Boyd then goes on to identify the biggest feature of this Australian ugliness as features. He does so without irony because, in 1960, irony had yet to be invented. Boyd’s features were just features pure, simple. They weren’t the knowing features of “If some problem can’t be solved, then just make a feature out of it”, a notion that’s still with us even if it’s now interpreted as seeing a disadvantage as an opportunity. This may sound more honest and virtuous but it’s still about opportunities to show how clever one is. I digress.

I took this photo in the West Australian country town of Busselton last week. It reminded me of what Boyd was writing about but it also made me think of Las Vegas. For Boyd, every sign was an unnecessary feature. Boyd saw them all as not having any meaning whereas, within twelve years, Venturi was to see basically the same things and make us see them in a new way.

Boyd didn’t attempt to find any good in Australian featurism. He saw it as springing from a primitive [hello Loos!] attitude akin to “If something’s going to exist, then it may as well be a feature.” At first this sounds like a very positive way of looking at life but, if we take paving as an example, it leads to crazy paving. This is the cover of the February 1960 issue of Home Beautiful, PACE-SETTER FOR AUSTRALIAN HOMEMAKERS.

Crazy paving was a 1950s style of patio and footpath paving where irregularly shaped paving stones were jigsawed into position. The photo agove shows the ideal effect with paving stones of different colours conveying the sense of relaxed informality that Australians of the time liked to see. However, the same intent could be shown with paving stones of irregular shape but regular colour by painting the cement on each side of the stone a different primary colour. This kind of crazy paving did not appear on the covers of national magazines.

Boyd mentions Venetian blinds where five or six muted 1950s colours repeated every fifth or sixth slat. I don’t remember these but can easily imagine. I don’t need to imagine automobile tyres vertically half-buried to indicate the edge of a lawn to stop people parking on it. Each of the tyres making up such a barrier may not have been painted different colours but they would have been painted. I seem to remember white being first choice, and multiple colours second. You don’t see this anymore either. Its sources and references won’t be written about. Let’s just say it was territorial demarcation meets recycling and the Dunlop bridge at Le Mans. This image shows the principle but everything else is wrong.

• The historic tyres were buried to exactly half of their height.
• They didn’t touch like these ones do but were spaced by a tyre-width. [This variation of The Renaissance Corner Problem could lead to a weak corner if the spacing was kept full, or a strong Alberti corner if they almost touched. Either way, they were never butted together like these.
• The colour of these ones is more fizzy sherbet than jellybean.
• The look was either all white or all primary.
• The border wouldn’t be for a flower bed but for lawns and demarcating the property line, especially on corner blocks.

Boyd’s main theme was that Australian cities hadn’t yet developed a visual identity. He wasn’t talking about capital city skylines that mostly remain postcard picturesque, but about attitudes towards individual buildings. I finished re-reading the book and concluded that nobody read it or, if they did, never learned anything from it. My preliminary conclusion is that the features have changed but featurism still rules but without a name. It’s not that Australia hadn’t developed a visual identity. It’s just that it happened to be one that Boyd didn’t recognize.

Around 1970, a typical Australian suburban house would have been single story double-brick cavity wall construction with a tile roof. The front entrance would have been recessed in some articulation of mass and next to it would have been a feature panel containing many types of feature stone. This next example with a feature lamp on the stonework feature (with each stone with a different colour, pattern, shape, size and coursing) next to entrance feature is typical of the features embedded in features described by Boyd. The panel itself was referred to as a “freestone” panel, referring to no particular stone, rock or ore.

Other features are often nearby. The image on the left below is a good example of the look that was aspired to.

So far so seventies. Next is a contemporary house that has features upon features within some facade feature. [As in any other place or time, the entrance is the default feature of many a facade.] Features lose their individual meaning when everything is a feature but we don’t have a name for the result. However, if I took a selection of architectural motifs from across the past five hundred years of architectural history and applied them to a building facade, it would probably be called post-modern classicism or some such despite it being much the same animal but meaning much less to more people than contemporary featurism does now.

Or consider this next example. We know it’s been purpose designed for the corner block because the long side of the plot doesn’t have the row of bedroom windows that occur when a typical long existing plan happens to be on a corner.

We also know this is the front of the house because that’s where all the features are concentrated. The rear has none for, as per regulations, its length of more than nine metres is set back one meter from the boundary and the upper floor set back to lessen overshadowing and has only high-level windows to lessen overlooking.

Now that you have a sense of the sides and corners, let’s look at that front facade. The upper floor corners have become features with feature supports and feature railings top come, but the main aesthetic action is inbetween. What’s probably the stairwell window is set in a wall of exposed brick framed by columns supporting a differently colored and textured gable rendered a different colour. This facade alludes to no known architectural motifs and obeys no rules other than the unwritten ones of the feature. It does look a bit strange but there’s still a sense that some rules have been consistently if not consciously applied. We just don’t know what they are.

This is my final example of Featurism. I won’t call it the New Featurism because it’s been around for at least the past sixty years. This concrete block wall has been a feature from the day it was built. The corner features alludes to quoins and is nothing new but the polychromatic concrete blockwork is-ish. I like this wall. It’s an example of what I called The Misfits Challenge many posts ago.

As for 1), nothing’s changed as far as the thermal and acoustic performance performance of this wall goes.

As for 2), there are the two colours of the same type of concrete block and (assuming they are the same price) the only additional expenditure is the bricklayer picking up a block of one colour instead of another.

As for 3) and whether this feature wall is beautiful, I think it is. However, Boyd would have dismissed it as Featurist while many a contemporary architect would think of it as postmodern. This suggests the existence of an aesthetic approach that’s not as naïve as Featurism but also not as over-aware as Post-modernism.

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Architectural Dogma

Absence of Criminal Intent