and education. Cavern training covers the basic skills needed to enter the overhead environment. Training will generally consist of gas planning, propulsion techniques needed to deal with the silty environments in many caves, reel and handling, and communication. Once certified as a cavern diver, a diver may undertake cavern diving with a cavern or cave certified "buddy," as well as continue into cave diving training. Introduction into cave training builds on the techniques learned during cavern training and includes the training needed to penetrate beyond the cavern zone and working with permanent guidelines that exist in many caves. Once intro to cave certified, a diver may penetrate much further into a cave, usually limited by 1/3 of a single cylinder, or in the case of a basic cave certification, 1/6 of double cylinders.[citation needed] An intro cave diver is usually not certified to do complex navigation. Apprentice cave training serves as the transition from intro to full certification and includes the training needed to penetrate deep into caves working from permanent guide lines as well as limited exposure to side lines that exist in many caves. Training covers complex dive planning and decompression procedures used for longer dives. Once apprentice certified, a diver may penetrate much further into a cave, usually limited by 1/3 of double cylinders. An apprentice diver is also allowed to do a single jump or gap (a break in the guideline from two sections of mainline or between mainline and sideline) during the dive. An apprentice diver typically has one year to finish full cave or must repeat the apprentice stage. Full cave training serves as the final level of basic training and includes the training needed to penetrate deep into the cave working from both permanent guidelines and sidelines, and may plan and complete complex dives deep into a system using decompression to stay longer. Once cave certified, a diver may penetrate much further into a cave, usually limited by 1/3 of double cylinders. A cave diver is also certified as competent to do multiple jumps or gaps (a break in the guideline from two sections of mainline or between mainline and sideline) during the dive. Australia has many spectacular water filled caves and sinkholes, but unlike the UK, most Australian cave divers come from a general ocean-diving background. The "air-clear" water conditions experienced in the sinkholes and caves found in the Lower South East (now called the Limestone Coast) of South Australia (SA) has attracted many visiting divers with the first cave and sinkhole dives taking place in the very late 1950s.[16] Until the mid-1980s divers generally used single diving cylinders and homemade torches, and reels, resulting in most of their explorations being limited. Mixed-gas and rebreather technologies can now be used in many sites. The area is usually known within the cave diving community as the Mount Gambier region. A series of incidents between 1969 and 1974 in the former Lower South East of SA in which 11 divers died (including a triple and a quadruple fatality) in the following four karst features - Kilsbys Hole, Piccaninnie Ponds, Death Cave (also known as Alleyns Cave) and The Shaft - created much public comment and led to the formation of the Cave Divers Association of Australia Inc. (CDAA) in September 1973.[17] The introduction of a testing program by the CDAA in 1974, which involved the assessment of prospective cave divers' cave diving ability led to a reduced fatality rate. In 1989, this testing system was replaced by a training system which consists of three levels of qualification - Deep Cavern, Cave and Advanced Cave.[18] Five further deaths have occurred since 1974; two died at Piccaninnie Ponds in 1984, one person died at Kilsbys Hole in 2010, and two people died in separate incidents at Tank Cave in 2011 including noted cave diver Agnes Milowka.[19][20][21][22] During the 1980s, the Nullarbor Plain was recognized as a major cave-diving area, with one cave, Cocklebiddy, being explored for more than 6 kilometres, involving the use of large sleds to which were attached numerous diving cylinders and other paraphernalia, and which were then laboriously pushed through the cave by the divers. In more recent years divers have been utilizing compact diver-towing powered scooters, but the dive is still technically extremely challenging. A number of other very significant caves have also been discovered during the past 20 years or so; the 10+ (Lineal) kilometre long Tank Cave near Millicent in the Limestone Coast, other very large features on the Nullarbor and the adjacent Roe Plain as well as a number of specific sites elsewhere, and nowadays the cave diving community utilizes many techniques, equipment and standards from the U.S. and elsewhere. The CDAA is the major cave diving organisation in Australia and is responsible for the administration of cave diving at many sites. All cave diving in the Limestone Coast as well as at some New South Wales sites and the Nullarbor requires divers to be members of the CDAA, whether in the capacity of a visitor or a trained and assessed member. A number of other organisations participate in cave diving activities within Australia. The Australian Speleological Federation Cave Diving Group which was formed in 2005 coordinates projects focused on exploration and mapping at sites throughout Australia.[23] The following diving training organisations offer courses in various aspects of cave diving via instructors either resident in Australia or visiting from overseas Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570eae4b0b3ec204a7ddc/1476917506308/SWME-MCEC-Shot-6CafeMeeting-FolioPrintV2.jpg People Gallery - South Wharf, Melbourne Convention and Exhibition Centre The Melbourne Convention and Exhibition Centre is the name given to two adjacent buildings next to the Yarra River in South Wharf, an inner-city suburb of Melbourne, Victoria, Australia. The venues are owned and operated by the Melbourne Convention and Exhibition Trust. The Melbourne Exhibition Centre Trust was created in August 1994 with the responsibility of overseeing the construction and development of the Melbourne Exhibition Centre. In February 1997, the Melbourne Convention and Exhibition Trust began, replacing the previous trust with the added scope of the Melbourne Convention Centre, formerly called the World Congress Centre Melbourne. In August 1997, the Melbourne Convention and Exhibition Trust became owner and venue manager of both the Melbourne Exhibition Centre and the Melbourne Convention Centre.[3] The Melbourne Convention and Exhibition Trust is also responsible for managing and promoting the use of the Royal Exhibition Building in the Carlton Gardens.[3] As a government-owned trust, The Melbourne Convention and Exhibition Trust is responsible to the Minister for Tourism.[3] The Melbourne Exhibition Centre was opened on 14 February 1996 and is known colloquially as "Jeff's Shed" after the then Victorian Premier, Jeff Kennett.[4][5] It has a pillarless floor space of 30,000 square metres, making it the largest such space in the southern hemisphere, which allows it to host thousands of large exhibitions, some which are held each year. The building was designed by Denton Corker Marshall, an architectural firm responsible for many of Melbourne's larger buildings through the early 1990s, and features their characteristic "blade" entrance.[6] In 1998 a covered footbridge was erected between the Exhibition and Convention centres, parallel to the Spencer Street Bridge.[7] The building resembles a long shed with separated operable walls (each valued at $250,000).[8] This allows the space to be split from a maximum of 30,000 square metres of 360 metres long by 84 metres wide into a minimum of 3,000 square metre spaces.[8] The single volume with a proportion of length to width of approximately 2.5:1 was chosen.[9] Other than the exhibition space, the building also has a basement that is able to hold 1,000 cars.[9] From the main entrance, visitors would be able to see the 450 metres southward vista of the concourse as well as the mezzanine balconies. On the first floor of the entry pavilion and extending along the mezzanine platform, there are meeting and function rooms which separates the double-height hall and concourse.[10] Some have large windows overlooking the exhibition.[10] The Melbourne Exhibition Centre was to be built larger than the Sydney Exhibition Building while still costing the same.[9] The building has become an icon in Melbourne due to the main entrance which consists of metal blades tilted at an angle and supported by a pair of yellow rods which is hard to miss even among its more prominent neighbours. The site for the Exhibition Centre was previously the site for Daryl Jackson’s Museum of Victoria.[11] The brief required DCM to work with the partially built concrete structure. According to Melbourne architect and critic Norman Day, the column-free space could be associated to the Russian Constructivist of the 1920s such as the Vesnin brothers' Kiev railway station scheme 1926.[8] Another relation to the Russian Constructivist is the cantilevered structure supported by yellow steel props as well as the large metal letters arranged over the top of the entrance.[8] The building consists of two different roof designs which are angled at different directions. This was due to the intention to create two different successful spaces which is the exhibition space and the public space (concourse of the building).[9] By this method, the architects manage to create two different environments, one which is an enclosed exhibition space and another is the concourse which is open to the public. Due to the brief that required the building to be constructed in a short amount of time and save cost, a repetitive system of identical trusses clad in aluminium sheet were used.[9] On top of that, the trusses have to be solid in order to provide sound isolation from one hall to the next.[9] At the same time, in order to reduce the span, and to stiffen them laterally, the architects tapered them in cross section.[9] The two rows of columns that are located in the verandah (the building’s long frontage facing the river) are intended to give a subtle separation of the interior and exterior of the building.[9] The blades which are located along the concourse are coloured in a series of Francis-Bacon-inspired colours, with hall numbers stencilled on. This serves as a double purpose of punctuating the linear volume and labelling the halls.[9] The aerodynamic treatment of the colonnade canopy, which disperses wind, influenced another Melbourne architect, Peter Elliott, in the design of the Spencer Street Footbridge in 1999. The old Convention Centre on the opposite side of the Yarra River was opened in May 1990 and has hosted thousands of conventions and meetings.[4] The building was originally intended to be used by the Melbourne Museum but Jeff Kennett intervened during construction to have the building used as a convention centre. The new Convention Centre, on land adjacent to the Exhibition Centre, was completed in 2009. At a cost of A$1 billion, the development consists of a 5541-seat Plenary Hall that can be divided into three separate theatres, 32 meeting rooms of various sizes, a grand banquet room as well as a Hilton hotel, office, residential and retail space.[13] It was developed by a consortium led by Brookfield Multiplex and Plenary Group and designed by Larry Oltmanns.[14] The new centre uses a range of features in order to achieve a 6 Star Green Star environmental rating and to become the first convention centre in the world with that rating.[15] The architects for the development were NH Architecture and Woods Bagot.[16] The new Melbourne Convention Centre was awarded the Australian Construction Achievement Award in 2010. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570f0e4b093105c28fb32/1476917518162/SWME-MCEC-Shot-12SmallMeeting-3.jpg People Gallery - South Wharf, Melbourne Convention and Exhibition Centre The Melbourne Convention and Exhibition Centre is the name given to two adjacent buildings next to the Yarra River in South Wharf, an inner-city suburb of Melbourne, Victoria, Australia. The venues are owned and operated by the Melbourne Convention and Exhibition Trust. The Melbourne Exhibition Centre Trust was created in August 1994 with the responsibility of overseeing the construction and development of the Melbourne Exhibition Centre. In February 1997, the Melbourne Convention and Exhibition Trust began, replacing the previous trust with the added scope of the Melbourne Convention Centre, formerly called the World Congress Centre Melbourne. In August 1997, the Melbourne Convention and Exhibition Trust became owner and venue manager of both the Melbourne Exhibition Centre and the Melbourne Convention Centre.[3] The Melbourne Convention and Exhibition Trust is also responsible for managing and promoting the use of the Royal Exhibition Building in the Carlton Gardens.[3] As a government-owned trust, The Melbourne Convention and Exhibition Trust is responsible to the Minister for Tourism.[3] The Melbourne Exhibition Centre was opened on 14 February 1996 and is known colloquially as "Jeff's Shed" after the then Victorian Premier, Jeff Kennett.[4][5] It has a pillarless floor space of 30,000 square metres, making it the largest such space in the southern hemisphere, which allows it to host thousands of large exhibitions, some which are held each year. The building was designed by Denton Corker Marshall, an architectural firm responsible for many of Melbourne's larger buildings through the early 1990s, and features their characteristic "blade" entrance.[6] In 1998 a covered footbridge was erected between the Exhibition and Convention centres, parallel to the Spencer Street Bridge.[7] The building resembles a long shed with separated operable walls (each valued at $250,000).[8] This allows the space to be split from a maximum of 30,000 square metres of 360 metres long by 84 metres wide into a minimum of 3,000 square metre spaces.[8] The single volume with a proportion of length to width of approximately 2.5:1 was chosen.[9] Other than the exhibition space, the building also has a basement that is able to hold 1,000 cars.[9] From the main entrance, visitors would be able to see the 450 metres southward vista of the concourse as well as the mezzanine balconies. On the first floor of the entry pavilion and extending along the mezzanine platform, there are meeting and function rooms which separates the double-height hall and concourse.[10] Some have large windows overlooking the exhibition.[10] The Melbourne Exhibition Centre was to be built larger than the Sydney Exhibition Building while still costing the same.[9] The building has become an icon in Melbourne due to the main entrance which consists of metal blades tilted at an angle and supported by a pair of yellow rods which is hard to miss even among its more prominent neighbours. The site for the Exhibition Centre was previously the site for Daryl Jackson’s Museum of Victoria.[11] The brief required DCM to work with the partially built concrete structure. According to Melbourne architect and critic Norman Day, the column-free space could be associated to the Russian Constructivist of the 1920s such as the Vesnin brothers' Kiev railway station scheme 1926.[8] Another relation to the Russian Constructivist is the cantilevered structure supported by yellow steel props as well as the large metal letters arranged over the top of the entrance.[8] The building consists of two different roof designs which are angled at different directions. This was due to the intention to create two different successful spaces which is the exhibition space and the public space (concourse of the building).[9] By this method, the architects manage to create two different environments, one which is an enclosed exhibition space and another is the concourse which is open to the public. Due to the brief that required the building to be constructed in a short amount of time and save cost, a repetitive system of identical trusses clad in aluminium sheet were used.[9] On top of that, the trusses have to be solid in order to provide sound isolation from one hall to the next.[9] At the same time, in order to reduce the span, and to stiffen them laterally, the architects tapered them in cross section.[9] The two rows of columns that are located in the verandah (the building’s long frontage facing the river) are intended to give a subtle separation of the interior and exterior of the building.[9] The blades which are located along the concourse are coloured in a series of Francis-Bacon-inspired colours, with hall numbers stencilled on. This serves as a double purpose of punctuating the linear volume and labelling the halls.[9] The aerodynamic treatment of the colonnade canopy, which disperses wind, influenced another Melbourne architect, Peter Elliott, in the design of the Spencer Street Footbridge in 1999. The old Convention Centre on the opposite side of the Yarra River was opened in May 1990 and has hosted thousands of conventions and meetings.[4] The building was originally intended to be used by the Melbourne Museum but Jeff Kennett intervened during construction to have the building used as a convention centre. The new Convention Centre, on land adjacent to the Exhibition Centre, was completed in 2009. At a cost of A$1 billion, the development consists of a 5541-seat Plenary Hall that can be divided into three separate theatres, 32 meeting rooms of various sizes, a grand banquet room as well as a Hilton hotel, office, residential and retail space.[13] It was developed by a consortium led by Brookfield Multiplex and Plenary Group and designed by Larry Oltmanns.[14] The new centre uses a range of features in order to achieve a 6 Star Green Star environmental rating and to become the first convention centre in the world with that rating.[15] The architects for the development were NH Architecture and Woods Bagot.[16] The new Melbourne Convention Centre was awarded the Australian Construction Achievement Award in 2010. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a5709ae4b0d80d8a76a819/1476917530068/ConnectingYou-Dinning-110Comp.jpg People Gallery - South Wharf, Melbourne Convention and Exhibition Centre The Melbourne Convention and Exhibition Centre is the name given to two adjacent buildings next to the Yarra River in South Wharf, an inner-city suburb of Melbourne, Victoria, Australia. The venues are owned and operated by the Melbourne Convention and Exhibition Trust. The Melbourne Exhibition Centre Trust was created in August 1994 with the responsibility of overseeing the construction and development of the Melbourne Exhibition Centre. In February 1997, the Melbourne Convention and Exhibition Trust began, replacing the previous trust with the added scope of the Melbourne Convention Centre, formerly called the World Congress Centre Melbourne. In August 1997, the Melbourne Convention and Exhibition Trust became owner and venue manager of both the Melbourne Exhibition Centre and the Melbourne Convention Centre.[3] The Melbourne Convention and Exhibition Trust is also responsible for managing and promoting the use of the Royal Exhibition Building in the Carlton Gardens.[3] As a government-owned trust, The Melbourne Convention and Exhibition Trust is responsible to the Minister for Tourism.[3] The Melbourne Exhibition Centre was opened on 14 February 1996 and is known colloquially as "Jeff's Shed" after the then Victorian Premier, Jeff Kennett.[4][5] It has a pillarless floor space of 30,000 square metres, making it the largest such space in the southern hemisphere, which allows it to host thousands of large exhibitions, some which are held each year. The building was designed by Denton Corker Marshall, an architectural firm responsible for many of Melbourne's larger buildings through the early 1990s, and features their characteristic "blade" entrance.[6] In 1998 a covered footbridge was erected between the Exhibition and Convention centres, parallel to the Spencer Street Bridge.[7] The building resembles a long shed with separated operable walls (each valued at $250,000).[8] This allows the space to be split from a maximum of 30,000 square metres of 360 metres long by 84 metres wide into a minimum of 3,000 square metre spaces.[8] The single volume with a proportion of length to width of approximately 2.5:1 was chosen.[9] Other than the exhibition space, the building also has a basement that is able to hold 1,000 cars.[9] From the main entrance, visitors would be able to see the 450 metres southward vista of the concourse as well as the mezzanine balconies. On the first floor of the entry pavilion and extending along the mezzanine platform, there are meeting and function rooms which separates the double-height hall and concourse.[10] Some have large windows overlooking the exhibition.[10] The Melbourne Exhibition Centre was to be built larger than the Sydney Exhibition Building while still costing the same.[9] The building has become an icon in Melbourne due to the main entrance which consists of metal blades tilted at an angle and supported by a pair of yellow rods which is hard to miss even among its more prominent neighbours. The site for the Exhibition Centre was previously the site for Daryl Jackson’s Museum of Victoria.[11] The brief required DCM to work with the partially built concrete structure. According to Melbourne architect and critic Norman Day, the column-free space could be associated to the Russian Constructivist of the 1920s such as the Vesnin brothers' Kiev railway station scheme 1926.[8] Another relation to the Russian Constructivist is the cantilevered structure supported by yellow steel props as well as the large metal letters arranged over the top of the entrance.[8] The building consists of two different roof designs which are angled at different directions. This was due to the intention to create two different successful spaces which is the exhibition space and the public space (concourse of the building).[9] By this method, the architects manage to create two different environments, one which is an enclosed exhibition space and another is the concourse which is open to the public. Due to the brief that required the building to be constructed in a short amount of time and save cost, a repetitive system of identical trusses clad in aluminium sheet were used.[9] On top of that, the trusses have to be solid in order to provide sound isolation from one hall to the next.[9] At the same time, in order to reduce the span, and to stiffen them laterally, the architects tapered them in cross section.[9] The two rows of columns that are located in the verandah (the building’s long frontage facing the river) are intended to give a subtle separation of the interior and exterior of the building.[9] The blades which are located along the concourse are coloured in a series of Francis-Bacon-inspired colours, with hall numbers stencilled on. This serves as a double purpose of punctuating the linear volume and labelling the halls.[9] The aerodynamic treatment of the colonnade canopy, which disperses wind, influenced another Melbourne architect, Peter Elliott, in the design of the Spencer Street Footbridge in 1999. The old Convention Centre on the opposite side of the Yarra River was opened in May 1990 and has hosted thousands of conventions and meetings.[4] The building was originally intended to be used by the Melbourne Museum but Jeff Kennett intervened during construction to have the building used as a convention centre. The new Convention Centre, on land adjacent to the Exhibition Centre, was completed in 2009. At a cost of A$1 billion, the development consists of a 5541-seat Plenary Hall that can be divided into three separate theatres, 32 meeting rooms of various sizes, a grand banquet room as well as a Hilton hotel, office, residential and retail space.[13] It was developed by a consortium led by Brookfield Multiplex and Plenary Group and designed by Larry Oltmanns.[14] The new centre uses a range of features in order to achieve a 6 Star Green Star environmental rating and to become the first convention centre in the world with that rating.[15] The architects for the development were NH Architecture and Woods Bagot.[16] The new Melbourne Convention Centre was awarded the Australian Construction Achievement Award in 2010. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/55cc0046e4b08dd40c424145/1454459303312/ People Gallery https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/56b14b883c44d80f317c5bfe/1454459784660/ People Gallery http://www.stewiedonn.com/2015-events daily 0.75 2016-04-12 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/570c8952ab48defde04bf8fc/1439963322406/ 2015 Events https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d418b3e4b048cb823e776e/1439963322406/stewiedonn+HR+2015+Good+Friday+Appeal+-19.jpg 2015 Events 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Terminal Altona. Altona Refinery and Industrial Sector An Aerial essay. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661e771c10b644b2a1917/1511416833387/stewiedonn+SquSpc+Aerial-AltonaRefinery-1.jpg Aerial - Mobile Terminal, Altona North Oil Refinery Mobile Terminal Altona. Altona Refinery and Industrial Sector An Aerial essay. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661efec212d9bd376ba4f/1511416980680/stewiedonn+SquSpc+Flowserve-Aerial-4.jpg Aerial - Flowserve Pumps Facility, Castlemaine, Victoria, Australia Flowserve Pumps (TKL) is Australia's premier supplier of centrifugal pumps. We offer extensive know-how, experience and technology and our advanced products are available to give you the best, most cost-efficient solution to your pumping needs. Flowserve Pumps (previously known as Thompsons, Kelly & Lewis Pty. Ltd. or TKL) is a leading Australian manufacturer of centrifugal pumps which began in Castlemaine (Victoria) in 1875. TKL is part of the Flowserve Corporation, one of the world's leading providers of pumps and flow management services. Sales offices and pump service workshops are strategically placed in Australian and New Zealand industrial locations. Flowserve operates a sales office in Singapore and has distributors in most East Asian countries, Middle East, Africa and other parts of the world.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661efe2c483f5ad69d1cf/1511417253784/stewiedonn+SquSpc+DJI_0021-HDR.jpg Aerial - SCT Logistics, Altona, Victoria Australia   Rail to road, dry freight, refrigerated or bulk, SCT provides Australia’s most efficient and independent freight services. Established in 1974 by Mr Peter Smith, SCT is now a national, multi-modal transport and logistics company. From our early days as an East / West rail operator, SCT has grown to have branches throughout Australia. With offices in every major capital city as well as regional locations in Queensland and New South Wales, SCT can service all of your transport requirements to every destination in Australia   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661e8652dea2e1ada7824/1511417598682/stewiedonn+SquSpc+ArgyleFarmOctober2017-2.jpg Aerial - Argyle Farm Willaura Argyle Farm Willaura Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661f6f9619afa6ac1c3b5/1511417881346/stewiedonn+SquSpc+JouleEnergy-WollertSolarProject-52.jpg Aerial - Joule Energy, Wollert, Victoria, Australia Joule Energy is the new, wholly owned subsidiary of LMS Energy – a partnership combining over 35 years of landfill gas, renewable energy generation and carbon abatement experience. While multi-faceted in its approach to clean energy, at the core of Joule is a focus on the development of solar power generation systems, both on and adjacent to landfills across Australia. Joule, in its capacity as a subsidiary of LMS Energy, has the essential knowledge and experience to safely manage the complications of interacting landfill gas and solar infrastructure, within a shared landfill environment. With a successful track record for designing and implementing seamlessly cohabiting landfill gas and solar power systems, Joule is an industry leader in this now emerging field. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661f724a694106d0962f8/1511417910489/stewiedonn+SquSpc+JouleEnergy-WollertSolarProject-59.jpg Aerial - Joule Energy, Wollert, Victoria, Australia Joule Energy is the new, wholly owned subsidiary of LMS Energy – a partnership combining over 35 years of landfill gas, renewable energy generation and carbon abatement experience. While multi-faceted in its approach to clean energy, at the core of Joule is a focus on the development of solar power generation systems, both on and adjacent to landfills across Australia. Joule, in its capacity as a subsidiary of LMS Energy, has the essential knowledge and experience to safely manage the complications of interacting landfill gas and solar infrastructure, within a shared landfill environment. With a successful track record for designing and implementing seamlessly cohabiting landfill gas and solar power systems, Joule is an industry leader in this now emerging field. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. 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https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a5709ae4b0d80d8a76a819/1476917530068/ConnectingYou-Dinning-110Comp.jpg People - South Wharf, Melbourne Convention and Exhibition Centre The Melbourne Convention and Exhibition Centre is the name given to two adjacent buildings next to the Yarra River in South Wharf, an inner-city suburb of Melbourne, Victoria, Australia. The venues are owned and operated by the Melbourne Convention and Exhibition Trust. The Melbourne Exhibition Centre Trust was created in August 1994 with the responsibility of overseeing the construction and development of the Melbourne Exhibition Centre. In February 1997, the Melbourne Convention and Exhibition Trust began, replacing the previous trust with the added scope of the Melbourne Convention Centre, formerly called the World Congress Centre Melbourne. In August 1997, the Melbourne Convention and Exhibition Trust became owner and venue manager of both the Melbourne Exhibition Centre and the Melbourne Convention Centre.[3] The Melbourne Convention and Exhibition Trust is also responsible for managing and promoting the use of the Royal Exhibition Building in the Carlton Gardens.[3] As a government-owned trust, The Melbourne Convention and Exhibition Trust is responsible to the Minister for Tourism.[3] The Melbourne Exhibition Centre was opened on 14 February 1996 and is known colloquially as "Jeff's Shed" after the then Victorian Premier, Jeff Kennett.[4][5] It has a pillarless floor space of 30,000 square metres, making it the largest such space in the southern hemisphere, which allows it to host thousands of large exhibitions, some which are held each year. The building was designed by Denton Corker Marshall, an architectural firm responsible for many of Melbourne's larger buildings through the early 1990s, and features their characteristic "blade" entrance.[6] In 1998 a covered footbridge was erected between the Exhibition and Convention centres, parallel to the Spencer Street Bridge.[7] The building resembles a long shed with separated operable walls (each valued at $250,000).[8] This allows the space to be split from a maximum of 30,000 square metres of 360 metres long by 84 metres wide into a minimum of 3,000 square metre spaces.[8] The single volume with a proportion of length to width of approximately 2.5:1 was chosen.[9] Other than the exhibition space, the building also has a basement that is able to hold 1,000 cars.[9] From the main entrance, visitors would be able to see the 450 metres southward vista of the concourse as well as the mezzanine balconies. On the first floor of the entry pavilion and extending along the mezzanine platform, there are meeting and function rooms which separates the double-height hall and concourse.[10] Some have large windows overlooking the exhibition.[10] The Melbourne Exhibition Centre was to be built larger than the Sydney Exhibition Building while still costing the same.[9] The building has become an icon in Melbourne due to the main entrance which consists of metal blades tilted at an angle and supported by a pair of yellow rods which is hard to miss even among its more prominent neighbours. The site for the Exhibition Centre was previously the site for Daryl Jackson’s Museum of Victoria.[11] The brief required DCM to work with the partially built concrete structure. According to Melbourne architect and critic Norman Day, the column-free space could be associated to the Russian Constructivist of the 1920s such as the Vesnin brothers' Kiev railway station scheme 1926.[8] Another relation to the Russian Constructivist is the cantilevered structure supported by yellow steel props as well as the large metal letters arranged over the top of the entrance.[8] The building consists of two different roof designs which are angled at different directions. This was due to the intention to create two different successful spaces which is the exhibition space and the public space (concourse of the building).[9] By this method, the architects manage to create two different environments, one which is an enclosed exhibition space and another is the concourse which is open to the public. Due to the brief that required the building to be constructed in a short amount of time and save cost, a repetitive system of identical trusses clad in aluminium sheet were used.[9] On top of that, the trusses have to be solid in order to provide sound isolation from one hall to the next.[9] At the same time, in order to reduce the span, and to stiffen them laterally, the architects tapered them in cross section.[9] The two rows of columns that are located in the verandah (the building’s long frontage facing the river) are intended to give a subtle separation of the interior and exterior of the building.[9] The blades which are located along the concourse are coloured in a series of Francis-Bacon-inspired colours, with hall numbers stencilled on. This serves as a double purpose of punctuating the linear volume and labelling the halls.[9] The aerodynamic treatment of the colonnade canopy, which disperses wind, influenced another Melbourne architect, Peter Elliott, in the design of the Spencer Street Footbridge in 1999. The old Convention Centre on the opposite side of the Yarra River was opened in May 1990 and has hosted thousands of conventions and meetings.[4] The building was originally intended to be used by the Melbourne Museum but Jeff Kennett intervened during construction to have the building used as a convention centre. The new Convention Centre, on land adjacent to the Exhibition Centre, was completed in 2009. At a cost of A$1 billion, the development consists of a 5541-seat Plenary Hall that can be divided into three separate theatres, 32 meeting rooms of various sizes, a grand banquet room as well as a Hilton hotel, office, residential and retail space.[13] It was developed by a consortium led by Brookfield Multiplex and Plenary Group and designed by Larry Oltmanns.[14] The new centre uses a range of features in order to achieve a 6 Star Green Star environmental rating and to become the first convention centre in the world with that rating.[15] The architects for the development were NH Architecture and Woods Bagot.[16] The new Melbourne Convention Centre was awarded the Australian Construction Achievement Award in 2010. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570f0e4b093105c28fb32/1476917518162/SWME-MCEC-Shot-12SmallMeeting-3.jpg People - South Wharf, Melbourne Convention and Exhibition Centre The Melbourne Convention and Exhibition Centre is the name given to two adjacent buildings next to the Yarra River in South Wharf, an inner-city suburb of Melbourne, Victoria, Australia. The venues are owned and operated by the Melbourne Convention and Exhibition Trust. The Melbourne Exhibition Centre Trust was created in August 1994 with the responsibility of overseeing the construction and development of the Melbourne Exhibition Centre. In February 1997, the Melbourne Convention and Exhibition Trust began, replacing the previous trust with the added scope of the Melbourne Convention Centre, formerly called the World Congress Centre Melbourne. In August 1997, the Melbourne Convention and Exhibition Trust became owner and venue manager of both the Melbourne Exhibition Centre and the Melbourne Convention Centre.[3] The Melbourne Convention and Exhibition Trust is also responsible for managing and promoting the use of the Royal Exhibition Building in the Carlton Gardens.[3] As a government-owned trust, The Melbourne Convention and Exhibition Trust is responsible to the Minister for Tourism.[3] The Melbourne Exhibition Centre was opened on 14 February 1996 and is known colloquially as "Jeff's Shed" after the then Victorian Premier, Jeff Kennett.[4][5] It has a pillarless floor space of 30,000 square metres, making it the largest such space in the southern hemisphere, which allows it to host thousands of large exhibitions, some which are held each year. The building was designed by Denton Corker Marshall, an architectural firm responsible for many of Melbourne's larger buildings through the early 1990s, and features their characteristic "blade" entrance.[6] In 1998 a covered footbridge was erected between the Exhibition and Convention centres, parallel to the Spencer Street Bridge.[7] The building resembles a long shed with separated operable walls (each valued at $250,000).[8] This allows the space to be split from a maximum of 30,000 square metres of 360 metres long by 84 metres wide into a minimum of 3,000 square metre spaces.[8] The single volume with a proportion of length to width of approximately 2.5:1 was chosen.[9] Other than the exhibition space, the building also has a basement that is able to hold 1,000 cars.[9] From the main entrance, visitors would be able to see the 450 metres southward vista of the concourse as well as the mezzanine balconies. On the first floor of the entry pavilion and extending along the mezzanine platform, there are meeting and function rooms which separates the double-height hall and concourse.[10] Some have large windows overlooking the exhibition.[10] The Melbourne Exhibition Centre was to be built larger than the Sydney Exhibition Building while still costing the same.[9] The building has become an icon in Melbourne due to the main entrance which consists of metal blades tilted at an angle and supported by a pair of yellow rods which is hard to miss even among its more prominent neighbours. The site for the Exhibition Centre was previously the site for Daryl Jackson’s Museum of Victoria.[11] The brief required DCM to work with the partially built concrete structure. According to Melbourne architect and critic Norman Day, the column-free space could be associated to the Russian Constructivist of the 1920s such as the Vesnin brothers' Kiev railway station scheme 1926.[8] Another relation to the Russian Constructivist is the cantilevered structure supported by yellow steel props as well as the large metal letters arranged over the top of the entrance.[8] The building consists of two different roof designs which are angled at different directions. This was due to the intention to create two different successful spaces which is the exhibition space and the public space (concourse of the building).[9] By this method, the architects manage to create two different environments, one which is an enclosed exhibition space and another is the concourse which is open to the public. Due to the brief that required the building to be constructed in a short amount of time and save cost, a repetitive system of identical trusses clad in aluminium sheet were used.[9] On top of that, the trusses have to be solid in order to provide sound isolation from one hall to the next.[9] At the same time, in order to reduce the span, and to stiffen them laterally, the architects tapered them in cross section.[9] The two rows of columns that are located in the verandah (the building’s long frontage facing the river) are intended to give a subtle separation of the interior and exterior of the building.[9] The blades which are located along the concourse are coloured in a series of Francis-Bacon-inspired colours, with hall numbers stencilled on. This serves as a double purpose of punctuating the linear volume and labelling the halls.[9] The aerodynamic treatment of the colonnade canopy, which disperses wind, influenced another Melbourne architect, Peter Elliott, in the design of the Spencer Street Footbridge in 1999. The old Convention Centre on the opposite side of the Yarra River was opened in May 1990 and has hosted thousands of conventions and meetings.[4] The building was originally intended to be used by the Melbourne Museum but Jeff Kennett intervened during construction to have the building used as a convention centre. The new Convention Centre, on land adjacent to the Exhibition Centre, was completed in 2009. At a cost of A$1 billion, the development consists of a 5541-seat Plenary Hall that can be divided into three separate theatres, 32 meeting rooms of various sizes, a grand banquet room as well as a Hilton hotel, office, residential and retail space.[13] It was developed by a consortium led by Brookfield Multiplex and Plenary Group and designed by Larry Oltmanns.[14] The new centre uses a range of features in order to achieve a 6 Star Green Star environmental rating and to become the first convention centre in the world with that rating.[15] The architects for the development were NH Architecture and Woods Bagot.[16] The new Melbourne Convention Centre was awarded the Australian Construction Achievement Award in 2010. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570eae4b0b3ec204a7ddc/1476917506308/SWME-MCEC-Shot-6CafeMeeting-FolioPrintV2.jpg People - South Wharf, Melbourne Convention and Exhibition Centre The Melbourne Convention and Exhibition Centre is the name given to two adjacent buildings next to the Yarra River in South Wharf, an inner-city suburb of Melbourne, Victoria, Australia. The venues are owned and operated by the Melbourne Convention and Exhibition Trust. The Melbourne Exhibition Centre Trust was created in August 1994 with the responsibility of overseeing the construction and development of the Melbourne Exhibition Centre. In February 1997, the Melbourne Convention and Exhibition Trust began, replacing the previous trust with the added scope of the Melbourne Convention Centre, formerly called the World Congress Centre Melbourne. In August 1997, the Melbourne Convention and Exhibition Trust became owner and venue manager of both the Melbourne Exhibition Centre and the Melbourne Convention Centre.[3] The Melbourne Convention and Exhibition Trust is also responsible for managing and promoting the use of the Royal Exhibition Building in the Carlton Gardens.[3] As a government-owned trust, The Melbourne Convention and Exhibition Trust is responsible to the Minister for Tourism.[3] The Melbourne Exhibition Centre was opened on 14 February 1996 and is known colloquially as "Jeff's Shed" after the then Victorian Premier, Jeff Kennett.[4][5] It has a pillarless floor space of 30,000 square metres, making it the largest such space in the southern hemisphere, which allows it to host thousands of large exhibitions, some which are held each year. The building was designed by Denton Corker Marshall, an architectural firm responsible for many of Melbourne's larger buildings through the early 1990s, and features their characteristic "blade" entrance.[6] In 1998 a covered footbridge was erected between the Exhibition and Convention centres, parallel to the Spencer Street Bridge.[7] The building resembles a long shed with separated operable walls (each valued at $250,000).[8] This allows the space to be split from a maximum of 30,000 square metres of 360 metres long by 84 metres wide into a minimum of 3,000 square metre spaces.[8] The single volume with a proportion of length to width of approximately 2.5:1 was chosen.[9] Other than the exhibition space, the building also has a basement that is able to hold 1,000 cars.[9] From the main entrance, visitors would be able to see the 450 metres southward vista of the concourse as well as the mezzanine balconies. On the first floor of the entry pavilion and extending along the mezzanine platform, there are meeting and function rooms which separates the double-height hall and concourse.[10] Some have large windows overlooking the exhibition.[10] The Melbourne Exhibition Centre was to be built larger than the Sydney Exhibition Building while still costing the same.[9] The building has become an icon in Melbourne due to the main entrance which consists of metal blades tilted at an angle and supported by a pair of yellow rods which is hard to miss even among its more prominent neighbours. The site for the Exhibition Centre was previously the site for Daryl Jackson’s Museum of Victoria.[11] The brief required DCM to work with the partially built concrete structure. According to Melbourne architect and critic Norman Day, the column-free space could be associated to the Russian Constructivist of the 1920s such as the Vesnin brothers' Kiev railway station scheme 1926.[8] Another relation to the Russian Constructivist is the cantilevered structure supported by yellow steel props as well as the large metal letters arranged over the top of the entrance.[8] The building consists of two different roof designs which are angled at different directions. This was due to the intention to create two different successful spaces which is the exhibition space and the public space (concourse of the building).[9] By this method, the architects manage to create two different environments, one which is an enclosed exhibition space and another is the concourse which is open to the public. Due to the brief that required the building to be constructed in a short amount of time and save cost, a repetitive system of identical trusses clad in aluminium sheet were used.[9] On top of that, the trusses have to be solid in order to provide sound isolation from one hall to the next.[9] At the same time, in order to reduce the span, and to stiffen them laterally, the architects tapered them in cross section.[9] The two rows of columns that are located in the verandah (the building’s long frontage facing the river) are intended to give a subtle separation of the interior and exterior of the building.[9] The blades which are located along the concourse are coloured in a series of Francis-Bacon-inspired colours, with hall numbers stencilled on. This serves as a double purpose of punctuating the linear volume and labelling the halls.[9] The aerodynamic treatment of the colonnade canopy, which disperses wind, influenced another Melbourne architect, Peter Elliott, in the design of the Spencer Street Footbridge in 1999. The old Convention Centre on the opposite side of the Yarra River was opened in May 1990 and has hosted thousands of conventions and meetings.[4] The building was originally intended to be used by the Melbourne Museum but Jeff Kennett intervened during construction to have the building used as a convention centre. The new Convention Centre, on land adjacent to the Exhibition Centre, was completed in 2009. At a cost of A$1 billion, the development consists of a 5541-seat Plenary Hall that can be divided into three separate theatres, 32 meeting rooms of various sizes, a grand banquet room as well as a Hilton hotel, office, residential and retail space.[13] It was developed by a consortium led by Brookfield Multiplex and Plenary Group and designed by Larry Oltmanns.[14] The new centre uses a range of features in order to achieve a 6 Star Green Star environmental rating and to become the first convention centre in the world with that rating.[15] The architects for the development were NH Architecture and Woods Bagot.[16] The new Melbourne Convention Centre was awarded the Australian Construction Achievement Award in 2010. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a57069e4b018b736e5c284/1476837336589/3climbers.jpg People - Rock Climbers Mount Arapiles Mount Arapiles is a rock formation that rises about 140 metres (460 ft) AHD above the Wimmera plains in western Victoria, Australia. It is located in Arapiles approximately 10 kilometres (6.2 mi) west of the town of Natimuk and is part of the Mount Arapiles-Tooan State Park. Arapiles is a very popular destination for rock climbers due to the quantity and quality of climbs. It is one of the premier climbing sites in Australia along with the nearby Grampians. The Aboriginal name for Arapiles is Djurite. Although there are many hiking routes to the top (including one resembling a via ferrata), most ascentionists choose to free climb one of the thousands of vertical routes on the mountain. Since the advent of modern rock climbing, thousands of routes have been recorded. History Note: the modern history of Mount Arapiles is covered in greater detail in many of the works listed in the References section. Arapiles was first considered for climbing in a recreational manner in September 1963, when Bob and Steve Craddock travelled to Mitre Rock after seeing it in a tourist guide, and saw that their destination was dwarfed by Mount Arapiles. It was a number of weeks and visits before climbing was actually attempted at Arapiles, with the first climbs being recorded in November 1963 on what is now called "The Pinnacle Face". The pioneering group, consisting of the Craddocks, Doug Angus, Peter Jackson, and Greg Lovejoy split into two parties, with each party claiming a route on the same day. Many more climbs were put up in the following days and weeks, including the classic climb Tiptoe Ridge (5), and in 1964 Steve Craddock and his father Bob produced the first Arapiles climbing guidebook on a school duplicating machine (featuring 15 routes). March 1965 saw the establishment of two significant climbs: The Bard (12) and Watchtower Crack (16). These climbs were done on the same day and are still regarded as classic climbs, often seeing numerous ascents per day. Activity steadily increased at Arapiles and in August 1966, Mike Stone and Ian Speedie released the second guidebook, Mt Arapiles. It was the first hardcover guide in Australia and featured 108 climbs. The rest of the 1960s saw many more new routes put up of increasing difficulty, with many including numerous aid points. The focus was on "getting up the climb... and staying alive", whether free climbing or not. The early 70s saw a lull in activity at Arapiles as attention shifted to the Grampians and Mount Buffalo. Interest in Arapiles resurfaced in late 1973 with many imposing lines being climbed with a few aids. These routes brought a sense of accomplishment to the climbing community as new grades were continually being created. In 1975, American visitor "Hot" Henry Barber arrived and began freeing these routes with minimal protection. The 21-year-old made a significant impact at Arapiles, and his visit was a pivotal point in Australian climbing, as climbers worked to support the legacy of Barber by freeing their new lines instead of being content to leave in aid points. Word of Barber’s achievements spread and attracted a number of new young climbers to Arapiles. This group was later given the name "The New Wave" and throughout the rest of the 70s and early 80s they were responsible for scores of routes in the grade 20–25 range. The likes of Kim Carrigan, Mike Law and Mark Moorhead helped introduce a number of 26+ climbs, though the latter two did not often grade their climbs accurately (choosing to 'undergrade' them instead). This purposeful undergrading is known as "sandbagging" and is still common in Australian climbing (some would call it tradition), though not as much as it once was. German climber Wolfgang Güllich's ascent of Punks in the Gym in April 1985 was major achievement. The route blasts up the middle of a blank, attractive orange wall and gave Arapiles (and Australia) international exposure. At the time it was graded 32 and was the hardest climb in the world, setting a new benchmark for difficulty. Following Güllich's triumph, a number of routes of similar difficulty have been put up, though none take the "easiest way up" such an impressive feature. The fact that 'Punks' is chipped rarely makes it into most histories. In the early 90's a climber who was unable to do the climb added a glue hold which remains to this day. Arapiles is still a popular climbing destination, with some visitors staying for months at a time. The warm weather, accessibility, quantity and quality of climbs have helped to maintain the popularity of Arapiles with locals, Australians and international travellers alike. Mount Arapiles is mainly regarded as a traditional climbing area – where climbers are expected to place their own protection, and remove it after climbing. The vast majority of climbs are therefore done using removable protection such as nuts, cams and RPs. Contrary to popular belief, Arapiles also has quite a bit of sport climbing. Indeed, many of the most interesting sport routes in the country are to be found tucked away in a cool gully or a beautiful orange face. However, there are not many sport routes easier than 23. Popular bolted routes can be found at the following areas: Dec Crag, Flight Wall and surrounds, Skyline Walls, The Bluffs, Strolling Wall, Castle Crag, The Pharos, Yesterday Gully, Doggers Gully, Poosticks Wall. Many routes at Arapiles have lower-offs, so they can be approached from above or via an easier route. There is a strong tradition dating to the '80s of bringing the route down to your level, and it is now commonplace to rap in and pre-place gear. There are many routes with a mixture of fixed and natural gear for which this approach is suitable. Chipping the rock to 'improve' holds is regarded as vandalism and is theoretically not tolerated. However, the many exceptions to this stance include routes such as: Steps Ahead, London Calling, 'Sean's route in The Bluffs', Ethiopia, Punks, Lord of the Rings, Wackford direct, Pet Abuse, Slopin' Sleazin' and Cecil B de Mille. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a6ade6e4b044668aec38c7/1476836960234/PaintballDouble.jpg People - Paint Ballers Paintball is a game developed in the 1980s in which players eliminate opponents from play by hitting them with dye-filled, breakable, oil and gelatin paintballs, or pellets, usually shot from a carbon dioxide or compressed air (Nitrogen) powered “paintball marker”. The game is regularly played at a sporting level with organized competition involving major tournaments, professional teams, and players.[2][3] Paintball technology is also used by military forces, law enforcement, para-military and security organizations to supplement military training, as well as playing a role in riot response, and non-lethal suppression of dangerous suspects. Games can be played on indoor or outdoor fields of varying sizes. A game field is scattered with natural or artificial terrain, which players use for tactical cover. Game types in paintball vary, but can include capture the flag, elimination, ammunition limits, defending or attacking a particular point or area, or capturing objects of interest hidden in the playing area. Depending on the variant played, games can last from seconds to hours, or even days in scenario play. The paintball equipment used may depend on the game type, for example: woodsball, speedball, or scenario; on how much money one is willing to spend on equipment; and personal preference. However, almost every player will utilize three basic pieces of equipment: Paintball marker: also known as a "paintball gun", this is the primary piece of equipment, used to mark the opposing player with paintballs. The paintball gun must have a loader or "hopper" or magazines attached to keep the marker fed with paint, and will be either spring-fed, gravity-fed (where balls drop into the loading chamber), or electronically force-fed. Modern markers require a compressed-air tank or CO2 tank. In contrast, very early bolt-action paintball markers used disposable silver capsules (12-gram CO2 cartridges) normally seen in pellet guns. In the mid to late 1980s, marker mechanics improved to include constant air pressure and semi-automatic operation.[4][5][6] Further improvements included increased rates of fire; carbon dioxide (CO2) tanks from 3.5 to 40 ounces, and compressed-air or nitrogen tanks in a variety of sizes and pressure capacities up to 5000 PSI. The use of unstable CO2 causes damage to the low-pressure pneumatic components inside electronic markers, therefore the more stable compressed air is preferred by owners of such markers. Paintballs (pellets): Paintballs, the ammunition used in the marker, are spherical gelatin capsules containing primarily polyethylene glycol, other non-toxic and water-soluble substances, and dye. The quality of paintballs is dependent on the brittleness of the ball's shell, the roundness of the sphere, and the thickness of the fill; higher-quality balls are almost perfectly spherical, with a very thin shell to guarantee breaking upon impact, and a thick, brightly colored fill that is difficult to hide or wipe off during the game. The highest-grade paintballs incorporate cornstarch and metallic flake into the fill to leave a thick glittery "splat" that is very obvious against any background color, and hard to wipe off. Almost all paintballs in use today are biodegradeable. All ingredients used in the making of a paintball are food-grade quality and are harmless to the participants and environment. Manufacturers and distributors have been making the effort to move away from the traditional oil-based paints and compressed CO2 gas propellant, to a more friendly water-based formula and compressed air in an effort to become more "eco-friendly". Paintballs come in a variety of sizes, including of 0.50" (.50 Caliber) an 0.68" (.68 Caliber). Mask or goggles: Masks are safety devices players are required to wear at all times on the field, to protect them from paintballs.[7] The original equipment used by players were safety goggles of the type used in labs and wood shops; today's goggles are derived from skiing/snowboarding goggles, with an attached shell that completely covers the eyes, mouth, ears and nostrils of the wearer. Masks can also feature throat guards. Modern masks have evolved to be less bulky compared with older designs. Some players may remove the mouth and/or ear protection for aesthetic or comfort reasons, but this is neither recommended nor often allowed at commercial venues. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a57057e4b062a74b5b236d/1476836574429/_DSC1162.jpg People - Paper Manufacturing Australia Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a57058e4b0643b1caa1ee2/1476836560994/_DSC0727.jpg People - Paper Manufacturing Australia Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570c7e4b0d5c254dec802/1479181384879/PromoPair.jpg People - Jana Investment Australia JANA is a leading investment consulting firm with offices in Melbourne & Sydney. Our core business is providing traditional and implemented consulting to institutional clients. Our strategic advice has helped clients to outperform through all market cycles. JANA was established in 1987 to provide institutional investment advice and became a fully-owned subsidiary of National Australia Bank (NAB) Limited in December 2000. NAB is one of Australia’s top banking groups [1] and largest listed institutions [2], managing relationships with retail, corporate and institutional clients in Australia and internationally. Our clients benefit from the bank’s organisational strength as well as its expert resources and infrastructure support. JANA operates free of any requirements or direction affecting our independence. We are in no way influenced or compelled to favour NAB services or products in our investment approach and recommendations to our clients. After 15 years exclusively providing advisory consulting services, we established our implemented consulting business in 2002. This service was developed in response to the requirements of clients and not built as a discrete investment product. JANA operates as a single business for our advisory and implemented consulting services. Investment consulting is our core business. In February 2012, the JANA and MLC Implemented Consulting businesses combined. Then in April 2014, JANA and MLC Investment Management came together – all under the JANA name – to cement our ‘best‐of-breed’ research and portfolio construction expertise with a clear focus on delivering superior investment outcomes for clients.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570a6e4b0d80d8a76a827/1476764475784/Jana-2012-Pair.jpg People - Jana Investment Australia JANA is a leading investment consulting firm with offices in Melbourne & Sydney. Our core business is providing traditional and implemented consulting to institutional clients. Our strategic advice has helped clients to outperform through all market cycles. JANA was established in 1987 to provide institutional investment advice and became a fully-owned subsidiary of National Australia Bank (NAB) Limited in December 2000. NAB is one of Australia’s top banking groups [1] and largest listed institutions [2], managing relationships with retail, corporate and institutional clients in Australia and internationally. Our clients benefit from the bank’s organisational strength as well as its expert resources and infrastructure support. JANA operates free of any requirements or direction affecting our independence. We are in no way influenced or compelled to favour NAB services or products in our investment approach and recommendations to our clients. After 15 years exclusively providing advisory consulting services, we established our implemented consulting business in 2002. This service was developed in response to the requirements of clients and not built as a discrete investment product. JANA operates as a single business for our advisory and implemented consulting services. Investment consulting is our core business. In February 2012, the JANA and MLC Implemented Consulting businesses combined. Then in April 2014, JANA and MLC Investment Management came together – all under the JANA name – to cement our ‘best‐of-breed’ research and portfolio construction expertise with a clear focus on delivering superior investment outcomes for clients. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a57090e4b0406339344bdd/1476764257578/DHSV-HeadShots-Pair.jpg People - Dental Health Services Victoria Dental Health Services Victoria (DHSV) was established in 1996 and is the leading public oral health agency in Victoria.We aim to improve the oral health of all Victorians, particularly vulnerable groups and those most in need. DHSV is funded by the State Government to provide clinical dental services to eligible Victorians.We help to provide Victorians with quality oral healthcare through The Royal Dental Hospital of Melbourne (RDHM) and by purchasing dental services for public patients from more than 53 community health agencies throughout Victoria.DHSV uses its leadership role to add value to its relationships with agencies to improve oral health and provide as many oral health services to as many eligible people as possible.We are also guided by Victorian and national oral health plans, regional oral health plans, evidence-based oral health promotion resources and research publications.As trusted advisors in public oral health policy and program and guideline development, we continue to contribute to improving oral health in our communities. The history of The Royal Dental Hospital of Melbourne dates back to 1890 when dentists began providing voluntary services out of premises at 225 Lonsdale Street, Melbourne. Known then as the Melbourne Dental Hospital, it moved to 189 Lonsdale and then 193 Spring Street, before Victoria’s first purpose-built dental hospital was opened in Grattan Street, Parkville, in 1963. In 1969 its name was changed to The Royal Dental Hospital of Melbourne. In 2003 the Hospital moved to its current location at 720 Swanston Street, Carlton. The Royal Dental Hospital of Melbourne is Victoria’s leading dental teaching facility, working in partnership with The University of Melbourne, RMIT University and La Trobe University in the education of dental and oral health professionals. Healthy Families, Healthy Smiles aims to improve the oral health of Victorian children aged 0-3 years and pregnant women by building capacity of health and early childhood professionals to promote oral health. Healthy Families, Healthy Smiles has a range of training and professional development packages for professionals working with young families to support better oral health. Healthy Families, Healthy Smiles works with: Midwives involved in antenatal health care Maternal and Child Health nurses Early childhood professionals including child care educators, supported playgroup facilitators and family support workers Aboriginal health services General practitioners, practice nurses and refugee health nurses Dietitians and other allied health professionals Pharmacists For more information about how you can promote oral health in your work visit our professionals’ page www.dhsv.org.au/professionals. The Victorian Government Department of Health and Human Services funds Dental Health Services Victoria (DHSV) to deliver the Healthy Families, Healthy Smiles initiative. The Midwifery Initiated Oral Health Education Program (MIOH) is an online training course that equips midwives working in antenatal care with the skills and confidence to include oral health in their practice. The MIOH e-learning program is a collaborative partnership with the Centre for Applied Nursing Research, Western Sydney University, Sydney and South Western Sydney Local Health District/Ingham Institute Applied Medical Research. Midwives working in antenatal care can click on the button to express interest in enrolling in this course. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570aee4b01fcfc74c0459/1476764058320/JohnnySat.jpg People - John Haliday, FAD Gallery Contemporary paintings, photography, taking it easy on Tuesdays and Wednesdays, then live music on Thursdays, a great DJ on Friday and Saturday, playin’ groooovy tunes from the last five to six decades. Considered one of Melbourne’s iconic art gallery venues and bars since 1995, FAD Gallery presents regular exhibitions, music, the occasional private party and hopefully some interesting events throughout the year. So come enjoy a bit of culture, some good times and some mad people in the heart of Chinatown… The bar has a range of local and imported beers, very basic cocktails, spirits, juices blah blah blah, our drinks prices are pretty reasonable – we do try to please.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51ada3b0e4b0ae1d9bf64352/1476763425750/untitled-1.jpg People - Cotton On Cotton On was founded in 1991, with the first store being opened in Geelong, Australia.[2] As of 2013, the Cotton On chain has over 1000 stores worldwide.[3] As of 2011 the company employed around 5,500 people.[4] The company was established by Nigel Austin in Geelong, Australia, at the time it only sold women's clothing. Since January 2006, it had expanded with Cotton On Body and Cotton On Kids in 2007. It expanded to Typo (stationery and gifts), and also Rubi Shoes in February 2008. The design team in the company's Australian office controls the steps of production from merchandise planning to establishing specifications, and production is outsourced to approximately 150 factories in Europe and Asia. These facilities are used for horizontal division of labor rather than being integrated. After the collapse of the Rana Plaza building in Bangladesh in April 2013, Cotton On, along with other major Australian retailers, became the focus of a campaign by Oxfam Australia to get the company to sign the Bangladesh Fire and Safety Accord.[5] In 2013, Cotton On acquired Australian fast-fashion brand Supré and plans to expand the brand internationally. Cotton On hired Australian TV personality Lara Bingle to be the spokesperson of their One launch, which offered comfortable cotton basic shirts offered in a variety of necklines including V-neck, scoop and crew. Lara Bingle has also designed swimwear for the Australian Brand under their Body label. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a5707be4b0d5c254dec7c2/1476405241475/Aidan-Hooper_Boutique-Homes-15.jpg People - Boutique Homes At Boutique, we build homes for better living. That means designing for functionality and flexibility as well as beauty. It means a commitment to quality and craftsmanship. And it means striving to provide an enjoyable process from the moment you speak with a New Homes Consultant through to completion of your new home. Boutique is part of the ABN Group, Australia’s leader in construction, property and finance. This gives us access to an extensive range of talent and experienced suppliers, which allows us to back each home with a 25 year structural guarantee and industry leading aftercare program. We’re driven by a desire to build a home you will be proud of the moment you first walk through the door. Boutique balances the clever design and personalised attention of a specialist builder with the stability and experience of a larger company. We’re proudly part of the ABN Group, Australia’s leader in construction, property and finance, and owned by partners Aidan Hooper and Dale Alcock. The ABN Group was established in 1978. More than 38 years on, we’re still true to our philosophy of building every home as if it’s our own. We’ve built more than 55,000 homes in Western Australia and Victoria, and we’ve steadfastly maintained our attention to quality, while always striving to innovate in design and customer service. The ABN Group consists of a number of residential builders including: APG Homes, Celebration Homes, Dale Alcock Homes, Homebuyers Centre and Webb & Brown Neaves. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570bde4b0f0ad735bd981/1476405254177/Kellie_Chadstone_Store-1PrintA3.jpg People - Officeworks. Officeworks is a chain of Australian office supplies stores in Australia and the market leader. The company was established in the early 1990s by Coles Myer (which became Coles Group, now part of and owned by WA-based company Wesfarmers). Its head office is located in Bentleigh East, Melbourne. The store concept adopted by Officeworks was based on the US chain Office Depot. The first Officeworks store opened in the inner city suburb of Richmond in Melbourne on the 16th of June 1994. Harris Technology, an IT retailer, was purchased by Coles Myer in 1999 and became a subsidiary of the larger office supplies retailer. Viking Australia (a subsidiary of Office Depot) was purchased by Coles Myer in December 2002 and was merged with Officeworks Direct to form Officeworks BusinessDirect, now referred to as Officeworks Business. By late 2006 the business opened its 100th store in South Yarra, just kilometres from the first store in Richmond. Officeworks had 139 retail stores as at May 2011,with a presence in every Australian state and territory. Following the purchase of Coles Group by Wesfarmers in November 2007, Officeworks and Harris Technology became part of Wesfarmers' Home Improvement and Office Supplies division. Officeworks rebranded in 2008, revising its logo, uniforms, store department names, and slogan - "Lowest Prices Everyday". The revised branding positioned Officeworks as a low cost warehouse similar to that of its sister company Bunnings Warehouse. Officeworks also adopted the "Lowest Price Guarantee" similar to that found at Bunnings, where Officeworks will beat any competitor's price of an identical item by 5%. In 2011 Officeworks cut ties with paper supplier APRIL over claims that the paper supplier was illegally logging Indonesian forests. Officeworks changed its slogan in August 2012 to "Big Ideas. Lowest prices". Under the new advertising campaign, commercials focussed on store prices being checked "twice daily", and slogans such as "we buy in bulk, so you get the lowest prices" were used.Officeworks "lowest price guarantee" still remains with a 5% discount offered if a lower price is found elsewhere. Officeworks also began offering free Wi-Fi access in all stores. By 2016 Officeworks reached 158 stores in total. Most Officeworks stores feature the following departments: Print & Copy (aka Copy Centre, formerly Printworks) - Provides services including printing, photocopying, laminating, custom promotional products, Photobooks, business cards, printed stationery, stamps and name badges Technology (aka Business Machines, formerly Techworks) - Computers, business machines, consumables and other electronic products. Furniture (formerly Furnitureworks) - Chairs, desks, workstations, filing cabinets, pedestals, lighting and other office furniture. Stationery - Pens, paper and other stationery needs. Some stores formerly featured Inkworks, which provided ink and toner replacements and recycling. This is now part of Technology/Business Machines. Officeworks Business is the internet and phone sales division of Officeworks, with its own warehouses. It stocks a larger range to retail stores on a delivery only basis, with a focus on day-to-day needs of medium to large businesses rather than small business and general consumers that shop in store. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/56b14b8640261dd5dfcbe451/1476838808935/ People - Bradley Dohnt, Cave Diver, Olwolgin Cave, Hampton Tablelands, WA Cave diving is an extreme sport in which a diver visits water-filled caves. The equipment used varies depending on the circumstances, and ranges from breath hold to surface supplied, but almost all cave diving is done using scuba equipment, often in specialised configurations. Cave diving is generally considered to be a type of technical diving due to the lack of a free surface during large parts of the dive, and often involves decompression. In the United Kingdom it is an extension of the more common sport of caving, and in the United States an extension of the more common sport of scuba diving. Compared to caving and scuba diving, there are relatively few practitioners of cave diving. This is due in part to the specialized equipment (such as rebreathers, diver propulsion vehicles and dry suits) and skill sets required, and in part because of the high potential risks, including decompression sickness and drowning. Despite these risks, water-filled caves attract scuba divers, cavers, and speleologists due to their often unexplored nature, and present divers with a technical diving challenge. Underwater caves have a wide range of physical features, and can contain fauna not found elsewhere. Cave diving is one of the most challenging and potentially dangerous kinds of diving or caving and presents many hazards. Cave diving is a form of penetration diving, meaning that in an emergency a diver cannot swim vertically to the surface due to the cave's ceilings, and so must swim the entire way back out. The underwater navigation through the cave system may be difficult and exit routes may be at considerable distance, requiring the diver to have sufficient breathing gas to make the journey. The dive may also be deep, resulting in potential deep diving risks. Visibility can vary from nearly unlimited to low, or non-existent, and can go from one extreme to the other in a single dive. While a less-intensive kind of diving called cavern diving does not take divers beyond the reach of natural light (and typically no deeper than 100 ft, and penetration not further than 200 ft), true cave diving can involve penetrations of many thousands of feet, well beyond the reach of sunlight. The level of darkness experienced creates an environment impossible to see in without an artificial form of light. Caves often contain sand, mud, clay, silt, or other sediment that can further reduce underwater visibility in seconds when stirred up. Caves can carry strong water currents. Most caves emerge on the surface as either springs or siphons. Springs have out flowing currents, where water is coming up out of the Earth and flowing out across the land's surface. Siphons have in-flowing currents where, for example, an above-ground river is going underground. Some caves are complex and have some tunnels with out-flowing currents, and other tunnels with in-flowing currents. If currents are not properly managed, they can cause serious problems for the diver. Cave diving has been perceived[1] as one of the more deadly sports in the world. This perception is arguable because the vast majority of divers who have lost their lives in caves have either not undergone specialized training or have had inadequate equipment for the environment.[1] Cave divers have suggested that cave diving is in fact statistically much safer than recreational diving due to the much larger barriers imposed by experience, training, and equipment cost.[1] There is no reliable worldwide database listing all cave diving fatalities. Such fractional statistics as are available, however, suggest that very few divers have ever died while following accepted protocols and while using equipment configurations recognized as acceptable by the cave diving community.[1] In the very rare cases of exceptions to this rule there have typically been unusual circumstances.[1] Most cave divers recognize five general rules or contributing factors for safe cave diving, which were popularized, adapted and became generally accepted from Sheck Exley's 1979 publication Basic Cave Diving: A Blueprint for Survival.[1] In this book, Exley included accounts of actual cave diving accidents, and followed each one with a breakdown of what factors contributed to the accident. Despite the uniqueness of any individual accident, Exley found that at least one of a small number of major factors contributed to each one. This technique for breaking down accident reports and finding common causes among them is now called Accident Analysis, and is taught in introductory cave diving courses. Exley outlined a number of these resulting cave diving rules, but today these five are the most recognized: Training: A safe cave diver does not intentionally exceed the boundaries of his/her training.[1] Cave diving is normally taught in stages, each successive stage focusing on more complex aspects of cave diving. Furthermore, each stage of training is intended to be coupled with real world experience before moving to a more advanced level. Accident analysis of recent cave diving fatalities has proven[citation needed] that academic training without sufficient real world experience is not enough in the event of an underwater emergency. Only by slowly building experience[citation needed] can one remain calm enough to recall their training should a problem arise. An inexperienced diver (who may be recently trained) is more likely to panic than an experienced diver when confronted with a similar situation.[citation needed] Guide line: A continuous guide line is maintained at all times between the leader of a dive team and a fixed point selected outside the cave entrance in open water.[1] Often this line is tied off a second time as a backup directly inside the cavern zone.[2] As the dive leader lays the guideline he takes great care to ensure there is appropriate tension on the line.[2] and that it does not go into line traps. Should a silt out occur, divers can find the taut line and successfully follow it back to the cave entrance.[2] Failure to use a continuous guide line to open water is cited as the most frequent cause of fatality among untrained, non-certified divers who venture into caves.[1] Depth rules: Gas consumption and decompression obligation increase with depth, and it is critical that no cave diver exceeds the dive plan or the maximum operating depth (MOD) of the gas mixture used.[1] Also, the effects of nitrogen narcosis are more critical in a cave, even for a diver who has the same depth experience in open water. Cave divers are advised not to dive to "excessive depth," and to keep in mind this effective difference between open water depth and cave depth. It should be noted that among fully trained cave divers' deaths, excessive depth is frequently cited as the cause.[1] Air (gas) management: The most common protocol is the 'rule of thirds,' in which one third of the initial gas supply is used for ingress, one third for egress, and one third to support another team member in the case of an emergency.[1][3] UK practice is to adhere to the rule of thirds, but with an added emphasis on keeping depletion of the separate air systems "balanced," so that the loss of a complete air system will still leave the diver with sufficient air to return safely. The rule of thirds makes no allowance for increased air consumption that the stress caused by the loss of an air system may induce. Dissimilar tank sizes among the divers are also not included by the rule of thirds, and a sufficient reserve should be calculated for each dive. UK practice is to assume that each diver is completely independent, as in a typical UK sump there is usually nothing that a buddy can do to assist a diver in trouble. Most UK cave divers dive solo. US sump divers follow a similar protocol.[citation needed] The rule of thirds was devised as an approach to diving Florida's caves[citation needed] - they typically have high outflow currents, which help to reduce air consumption when exiting. In a cave system with little (or no) outflow it is mandatory[by whom?] to reserve more air than is provided by the rule of thirds. Lights: Each cave diver must have three independent sources of light.[1] One is considered the primary and the other two are considered backup lights. Each light must have an expected burn time of at least the planned duration of the dive. If any one of the three light sources fail for one diver, the dive is called off and ended for all members of the dive team.[citation needed] Cave divers were taught to remember the five key components with the mnemonic: "The Good Divers Always Live".[4] In recent years new contributing factors were considered after reviewing accidents involving solo diving, diving with incapable dive partners, video or photography in caves, complex cave dives and cave diving in large groups. With the establishment of technical diving, the usage of mixed gases—such as trimix for bottom gas, and nitrox and oxygen for decompression—reduces the margin for error. Accident analysis suggests that breathing the wrong gas at the wrong depth and/or not analyzing the breathing gas properly has led to cave diving accidents.[citation needed] Cave diving requires a variety of specialized techniques. Divers who do not correctly apply these techniques, greatly increase the risk to the members of their team. The cave diving community works hard to educate the public on the risks they assume when they enter water-filled caves.[citation needed] Warning signs with the likenesses of the Grim Reaper have been placed just inside the openings of many popular caves in the US, and others have been placed in nearby parking lots and local dive shops.[5] Many cave diving sites around the world contain basins, which are also popular open-water diving sites. The management of these sites try to minimize the risk of untrained divers being tempted to venture inside the cave systems. With the support of the cave diving community, many of these sites enforce a "no-lights rule" for divers who lack cave training—they may not carry any lights into the water with them.[citation needed] It is easy to venture into an underwater cave with a light and not realize how far away from the entrance (and daylight) one has swum; this rule is based on the theory that, without a light, divers will not venture beyond daylight.[citation needed] New available technology and diver experience are no longer matching the initial phase of local cave diving accident analysis.[clarification needed] In the early phases the analysis shows that 90% of accidents were not trained cave divers; from the 2000s on the trend has reversed to 80% of accidents involving trained cave divers.[citation needed] Modern cave divers' capability and available technology allows divers to venture well beyond traditional training limits[clarification needed] and into actual exploration. The result is an increase of cave diving accidents, in fact in 2011 alone the yearly average of 2.5 fatalities a year triple.[citation needed] Furthermore, in 2012 fatality rate average had already been surpassed and actually reach the highest peak ever at over 20.[citation needed] As response to the increase in fatalities during the years 2010 onwards, the International Diving Research and Exploration Organization (IDREO) was created in order to "bring awareness of the current safety situation of Cave Diving" by listing current worldwide accidents by year and promoting a community discussion and analysis of accidents through a "Cave Diver Safety Meeting" held annually.[6] Equipment used by cave divers ranges from fairly standard recreational scuba configurations, to more complex arrangements which allow more freedom of movement in confined spaces, extended range in terms of depth and time, allowing greater distances to be covered in acceptable safety, and equipment which helps with navigation, in what are usually dark, and often silty and convoluted spaces. Scuba configurations which are more often found in cave diving than in open water diving include independent or manifolded twin cylinder rigs, side-mount harnesses, sling cylinders, rebreathers and backplate and wing harnesses. Bill Stone designed and utilized epoxy based tank for exploration of the San Agustín and Sistema Huautla caves in Mexico to decrease the weight for dry sections and vertical passages.[7][8] Stage cylinders are cylinders which are used to provide gas for a portion of the penetration. They may be deposited on the bottom at the guideline on preparation dives, to be picked up for use during the main dive, or may be carried by the divers and dropped off at the line during the penetration to be retrieved on the way out. One of the high risk hazards of cave diving is getting lost in the cave.[citation needed] The use of guidelines is the standard mitigation for this risk.[citation needed] Guidelines may be permanent or laid and recovered during the dive, using cave reels to deploy and recover the line. Permanent branch lines may be laid with a gap between the start of the branch line and the nearest point on the main line. Gap spools with a relatively short line are commonly used to make the jump. Line arrows are used to point towards the nearest exit, and cookies are used to indicate use of a line by a team of divers. Silt screws are short lengths of rigid tube (usually plastic) with one sharpened end and a notch or slot at the other end to secure the line, which are pushed into the silt or detritus of the cave floor as a place to tie off a guideline when no suitable natural tie-off points are available. Diver propulsion vehicles, or Scooters, are sometimes used to extend the range by reducing the work load on the diver and allowing faster travel in open sections of cave. Reliability of the diver propulsion vehicle is very important, as a failure could compromise the ability of the diver to exit the cave before running out of gas. Where this is a significant risk, divers may tow a spare scooter.[citation needed] Dive lights are critical safety equipment, as it is dark inside caves. Each diver generally carries a primary light, and at least one backup light. A minimum of three lights is recommended.[1] The primary light should last the planned duration of the dive, as should the backup lights.[1] The procedures of cave diving have much in common with procedures used for other types of penetration diving. They differ from open water procedures mainly in the emphasis on navigation, gas management, and operating in confined spaces. As most cave diving is done in an environment where there is no free surface with breathable air allowing an above-water exit, it is critically important to be able to find the way out. This is ensured by the use of a continuous guideline between the dive team and outside of the cave. Two basic types of guideline are used: permanent lines, and temporary lines. Permanent lines include a main line starting near the entrance/exit, and side lines or branch lines. Temporary lines include exploration lines and jump lines. Decompression procedures may take into account that the cave diver usually follows a very well defined route, both into and out of the cave, and can reasonably expect to find any equipment temporarily stored along the guideline while making the exit. In some caves, changes of depth of the cave along the dive route will constrain decompression depths, and gas mixtures and decompression schedules can be tailored to take this into account. Skills[edit] Good buoyancy control, trim and finning technique help preserve visibility in areas with silt deposits. The ability to navigate in total darkness using the guideline to find the way out is a safety critical emergency skill. Line management skills required for cave diving include laying and recovering guide lines using a reel, tie-offs, the use of a jump line to cross gaps or find a lost guide line in silted out conditions, and the skills of dealing with a break in a guide line. Cave diving training includes equipment selection and configuration, guideline protocols and techniques, gas management protocols, communication techniques, propulsion techniques, emergency management protocols, and psychological education.[clarification needed] Cave diver training stresses the importance of safety and cave conservation ethics. Most training programs contain various stages of certification and education. Cavern training covers the basic skills needed to enter the overhead environment. Training will generally consist of gas planning, propulsion techniques needed to deal with the silty environments in many caves, reel and handling, and communication. Once certified as a cavern diver, a diver may undertake cavern diving with a cavern or cave certified "buddy," as well as continue into cave diving training. Introduction into cave training builds on the techniques learned during cavern training and includes the training needed to penetrate beyond the cavern zone and working with permanent guidelines that exist in many caves. Once intro to cave certified, a diver may penetrate much further into a cave, usually limited by 1/3 of a single cylinder, or in the case of a basic cave certification, 1/6 of double cylinders.[citation needed] An intro cave diver is usually not certified to do complex navigation. Apprentice cave training serves as the transition from intro to full certification and includes the training needed to penetrate deep into caves working from permanent guide lines as well as limited exposure to side lines that exist in many caves. Training covers complex dive planning and decompression procedures used for longer dives. Once apprentice certified, a diver may penetrate much further into a cave, usually limited by 1/3 of double cylinders. An apprentice diver is also allowed to do a single jump or gap (a break in the guideline from two sections of mainline or between mainline and sideline) during the dive. An apprentice diver typically has one year to finish full cave or must repeat the apprentice stage. Full cave training serves as the final level of basic training and includes the training needed to penetrate deep into the cave working from both permanent guidelines and sidelines, and may plan and complete complex dives deep into a system using decompression to stay longer. Once cave certified, a diver may penetrate much further into a cave, usually limited by 1/3 of double cylinders. A cave diver is also certified as competent to do multiple jumps or gaps (a break in the guideline from two sections of mainline or between mainline and sideline) during the dive. Australia has many spectacular water filled caves and sinkholes, but unlike the UK, most Australian cave divers come from a general ocean-diving background. The "air-clear" water conditions experienced in the sinkholes and caves found in the Lower South East (now called the Limestone Coast) of South Australia (SA) has attracted many visiting divers with the first cave and sinkhole dives taking place in the very late 1950s.[16] Until the mid-1980s divers generally used single diving cylinders and homemade torches, and reels, resulting in most of their explorations being limited. Mixed-gas and rebreather technologies can now be used in many sites. The area is usually known within the cave diving community as the Mount Gambier region. A series of incidents between 1969 and 1974 in the former Lower South East of SA in which 11 divers died (including a triple and a quadruple fatality) in the following four karst features - Kilsbys Hole, Piccaninnie Ponds, Death Cave (also known as Alleyns Cave) and The Shaft - created much public comment and led to the formation of the Cave Divers Association of Australia Inc. (CDAA) in September 1973.[17] The introduction of a testing program by the CDAA in 1974, which involved the assessment of prospective cave divers' cave diving ability led to a reduced fatality rate. In 1989, this testing system was replaced by a training system which consists of three levels of qualification - Deep Cavern, Cave and Advanced Cave.[18] Five further deaths have occurred since 1974; two died at Piccaninnie Ponds in 1984, one person died at Kilsbys Hole in 2010, and two people died in separate incidents at Tank Cave in 2011 including noted cave diver Agnes Milowka.[19][20][21][22] During the 1980s, the Nullarbor Plain was recognized as a major cave-diving area, with one cave, Cocklebiddy, being explored for more than 6 kilometres, involving the use of large sleds to which were attached numerous diving cylinders and other paraphernalia, and which were then laboriously pushed through the cave by the divers. In more recent years divers have been utilizing compact diver-towing powered scooters, but the dive is still technically extremely challenging. A number of other very significant caves have also been discovered during the past 20 years or so; the 10+ (Lineal) kilometre long Tank Cave near Millicent in the Limestone Coast, other very large features on the Nullarbor and the adjacent Roe Plain as well as a number of specific sites elsewhere, and nowadays the cave diving community utilizes many techniques, equipment and standards from the U.S. and elsewhere. The CDAA is the major cave diving organisation in Australia and is responsible for the administration of cave diving at many sites. All cave diving in the Limestone Coast as well as at some New South Wales sites and the Nullarbor requires divers to be members of the CDAA, whether in the capacity of a visitor or a trained and assessed member. A number of other organisations participate in cave diving activities within Australia. The Australian Speleological Federation Cave Diving Group which was formed in 2005 coordinates projects focused on exploration and mapping at sites throughout Australia.[23] The following diving training organisations offer courses in various aspects of cave diving via instructors either resident in Australia or visiting from overseas Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/55d413f7e4b05537993aae6d/1476838662417/ People - Tim Muscat, Cave Diver in Weebubbie Cave Nullarbor WA Cave diving is an extreme sport in which a diver visits water-filled caves. The equipment used varies depending on the circumstances, and ranges from breath hold to surface supplied, but almost all cave diving is done using scuba equipment, often in specialised configurations. Cave diving is generally considered to be a type of technical diving due to the lack of a free surface during large parts of the dive, and often involves decompression. In the United Kingdom it is an extension of the more common sport of caving, and in the United States an extension of the more common sport of scuba diving. Compared to caving and scuba diving, there are relatively few practitioners of cave diving. This is due in part to the specialized equipment (such as rebreathers, diver propulsion vehicles and dry suits) and skill sets required, and in part because of the high potential risks, including decompression sickness and drowning. Despite these risks, water-filled caves attract scuba divers, cavers, and speleologists due to their often unexplored nature, and present divers with a technical diving challenge. Underwater caves have a wide range of physical features, and can contain fauna not found elsewhere. Cave diving is one of the most challenging and potentially dangerous kinds of diving or caving and presents many hazards. Cave diving is a form of penetration diving, meaning that in an emergency a diver cannot swim vertically to the surface due to the cave's ceilings, and so must swim the entire way back out. The underwater navigation through the cave system may be difficult and exit routes may be at considerable distance, requiring the diver to have sufficient breathing gas to make the journey. The dive may also be deep, resulting in potential deep diving risks. Visibility can vary from nearly unlimited to low, or non-existent, and can go from one extreme to the other in a single dive. While a less-intensive kind of diving called cavern diving does not take divers beyond the reach of natural light (and typically no deeper than 100 ft, and penetration not further than 200 ft), true cave diving can involve penetrations of many thousands of feet, well beyond the reach of sunlight. The level of darkness experienced creates an environment impossible to see in without an artificial form of light. Caves often contain sand, mud, clay, silt, or other sediment that can further reduce underwater visibility in seconds when stirred up. Caves can carry strong water currents. Most caves emerge on the surface as either springs or siphons. Springs have out flowing currents, where water is coming up out of the Earth and flowing out across the land's surface. Siphons have in-flowing currents where, for example, an above-ground river is going underground. Some caves are complex and have some tunnels with out-flowing currents, and other tunnels with in-flowing currents. If currents are not properly managed, they can cause serious problems for the diver. Cave diving has been perceived[1] as one of the more deadly sports in the world. This perception is arguable because the vast majority of divers who have lost their lives in caves have either not undergone specialized training or have had inadequate equipment for the environment.[1] Cave divers have suggested that cave diving is in fact statistically much safer than recreational diving due to the much larger barriers imposed by experience, training, and equipment cost.[1] There is no reliable worldwide database listing all cave diving fatalities. Such fractional statistics as are available, however, suggest that very few divers have ever died while following accepted protocols and while using equipment configurations recognized as acceptable by the cave diving community.[1] In the very rare cases of exceptions to this rule there have typically been unusual circumstances.[1] Most cave divers recognize five general rules or contributing factors for safe cave diving, which were popularized, adapted and became generally accepted from Sheck Exley's 1979 publication Basic Cave Diving: A Blueprint for Survival.[1] In this book, Exley included accounts of actual cave diving accidents, and followed each one with a breakdown of what factors contributed to the accident. Despite the uniqueness of any individual accident, Exley found that at least one of a small number of major factors contributed to each one. This technique for breaking down accident reports and finding common causes among them is now called Accident Analysis, and is taught in introductory cave diving courses. Exley outlined a number of these resulting cave diving rules, but today these five are the most recognized: Training: A safe cave diver does not intentionally exceed the boundaries of his/her training.[1] Cave diving is normally taught in stages, each successive stage focusing on more complex aspects of cave diving. Furthermore, each stage of training is intended to be coupled with real world experience before moving to a more advanced level. Accident analysis of recent cave diving fatalities has proven[citation needed] that academic training without sufficient real world experience is not enough in the event of an underwater emergency. Only by slowly building experience[citation needed] can one remain calm enough to recall their training should a problem arise. An inexperienced diver (who may be recently trained) is more likely to panic than an experienced diver when confronted with a similar situation.[citation needed] Guide line: A continuous guide line is maintained at all times between the leader of a dive team and a fixed point selected outside the cave entrance in open water.[1] Often this line is tied off a second time as a backup directly inside the cavern zone.[2] As the dive leader lays the guideline he takes great care to ensure there is appropriate tension on the line.[2] and that it does not go into line traps. Should a silt out occur, divers can find the taut line and successfully follow it back to the cave entrance.[2] Failure to use a continuous guide line to open water is cited as the most frequent cause of fatality among untrained, non-certified divers who venture into caves.[1] Depth rules: Gas consumption and decompression obligation increase with depth, and it is critical that no cave diver exceeds the dive plan or the maximum operating depth (MOD) of the gas mixture used.[1] Also, the effects of nitrogen narcosis are more critical in a cave, even for a diver who has the same depth experience in open water. Cave divers are advised not to dive to "excessive depth," and to keep in mind this effective difference between open water depth and cave depth. It should be noted that among fully trained cave divers' deaths, excessive depth is frequently cited as the cause.[1] Air (gas) management: The most common protocol is the 'rule of thirds,' in which one third of the initial gas supply is used for ingress, one third for egress, and one third to support another team member in the case of an emergency.[1][3] UK practice is to adhere to the rule of thirds, but with an added emphasis on keeping depletion of the separate air systems "balanced," so that the loss of a complete air system will still leave the diver with sufficient air to return safely. The rule of thirds makes no allowance for increased air consumption that the stress caused by the loss of an air system may induce. Dissimilar tank sizes among the divers are also not included by the rule of thirds, and a sufficient reserve should be calculated for each dive. UK practice is to assume that each diver is completely independent, as in a typical UK sump there is usually nothing that a buddy can do to assist a diver in trouble. Most UK cave divers dive solo. US sump divers follow a similar protocol.[citation needed] The rule of thirds was devised as an approach to diving Florida's caves[citation needed] - they typically have high outflow currents, which help to reduce air consumption when exiting. In a cave system with little (or no) outflow it is mandatory[by whom?] to reserve more air than is provided by the rule of thirds. Lights: Each cave diver must have three independent sources of light.[1] One is considered the primary and the other two are considered backup lights. Each light must have an expected burn time of at least the planned duration of the dive. If any one of the three light sources fail for one diver, the dive is called off and ended for all members of the dive team.[citation needed] Cave divers were taught to remember the five key components with the mnemonic: "The Good Divers Always Live".[4] In recent years new contributing factors were considered after reviewing accidents involving solo diving, diving with incapable dive partners, video or photography in caves, complex cave dives and cave diving in large groups. With the establishment of technical diving, the usage of mixed gases—such as trimix for bottom gas, and nitrox and oxygen for decompression—reduces the margin for error. Accident analysis suggests that breathing the wrong gas at the wrong depth and/or not analyzing the breathing gas properly has led to cave diving accidents.[citation needed] Cave diving requires a variety of specialized techniques. Divers who do not correctly apply these techniques, greatly increase the risk to the members of their team. The cave diving community works hard to educate the public on the risks they assume when they enter water-filled caves.[citation needed] Warning signs with the likenesses of the Grim Reaper have been placed just inside the openings of many popular caves in the US, and others have been placed in nearby parking lots and local dive shops.[5] Many cave diving sites around the world contain basins, which are also popular open-water diving sites. The management of these sites try to minimize the risk of untrained divers being tempted to venture inside the cave systems. With the support of the cave diving community, many of these sites enforce a "no-lights rule" for divers who lack cave training—they may not carry any lights into the water with them.[citation needed] It is easy to venture into an underwater cave with a light and not realize how far away from the entrance (and daylight) one has swum; this rule is based on the theory that, without a light, divers will not venture beyond daylight.[citation needed] New available technology and diver experience are no longer matching the initial phase of local cave diving accident analysis.[clarification needed] In the early phases the analysis shows that 90% of accidents were not trained cave divers; from the 2000s on the trend has reversed to 80% of accidents involving trained cave divers.[citation needed] Modern cave divers' capability and available technology allows divers to venture well beyond traditional training limits[clarification needed] and into actual exploration. The result is an increase of cave diving accidents, in fact in 2011 alone the yearly average of 2.5 fatalities a year triple.[citation needed] Furthermore, in 2012 fatality rate average had already been surpassed and actually reach the highest peak ever at over 20.[citation needed] As response to the increase in fatalities during the years 2010 onwards, the International Diving Research and Exploration Organization (IDREO) was created in order to "bring awareness of the current safety situation of Cave Diving" by listing current worldwide accidents by year and promoting a community discussion and analysis of accidents through a "Cave Diver Safety Meeting" held annually.[6] Equipment used by cave divers ranges from fairly standard recreational scuba configurations, to more complex arrangements which allow more freedom of movement in confined spaces, extended range in terms of depth and time, allowing greater distances to be covered in acceptable safety, and equipment which helps with navigation, in what are usually dark, and often silty and convoluted spaces. Scuba configurations which are more often found in cave diving than in open water diving include independent or manifolded twin cylinder rigs, side-mount harnesses, sling cylinders, rebreathers and backplate and wing harnesses. Bill Stone designed and utilized epoxy based tank for exploration of the San Agustín and Sistema Huautla caves in Mexico to decrease the weight for dry sections and vertical passages.[7][8] Stage cylinders are cylinders which are used to provide gas for a portion of the penetration. They may be deposited on the bottom at the guideline on preparation dives, to be picked up for use during the main dive, or may be carried by the divers and dropped off at the line during the penetration to be retrieved on the way out. One of the high risk hazards of cave diving is getting lost in the cave.[citation needed] The use of guidelines is the standard mitigation for this risk.[citation needed] Guidelines may be permanent or laid and recovered during the dive, using cave reels to deploy and recover the line. Permanent branch lines may be laid with a gap between the start of the branch line and the nearest point on the main line. Gap spools with a relatively short line are commonly used to make the jump. Line arrows are used to point towards the nearest exit, and cookies are used to indicate use of a line by a team of divers. Silt screws are short lengths of rigid tube (usually plastic) with one sharpened end and a notch or slot at the other end to secure the line, which are pushed into the silt or detritus of the cave floor as a place to tie off a guideline when no suitable natural tie-off points are available. Diver propulsion vehicles, or Scooters, are sometimes used to extend the range by reducing the work load on the diver and allowing faster travel in open sections of cave. Reliability of the diver propulsion vehicle is very important, as a failure could compromise the ability of the diver to exit the cave before running out of gas. Where this is a significant risk, divers may tow a spare scooter.[citation needed] Dive lights are critical safety equipment, as it is dark inside caves. Each diver generally carries a primary light, and at least one backup light. A minimum of three lights is recommended.[1] The primary light should last the planned duration of the dive, as should the backup lights.[1] The procedures of cave diving have much in common with procedures used for other types of penetration diving. They differ from open water procedures mainly in the emphasis on navigation, gas management, and operating in confined spaces. As most cave diving is done in an environment where there is no free surface with breathable air allowing an above-water exit, it is critically important to be able to find the way out. This is ensured by the use of a continuous guideline between the dive team and outside of the cave. Two basic types of guideline are used: permanent lines, and temporary lines. Permanent lines include a main line starting near the entrance/exit, and side lines or branch lines. Temporary lines include exploration lines and jump lines. Decompression procedures may take into account that the cave diver usually follows a very well defined route, both into and out of the cave, and can reasonably expect to find any equipment temporarily stored along the guideline while making the exit. In some caves, changes of depth of the cave along the dive route will constrain decompression depths, and gas mixtures and decompression schedules can be tailored to take this into account. Skills[edit] Good buoyancy control, trim and finning technique help preserve visibility in areas with silt deposits. The ability to navigate in total darkness using the guideline to find the way out is a safety critical emergency skill. Line management skills required for cave diving include laying and recovering guide lines using a reel, tie-offs, the use of a jump line to cross gaps or find a lost guide line in silted out conditions, and the skills of dealing with a break in a guide line. Cave diving training includes equipment selection and configuration, guideline protocols and techniques, gas management protocols, communication techniques, propulsion techniques, emergency management protocols, and psychological education.[clarification needed] Cave diver training stresses the importance of safety and cave conservation ethics. Most training programs contain various stages of certification and education. Cavern training covers the basic skills needed to enter the overhead environment. Training will generally consist of gas planning, propulsion techniques needed to deal with the silty environments in many caves, reel and handling, and communication. Once certified as a cavern diver, a diver may undertake cavern diving with a cavern or cave certified "buddy," as well as continue into cave diving training. Introduction into cave training builds on the techniques learned during cavern training and includes the training needed to penetrate beyond the cavern zone and working with permanent guidelines that exist in many caves. Once intro to cave certified, a diver may penetrate much further into a cave, usually limited by 1/3 of a single cylinder, or in the case of a basic cave certification, 1/6 of double cylinders.[citation needed] An intro cave diver is usually not certified to do complex navigation. Apprentice cave training serves as the transition from intro to full certification and includes the training needed to penetrate deep into caves working from permanent guide lines as well as limited exposure to side lines that exist in many caves. Training covers complex dive planning and decompression procedures used for longer dives. Once apprentice certified, a diver may penetrate much further into a cave, usually limited by 1/3 of double cylinders. An apprentice diver is also allowed to do a single jump or gap (a break in the guideline from two sections of mainline or between mainline and sideline) during the dive. An apprentice diver typically has one year to finish full cave or must repeat the apprentice stage. Full cave training serves as the final level of basic training and includes the training needed to penetrate deep into the cave working from both permanent guidelines and sidelines, and may plan and complete complex dives deep into a system using decompression to stay longer. Once cave certified, a diver may penetrate much further into a cave, usually limited by 1/3 of double cylinders. A cave diver is also certified as competent to do multiple jumps or gaps (a break in the guideline from two sections of mainline or between mainline and sideline) during the dive. Australia has many spectacular water filled caves and sinkholes, but unlike the UK, most Australian cave divers come from a general ocean-diving background. The "air-clear" water conditions experienced in the sinkholes and caves found in the Lower South East (now called the Limestone Coast) of South Australia (SA) has attracted many visiting divers with the first cave and sinkhole dives taking place in the very late 1950s.[16] Until the mid-1980s divers generally used single diving cylinders and homemade torches, and reels, resulting in most of their explorations being limited. Mixed-gas and rebreather technologies can now be used in many sites. The area is usually known within the cave diving community as the Mount Gambier region. A series of incidents between 1969 and 1974 in the former Lower South East of SA in which 11 divers died (including a triple and a quadruple fatality) in the following four karst features - Kilsbys Hole, Piccaninnie Ponds, Death Cave (also known as Alleyns Cave) and The Shaft - created much public comment and led to the formation of the Cave Divers Association of Australia Inc. (CDAA) in September 1973.[17] The introduction of a testing program by the CDAA in 1974, which involved the assessment of prospective cave divers' cave diving ability led to a reduced fatality rate. In 1989, this testing system was replaced by a training system which consists of three levels of qualification - Deep Cavern, Cave and Advanced Cave.[18] Five further deaths have occurred since 1974; two died at Piccaninnie Ponds in 1984, one person died at Kilsbys Hole in 2010, and two people died in separate incidents at Tank Cave in 2011 including noted cave diver Agnes Milowka.[19][20][21][22] During the 1980s, the Nullarbor Plain was recognized as a major cave-diving area, with one cave, Cocklebiddy, being explored for more than 6 kilometres, involving the use of large sleds to which were attached numerous diving cylinders and other paraphernalia, and which were then laboriously pushed through the cave by the divers. In more recent years divers have been utilizing compact diver-towing powered scooters, but the dive is still technically extremely challenging. A number of other very significant caves have also been discovered during the past 20 years or so; the 10+ (Lineal) kilometre long Tank Cave near Millicent in the Limestone Coast, other very large features on the Nullarbor and the adjacent Roe Plain as well as a number of specific sites elsewhere, and nowadays the cave diving community utilizes many techniques, equipment and standards from the U.S. and elsewhere. The CDAA is the major cave diving organisation in Australia and is responsible for the administration of cave diving at many sites. All cave diving in the Limestone Coast as well as at some New South Wales sites and the Nullarbor requires divers to be members of the CDAA, whether in the capacity of a visitor or a trained and assessed member. A number of other organisations participate in cave diving activities within Australia. The Australian Speleological Federation Cave Diving Group which was formed in 2005 coordinates projects focused on exploration and mapping at sites throughout Australia.[23] The following diving training organisations offer courses in various aspects of cave diving via instructors either resident in Australia or visiting from overseas Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/55cc00a3e4b07457fdfaadce/1476837517451/ People - Standard Dress Diving Suit with Warren Jackman Standard diving dress consists of a copper and brass or bronze diving helmet, an airline or hose from a surface supplied diving air pump, a waterproofed canvas diving suit, diving knife and weights, generally on the chest, back and shoes, to counteract the buoyancy.[1] Later models were equipped with a diver's telephone for voice communications with the surface. Some variants used rebreather systems to extend the use of gas supplies carried by the diver, and were effectively self-contained underwater breathing apparatus, and others were suitable for use with helium based breathing gases for deeper work. Divers could be deployed directly by lowering or raising them using the lifeline, or could be transported on a diving stage. Most diving work using standard dress was done heavy, with the diver sufficiently negatively buoyant to walk on the bottom. This type of diving equipment is also known as hard-hat or copper hat equipment, or heavy gear. It is sometimes known as a "Diver Dan" outfit, from the television show of the same name. It was commonly used for all underwater work which required more than breath-hold duration, and included marine salvage, civil engineering, pearl shell diving and other commercial diving work, and similar naval diving applications. The first successful diving helmets were produced by the brothers Charles and John Deane in the 1820s.[3] Inspired by a fire accident he witnessed in a stable in England,[4] he designed and patented a "Smoke Helmet" to be used by firemen in smoke-filled areas in 1823. The apparatus comprised a copper helmet with an attached flexible collar and garment. A long leather hose attached to the rear of the helmet was to be used to supply air - the original concept being that it would be pumped using a double bellows. A short pipe allowed breathed air to escape. The garment was constructed from leather or airtight cloth, secured by straps.[5] The brothers had insufficient funds to build the equipment themselves, so they sold the patent to their employer, Edward Barnard. It was not until 1827 that the first smoke helmets were built, by German-born British engineer Augustus Siebe. In 1828 they decided to find another application for their device and converted it into a diving helmet. They marketed the helmet with a loosely attached "diving suit" so that a diver could perform salvage work but only in a full vertical position, otherwise water entered the suit. In 1829 the Deane brothers sailed from Whitstable for trials of their new underwater apparatus, establishing the diving industry in the town. In 1834 Charles used his diving helmet and suit in a successful attempt on the wreck of Royal George at Spithead, during which he recovered 28 of the ship's cannon. In 1836, John Deane recovered from the discovered Mary Rose shipwreck timbers, guns, longbows, and other items. By 1836 the Deane brothers had produced the world's first diving manual, Method of Using Deane's Patent Diving Apparatus which explained in detail the workings of the apparatus and pump, plus safety precautions. In the 1830s the Deane brothers asked Siebe to apply his skill to improve their underwater helmet design.[6] Expanding on improvements already made by another engineer, George Edwards, Siebe produced his own design; a helmet fitted to a full length watertight canvas diving suit. The real success of the equipment was a valve in the helmet that meant that it could not flood no matter how the diver moved. This resulted in safer and more efficient underwater work. Siebe introduced various modifications on his diving dress design to accommodate the requirements of the salvage team on the wreck of the HMS Royal George, including making the helmet be detachable from the corselet; his improved design gave rise to the typical standard diving dress which revolutionised underwater civil engineering, underwater salvage, commercial diving and naval diving.[6] More recent diving helmet designs can be classified as free-flow and demand helmets. They are generally are made of stainless steel, fiberglass, or other strong and lightweight material. The copper helmets and standard diving dress are still widely used in parts of the world, but have largely been superseded by lighter and more comfortable equipment. Standard diving dress can be used up to depths of 600 feet (180 m) of sea water, provided a suitable breathing gas mixture is used. Air or other breathing gas may be supplied from hand pumps, compressors, or banks of high pressure storage cylinders, generally through a hose from the surface, though some models are autonomous, with built-in rebreathers. In 1912 the German firm Drägerwerk of Lübeck introduced their own version of standard diving dress using a gas supply from an oxygen rebreather and no surface supply. The system used a copper diving helmet and standard heavy diving suit. The breathing gas was circulated by using an injector system in the loop. This was developed further with the Modell 1915 "Bubikopf" helmet and the DM20 oxygen rebreather system for depths up to 20m, and the DM40 mixed gas rebreather which used an oxygen cylinder and an air cylinder for the gas supply for depths to 40m.[7] A continuous flow of compressed air is provided to the helmet and vented to the surrounding water at a pressure very close to the ambient pressure at the exhaust port,[1] which lets the diver breathe normally. The helmet must have a non-return valve at the air inlet port of the helmet, to prevent massive and fatal squeeze, should the air line be cut at the surface. Diving helmets, while very heavy, displace a great deal of water and combined with the air in the suit, would make the diver float with his head out of the water.[2]:33 To overcome this, some helmets are weighted, while other divers wear weighted belts which have straps that go over the base of the helmet. Some divers have an air inlet control valve, while others may have only one control, the exhaust back-pressure. Helmet divers are subject to the same pressure limitations as other divers, such as decompression sickness and nitrogen narcosis.[2]:1 The full diving dress can weigh over 80 kilos.[citation needed] The one piece diving suit is called a diver's dress.[citation needed] The earliest suits were made of waterproofed canvas invented by Charles Mackintosh. From the late 1800s and throughout most of the 20th century, most Standard Dresses consisted of a solid sheet of rubber between layers of tan twill. Their thick vulcanized rubber collar is clamped to the corselet making the joint waterproof. The inner collar (bib) was made of the same material as the dress and pulled up inside the corselet and around the diver's neck. The wrist cuffs are also made of vulcanized rubber.[citation needed] The twill was available as heavy, medium, and light with the heavy working best against rough surfaces like barnacles and rocks. Different types of dress are defined by the clamping of the outer collar clamps to the corselet. The legs may be laced to reduce inflated volume, which could prevent excess gas from getting trapped in the legs and dragging an inverted diver to the surface.[2]:56 In normal UK commercial standard dress diving activities, the dress often did not have the lace up option.[citation needed] The diver remains dry - a big advantage during long dives, and wears sufficient clothing under the suit to keep warm depending on the water temperature. A diving helmet may be described by the number of bolts which hold it to the suit or to the corselet, and the number of vision ports, known as lights. For example, a helmet with four vision ports, and twelve studs securing the suit, would be known as a "four light, twelve bolt helmet".[citation needed] The helmet is usually made of two main parts: the bonnet, which covers the diver's head, and the corselet which supports the weight of the helmet on the diver's shoulders, and is clamped to the suit to create a watertight seal. The bonnet is attached and sealed to the corselet at the neck, either by bolts or an interrupted screw-thread, with some form of locking mechanism.[citation needed] When the telephone was invented, it was applied to the standard diving dress. The bonnet is usually a copper shell with soldered brass fittings. It covers the diver's head and provides sufficient space to turn the head to look out of the glazed faceplate and other viewports (windows). The front port can usually be opened for ventilation and communication when the diver is on deck, by being screwed out or swung to the side on a hinge. The other lights (another name for the viewports) are generally fixed. Viewports are glass, and are usually protected by brass or bronze grilles. The helmet has fittings to connect the air line and the diver's telephone.[citation needed] Later helmets include a non-return valve where the airline is connected, which prevents potentially fatal helmet squeeze if the pressure in the hose is lost. The difference in pressure between the surface and the diver can be so great that if the air line is cut at the surface and there is no non-return valve, the diver would be partly squeezed into the helmet by the external pressure, and injured or possibly killed.[citation needed] Helmets also have a spring-loaded exhaust valve which allows excess air to leave the helmet. The spring force is adjustable by the diver to prevent the suit from deflating completely or over-inflating and the diver being floated uncontrollably to the surface. Some helmets have an extra manual exhaust valve known as a spit-cock. This allows the diver to vent excess air when he is in a position where the main exhaust can not function correctly.[citation needed] The corselet, also known as a breastplate, is an oval or rectangular collar-piece resting on the shoulders, chest and back, to support the helmet and seal it to the suit, usually made from copper and brass, but occasionally steel.[citation needed] The helmet is usually connected to the suit by placing the holes around the rubberised collar of the suit over bolts along the rim of the corselet, and then clamping the brass straps known as brailes against the collar with wing nuts to press the rubber against the metal of the corselet rim to make a water-tight seal. An alternative method was to bolt the bonnet to the corselet over a rubber collar bonded to the top of the suit.[7] Most bonnets are joined to the corselet by 1/8th turn interrupted thread. The helmet neck thread is placed onto the neck of the corselet facing the divers left front, where the threads do not engage, and then rotated forward, engaging the thread and seating on a leather gasket to make a watertight seal. The helmet usually hs a safety lock which prevents the bonnet from rotating back and separating underwater. Other styles of connection are also used, with the joint secured by clamps or bolts (usually three). Some helmets were made with the bonnet and corselet in one piece and secured to the suit in other ways. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/52f308b8e4b02564de2c1f82/1479181475966/MitchWallis-WesternBulldogs-5.jpg People - Mitch Wallis, Western Bulldogs The Western Bulldogs (formerly the Footscray Football Club) is a professional Australian rules football club that competes in the Australian Football League (AFL), the sport's premier competition. Founded in 1877 in Footscray, an inner-western suburb of Melbourne, Victoria, the club won nine premierships in the Victorian Football Association (VFA) before gaining entry to the Victorian Football League (since renamed the AFL) in 1925. The club has won two VFL/AFL premierships, in 1954 and 2016, and was runner up in 1961. The Western Bulldogs' home guernsey features two thick horizontal hoops—one red and one white—on a royal blue background. The club's traditional rivals include St Kilda and geographical rival Essendon. The club's headquarters and training facilities are located in Footscray at Whitten Oval, nicknamed "The Kennel", its original home ground. The club draws much of its supporter base from Melbourne's traditionally working class western region, and plays its home matches at Docklands Stadium (currently known as Etihad Stadium) in the Docklands area, also in the city's inner-west. In 1996, the club changed its name from the "Footscray Football Club" to its nickname, the "Western Bulldogs". In 2016, the Bulldogs fought through numerous injuries to finish 7th in the home and away season and, after a series of against-the-odds finals victories, qualified for the AFL Grand Final for the first time in 55 years. In doing so, it became the first club to reach the premiership contender from such a low position on the ladder.The club ended a 62-year premiership drought with a 22-point victory over minor premiers the Sydney Swans. Jason Johannisen won the Norm Smith Medal, while coach Luke Beveridge gave his Jock McHale Medal to captain and club veteran Robert Murphy—who suffered a season-ending injury in round 3—saying, "This is yours, mate. You deserve it more than anyone." This gesture, described as "one of the most touching" in football history, was met with a standing ovation by the crowd. Though thankful, Murphy returned the medal to Beveridge the following morning, saying he could not keep it. They decided to place the medal in the Western Bulldogs' museum. Footscray went by a variety of nicknames during the VFA years, including the Bone Mill Fellows, the Saltwater Lads, and, most popularly, the Tricolours, in reference to the club guernsey.The Western Bulldogs adopted its current nickname during the 1928 VFL season after a bulldog ran onto the field and accidentally led the players out against Collingwood at the Western Oval (now Whitten Oval), "to the wild applause of the callow youth", wrote one match reporter. Supporters felt that the bulldog typified Footscray's "bulldog spirit" that season, and it became the club's nickname and mascot. The club played its home matches at the Western Oval, located in the inner-western Melbourne suburb of Footscray, from 1884 until 1997 (except for a brief period at nearby Yarraville Oval, from 1941 to 1943). Home to the club's training facilities and administrative headquarters, the oval, nicknamed "The Kennel", was officially renamed Whitten Oval in 1995 in honour of club legend Ted Whitten, who died that year. It underwent a A$20 million redevelopment in 2005.[18] Melbourne's Princes Park became the Western Bulldogs' primary home ground from 1997 until 1999. Since 2000, the club has been based at Docklands Stadium (currently known as Etihad Stadium). Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/51a570d8e4b00f442896a0c7/1479181675456/Sweets2012-7.jpg People - Guy Grossi Guy Grossi (born 13 May 1965) is an Australian chef and media personality. He owns several restaurants in Melbourne. In 1996, Grossi was awarded the L’insegna Del Ristorante Italiano, by the president of Italy, for his dedication to presenting and promoting “La Cucina Italiana” and life style. He has published five cookbooks “Grossi Florentino – secrets and recipes”, “My Italian Heart”,"Recipes From My Mother's Kitchen" "Italian Food Safari", based on the SBS TV series and most recently "Love Italy" Grossi was born in Melbourne and raised by his parents Pietro Grossi and Marissa Grossi. His father Pietro came to Australia from Milan in 1960 to work as a chef at Mario's in Exhibition Street, Melbourne. He attended Dallas North Primary School before moving to Glenhuntly Primary, then Caulfield Technical School where he completed up to year 10 From 1980 to 1980, Grossi completed an apprenticeship in commercial cookery at the Box Hill Institute.At the age of fifteen he began working in a Malvern seafood restaurant before progressing to Tolarno's, where his father led the kitchen.Later, he moved to Massoni's in Fitzroy Street, owned by his father Pietro, Leon Massoni, and David GibsonFollowing a stint at Two Faces, he and his wife, Melissa opened Quadri, a restaurant of their own in Armadale. Guy’s father Pietro joined them to open Caffé Grossi in 1988. In 1999, Grossi purchased an Italian restaurant in Melbourne, The Florentino.Later, he purchased Mirka Continental Bistro in St Kilda, Victoria and had the building's murals restored by the original artist, Mirka Mora.The murals were first painted in the 1960s when Mora and her husband Georges owned the Tolarno Hotel. In 2009, he opened Grossi Trattoria and Wine Bar at the Intercontinental Hotel in Bangkok, Thailand In 2010, he opened The Merchant in the Rialto Towers as a joint venture with Lorenz Grollo saw the opening of a new restaurant, The Merchant. Merchant features traditional dishes from Veneto, where Guy’s mother and the Grollo family originate. In 2012, Guy opened Ombra Salumi Bar next door to Grossi Florentino in central Melbourne. Guy has appeared on various Australian television programs including Food Safari, Masterchef,9am with David and Kim, Fresh, Postcards, Getaway, Neighbours, My Kitchen Rules, A Current Affair, and Sunrise. He has also appeared on various American shows such as CBS in New York and Good Day Philadelphia. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/55cc0046e4b08dd40c424145/1454459303312/ People https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/518b08c2e4b09520fb848464/56b14b883c44d80f317c5bfe/1454459784660/ People http://www.stewiedonn.com/hunters-mistress-boutique daily 0.75 2017-12-07 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519dbbe7e4b08ded484a4ef3/51afd1a0e4b07064da3ed670/1370476962024/HM-MtMacedon-28CropDouble.jpg Hunters Mistress Boutique Fashion 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https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5191c086e4b0814ebb5eadf5/5191c16be4b01fcd71acd174/1368506734284/LMS-Hallam-Vic-64.jpg LMS Energy https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5191c086e4b0814ebb5eadf5/51a6b3aee4b0434836e2b640/1369879475190/LMS-Hallam-Vic-3.jpg LMS Energy http://www.stewiedonn.com/enviromix daily 0.75 2017-07-12 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f6ae4b04bb35e254315/1475551146796/stewiedonnHR_Fitzroy-2.jpg Enviromix - Fitzroy Gardens Melbourne City Historic 26-hectare site in city centre with model Tudor village, tree-lined walking paths & cafes. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f5ae4b0454b98ae0363/1475551135262/stewiedonnHR_Fitzroy-1.jpg Enviromix - Fitzroy Gardens Melbourne City Historic 26-hectare site in city centre with model Tudor village, tree-lined walking paths & cafes. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f28e4b05913b69f772d/1475551115982/stewiedonnHR_CarltonSouth-1.jpg Enviromix - Royal Exhibition Building Carlton Gardens Melbourne City Landscaped Victorian-era park now containing the Royal Exhibition Building and Melbourne Museum. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f25e4b0536c559e8a5f/1475551107637/stewiedonnHR_CarltonSouth-2.jpg Enviromix - Royal Exhibition Building Carlton Gardens Melbourne City Landscaped Victorian-era park now containing the Royal Exhibition Building and Melbourne Museum. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f4ae4b07b7f3ea4d795/1475551096240/stewiedonnHR_CarltonSouth-3.jpg Enviromix - Royal Exhibition Building Carlton Gardens Melbourne City Landscaped Victorian-era park now containing the Royal Exhibition Building and Melbourne Museum. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f9ee4b0c6f6d72f3882/1475551071152/stewiedonnHR_Treasury-3.jpg Enviromix - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908fcee4b07b22f532344c/1475551063010/stewiedonnHR_Treasury-Spreading-7.jpg Enviromix - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908f7fe4b0454b98ae0375/1475551051049/stewiedonnHR_Treasury-2.jpg Enviromix - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908fbce4b0c6f6d72f3898/1475551042508/stewiedonnHR_Treasury-Spreading-3.jpg Enviromix - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908fa4e4b0f96e0eb3b28a/1475551034615/stewiedonnHR_Treasury-Spreading-2.jpg Enviromix - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/519073ede4b075248d6b6777/51908fdce4b00c72ce74014d/1475551024710/stewiedonnHR_Treasury-Truck-4.jpg Enviromix - Treasury Gardens Melbourne City Filled with mature trees, this tranquil city park has a pond, several memorials & picnic areas. Enviromix. The materials that Enviromix process's are collected from the residents of metropolitan Melbourne and the surrounding regions, through council kerbside green bins, transfer stations, professional landscapers & home garden maintenance companies. By composting this material in compliance with the Australian Standards AS 4454, we provide our clients with useful, environmentally beneficial products including mulch, compost, and soil conditioner to improve their gardens and the farms that grow our food. Enviromix is the largest seller of certified organic compost in Victoria with strong end markets in agriculture and horticulture. We have a solid reputation for consistent quality product because of our expertise in agriculture, soil, nurseries and land management. Enviromix' operations contribute to the reduction of Victoria's carbon footprint by reducing the amount of green 'waste' being sent to landfill where it breaks down producing methane and other greenhouse gasses. Instead we capture the nutrient in this material making quality natural compost and mulches that enrich our ancient soils. Enviromix is proud to be at the leading edge of composting with high operational, technical and quality control standards. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   http://www.stewiedonn.com/fundere-artist-foundry daily 0.75 2017-07-12 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/51918457e4b03cce7f1cd64e/1476058426588/grindersFltV2.jpg Fundere Artist Foundry - Tool sky line at the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191847be4b00c14f4f501fb/1476058407930/PourFlt.jpg Fundere Artist Foundry - Cameron and Naz during a bronze pour at the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/51918444e4b0a84c2e1b479b/1476058396426/Crucible.jpg Fundere Artist Foundry - Cameron and Naz during a bronze pour at the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191847be4b0bcf02be5e984/1476058335539/SeanFltV2.jpg Fundere Artist Foundry - Sean at the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191842ce4b08f73818a97fb/1476058292354/CamronFull.jpg Fundere Artist Foundry - Cameron McIndoe at work in the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191842ce4b03cce7f1cd62a/1476058283688/CameronHelmetFltV2.jpg Fundere Artist Foundry - Cameron McIndoe at work in the Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/5191846be4b00c14f4f501f0/1476057936404/JetWashRoomV2CropFlt.jpg Fundere Artist Foundry - The wash room at Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b118e4b0f96e0eb3d0c5/51918466e4b03cb724dce4cb/1476057886260/NazHalfFlt.jpg Fundere Artist Foundry - Naz, at Fundere Artist Foundry FUNDERE FOUNDRY Established in 1995, Fundere specialises in art bronze casting and sculpture fabrication in most mediums. Fundere Fine art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Major commissions include: MCG parade of champions 10 sculptures of Australian sports men and women who have excelled at the MCG. Catholic Church a wide variety of saints Australia wide including Mary McKillop. RSL and Anzac memorials.   Fundere Studios is a collection of approximately 15 artists and art producers brought together for reasons of cheap rent, scented western Melbourne industrial air and a bit of network. Orange Rock Tiles by Brigid Courtney-Dunlop design and hand production of ceramic wall tiles Carey Potter, Designer and Maker original, custom-made furniture, fittings, murals, signage and other objects Elevated Art by Andrew McIndoe design of artefacts display stands and mountings Lis Johnson, Sculptor refined figurative sculptor with 20 years professional practise Mr Bucket by David Marsh graphic and t shirt design     Fundere Fine Art produces artwork of the highest standard and offers a complete sculpture service from concept / design to production and installation. Concept / design and artist selection Modelling Mouldmaking Bronze casting Fabrication in most materials Chasing / finishing Patina Installation Maintenance and Restoration Project Management Sculpture enlargement via 3d scanning or pantogram   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   http://www.stewiedonn.com/paper-manufacturing daily 0.75 2017-07-12 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188f8e4b00c14f4f50c7f/1475810260044/_DSC0828.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918949e4b0d444c4e70c41/1475810316893/_DSC1200.jpg Paper Manufacturing in Australia - Australian Paper Mill Maryvale Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188efe4b0553538adc111/1475810205149/_DSC0823.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918944e4b0038fc57feff2/1475810306198/_DSC1019.jpg Paper Manufacturing in Australia - Australian Paper Mill Maryvale Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918908e4b08798de8248e2/1475810270340/_DSC0839.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918ba6e4b0d444c4e70f25/1475810169352/_DSC0818.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188e6e4b0038fc57fef8f/1475809486782/_DSC0804.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918956e4b0307de17f7148/1475811004555/Panorama-Edit_Alt.jpg Paper Manufacturing in Australia - Norske Skog Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/5191886ee4b0f499a538845d/1475810151073/_DSC0938.jpg Paper Manufacturing in Australia Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/51918bc4e4b006802d8f9856/1475810142195/_DSC0940.jpg Paper Manufacturing in Australia - Visy Campbellfield Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188a0e4b0bcf02be5f34a/1475810036600/_DSC0649.jpg Paper Manufacturing in Australia - Nuplex Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b158e4b0454b98ae1e48/519188abe4b077a76c76fc71/1475810025076/_DSC0711.jpg Paper Manufacturing in Australia - Nuplex Australian Paper is the only Australian manufacturer of office, printing and packaging papers. Australian Paper directly employs 1,294 people and manufactures more than 600,000 tonnes of paper annually for Australia, New Zealand and export markets.[1] It has two manufacturing facilities: the Maryvale Mill (Latrobe Valley, Victoria) and the Preston manufacturing facility (Preston, Victoria).[2] Australian Paper was purchased from Paperlinx by Japan-based Nippon Paper Group in June 2009.[3] In February 2015 Australian Paper announced the closure of the Shoalhaven Paper Mill in Nowra, NSW.[4] The mill closed in July 2015.[5] In April 2015 Australian Paper opened a new A$90 million paper recycling plant at the Maryvale Mill. The plant can process up to 80,000 tonnes of wastepaper a year. Norske Skog (Australasia) Pty Ltd. The Sydney sales office is responsible for the supply of approx 600,000 tonnes of paper to publishers and commercial printers throughout Australia. Publication papers available are newsprint, high white 'improved newsprint', book and directory papers from the Albury, Boyer and Tasman mills together with supercalendered grades and coated paper from Norske Skog’s European mills. Norske Skog has the privilege of supplying the bulk of the total newspaper publishing paper requirements for both metropolitan and regional publishers throughout the country. Considerable innovation in logistics and service systems together with regular upgrading of paper machines has lead to highly efficient and effective supply capabilities on a sustainable basis. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital.       http://www.stewiedonn.com/science daily 0.75 2017-07-12 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fede4b03cce7f1ce7c4/1476140211107/phoneFlt.jpg Australian Science and Technology - Australian Synchrotron, Clayton The Australian Synchrotron is a 3 GeV national synchrotron radiation facility located in Clayton, in the south-eastern suburbs of Melbourne, Victoria, which opened in 2007. The Australian Synchrotron is a light source facility (in contrast to a collider), which uses particle accelerators to produce a beam of high energy electrons that are boosted to nearly the speed of light and directed into a storage ring where they circulate for many hours. As the path of these electrons are deflected in the storage ring by either bending magnets or insertion devices, they emit synchrotron light. The light is channelled to experimental endstations containing specialised equipment, enabling a range of research applications including high resolution imagery that is not possible under normal laboratory conditions,. The Australian Synchrotron supports the research needs of Australia’s major universities and research centres, and businesses ranging from small-to-medium enterprises to multinational companies. During 2014-15 the Australian Synchrotron supported more than 4,300 researcher visits and close to 1,000 experiments in areas such as medicine, agriculture, environment, defence, transport, advanced manufacturing and mining. In 2015, the Australian Government announced a ten-year, $520 million investment in operations, through the Australian Nuclear Science and Technology Organisation (ANSTO).   Electron gun The electrons used to provide the synchrotron light are first produced at the electron gun, by thermionic emission from a heated metal cathode. The emitted electrons are then accelerated to an energy of 90 keV (kilo-electron volts) by a 90 kilovolt potential applied across the gun and make their way into the linear accelerator.   Linear accelerator The linear accelerator (or linac) uses a series of RF cavities, operating at a frequency of 3 GHz, to accelerate the electron beam to an energy of 100 MeV, over a distance of around 15 metres. Due to the nature of this acceleration, the beam must be separated into discrete packets, or 'bunches'. This bunching process is done at the start of the linac, using several 'bunching' cavities. The linac can accelerate a beam once every second. Further along the linac quadrupole magnets are used to help focus the electron beam.   Booster synchrotron The booster is an electron synchrotron which takes the 100 MeV beam from the linac and increases its energy to 3 GeV. The booster ring is 130 metres in circumference and contains a single 5-cell RF cavity (operating at 500 MHz) which provides energy to the electron beam. Acceleration of the beam is achieved by a simultaneous ramping up of the magnet strength and cavity fields. Each ramping cycle takes approximately 1 second (for a complete ramp up and down).   Storage ring The storage ring is the final destination for the accelerated electrons. It is 216 metres in circumference and consists of 14 nearly identical sectors. Each sector consists of a straight section and an arc, with the arcs containing two dipole 'bending' magnets each. Each dipole magnet is a potential source of synchrotron light and most straight sections can also host an insertion device, giving the possibility of 30+ beamlines at the Australian Synchrotron. Two of the straight sections are used to host the storage ring 500 MHz RF cavities, which are essential for replacing the energy that the beam loses through synchrotron radiation. The storage ring also contains a large number of quadrupole and sextupole magnets used for beam focusing and chromaticity corrections. The ring is designed to hold 200 mA of stored current with a beam lifetime of over 20 hours.   Vacuum systems The electron beam is kept within a very high vacuum at all times during the acceleration process and within the storage ring. This vacuum is necessary as any beam collisions with gas molecules will quickly degrade the beam quality and reduce the lifetime of the beam. The vacuum is achieved by enclosing the beam in a stainless steel pipe system, with numerous vacuum pump systems continually working to keep the vacuum quality high. Pressure within the storage ring is typically around 10−13 bar (10 nPa).   Control system Each digital and analogue I/O channel is associated with a database entry in a customised distributed open source database system called EPICS (Experimental Physics and Industrial Control System). The condition of the system is monitored and controlled by connecting specialised GUIs to the specified database entries. There are about 45,000 database entries (also known as process variables), most of which relate to the physical I/O. About 35,000 of these are permanently archived at intervals ranging from milliseconds to minutes. Some high level control of the physics-related parameters of the beam is provided through MATLAB which also provides data analysis tools and an interface with a computerised model of the accelerator. Personnel and equipment protection is achieved through the use of PLC-based systems, which also transfer data to EPICS. The Beamlines also use EPICS as the basis for their control.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/5191901ce4b08798de8254ad/1476140180186/Untitled_Panorama2.jpg Australian Science and Technology - Australian Synchrotron, Clayton The Australian Synchrotron is a 3 GeV national synchrotron radiation facility located in Clayton, in the south-eastern suburbs of Melbourne, Victoria, which opened in 2007. The Australian Synchrotron is a light source facility (in contrast to a collider), which uses particle accelerators to produce a beam of high energy electrons that are boosted to nearly the speed of light and directed into a storage ring where they circulate for many hours. As the path of these electrons are deflected in the storage ring by either bending magnets or insertion devices, they emit synchrotron light. The light is channelled to experimental endstations containing specialised equipment, enabling a range of research applications including high resolution imagery that is not possible under normal laboratory conditions,. The Australian Synchrotron supports the research needs of Australia’s major universities and research centres, and businesses ranging from small-to-medium enterprises to multinational companies. During 2014-15 the Australian Synchrotron supported more than 4,300 researcher visits and close to 1,000 experiments in areas such as medicine, agriculture, environment, defence, transport, advanced manufacturing and mining. In 2015, the Australian Government announced a ten-year, $520 million investment in operations, through the Australian Nuclear Science and Technology Organisation (ANSTO).   Electron gun The electrons used to provide the synchrotron light are first produced at the electron gun, by thermionic emission from a heated metal cathode. The emitted electrons are then accelerated to an energy of 90 keV (kilo-electron volts) by a 90 kilovolt potential applied across the gun and make their way into the linear accelerator.   Linear accelerator The linear accelerator (or linac) uses a series of RF cavities, operating at a frequency of 3 GHz, to accelerate the electron beam to an energy of 100 MeV, over a distance of around 15 metres. Due to the nature of this acceleration, the beam must be separated into discrete packets, or 'bunches'. This bunching process is done at the start of the linac, using several 'bunching' cavities. The linac can accelerate a beam once every second. Further along the linac quadrupole magnets are used to help focus the electron beam.   Booster synchrotron The booster is an electron synchrotron which takes the 100 MeV beam from the linac and increases its energy to 3 GeV. The booster ring is 130 metres in circumference and contains a single 5-cell RF cavity (operating at 500 MHz) which provides energy to the electron beam. Acceleration of the beam is achieved by a simultaneous ramping up of the magnet strength and cavity fields. Each ramping cycle takes approximately 1 second (for a complete ramp up and down).   Storage ring The storage ring is the final destination for the accelerated electrons. It is 216 metres in circumference and consists of 14 nearly identical sectors. Each sector consists of a straight section and an arc, with the arcs containing two dipole 'bending' magnets each. Each dipole magnet is a potential source of synchrotron light and most straight sections can also host an insertion device, giving the possibility of 30+ beamlines at the Australian Synchrotron. Two of the straight sections are used to host the storage ring 500 MHz RF cavities, which are essential for replacing the energy that the beam loses through synchrotron radiation. The storage ring also contains a large number of quadrupole and sextupole magnets used for beam focusing and chromaticity corrections. The ring is designed to hold 200 mA of stored current with a beam lifetime of over 20 hours.   Vacuum systems The electron beam is kept within a very high vacuum at all times during the acceleration process and within the storage ring. This vacuum is necessary as any beam collisions with gas molecules will quickly degrade the beam quality and reduce the lifetime of the beam. The vacuum is achieved by enclosing the beam in a stainless steel pipe system, with numerous vacuum pump systems continually working to keep the vacuum quality high. Pressure within the storage ring is typically around 10−13 bar (10 nPa).   Control system Each digital and analogue I/O channel is associated with a database entry in a customised distributed open source database system called EPICS (Experimental Physics and Industrial Control System). The condition of the system is monitored and controlled by connecting specialised GUIs to the specified database entries. There are about 45,000 database entries (also known as process variables), most of which relate to the physical I/O. About 35,000 of these are permanently archived at intervals ranging from milliseconds to minutes. Some high level control of the physics-related parameters of the beam is provided through MATLAB which also provides data analysis tools and an interface with a computerised model of the accelerator. Personnel and equipment protection is achieved through the use of PLC-based systems, which also transfer data to EPICS. The Beamlines also use EPICS as the basis for their control.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/5191900ee4b0774db75dc9e1/1476140157015/PipesFlt.jpg Australian Science and Technology - Australian Synchrotron, Clayton The Australian Synchrotron is a 3 GeV national synchrotron radiation facility located in Clayton, in the south-eastern suburbs of Melbourne, Victoria, which opened in 2007. The Australian Synchrotron is a light source facility (in contrast to a collider), which uses particle accelerators to produce a beam of high energy electrons that are boosted to nearly the speed of light and directed into a storage ring where they circulate for many hours. As the path of these electrons are deflected in the storage ring by either bending magnets or insertion devices, they emit synchrotron light. The light is channelled to experimental endstations containing specialised equipment, enabling a range of research applications including high resolution imagery that is not possible under normal laboratory conditions,. The Australian Synchrotron supports the research needs of Australia’s major universities and research centres, and businesses ranging from small-to-medium enterprises to multinational companies. During 2014-15 the Australian Synchrotron supported more than 4,300 researcher visits and close to 1,000 experiments in areas such as medicine, agriculture, environment, defence, transport, advanced manufacturing and mining. In 2015, the Australian Government announced a ten-year, $520 million investment in operations, through the Australian Nuclear Science and Technology Organisation (ANSTO).   Electron gun The electrons used to provide the synchrotron light are first produced at the electron gun, by thermionic emission from a heated metal cathode. The emitted electrons are then accelerated to an energy of 90 keV (kilo-electron volts) by a 90 kilovolt potential applied across the gun and make their way into the linear accelerator.   Linear accelerator The linear accelerator (or linac) uses a series of RF cavities, operating at a frequency of 3 GHz, to accelerate the electron beam to an energy of 100 MeV, over a distance of around 15 metres. Due to the nature of this acceleration, the beam must be separated into discrete packets, or 'bunches'. This bunching process is done at the start of the linac, using several 'bunching' cavities. The linac can accelerate a beam once every second. Further along the linac quadrupole magnets are used to help focus the electron beam.   Booster synchrotron The booster is an electron synchrotron which takes the 100 MeV beam from the linac and increases its energy to 3 GeV. The booster ring is 130 metres in circumference and contains a single 5-cell RF cavity (operating at 500 MHz) which provides energy to the electron beam. Acceleration of the beam is achieved by a simultaneous ramping up of the magnet strength and cavity fields. Each ramping cycle takes approximately 1 second (for a complete ramp up and down).   Storage ring The storage ring is the final destination for the accelerated electrons. It is 216 metres in circumference and consists of 14 nearly identical sectors. Each sector consists of a straight section and an arc, with the arcs containing two dipole 'bending' magnets each. Each dipole magnet is a potential source of synchrotron light and most straight sections can also host an insertion device, giving the possibility of 30+ beamlines at the Australian Synchrotron. Two of the straight sections are used to host the storage ring 500 MHz RF cavities, which are essential for replacing the energy that the beam loses through synchrotron radiation. The storage ring also contains a large number of quadrupole and sextupole magnets used for beam focusing and chromaticity corrections. The ring is designed to hold 200 mA of stored current with a beam lifetime of over 20 hours.   Vacuum systems The electron beam is kept within a very high vacuum at all times during the acceleration process and within the storage ring. This vacuum is necessary as any beam collisions with gas molecules will quickly degrade the beam quality and reduce the lifetime of the beam. The vacuum is achieved by enclosing the beam in a stainless steel pipe system, with numerous vacuum pump systems continually working to keep the vacuum quality high. Pressure within the storage ring is typically around 10−13 bar (10 nPa).   Control system Each digital and analogue I/O channel is associated with a database entry in a customised distributed open source database system called EPICS (Experimental Physics and Industrial Control System). The condition of the system is monitored and controlled by connecting specialised GUIs to the specified database entries. There are about 45,000 database entries (also known as process variables), most of which relate to the physical I/O. About 35,000 of these are permanently archived at intervals ranging from milliseconds to minutes. Some high level control of the physics-related parameters of the beam is provided through MATLAB which also provides data analysis tools and an interface with a computerised model of the accelerator. Personnel and equipment protection is achieved through the use of PLC-based systems, which also transfer data to EPICS. The Beamlines also use EPICS as the basis for their control.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fdfe4b0553538adce4a/1476140754307/merge1Flt.jpg Australian Science and Technology - Autralian Synchrotron, Clayton The Australian Synchrotron is a 3 GeV national synchrotron radiation facility located in Clayton, in the south-eastern suburbs of Melbourne, Victoria, which opened in 2007. The Australian Synchrotron is a light source facility (in contrast to a collider), which uses particle accelerators to produce a beam of high energy electrons that are boosted to nearly the speed of light and directed into a storage ring where they circulate for many hours. As the path of these electrons are deflected in the storage ring by either bending magnets or insertion devices, they emit synchrotron light. The light is channelled to experimental endstations containing specialised equipment, enabling a range of research applications including high resolution imagery that is not possible under normal laboratory conditions,. The Australian Synchrotron supports the research needs of Australia’s major universities and research centres, and businesses ranging from small-to-medium enterprises to multinational companies. During 2014-15 the Australian Synchrotron supported more than 4,300 researcher visits and close to 1,000 experiments in areas such as medicine, agriculture, environment, defence, transport, advanced manufacturing and mining. In 2015, the Australian Government announced a ten-year, $520 million investment in operations, through the Australian Nuclear Science and Technology Organisation (ANSTO).   Electron gun The electrons used to provide the synchrotron light are first produced at the electron gun, by thermionic emission from a heated metal cathode. The emitted electrons are then accelerated to an energy of 90 keV (kilo-electron volts) by a 90 kilovolt potential applied across the gun and make their way into the linear accelerator.   Linear accelerator The linear accelerator (or linac) uses a series of RF cavities, operating at a frequency of 3 GHz, to accelerate the electron beam to an energy of 100 MeV, over a distance of around 15 metres. Due to the nature of this acceleration, the beam must be separated into discrete packets, or 'bunches'. This bunching process is done at the start of the linac, using several 'bunching' cavities. The linac can accelerate a beam once every second. Further along the linac quadrupole magnets are used to help focus the electron beam.   Booster synchrotron The booster is an electron synchrotron which takes the 100 MeV beam from the linac and increases its energy to 3 GeV. The booster ring is 130 metres in circumference and contains a single 5-cell RF cavity (operating at 500 MHz) which provides energy to the electron beam. Acceleration of the beam is achieved by a simultaneous ramping up of the magnet strength and cavity fields. Each ramping cycle takes approximately 1 second (for a complete ramp up and down).   Storage ring The storage ring is the final destination for the accelerated electrons. It is 216 metres in circumference and consists of 14 nearly identical sectors. Each sector consists of a straight section and an arc, with the arcs containing two dipole 'bending' magnets each. Each dipole magnet is a potential source of synchrotron light and most straight sections can also host an insertion device, giving the possibility of 30+ beamlines at the Australian Synchrotron. Two of the straight sections are used to host the storage ring 500 MHz RF cavities, which are essential for replacing the energy that the beam loses through synchrotron radiation. The storage ring also contains a large number of quadrupole and sextupole magnets used for beam focusing and chromaticity corrections. The ring is designed to hold 200 mA of stored current with a beam lifetime of over 20 hours.   Vacuum systems The electron beam is kept within a very high vacuum at all times during the acceleration process and within the storage ring. This vacuum is necessary as any beam collisions with gas molecules will quickly degrade the beam quality and reduce the lifetime of the beam. The vacuum is achieved by enclosing the beam in a stainless steel pipe system, with numerous vacuum pump systems continually working to keep the vacuum quality high. Pressure within the storage ring is typically around 10−13 bar (10 nPa).   Control system Each digital and analogue I/O channel is associated with a database entry in a customised distributed open source database system called EPICS (Experimental Physics and Industrial Control System). The condition of the system is monitored and controlled by connecting specialised GUIs to the specified database entries. There are about 45,000 database entries (also known as process variables), most of which relate to the physical I/O. About 35,000 of these are permanently archived at intervals ranging from milliseconds to minutes. Some high level control of the physics-related parameters of the beam is provided through MATLAB which also provides data analysis tools and an interface with a computerised model of the accelerator. Personnel and equipment protection is achieved through the use of PLC-based systems, which also transfer data to EPICS. The Beamlines also use EPICS as the basis for their control.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918ff0e4b0774db75dc9be/1476139257341/MagnifyGlassFlt.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918f92e4b03cb724dcfccb/1476139243714/-4.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fc0e4b0774db75dc99b/1476140350803/HawkNose.jpg Australian Science and Technology - Boeing Defence and Technology Australia Boeing Australia Holdings Pty Ltd, or simply Boeing Australia, is Boeing's largest footprint outside the United States. Established in 2002, the company oversees its seven wholly owned subsidiaries, consolidating and co-ordinating Boeing’s businesses and operations in Australia. Boeing has played a role in Australia’s aerospace industry through its products and services, and has 3500 employees spread across 28 locations in every state and territory except Tasmania. With an investment of more than $800 million, Boeing generates approximately $400 million in export revenue for Australia through its commercial and defence products and services.   Boeing began working in Australia through its subsidiary Boeing Aerostructures Australia, which was formerly known as de Havilland Australia and established in 1927. Boeing acquired de Havilland Australia in 2000, and prior to this Boeing’s first direct investment in Australia came through its acquisition of the Rockwell International in 1996. Rockwell Australia became Boeing Australia Ltd (now Boeing Defence Australia) in 1996.[3] The five remaining subsidiaries were acquired as follows: Jeppesen Australia and Jeppesen Marine in 2000, Alteon in 2002, Aviall in 2006 and Insitu Pacific in 2009.   In Australia, IDS is represented in by its business unit Boeing Defence Australia (BDA), which is a defence aerospace enterprise. BDA supports some of the largest and most complex programs for the Commonwealth of Australia, the Australian Defence Force and commercial customers. BDA also conducts operations and maintenance for classified programs and Australian Government sites, and operates in line with the three divisions of Boeing IDS - Boeing Military Aircraft, Global Services & Support, and Network & Space Systems. Other IDS activities in Australia are carried out by Boeing Australia Component Repairs (BACR) and Boeing Aerostructures Australia (BAA). BACR provides maintenance, repair and overhaul (MRO) on composite and metallic structures, and BAA offers design, manufacture, testing and repair of airframe structural components. Despite predominantly commercial customers, BAA is responsible for the manufacture of the F/A-18 C/D trailing-edge flaps, while BACR provides MRO services as needed. Boeing Commercial Airplanes[edit] Boeing Commercial Airplanes (BCA) is a manufacturer of commercial planes. In Australia, BCA is represented by BCA Sales, which operates out of Boeing Australia’s Sydney office and provides sales and marketing support of BCA products, customer engineering and quality control/procurement functions. BCA opened its first Australian office in Sydney in 1959 when Qantas became the first international customer for Boeing’s first passenger jet, the 707, which changed air travel for Australians by drastically reducing flight times to the rest of the world. The Boeing 737 has also played an important role in the growth of aviation in Australia. BCA is also supported in Australia by Boeing Aerostructures Australia (BAA, formerly Hawker de Havilland). BAA manufactures aircraft components including the use of composite carbon fibre technology. BAA won the sole-source contract for designing and manufacturing the moveable trailing edges on the Boeing 787 Dreamliner. Another component of BCA is its Commercial Aviation Services (CAS) unit, which provides materials and engineering services and solutions to Boeing customers in-country. In Australia, Alteon Training Australia, Aviall, Jeppesen Australia and Jeppesen Marine come under CAS' family of companies. Boeing Field Service is also part of CAS. Field Service provides on-site technical advice to Boeing customers and can call resolve operator problems with access to BCA technical resources. Field Service representatives are located in Brisbane, Sydney and Melbourne.   Boeing Research and Technology[edit] In March 2008, Boeing established a branch of its advanced research and development (R&D) unit – Boeing Research & Technology (BR&T) – in Australia to provide an R&D organisation for its in-country businesses and to collaborate with Australian R&D organisations, including universities and private sector R&D providers, the Commonwealth Scientific and Industrial Research Organisation (CSIRO) and the Defence Science and Technology Organisation (DSTO). Current areas of BR&T research includes unmanned systems research, the manufacture of advanced composite components, and biofuels. In September 2003, Boeing Company initiated with the University of Queensland School of IT and Electrical Engineering (ITEE) a new Boeing Systems Engineering Teaching Laboratory to fill skills shortages in aviation and aerospace industry in Australia. [8] Boeing also made a $1.55M grant for founding of a Boeing Professorship in Systems Engineering for 5 years occupied by Prof Peter A Lindsay. Boeing provided funding with respect to the Wedgetail 737 Airborne Early Warning and Control (AEW&C) project with the Commonwealth of Australia and expected to deliver 2 by 2006. This fostered Defence Industries Queensland in Queensland Department of State Development, Infrastructure and Planning with Boeing Defence Australia at RAAF Base Amberley. Company affairs[edit] President Boeing Australia and South Pacific[edit] Ian Thomas is the President Boeing Australia and South Pacific. He was appointed to the role in March 2009, and is responsible as a figurehead to Boeing's activities in the region. Previously, Thomas was president of Boeing India since January 2007. He replaced former president of Boeing Australia and South Pacific Craig Saddler, who returned to the US to accept the position of chief financial officer for Boeing Integrated Defense Systems division, Network & Space Systems. Prior to Saddler, Andrew Peacock, a former Australian Liberal politician, held the role.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/5191901ce4b0ab849dd6b543/1476140334897/TopView.jpg Australian Science and Technology - Boeing Defence and Technology Australia Boeing Australia Holdings Pty Ltd, or simply Boeing Australia, is Boeing's largest footprint outside the United States. Established in 2002, the company oversees its seven wholly owned subsidiaries, consolidating and co-ordinating Boeing’s businesses and operations in Australia. Boeing has played a role in Australia’s aerospace industry through its products and services, and has 3500 employees spread across 28 locations in every state and territory except Tasmania. With an investment of more than $800 million, Boeing generates approximately $400 million in export revenue for Australia through its commercial and defence products and services.   Boeing began working in Australia through its subsidiary Boeing Aerostructures Australia, which was formerly known as de Havilland Australia and established in 1927. Boeing acquired de Havilland Australia in 2000, and prior to this Boeing’s first direct investment in Australia came through its acquisition of the Rockwell International in 1996. Rockwell Australia became Boeing Australia Ltd (now Boeing Defence Australia) in 1996.[3] The five remaining subsidiaries were acquired as follows: Jeppesen Australia and Jeppesen Marine in 2000, Alteon in 2002, Aviall in 2006 and Insitu Pacific in 2009.   In Australia, IDS is represented in by its business unit Boeing Defence Australia (BDA), which is a defence aerospace enterprise. BDA supports some of the largest and most complex programs for the Commonwealth of Australia, the Australian Defence Force and commercial customers. BDA also conducts operations and maintenance for classified programs and Australian Government sites, and operates in line with the three divisions of Boeing IDS - Boeing Military Aircraft, Global Services & Support, and Network & Space Systems. Other IDS activities in Australia are carried out by Boeing Australia Component Repairs (BACR) and Boeing Aerostructures Australia (BAA). BACR provides maintenance, repair and overhaul (MRO) on composite and metallic structures, and BAA offers design, manufacture, testing and repair of airframe structural components. Despite predominantly commercial customers, BAA is responsible for the manufacture of the F/A-18 C/D trailing-edge flaps, while BACR provides MRO services as needed. Boeing Commercial Airplanes[edit] Boeing Commercial Airplanes (BCA) is a manufacturer of commercial planes. In Australia, BCA is represented by BCA Sales, which operates out of Boeing Australia’s Sydney office and provides sales and marketing support of BCA products, customer engineering and quality control/procurement functions. BCA opened its first Australian office in Sydney in 1959 when Qantas became the first international customer for Boeing’s first passenger jet, the 707, which changed air travel for Australians by drastically reducing flight times to the rest of the world. The Boeing 737 has also played an important role in the growth of aviation in Australia. BCA is also supported in Australia by Boeing Aerostructures Australia (BAA, formerly Hawker de Havilland). BAA manufactures aircraft components including the use of composite carbon fibre technology. BAA won the sole-source contract for designing and manufacturing the moveable trailing edges on the Boeing 787 Dreamliner. Another component of BCA is its Commercial Aviation Services (CAS) unit, which provides materials and engineering services and solutions to Boeing customers in-country. In Australia, Alteon Training Australia, Aviall, Jeppesen Australia and Jeppesen Marine come under CAS' family of companies. Boeing Field Service is also part of CAS. Field Service provides on-site technical advice to Boeing customers and can call resolve operator problems with access to BCA technical resources. Field Service representatives are located in Brisbane, Sydney and Melbourne.   Boeing Research and Technology[edit] In March 2008, Boeing established a branch of its advanced research and development (R&D) unit – Boeing Research & Technology (BR&T) – in Australia to provide an R&D organisation for its in-country businesses and to collaborate with Australian R&D organisations, including universities and private sector R&D providers, the Commonwealth Scientific and Industrial Research Organisation (CSIRO) and the Defence Science and Technology Organisation (DSTO). Current areas of BR&T research includes unmanned systems research, the manufacture of advanced composite components, and biofuels. In September 2003, Boeing Company initiated with the University of Queensland School of IT and Electrical Engineering (ITEE) a new Boeing Systems Engineering Teaching Laboratory to fill skills shortages in aviation and aerospace industry in Australia. [8] Boeing also made a $1.55M grant for founding of a Boeing Professorship in Systems Engineering for 5 years occupied by Prof Peter A Lindsay. Boeing provided funding with respect to the Wedgetail 737 Airborne Early Warning and Control (AEW&C) project with the Commonwealth of Australia and expected to deliver 2 by 2006. This fostered Defence Industries Queensland in Queensland Department of State Development, Infrastructure and Planning with Boeing Defence Australia at RAAF Base Amberley. Company affairs[edit] President Boeing Australia and South Pacific[edit] Ian Thomas is the President Boeing Australia and South Pacific. He was appointed to the role in March 2009, and is responsible as a figurehead to Boeing's activities in the region. Previously, Thomas was president of Boeing India since January 2007. He replaced former president of Boeing Australia and South Pacific Craig Saddler, who returned to the US to accept the position of chief financial officer for Boeing Integrated Defense Systems division, Network & Space Systems. Prior to Saddler, Andrew Peacock, a former Australian Liberal politician, held the role.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fcde4b08f73818aadae/1476140319570/HawkHeroVschool.jpg Australian Science and Technology - Boeing Defence and Technology Australia Boeing Australia Holdings Pty Ltd, or simply Boeing Australia, is Boeing's largest footprint outside the United States. Established in 2002, the company oversees its seven wholly owned subsidiaries, consolidating and co-ordinating Boeing’s businesses and operations in Australia. Boeing has played a role in Australia’s aerospace industry through its products and services, and has 3500 employees spread across 28 locations in every state and territory except Tasmania. With an investment of more than $800 million, Boeing generates approximately $400 million in export revenue for Australia through its commercial and defence products and services.   Boeing began working in Australia through its subsidiary Boeing Aerostructures Australia, which was formerly known as de Havilland Australia and established in 1927. Boeing acquired de Havilland Australia in 2000, and prior to this Boeing’s first direct investment in Australia came through its acquisition of the Rockwell International in 1996. Rockwell Australia became Boeing Australia Ltd (now Boeing Defence Australia) in 1996.[3] The five remaining subsidiaries were acquired as follows: Jeppesen Australia and Jeppesen Marine in 2000, Alteon in 2002, Aviall in 2006 and Insitu Pacific in 2009.   In Australia, IDS is represented in by its business unit Boeing Defence Australia (BDA), which is a defence aerospace enterprise. BDA supports some of the largest and most complex programs for the Commonwealth of Australia, the Australian Defence Force and commercial customers. BDA also conducts operations and maintenance for classified programs and Australian Government sites, and operates in line with the three divisions of Boeing IDS - Boeing Military Aircraft, Global Services & Support, and Network & Space Systems. Other IDS activities in Australia are carried out by Boeing Australia Component Repairs (BACR) and Boeing Aerostructures Australia (BAA). BACR provides maintenance, repair and overhaul (MRO) on composite and metallic structures, and BAA offers design, manufacture, testing and repair of airframe structural components. Despite predominantly commercial customers, BAA is responsible for the manufacture of the F/A-18 C/D trailing-edge flaps, while BACR provides MRO services as needed. Boeing Commercial Airplanes[edit] Boeing Commercial Airplanes (BCA) is a manufacturer of commercial planes. In Australia, BCA is represented by BCA Sales, which operates out of Boeing Australia’s Sydney office and provides sales and marketing support of BCA products, customer engineering and quality control/procurement functions. BCA opened its first Australian office in Sydney in 1959 when Qantas became the first international customer for Boeing’s first passenger jet, the 707, which changed air travel for Australians by drastically reducing flight times to the rest of the world. The Boeing 737 has also played an important role in the growth of aviation in Australia. BCA is also supported in Australia by Boeing Aerostructures Australia (BAA, formerly Hawker de Havilland). BAA manufactures aircraft components including the use of composite carbon fibre technology. BAA won the sole-source contract for designing and manufacturing the moveable trailing edges on the Boeing 787 Dreamliner. Another component of BCA is its Commercial Aviation Services (CAS) unit, which provides materials and engineering services and solutions to Boeing customers in-country. In Australia, Alteon Training Australia, Aviall, Jeppesen Australia and Jeppesen Marine come under CAS' family of companies. Boeing Field Service is also part of CAS. Field Service provides on-site technical advice to Boeing customers and can call resolve operator problems with access to BCA technical resources. Field Service representatives are located in Brisbane, Sydney and Melbourne.   Boeing Research and Technology[edit] In March 2008, Boeing established a branch of its advanced research and development (R&D) unit – Boeing Research & Technology (BR&T) – in Australia to provide an R&D organisation for its in-country businesses and to collaborate with Australian R&D organisations, including universities and private sector R&D providers, the Commonwealth Scientific and Industrial Research Organisation (CSIRO) and the Defence Science and Technology Organisation (DSTO). Current areas of BR&T research includes unmanned systems research, the manufacture of advanced composite components, and biofuels. In September 2003, Boeing Company initiated with the University of Queensland School of IT and Electrical Engineering (ITEE) a new Boeing Systems Engineering Teaching Laboratory to fill skills shortages in aviation and aerospace industry in Australia. [8] Boeing also made a $1.55M grant for founding of a Boeing Professorship in Systems Engineering for 5 years occupied by Prof Peter A Lindsay. Boeing provided funding with respect to the Wedgetail 737 Airborne Early Warning and Control (AEW&C) project with the Commonwealth of Australia and expected to deliver 2 by 2006. This fostered Defence Industries Queensland in Queensland Department of State Development, Infrastructure and Planning with Boeing Defence Australia at RAAF Base Amberley. Company affairs[edit] President Boeing Australia and South Pacific[edit] Ian Thomas is the President Boeing Australia and South Pacific. He was appointed to the role in March 2009, and is responsible as a figurehead to Boeing's activities in the region. Previously, Thomas was president of Boeing India since January 2007. He replaced former president of Boeing Australia and South Pacific Craig Saddler, who returned to the US to accept the position of chief financial officer for Boeing Integrated Defense Systems division, Network & Space Systems. Prior to Saddler, Andrew Peacock, a former Australian Liberal politician, held the role.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918f9fe4b0033da8952c20/1476139225377/100LtReactorFLTCropV1.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fa5e4b08f73818aad92/1476139211784/ChrisLabFlt.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918f85e4b0bcf02be600a6/1476139198644/_DSC1215.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51918f5fe4b03cb724dcfc9d/51918fcee4b0932556ee8370/1476319151361/LabCoatsGekko.jpg Australian Science and Technology - CSIRO The Commonwealth Scientific and Industrial Research Organisation (CSIRO) is the federal government agency for scientific research in Australia. Its chief role is to improve the economic and social performance of industry, for the benefit of the community. CSIRO works with leading organisations around the world, and CSIRO Publishing issues journals with the latest research by leading scientists on a broad range of subjects. Notable developments by CSIRO have included the invention of atomic absorption spectroscopy, development of the first commercially successful polymer banknote, the invention of the insect repellent in Aerogard and the introduction of a series of biological controls into Australia, such as the introduction of myxomatosis and rabbit calicivirus for the control of rabbit populations.   From its headquarters in Canberra, CSIRO maintains more than 50 sites across Australia and biological control research stations in France and Mexico, employing about 5000 in total. The primary roles of CSIRO include contributing to meeting the objectives and responsibilities of the Australian government and providing new ways to benefit the Australian community and the economic and social performance of a number of industry sectors through research and development. CSIRO works with leading organisations around the world, and CSIRO Publishing publishes journals presenting the latest research by leading Australian and overseas scientists and covering a broad range of subjects. As of 1 July 2014, CSIRO is governed by a Board, chaired by David Thodey with nine directors inclusive of the CEO, all appointed by the Australian government. Daily management is led by a CEO, presently Dr Larry Marshall, with an executive team of seven. There are ten research flagships and twelve services areas.   A precursor to CSIRO, the Advisory Council of Science and Industry, was established in 1916 at the initiative of prime minister Billy Hughes. However, the Advisory Council struggled with insufficient funding during the First World War. In 1920 the Council was renamed the "Commonwealth Institute of Science and Industry", and was led by George Handley Knibbs (1921–26), but continued to struggle financially. In 1926 The Science and Industry Research Act replaced the Institute with the 'Council for Scientific and Industrial Research' (CSIR). The CSIR was structured to represent the federal structure of Australian government, and had state-level committees and a central council. As well as this improved structure, the CSIR benefited from strong bureaucratic management under George Julius, David Rivett, and Arnold Richardson. CSIR research focussed on primary and secondary industries. Early in its existence, it established divisions studying animal health and animal nutrition. After the depression, the CSIR extended into secondary industries such as manufacturing. CSIRO today has expanded into a wider range of scientific inquiry. This expansion began with the evolution of CSIR to the CSIRO by the Ben Chifley Labor government in 1949 which amended the Science and Industry Research Act,[15] under which CSIRO continues to operate. The amendment enlarged and reconstituted the organisation and its administrative structure. Under Ian Clunies Ross as chairman, CSIRO pursued new areas such as radioastronomy and industrial chemistry.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. http://www.stewiedonn.com/melbourne-museum daily 0.75 2017-11-23 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/519193f5e4b00c14f4f52222/1485471732168/Museum+Vic+8.jpg Melbourne Museum - Room With A View Interior Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/5191944ae4b0774db75dd359/1485471749834/Museum+Vic+16.jpg Melbourne Museum - Structure Interior Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/519193d0e4b03488d35e863a/1485471706665/Museum+Vic+4-3.jpg Melbourne Museum - Glass Walk Way Interior Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/519193a2e4b0038fc580006a/1485471689275/Museum+Vic+2.jpg Melbourne Museum - Whale skeleton Interior Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/5191945ee4b08798de82599c/1485471565902/Museum+Vic+23.jpg Melbourne Museum - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/51a6a679e4b01ba7ba187264/1485471632663/Museum+Vic+1V2.jpg Melbourne Museum - Melbourne Museum Forecourt Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/5191942be4b0774db75dd339/1485471612822/Museum+Vic+13.jpg Melbourne Museum - Rubik's Cube Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/51919424e4b0307de17f85bb/1485471558437/Museum+Vic+10.jpg Melbourne Museum - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/51919478e4b08f73818ab24d/1485471468939/Museum+Vic.jpg Melbourne Museum - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5190b1e6e4b02ecd0eaa2189/519193eae4b077a76c771140/1485471449096/Museum+Vic+4.jpg Melbourne Museum - Tree Tops Melbourne Museum Melbourne Museum is a natural and cultural history museum located in the Carlton Gardens in Melbourne, Australia, adjacent to the Royal Exhibition Building. It was designed by Denton Corker Marshall Architects and finished construction in 2001. Situated in the Carlton Gardens, it was commissioned by the Victorian Government Office of Major Projects on behalf of Museums Victoria. The museum is a rich response to Melbourne’s urban condition, and provides a place for education, history, culture and society to engage with each other in a contemporary setting. It is now an important part of Melbourne’s soft infrastructure. It is the largest museum in the Southern Hemisphere, and is a venue of Museum Victoria, which also operates the Immigration Museum and Scienceworks Museum. The museum has seven main galleries, a Children's Gallery and a temporary exhibit gallery on three levels, Upper, Ground and Lower Level and was constructed by Baulderstone Hornibrook. The Touring Hall is where temporary exhibits are displayed. Past exhibits include mummies from Egypt and dinosaurs from China. The Big Box is part of the Children's Gallery. In addition, the museum has other facilities such as the Sidney Myer Amphitheatre and The Age Theatre. The Discovery Centre, on the Lower Level, is a free public research centre. The museum also has a cafe and a souvenir shop. The IMAX Theatre, which is situated on the Lower Level is also part of the museum complex. It shows movies, usually documentary films, in 3-D format. The Melbourne Museum is a post-modernist building, structured with a grid-like order that embraces eccentric metal clad forms extruding out and creating an irregular sculptural composition with moments of abstract colour throughout the building. A building of the public, the museum is arranged in a volumetrically individual layout, referencing Melbourne’s iconic Hoddle Grid, which allows the importance of each component of the buildings historical, cultural and social significance to be read in loosely equal hierarchy and individuality, being the Imax theatre, and Aboriginal centre.The building can be dissected into different spaces so an individual can navigate through and around the building in an orthogonal manner. It is both a single building, and a network of individual buildings integrated into the landscape of the Carlton Gardens. The new museum is axially aligned with the adjacent neo-classical Royal Exhibition Building, and references it along with the skyscrapers of Melbourne’s central business district, with its monumental scale, and horizontality with protruding vertical facets. The sticks and blades that make up the Melbourne Museum are signatures of Denton Corker Marshall’s architecture. The most iconic detail of the building is the spectacular cantilever that projects over to the west, on the central axis with the Royal Exhibition centre, this cantilever can be seen from kilometres away. On the northern side resides a large, taller sloped roof than that of the cantilever, similar in scale to the dome of the Royal Exhibition building. Denton Corker Marshall specialise in city planning and urban design, and mainly concern their practise with responding to social desires. The Melbourne Museum is situated in a unique precinct; adjacent to a large local landmark, located within a large public park. Contrasted against the neo-classical Royal Exhibition centre, Denton Corker Marshall separates the two with an events plaza, yet connects them again underground with a car park, defining their motto; "A new connection between the old, the new, past and future".Their approach to such a prominent part of Melbourne’s historical and cultural infrastructure was to bring the past and existing exhibition building, into a new context and attempting to redefine a museums role as a public building. Denton Corker Marshall also envision the building to be just as responsive to its context as it is now, in the future. In a meeting place for community, the building itself acts as a community of different programs and meanings, combining to make a whole. In a wider context, the museum refers to Melbourne’s city grid in its planning, and integrates the landscape of Carlton Gardens; housing a Forest Gallery which is situated within the building, and also providing areas of exterior circulation around the building. Formally the Melbourne Museum is motivated by sculpture. Denton Corker Marshall manipulates sculptural forms to meet the constraints of the buildings context and program. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. http://www.stewiedonn.com/mount-john-observatory-nz daily 0.75 2017-07-12 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a6bbd8e4b0fd1b00157f9f/51a6bc40e4b0fd1b0015802b/1475709856318/MtJohn4.V3.jpg Mount John Observatory NZ - Mount John University Observatory (MJUO), NZ Mount John University Observatory (MJUO), is New Zealand's premier astronomical research observatory.[1] It is situated at 1,029 metres (3,376 ft) ASL atop Mount John at the northern end of the Mackenzie Basin in the South Island, and was established in 1965.[1] There are many telescopes on site including: one 0.4-meter, two 0.6-meter, one 1.0-meter, and a new 1.8-meter "MOA Telescope" (see details below). The nearest population center is the resort town Lake Tekapo (pop. <500). Approximately 20% of nights at MJUO are photometric, with a larger number available for spectroscopic work and direct imaging photometry. MJUO is operated by the University of Canterbury, and is the home of HERCULES (High Efficiency and Resolution Canterbury University Large Echelle Spectrograph), and the observational wing of the Japanese/New Zealand MOA collaboration (Microlensing Observations in Astrophysics) led by Professor Yasushi Muraki of Nagoya University. A Japanese funded, 1.8-meter telescope is now in place and will be used initially by the MOA Project, before handover to the University of Canterbury at the conclusion of the MOA Project in 2012. In June 2012 an area of 430,000 hectares (1,700 sq mi) around the observatory was declared as the Aoraki Mackenzie International Dark Sky Reserve by the International Dark-Sky Association, one of only four such reserves around the world.[2] The area has a Bortle Scale of 2.[3] There are 5 large telescopes on the mountain that are in regular use. There is also a cafe and night-tours run by tourist operators, Earth and Sky. There is accommodation for visiting researchers within the 1.0m building. A Superintendent lives on the mountain. MOA Telescope[edit] Opened in 2004 December, this telescope was built by Japanese astronomers and is dedicated to the MOA project. It is a 1.8m prime focus reflector. The MOA telescope is the largest telescope in New Zealand. McLellan Telescope[edit] This is a 1.0m Dall-Kirkham reflecting telescope run at either f/7.7 or f/13.5. Photometric imaging is by CCD camera and spectroscopy is by fibre-optic cable to the HERCULES spectrograph. Boller & Chivens Telescope[edit] This is a 0.61m reflecting telescope run at either f/13.5 or occasionally f/6.25. Photometry is usually carried out using an Apogee Alta CCD camera. Optical Craftsmen Telescope[edit] This is a 0.61m fork mounted reflecting telescope operating at f/16. This telescope is used exclusively for CCD photometry. It is currently being upgraded and commissioned for robotic use as part of the AAVSO's Robotic Telescope Network. This is the AAVSO's first Southern Hemisphere telescope. Earth and Sky Telescope[edit] This telescope, used exclusively for visual tourist operations is a 0.4m Meade LX200 telescope.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a6bbd8e4b0fd1b00157f9f/51a6bc41e4b0930fcb065ae3/1475709834924/MtJohn3.V.4.jpg Mount John Observatory NZ - Mount John University Observatory (MJUO), New Zealand Mount John University Observatory (MJUO), is New Zealand's premier astronomical research observatory.[1] It is situated at 1,029 metres (3,376 ft) ASL atop Mount John at the northern end of the Mackenzie Basin in the South Island, and was established in 1965.[1] There are many telescopes on site including: one 0.4-meter, two 0.6-meter, one 1.0-meter, and a new 1.8-meter "MOA Telescope" (see details below). The nearest population center is the resort town Lake Tekapo (pop. <500). Approximately 20% of nights at MJUO are photometric, with a larger number available for spectroscopic work and direct imaging photometry. MJUO is operated by the University of Canterbury, and is the home of HERCULES (High Efficiency and Resolution Canterbury University Large Echelle Spectrograph), and the observational wing of the Japanese/New Zealand MOA collaboration (Microlensing Observations in Astrophysics) led by Professor Yasushi Muraki of Nagoya University. A Japanese funded, 1.8-meter telescope is now in place and will be used initially by the MOA Project, before handover to the University of Canterbury at the conclusion of the MOA Project in 2012. In June 2012 an area of 430,000 hectares (1,700 sq mi) around the observatory was declared as the Aoraki Mackenzie International Dark Sky Reserve by the International Dark-Sky Association, one of only four such reserves around the world.[2] The area has a Bortle Scale of 2.[3] There are 5 large telescopes on the mountain that are in regular use. There is also a cafe and night-tours run by tourist operators, Earth and Sky. There is accommodation for visiting researchers within the 1.0m building. A Superintendent lives on the mountain. MOA Telescope[edit] Opened in 2004 December, this telescope was built by Japanese astronomers and is dedicated to the MOA project. It is a 1.8m prime focus reflector. The MOA telescope is the largest telescope in New Zealand. McLellan Telescope[edit] This is a 1.0m Dall-Kirkham reflecting telescope run at either f/7.7 or f/13.5. Photometric imaging is by CCD camera and spectroscopy is by fibre-optic cable to the HERCULES spectrograph. Boller & Chivens Telescope[edit] This is a 0.61m reflecting telescope run at either f/13.5 or occasionally f/6.25. Photometry is usually carried out using an Apogee Alta CCD camera. Optical Craftsmen Telescope[edit] This is a 0.61m fork mounted reflecting telescope operating at f/16. This telescope is used exclusively for CCD photometry. It is currently being upgraded and commissioned for robotic use as part of the AAVSO's Robotic Telescope Network. This is the AAVSO's first Southern Hemisphere telescope. Earth and Sky Telescope[edit] This telescope, used exclusively for visual tourist operations is a 0.4m Meade LX200 telescope.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a6bbd8e4b0fd1b00157f9f/51a6bc2be4b06a70036bd409/1475709767174/MtJohn2V2.2.jpg Mount John Observatory NZ - Mount John University Observatory (MJUO), NZ Mount John University Observatory (MJUO), is New Zealand's premier astronomical research observatory.[1] It is situated at 1,029 metres (3,376 ft) ASL atop Mount John at the northern end of the Mackenzie Basin in the South Island, and was established in 1965.[1] There are many telescopes on site including: one 0.4-meter, two 0.6-meter, one 1.0-meter, and a new 1.8-meter "MOA Telescope" (see details below). The nearest population center is the resort town Lake Tekapo (pop. <500). Approximately 20% of nights at MJUO are photometric, with a larger number available for spectroscopic work and direct imaging photometry. MJUO is operated by the University of Canterbury, and is the home of HERCULES (High Efficiency and Resolution Canterbury University Large Echelle Spectrograph), and the observational wing of the Japanese/New Zealand MOA collaboration (Microlensing Observations in Astrophysics) led by Professor Yasushi Muraki of Nagoya University. A Japanese funded, 1.8-meter telescope is now in place and will be used initially by the MOA Project, before handover to the University of Canterbury at the conclusion of the MOA Project in 2012. In June 2012 an area of 430,000 hectares (1,700 sq mi) around the observatory was declared as the Aoraki Mackenzie International Dark Sky Reserve by the International Dark-Sky Association, one of only four such reserves around the world.[2] The area has a Bortle Scale of 2.[3] There are 5 large telescopes on the mountain that are in regular use. There is also a cafe and night-tours run by tourist operators, Earth and Sky. There is accommodation for visiting researchers within the 1.0m building. A Superintendent lives on the mountain. MOA Telescope[edit] Opened in 2004 December, this telescope was built by Japanese astronomers and is dedicated to the MOA project. It is a 1.8m prime focus reflector. The MOA telescope is the largest telescope in New Zealand. McLellan Telescope[edit] This is a 1.0m Dall-Kirkham reflecting telescope run at either f/7.7 or f/13.5. Photometric imaging is by CCD camera and spectroscopy is by fibre-optic cable to the HERCULES spectrograph. Boller & Chivens Telescope[edit] This is a 0.61m reflecting telescope run at either f/13.5 or occasionally f/6.25. Photometry is usually carried out using an Apogee Alta CCD camera. Optical Craftsmen Telescope[edit] This is a 0.61m fork mounted reflecting telescope operating at f/16. This telescope is used exclusively for CCD photometry. It is currently being upgraded and commissioned for robotic use as part of the AAVSO's Robotic Telescope Network. This is the AAVSO's first Southern Hemisphere telescope. Earth and Sky Telescope[edit] This telescope, used exclusively for visual tourist operations is a 0.4m Meade LX200 telescope.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a6bbd8e4b0fd1b00157f9f/51a6bc2ee4b0f071f28d66c3/1475709809748/MtJohn1V2.jpg Mount John Observatory NZ - Mount John University Observatory (MJUO), NZ Mount John University Observatory (MJUO), is New Zealand's premier astronomical research observatory.[1] It is situated at 1,029 metres (3,376 ft) ASL atop Mount John at the northern end of the Mackenzie Basin in the South Island, and was established in 1965.[1] There are many telescopes on site including: one 0.4-meter, two 0.6-meter, one 1.0-meter, and a new 1.8-meter "MOA Telescope" (see details below). The nearest population center is the resort town Lake Tekapo (pop. <500). Approximately 20% of nights at MJUO are photometric, with a larger number available for spectroscopic work and direct imaging photometry. MJUO is operated by the University of Canterbury, and is the home of HERCULES (High Efficiency and Resolution Canterbury University Large Echelle Spectrograph), and the observational wing of the Japanese/New Zealand MOA collaboration (Microlensing Observations in Astrophysics) led by Professor Yasushi Muraki of Nagoya University. A Japanese funded, 1.8-meter telescope is now in place and will be used initially by the MOA Project, before handover to the University of Canterbury at the conclusion of the MOA Project in 2012. In June 2012 an area of 430,000 hectares (1,700 sq mi) around the observatory was declared as the Aoraki Mackenzie International Dark Sky Reserve by the International Dark-Sky Association, one of only four such reserves around the world.[2] The area has a Bortle Scale of 2.[3] There are 5 large telescopes on the mountain that are in regular use. There is also a cafe and night-tours run by tourist operators, Earth and Sky. There is accommodation for visiting researchers within the 1.0m building. A Superintendent lives on the mountain. MOA Telescope[edit] Opened in 2004 December, this telescope was built by Japanese astronomers and is dedicated to the MOA project. It is a 1.8m prime focus reflector. The MOA telescope is the largest telescope in New Zealand. McLellan Telescope[edit] This is a 1.0m Dall-Kirkham reflecting telescope run at either f/7.7 or f/13.5. Photometric imaging is by CCD camera and spectroscopy is by fibre-optic cable to the HERCULES spectrograph. Boller & Chivens Telescope[edit] This is a 0.61m reflecting telescope run at either f/13.5 or occasionally f/6.25. Photometry is usually carried out using an Apogee Alta CCD camera. Optical Craftsmen Telescope[edit] This is a 0.61m fork mounted reflecting telescope operating at f/16. This telescope is used exclusively for CCD photometry. It is currently being upgraded and commissioned for robotic use as part of the AAVSO's Robotic Telescope Network. This is the AAVSO's first Southern Hemisphere telescope. Earth and Sky Telescope[edit] This telescope, used exclusively for visual tourist operations is a 0.4m Meade LX200 telescope.     Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20 and DT Digital. http://www.stewiedonn.com/royal-exhibition-building daily 0.75 2017-11-23 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/519085a8e4b065f564955f91/1479182585196/REB-AusBike-23.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907ddbe4b054ba752c8556/1479182593012/MuseumVic-ArtFair-20.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f7aae4b06a742d4e9ad6/1479182564988/MuseumVic-ArtFair-.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907df8e4b0eb1ecff40374/1479182557781/REB-Design-Made-Trade-28.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f6eee4b0d0905b204c92/1479182550362/REB-Interiors-25.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e82e4b0f18fde0f927a/1479182543080/REB-Interiors-19.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f6dae4b03d0bdb62d6c2/1479182535870/REB-Interiors-27.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f768e4b02f35a70c2459/1479182527270/REB-Interiors-5.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51a7f715e4b05f6bb242f7b4/1479182511127/REB-Interiors-3.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e67e4b0cf61a0136ef2/1479182519196/REB-Interiors-17.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e29e4b02ecd0ea9f82c/1479182503272/REB-Interiors-2.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e49e4b0f18fde0f9254/1479182494124/REB-Interiors-10.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e63e4b0534aaae91522/1479182478131/REB-Interiors-11.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51907d15e4b0d03df1fff6f2/51907e1ae4b0534aaae914f9/1479182469842/REB-Interiors-1.jpg Royal Exhibition Building - The Royal Exhibition Building The Royal Exhibition Building is a World Heritage Site-listed building in Melbourne, Australia, completed in 1880. It is located at 9 Nicholson Street in the Carlton Gardens, flanked by Victoria, Nicholson, Carlton and Rathdowne Streets, at the north-eastern edge of the central business district. It was built to host the Melbourne International Exhibition in 1880–81 and later hosted (in the Western annex) the opening of the first Parliament of Australia in 1901. Throughout the 20th century smaller sections and wings of the building were subject to demolition and fire; however, the main building, known as the Great Hall, survived. It received restoration throughout the 1990s and in 2004 became the first building in Australia to be awarded UNESCO World Heritage status, being one of the last remaining major 19th-century exhibition buildings in the world. It is the world's most complete surviving site from the International Exhibition movement 1851–1914. It sits adjacent to the Melbourne Museum and is the largest item in Museum Victoria's collection. Today, the building hosts various exhibitions and other events and is closely tied with events at the Melbourne Museum. The Royal Exhibition Building was designed by the architect Joseph Reed, who also designed the Melbourne Town Hall and the State Library of Victoria. According to Reed, the eclectic design was inspired by many sources. The dome was modeled on the Florence Cathedral, while the main pavilions were influenced by the style of Rundbogenstil and several buildings from Normandy, Caen and Paris. It was built by David Mitchell, who also built Scots' Church and St Patrick's Cathedral. He was also the father of the famed soprano Dame Nellie Melba, who sang at the opening of the Provisional Parliament House in Canberra in 1927. The foundation stone was laid by Victorian governor George Bowen on 19 February 1879 and it was completed in 1880, ready for the Melbourne International Exhibition. The building consisted of a Great Hall of over 12,000 square metres and many temporary annexes. 1880–1901 In the 1880s, the building hosted two major International Exhibitions: The Melbourne International Exhibition in 1880 and the Melbourne Centennial Exhibition in 1888 to celebrate a century of European settlement in Australia. The most significant event to occur in the Exhibition Building was the opening of the first Parliament of Australia on 9 May 1901, following the inauguration of the Commonwealth of Australia on 1 January. After the official opening, the Federal Parliament moved to the Victorian State Parliament House, while the Victorian Parliament moved to the Exhibition Building for the next 26 years. On 3 September 1901, the Countess of Hopetoun, wife of the Governor-General, announced the winners of a competition to design the Australian National Flag. A large flag, 5.5 metres by 11 metres, was unfurled and flown over the dome of the Royal Exhibition Building. 1901–1970s[edit] In 1902, the building hosted the Australian Federal International Exhibition. The period after this time saw the building used for many purposes. It was a venue for the 1956 Summer Olympics, hosting the basketball, weightlifting, wrestling, and the fencing part of the modern pentathlon competitions. As it decayed, it became known derogatively by locals as The White Elephant in the 1940s and by the 1950s, like many buildings in Melbourne of that time it was earmarked for replacement by office blocks.In 1948, members of the Melbourne City Council put this to the vote and it was narrowly decided not to demolish the building.The wing of the building which once housed Melbourne Aquarium burnt down in 1953. During the 1940s and 1950s, the building remained a venue for regular weekly dances. Over some decades of this period it also held boat shows, car shows and other regular home and building industry shows. It was also used during the 1950s, 1960s and 1970s for State High School Matriculation and for the Victorian Certificate of Education examinations, among its various other purposes. The western annexe was demolished in the 1970s.Nevertheless, the grand ballroom was demolished in 1979, leaving the main structure in place along with annexes constructed in the 1960s and 1970s. Following the demolition of the grand ballroom, there was a public outcry which prevented the main building from also being demolished. 1980s–present On 13 August 1980, Norman Lacy, Minister for the Arts in the Hamer government, unveiled the plaque (located at the eastern entrance) that commemorates the centenary of the opening to the general public of the Exhibition Building on 29 May 1880. During a visit to Victoria in 1984, Princess Alexandra bestowed the royal title on the building and it has been referred to as the Royal Exhibition Building ever since. This title, and the first conservation assessment of the building undertaken by Alan Willingham, sparked a restoration of the interiors of the building in the late 1980s and 1990s, and the construction of a mirror glass annexe (which was later demolished). In 1996, the then Premier of Victoria, Jeff Kennett, proposed the location and construction of Melbourne's State Museum on the adjacent site. Temporary annexes built in the 1960s were removed and in 1997 and 1998, the exterior of the building was progressively restored.   The location of the Melbourne Museum close to the Exhibition Building site was strongly opposed by the Victorian State Labor Party, the Melbourne City Council and some in the local community. Due to the community campaign opposing the museum development, John Brumby, then State opposition leader, with the support of the Melbourne City Council, proposed the nomination of the Royal Exhibition Building for world heritage listing. The world heritage nomination did not progress until the election of the Victorian State Labor Party as the new government in 1999. On 1 July 2004, the Royal Exhibition Building and Carlton Gardens was granted listing as a World Heritage Site, the first building in Australia to be granted this status. The heritage listing states that "The Royal Exhibition Building is the only major extant nineteenth-century exhibition building in Australia. It is one of the few major nineteenth-century exhibition buildings to survive worldwide." In October 2009, Museum Victoria embarked upon a major project to restore the former German Garden of the Western Forecourt. The area had been covered by asphalt in the 1950s for car parking.   The Royal Exhibition Building is still in use as a commercial exhibition venue, hosting many events on a regular basis such as the Melbourne International Flower and Garden Show. Regular tours are also offered by Melbourne Museum. The Royal Exhibition Building is used as an exam hall for the University of Melbourne, Royal Melbourne Institute of Technology, Melbourne High School, Nossal High School, Mac.Robertson Girls' High School and Suzanne Cory High School. The building is no longer Melbourne's largest commercial exhibition centre. The modern alternative is the Melbourne Exhibition and Convention Centre, which is located in Southbank to the south of the Melbourne central business district.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Advertising, Industrial and Product photography. Specialising in this type of photography allows Stewart to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Stewart has worked and is comfortable working with, small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, and has also worked with Agency’s such as Badjar Ogilvy, One20, DT Digital, EMG (Event Management Group) and Carrspace. http://www.stewiedonn.com/2015 daily 0.75 2015-08-19 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d434c5e4b048cb823ebefe/1460439378020/stewiedonn+HR+Toyota-DOTY-AwardsDinner-194.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d43485e4b048cb823ebe61/1460439377926/stewiedonn+HR+Toyota-DOTY-AwardsDinner-177.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d433f8e4b048cb823ebd74/1460439377854/stewiedonn+HR+Toyota-DOTY-AwardsDinner-135.jpg 2015 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https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41ea2e4b048cb823e874f/1460439372500/stewiedonn+HR+Carrspace-Virgin-BondBar-83.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41e56e4b048cb823e8676/1460439372370/stewiedonn+HR+Carrspace-Virgin-BondBar-48.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41dc9e4b048cb823e8504/1460439372217/stewiedonn+HR+Carrspace-Virgin-BondBar-42.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41d58e4b048cb823e83c5/1460439372043/stewiedonn+HR+Carrspace-Virgin-BondBar-29.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41d09e4b048cb823e8308/1460439371991/stewiedonn+HR+Carrspace-Virgin-BondBar-28.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41c94e4b048cb823e81e7/1460439371713/stewiedonn+HR+Carrspace-Virgin-BondBar-18.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41be7e4b048cb823e7fe0/1460439371655/stewiedonn+HR+BarryPlant+OakClub-102.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41b99e4b048cb823e7eef/1460439371589/stewiedonn+HR+BarryPlant+OakClub-44.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41b3ae4b048cb823e7e06/1460439371355/stewiedonn+HR+BarryPlant+OakClub-37.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41aece4b048cb823e7d57/1460439371281/stewiedonn+HR+BarryPlant+OakClub-1.jpg 2015 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https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d41967e4b048cb823e7971/1460439370373/stewiedonn+HR+2015+Good+Friday+Appeal+-27.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d4191be4b048cb823e78a1/1460439370357/stewiedonn+HR+2015+Good+Friday+Appeal+-21.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d418b3e4b048cb823e776e/1439963322406/stewiedonn+HR+2015+Good+Friday+Appeal+-19.jpg 2015 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/55d4171be4b0a6ed876e8af9/55d4187ce4b07ede5b903460/1460439370326/stewiedonn+HR+2015+Good+Friday+Appeal+-21.jpg 2015 http://www.stewiedonn.com/case-studies daily 0.75 2017-12-07 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/59ae4e8537c581dc356e84be/1504763736095/RA-REB+Website.png Case Studies - Restaurant Associates at Melbourne Museum and the Royal Exhibition Building https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/59ae4a272994ca092caf9cad/1504763616913/Australian+Financial+Review+Website+2017-08-21.png Case Studies - Siemens in the Australia Financial Review https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/58c0d94ab8a79bc99bf251e1/1489033885705/Royal+Exhibition+Building+Dome+by+Stewart+Donn.png Case Studies - Royal Exhibition Building Event Spaces website https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/58c0cf1b9de4bbceb90ced40/1489033423868/website+case+study.png Case Studies - Siemens Ltd Upgrading the Museums Victoria Green Rating https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/582e651b197aea6fce5e647c/1479436753325/Melbourne+Music+Week+2016.png Case Studies - Brand Experience agency Carrspace working with Melbourne Music Week 2016 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/5608f23de4b0392b976e291e/1443427213728/JigSaw+Publication+Family+Day+Care+Aus.png Case Studies - JigSaw Publication Family Day Care Aus https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/55cc0495e4b0b3e9767e62e5/1439434029117/Enviromix.png Case Studies - Enviromix, Carlton Gardens https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/55cc0440e4b07630b3d4aa73/1439433825220/SMEC.png Case Studies - Andy Goodwin, CEO SMEC https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/55cc03e0e4b06cc6fabd5a08/1439433765475/DHSV-Father+Bob.png Case Studies - Father Bob Maguire, Dental Health Services Victoria https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/55cc02e4e4b05e0d36632fc0/1439433500668/Lorem+Ipsum.png Case Studies - Lorem Ipsum, Melbourne Convention and Exhibition Centre Pop Up Event Space https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8aa5e4b07898251f5078/1410306165063/NovaPower.png Case Studies - Nova Power https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8a8ae4b07898251f504f/1410305985041/JD+Racing.png Case Studies - Jon Daniels Racing https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8a77e4b07898251f502a/1410306065221/Epicure.png Case Studies - Epicure Cosmeceuticals https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8a8ce4b06b16354801c9/1410305918908/EMG.png Case Studies - Event Management Group https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8acbe4b082c01d64e518/1410306110932/Baylink.png Case Studies - Baylink Consulting https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8a9de4b06b16354801dc/1410305069511/TMC.png Case Studies - TMC Australia https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8a70e4b06b163548019c/1410305372483/DHSV-Kids.png Case Studies - Dental Health Services Australia https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8a6ce4b07898251f5016/1410305863226/DHSV+Patient+Tracker.jpg Case Studies - DHSV Patient Tracker https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/540f8a66e4b06b1635480182/1410305637638/AND.png Case Studies - AND Weighing https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/529bb992e4b0c5f2207fa54d/1385937456180/mw.jpeg Case Studies - Mitch Wallis, Western Bull Dogs for Dental Health Services Victoria https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/524dfdf8e4b0a280bf158da6/1479436048630/Screen+Shot+2013-10-04+at+9.22.43+AM.png Case Studies - Museum Victoria and The Immigration Museum https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/51dd0a8fe4b026638f42ef90/1373440668545/_DSC9187.jpg Case Studies - "Connecting You" Campaign, MCEC, South Wharf, Melbourne https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/51dcf15be4b0d3fa0da53c12/1373434515032/_DSC9212.jpg Case Studies - "Connecting You" Campaign, MCEC, South Wharf, Melbourne https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/51a56d48e4b012a705dfc6f5/51dcf156e4b0d1ffe699882c/1373434507198/_DSC9207.jpg Case Studies - "Connecting You" Campaign, MCEC, South Wharf, Melbourne 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Melbourne https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/t/55cc01a1e4b00c260f1c07fd/1439433134427/Lorem+Ipsum.png Case Studies http://www.stewiedonn.com/energy-power-systems-australia daily 0.75 2017-07-12 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/570c864ea3360c0d76667cd3/570c86b1c6fc080fac1d574c/1476243976020/stewiedonn+-14.jpg Energy Power Systems Australia https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/570c864ea3360c0d76667cd3/570c86a8b6aa60e8ae94d482/1476243964770/stewiedonn+-13.jpg Energy Power Systems Australia https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/570c864ea3360c0d76667cd3/570c86a4c6fc080fac1d5701/1476243953564/stewiedonn+-12.jpg Energy Power Systems Australia https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/570c864ea3360c0d76667cd3/570c869db6aa60e8ae94d44f/1476243942915/stewiedonn+-11.jpg Energy Power Systems Australia 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2017 http://www.stewiedonn.com/testimonials daily 0.75 2017-12-07 http://www.stewiedonn.com/aerial-2 daily 0.75 2017-12-07 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661f724a694106d0962f8/1511417910489/stewiedonn+SquSpc+JouleEnergy-WollertSolarProject-59.jpg Aerial - Joule Energy, Wollert, Victoria, Australia Joule Energy is the new, wholly owned subsidiary of LMS Energy – a partnership combining over 35 years of landfill gas, renewable energy generation and carbon abatement experience. While multi-faceted in its approach to clean energy, at the core of Joule is a focus on the development of solar power generation systems, both on and adjacent to landfills across Australia. Joule, in its capacity as a subsidiary of LMS Energy, has the essential knowledge and experience to safely manage the complications of interacting landfill gas and solar infrastructure, within a shared landfill environment. With a successful track record for designing and implementing seamlessly cohabiting landfill gas and solar power systems, Joule is an industry leader in this now emerging field. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661f6f9619afa6ac1c3b5/1511417881346/stewiedonn+SquSpc+JouleEnergy-WollertSolarProject-52.jpg Aerial - Joule Energy, Wollert, Victoria, Australia Joule Energy is the new, wholly owned subsidiary of LMS Energy – a partnership combining over 35 years of landfill gas, renewable energy generation and carbon abatement experience. While multi-faceted in its approach to clean energy, at the core of Joule is a focus on the development of solar power generation systems, both on and adjacent to landfills across Australia. Joule, in its capacity as a subsidiary of LMS Energy, has the essential knowledge and experience to safely manage the complications of interacting landfill gas and solar infrastructure, within a shared landfill environment. With a successful track record for designing and implementing seamlessly cohabiting landfill gas and solar power systems, Joule is an industry leader in this now emerging field. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital.   https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661efec212d9bd376ba4f/1511416980680/stewiedonn+SquSpc+Flowserve-Aerial-4.jpg Aerial - Flowserve Pumps Facility, Castlemaine, Victoria, Australia Flowserve Pumps (TKL) is Australia's premier supplier of centrifugal pumps. We offer extensive know-how, experience and technology and our advanced products are available to give you the best, most cost-efficient solution to your pumping needs. Flowserve Pumps (previously known as Thompsons, Kelly & Lewis Pty. Ltd. or TKL) is a leading Australian manufacturer of centrifugal pumps which began in Castlemaine (Victoria) in 1875. TKL is part of the Flowserve Corporation, one of the world's leading providers of pumps and flow management services. Sales offices and pump service workshops are strategically placed in Australian and New Zealand industrial locations. Flowserve operates a sales office in Singapore and has distributors in most East Asian countries, Middle East, Africa and other parts of the world.   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661efe2c483f5ad69d1cf/1511417253784/stewiedonn+SquSpc+DJI_0021-HDR.jpg Aerial - SCT Logistics, Altona, Victoria Australia   Rail to road, dry freight, refrigerated or bulk, SCT provides Australia’s most efficient and independent freight services. Established in 1974 by Mr Peter Smith, SCT is now a national, multi-modal transport and logistics company. From our early days as an East / West rail operator, SCT has grown to have branches throughout Australia. With offices in every major capital city as well as regional locations in Queensland and New South Wales, SCT can service all of your transport requirements to every destination in Australia   Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661e8652dea2e1ada7824/1511417598682/stewiedonn+SquSpc+ArgyleFarmOctober2017-2.jpg Aerial - Argyle Farm Willaura Argyle Farm Willaura Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5a1661bbc83025aa86de4c62/5a1661e771c10b644b2a1917/1511416833387/stewiedonn+SquSpc+Aerial-AltonaRefinery-1.jpg Aerial - Mobile Terminal, Altona North Oil Refinery Mobile Terminal Altona. Altona Refinery and Industrial Sector An Aerial essay. Stewart Donn Photography. A Melbourne based photographer specialising in all Corporate, Commercial, Industrial and Product photography. Specialising in this type of photography allows me to make complicated corporate and industrial scenes, and the people in these scenes, look heroic, interesting and beautiful. Based in Melbourne’s Western suburbs. Comfortable working with small one to five man companies such as Fundere Artist Foundry in Footscray, through to larger companies such as the Melbourne Convention & Exhibition Centre, Museum Victoria, and Energy Power Systems Australia, also with Agency’s such as Badjar Ogilvy, One20 and DT Digital. http://www.stewiedonn.com/2018-1 daily 0.75 2019-08-08 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5d4a73a7fbcad10001302343/5d4b8644c5d0860001fa9c07/1565247114713/stewiedonn+LR+Siemens-SUT-CodeCamp-107.jpg 2018 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5d4a73a7fbcad10001302343/5d4b8642b51b22000138353f/1565247114608/stewiedonn+LR+Siemens-SUT-CodeCamp-90.jpg 2018 https://static1.squarespace.com/static/5189b492e4b01dba4e6a1987/5d4a73a7fbcad10001302343/5d4b8639442010000138d11c/1565247114549/stewiedonn+LR+Siemens-SUT-CodeCamp-65.jpg 2018 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