Words: Carol Altmann

[dropcap style=”font-size: 60px; color: #DC943C;”] R[/dropcap]are images of the Fletcher Jones silver ball water tower have emerged from the private collection of engineer Ralph Jones who designed and supervised the construction.

Bluestone Magazine has been privileged to gain access to the images courtesy of the Melbourne University Archives which has been archiving the story behind the iconic silver ball as part of the Ralph Jones Engineering Services collection.

See all of the images here.

MUV archivist Melinda Barrie said the collection – donated by Mr Jones, who is now aged in his late 80s and living in Melbourne – included detailed documents and correspondence from 1965-1967 when the silver ball was being built.

It also includes Mr Jones’s submission to the 1975 Association of Consulting Engineers Australia -Engineering Awards, where his firm hoped to win a prize for the silver ball that, as far as we know, is without peer in Australia. (Unfortunately, the ball missed out on an award).

[dropcap style=”font-size: 60px; color: #DC943C;”] T[/dropcap]he documents reveal that Mr Jones’s inspiration for the ball’s design came from US advertisements for water towers made by the Pittsburgh-Des Moine Steel Company, one of which included tripod legs.

The unique design was also borne of necessity because of the “poor mains water pressure” on the east side of Warrnambool at the time, Mr Jones wrote in his submission.

It also had to take into account potential earthquakes – given that the Fletcher Jones factory was in the middle of an area that in 1903 experienced two of the worst earthquakes in modern Australian history – and was built to withstand “moderate” earthquake loading.

With the Ralph Jones Engineering Collection ready to view at MUA, Melinda and her team are now turning their attention to a significant collection of photographs, documents, personal items and archival films donated by the family of Sir Fletcher.

The collection includes more than 3000 photographs – including many from the Warrnambool factory in the 70s, 80s and 90s – all of which will be cleaned and then 300 selected for digitalisation.

Melinda described the contemporary Fletcher Jones story as a vital part of documenting Victoria’s manufacturing industry.

“We view it as very important, as it celebrates the narrative of manufacturing and retail in Victoria…and so many of those stories have been lost,” she said.

[dropcap style=”font-size: 60px; color: #DC943C;”]M[/dropcap]eanwhile, in Warrnambool, moves are afoot to start documenting the local, personal stories around Fletcher Jones and Pleasant Hill.

A steering committee has come together with representatives from the Save the Silver Ball and Fletchers Gardens group, the Warrnambool Planning and Heritage Group, the Warrnambool Historical Society and the F Project, with MUA also helping out.

The group has already secured $5000 from the Gwen and Edna Jones Foundation (no relation to Fletcher), which will be used to record those stories considered a top priority because of people’s age or health.

“The next step for us is to sit down and determine who these people are and to capture those stories now,” said group convenor Julie Eagles.

The committee has applied for a further $15,000 from the Public Records Office of Victoria for a much broader project similar to the Silver Ball Screening Festival, where workshops are held to help people record their own FJ story, or that of someone they know.

“There is still such a strong connection between Warrnambool and the Fletcher Jones site, both as part of Warrnambool’s history and part of our individual histories,” Julie said.

[dropcap style=”font-size: 60px; color: #DC943C;”]T[/dropcap]he individual projects of MUA and the local group may eventually lead to a collaborative exhibition or something similar in Warrnambool.

“Most of the people behind these great manufacturing stories want to see their stories out there and their work out there,” Melinda said.

“It is also part of our mandate here at MUA to make our collections accessible to the people, otherwise, what is the point?”

Melinda said the combination of the Ralph Jones collection, the personal collection from Sir Fletcher’s family and the work of the local steering committee would create a “well rounded archive” on one of Australia’s iconic businesses.

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[dropcap style=”font-size: 60px; color: #A5CECD;”] M [/dropcap]ark Rashleigh is the last man standing at what was once a flourishing School of Art and Design at Sherwood Park, Warrnambool, and, come mid next year, he too will be gone.

It is indicative of how much things have changed that Mark, a lecturer in graphic designer and illustration, now has an office in the Faculty of Business and Law at the Deakin University campus because the former visual arts studios are closed due to various structural concerns.

A similar, if metaphorical, corrosion has also claimed the art school that will officially end next year after starting life under the former Warrnambool Institute of Advanced Education in Timor St (now South-West TAFE) in the late ’60s, before relocating to the Sherwood Park campus in the 1980s. There, as a university degree, it became part of the Deakin merger.

“When I first started here, in 1985, there were about 13 staff teaching a very broad visual arts degree that included painting, sculpture, art history, photography, print making, graphic design and ceramics,” Mark, who will retire in June, said.

At that time, the teachers – most of whom were established artists – would mount joint exhibitions, maintaining a tradition that began when the school first started.

A document held by the National Libraries of Australia, for example, records some of the names in a joint staff/student exhibition held at the City of Hamilton Art Gallery in November 1970 and it reads as a virtual who’s who of the early South-West Victorian arts scene: Ken Daniel** (lecturer), Ron Quick (lecturer), Graeme Birt (lecturer), David Wormald, John Elphick, Jill Fitzgerald, Jennifer McConnell, Christine Taylor, Ken Saddler, John Rogers, Trevor Morrison, Peter Bond, Lilian Baxter, Alan Murdoch, Frank O’Brien, Chris Carroll, Gary Sparks, Judith Lovell, Gary Heath, Lorrain Callow, Michele Hill.

 

 

[dropcap style=”font-size: 60px; color: #A5CECD;”] I [/dropcap]n its prime, the airy studio space at Sherwood Park was alive with the sound, movement and colour of artists in action and gave the campus its energetic heart, usually to the beat of a paint-splattered cassette player set up in a corner.

Students pursuing somewhat more subdued degrees in economics, marine biology or primary school teaching could wander over and see what the “hippies” of the campus were up to.

The halcyon days of the 70s, 80s and 90s, however, crashed into the economic rationalism of the 2000’s when university degrees around Australia were no longer about providing knowledge and skills, but also a financial return.

In this new climate, art schools were in a hopeless position.

And while Mark can’t speak about Deakin directly, he can reflect on the challenge facing all visual art degrees.

“A visual arts degree is a quasi-industrial process: they cost a lot to run. There is the high cost of the studio spaces, and the high cost of running courses for small groups of students, because that is how the learning happens, in small groups, not in a large lecture theatre,” he said.

Skilled staff who leave or retire are not replaced, and, suddenly, painting is no longer available, or sculpture, or perhaps print making, and the degree is reduced to a husk.

 

 

[dropcap style=”font-size: 60px; color: #A5CECD;”] A [/dropcap]t the same time, Australians love art: according to the ABS, more than a quarter of us visit a gallery or museum at least once a year.

“The returns on the investment in art schools and courses cannot be measured in dollars, but in what we get back – as a culture – from the artist,” Mark said.

Yet Mark remains optimistic. As he closes the door on his career, and that of the school, South-West TAFE is refocussing its visual arts courses at its new location in the Timor St complex.

The wheel has turned full circle.

“Art changes its address, but it’s not going away,” Mark said.

** Ken Daniel established the art school at WIAE in 1970. When the school amalgamated with Deakin University around 1985, he was appointed Dean of the fine arts across all Deakin campuses.

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