At the close of the Second World War, bricks and mortar became the newly controlled ration providing peacetime Australia with the means of increased population growth and the proliferation of the post-war suburbs. 12800 bricks and half a cubic metre of mortar consolidated the federal government's plan to provide individual citizens with their own 134 square metre package of red-textured-brick Australian Dream. While considerably more massive than its precursory models, the Post-War home is dwarfed by its modern-day archetype – now perceived as the biggest in the world.
In the present era defined by continual redevelopment, new land releases, as well as continued sprawl and suburban densification, the measure of building refuse provides a delayed reflection on the generalised notion of Australian culture and society. Unable to be divided into the smaller and more precise demographic themes of politics, economy, and society; the collation of matter from dwellings that once offered an insight into the culture of legislated house planning and domestic homemaking at specific periods in time.
Dressed formally in brick, Queen’s Square has traditionally provided a civic space for the inhabitants of Sydney’s homes: the near-forgotten square is surrounded by The Sydney Mint, St. James Church, The Land Titles Office, Supreme Court and Parliament House.
Allotment proposes three monuments within Queen’s Square built from the refuse of demolished Sydney Homes. Demonstrating the shifting scale of home production as well as the changing vernacular of the Sydney Suburbs, the three monoliths will display the aggregate of recently demolished homes constructed during different periods of Australian urbanism.

This project was an unrealised proposal for Art & About, Sydney
The project was a collaboration with Luke Wolstencroft and Delia Ngay
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