Souveniring the Sydney Opera House

The Sydney Opera House attracts over four million visitors each year to experience its architecture, events and cultural narratives. This experience consciously engages tourists in a constructed spatial encounter, in which the tourist has the opportunity to experience the architecture of this canonical modernist building. This experience often culminates with the purchase of a souvenir, a seemingly innocuous act, but one that is highly revealing of the interrelation between the tourist's experience, the architecture and the souvenir. There has already been much scholarly work on the Sydney Opera House, discussing its architecture, the historical and political context of its commission and its symbolic meaning within the City of Sydney. Less attention however has been paid to the relationship between architecture, experience and memory, as embodied by the souvenir. The tea towels, snow domes, table lights and key rings which depict the Sydney Opera House are, as Celeste Olalquiaga states "static and idealized blueprint... of an experience." This raises debate over what exactly is souvenired; is it the building? The experience? Cultural cachet? What can be revealed about the architecture of the Sydney Opera House, through its souvenirs? Architecture, like souvenirs is party to questions of representation, abstraction and scale. By drawing upon the work of Stewart and Olalquiaga, on the experience of souvenirs, the essay takes an architectural position from which to discuss the way models as objects of architecture and souvenir miniatures are the material representations which commemorate and facilitate a dynamic and ephemeral experience of this building. In this way revealing souvenirs as more than markers of travel, but as Stewart asserts, containers of the cultural narratives, desires and myths, which surround such an iconic architectural destination

Do spatial effects drive house prices away from the long-run equilibrium?

Long-run equilibrium of house prices has been investigated by researchers in multiple countries. The identification of this equilibrium not only provides references against contemporary house price levels, but also contributes to creation of stable-development policies and healthy investment strategies. However, there is little research investigating the factors that drive house prices away from the long-run equilibrium.
Based on a framework of the conventional stationarity test process, this research develops a panel regression model and a spatial regression model to investigate the roles of spatial heterogeneity and correlations on house prices preceding the long-run equilibrium, respectively. Housing data generated from the capital cities in Australia are used to illustrate the models. Spatial effects can have a strong influence in the long-run performance of house prices, while the short-run performance of house prices is not influenced by the spatial effects.

A spatial decomposition approach for investigating house price convergences

 Convergence of house prices indicates how prices are reaching an aggregate equilibrium in a long-run perspective. Identifying the convergence is important for cross-region housing development and investment. Few studies have identified house price convergences at different levels, with spatial effects on house prices predominantly ignored. The research presented here developed a spatial panel regression approach to investigate the convergences of house prices in Australian capital cities. Three hypotheses were tested to identify the level of house price convergence. The results demonstrate that a steady state in a system of regional house prices and spatial effects contribute to the convergence continuing.

The house that eye live in

Migrating by sea from Holland as an eight-year-old, Dirk de Bruyn went on to be a doyen of Australian experimental cinema. But as this intimate film reveals, his work is suffused with the trauma of migration, and the struggle to recognise himself as a ‘new Australian'. In conversation with documentarian Steven McIntyre, Dirk guides us through more than 40 years of his filmmaking: the early years exploring technique and technology, a subsequent phase of unflinching self-examination brought on by upheaval and overseas travel, and more recent projects where he attempts a fusion of personal, cultural, and historical identity. What emerges is an inspiring, rugged, and at times poignant portrait of an artist committed to self-expression and self-discovery through the medium of film. The House That Eye Live In features spectacular footage of Dirk's renowned expanded-cinema performances, and newly transferred excerpts from his extensive filmography, some of which are seen here for the first time.

Open House : Improvisation evening. Improvised reading

Within the Improvisation practices Symposium over ten day from Nov 27 - Dec 7 , Critical Path and director Margie merlin held a series of workshops and performance. Within this program I was invited to perform on the last evening of the symposium within a 1 hours program of improvised performances

Impact of introduced house mice (Mus musculus) on burrowing seabirds on Steeple Jason and Grand Jason Islands, Falklands, South Atlantic

Whilst there is good evidence for negative impacts of introduced rat species on island ecosystems, the effects of house mice (Mus musculus) are generally less well documented. In some situations, introduced house mice can exert severe impacts, particularly where this is the only introduced mammal. Here, we examine the distribution, relative abundance and breeding success of small burrowing seabirds on Steeple Jason Island, Falklands, in relation to habitat types and the distribution of house mice which is the sole introduced mammal species, and we make comparisons with seabird distribution and densities on the neighbouring island of Grand Jason where mice are absent. Grey-backed storm-petrel (Garrodia nereis) and Wilson's storm-petrel (Oceanites oceanicus), which due to their extremely small size are likely to be the most vulnerable to mouse predation, were considerably more abundant on mouse-free Grand Jason than on Steeple Jason. Grey-backed storm-petrel, which are typically associated with tussac grass, avoided this habitat on Steeple Jason where it is associated with high levels of house mouse activity (assessed from the proportion of wax baits gnawed overnight), whereas on mouse-free Grand Jason, there was no such avoidance. Wilson's storm-petrel nesting on Steeple Jason suffered high rates of egg and chick loss. Whilst we found evidence for detrimental impacts of house mice on the two small storm-petrel species, there was no relationship between relative mouse activity levels and the distribution or abundance of the larger thin-billed Prion (Pachyptila belcheri). © 2014 Springer-Verlag Berlin Heidelberg.

The house that we live In: Dirk de Bruyn film retrospective

A Two program retrospective of Dirk de Bruyn's experimental film career for 1973-2015

Moving house

A sculptural goblet inspired by childhood experiences and how they equate to contemporary fairytales. The work is hand-blown and engraved. This piece represents scene three in the narrative. It is a work that condenses the animated moving image into a sculptural form.