The competition was organised by the Royal Victorian Institute for Architects, with the proviso that the cost of the memorial could not exceed £2500. The winner of the competition received £50 and the runner-up £25.
The Catani Memorial clock tower, designed by Norman Schefferle and officially unveiled August 22, 1932.
Photographs chiefly of Manly, N.S.W., Melbourne, and Victoria, ca. 1900-1932. Photographer: Henry Edwin Quick.
State Library of New South Wales Image FL345971
Catani Memorial Tower
A REVIEW OF THE COMPETITIVE DESIGNS
The Catani Memorial Clock Tower, St Kilda (Victoria), competition, the location of which is the Bay Esplanade, has been obviously won, not by the presentation of the great monumental things in architecture but by the presentation of a profusion of enrichment meticulously designed and drawn. Further the competition affords another of those singular instances in which the design that reaches second place is on totally diverse lines to that placed first. The pathos of the position, however, is that with the conditions requiring drawings to so large a scale as half-inch, there has been so great a proportion of work expended in the pursuit of ideals which apparently, judging by the final result, had no chance comparatively of success. Surely it was not justifiable to ask for so much mechanical work as half-inch scale drawings involve, in a competition of the monumental nature of this one. It is also obvious that the limit of £2500 proved highly perplexing, resulting in the conflict of large dimensions of external surfaces in cement or synthetic stone with much enrichment, and designs showing smaller dimensions for stone or terra cotta, or simplest treatment.
Building: the magazine for the architect, builder, property owner and merchant,
Vol. 46 No. 276 (12 August 1930)
With the exception of the two premiated designs, the following notes were made before the author's names were affixed to the various designs; and there is much regret that in the presence of so many designs evincing traditional and up-to-date scholarship, including jealous regard for proportional values and pressure for simplicity combined with strong sense of monumentality, and very full suitability for the exposed foreshore, and, moreover, for a memorial to the work of an engineer, it is impossible for the writer of this review to congratulate either promoters, the assessor, or the author of the selected design.
The design placed first, 16 (N.E. Schefferle) is of the storeyed order, the great bulk consisting of a shaft of brickwork some 12 feet square and 36 feet high on a low stone base. Above this shaft, which has a recessed panel on each face, is the clock storey pedimented with piers and capitals towards canted angles forming an irregular octagon. The clock faces are set amid an embarrassment of decoration of synthetic stone. The terminal is somewhat domical copper-covered, and concludes with a weather vane cross. The entire height from the Upper Esplanade is about 56 feet. The author in his report states 'the poetical charm of the Italian Renaissance style may be regarded as being expressive of the virile life of this great man and his aesthetic aspiration." In common with other designers, there is a claim that the style is "appropriate in view of the late Carlo Catani being of Italian birth."
The second prize design by J. Smith and R. Vernon Francis was pictured
in The Herald on July 19, 1930.
1. (Smith, Ogg & Serpell) shows a plain shaft relieved with Renaissance recess on each side towards the ground, and possesses quite a touch of refinement. One of the very good.
2. (Smith, Ogg & Serpell) Gothic in temperament and expression, revealing much ability but the detailing to be worthy of the mass would require to be far more ably handled than is the tracery shown.
3. (C.E. Alexander and W.L. McGowan) is a vigorously dramatic campanile of exhibitional order, in which some features could well be wiped out to advantage.
4. (A.W. Purnell, Round and Graham) has the inventive spirit of freshness throughout allied with engineering touch, though the massive detailing in conjunction with the clock faces would conflict. There is a weakness in the chamfered sides and panel at base.
5. (A. C. Leith) Here pretentiousness runs riot. "Four structural figures enclose the tracery, and each is crowned with a modelled figure bust of Mr. Catani." These figures grow out of the angles in the style of some American work.
6. (W. L. McGowan and C. E. Alexander) This design is among the best, being a study in pure verticality and well handled by a master of design. The battered buttresses powerfully enhance the composition.
7. (C.L. Gumming) the outstanding point of this design is the sculptural base which enshrines the memorial tablet. As in the case of several other schemes, the designer has come to grief in the terminal treatment.
8. (Alex N. Henderson) An instance in which simplicity of outline and fewness of units score the absence of redundant features being very marked. There is a measure of weakness in some of the proportional values, and a general want of vigour. It, however, well embodies the sense of resistance to the elements which would prevail.
9. (H. Desbrowe Annear) Though on different lines, this has much in common with No. 3, being of the universal exhibition order which can hardly claim for position or memorial purpose.
10. (Alec. S. Hall) This is of the ponderous order throughout, heavily glazed and with a specially restless base.
11. (Sale and Keage) is expressive of lack of harmony between base, shaft and summit.
12. (Sale and Keage) A design of considerable ability, the work of a master mind throughout, and ranks as one of the very ablest. The manner in which the base is treated is admirable, while the clock well expresses itself as a distinctive timepiece above a slightly tapering shaft pierced in four directions and terminating in a bit of festooned enrichment; the heavy mouldings would , however, interfere with the clock faces.
13. (I.G. Anderson) Of the obelisk order, surmounted with an Ionic cupola having a stepped summit. The base is somewhat unhappy, but the general proportions, however are good.
14. (Oakley and Parkes) show a well-proportioned pylon in a composition which presents much acceptable severity in view of proximity to sea, and the nature of the profession of Catani.
15. (Thos. J. Power) presents a bit of design which scores by simplicity, and which with fuller regard to the various recessed surfaces and projections would be greatly added.
16. See before.
17. (Irwin and Stevenson). In this there is a marked originality of high order, with touches of capable detailing. The report shows in a few terse well-expressed words that the basis and working out are symbolic. A bit of really good designing with the resultant simplicity.
18. (W. and R. Butler and Martin) An example of modernity which has much appreciable merit, and ranks among the best. But why so small a clock-face and so deeply recessed? The report well emphasises "the necessary suggestion of strength and permanence so particularly desirable in the exposed position of the seafront...and this memorial will seem to defy the elements..."
19. (M.H. Norris and Colin Dixon) shows much of the ordinary, though the position and handling of the clock face score above many other designs.
20. (R. Morton Taylor) has some good proportions, but is of the common-place.
21. (H. Anderson). A picturesque structure, but woefully weak in primary principles of monumental design. The author claims, however, that in view of the life of Catani as a poet and visionary these factors, in conjunction with the gaiety of the locality, should be expressed.
22. (Robt O. Ellis and Deane B. White) A well-proportioned plain shaft with a tiled roof, the heavy eaves of which, however would throw the clock far too much in shadow.
23. (Robert B. Hamilton) has a very able and effective design which ranks, though of a piquant nature, among the best. The manner in which the upper portion is recessed at angles is well managed, and is suggestive of some greater inherent values than those expressed.
24. (A. J. Inches) in his design with open vistas at base gives evidence of earnest effort.
25. (W.J. Gilroy) shows crudity in the extreme.
26. (Holdsworth and Cusick) have designed a structure of highly pretentious character having a pavilion-like base and an open summit-storey above the clock.
27. (W.H. Ford) offers a superfluity of architectural bits unhappily blended.
28. (S.C. Meyer and Geo. W. Manson) A specially powerful vertical mass of brickwork in which stonework is effectively introduced in base and at angles, and summit of upper part.
29. (H.G. Bottoms) has a design on which the Corinthian order of shaft and clock terminal hardly harmonise; and is an instance in which the structure appears far narrower at base than a summit. The author requires to note optical illusions in relation to composition.
30. (Marcus R. Barlow) Another of the "Exhibition" class, showing a phase of the "modern" tendency well worth developing. This ranks among the good designs.
31. (L.D. San Miguel) I could not find this.
32. (Richardson and Wood, and D.R. Gillam) shows some good detailing in constituent parts, but hardly a success as a clock tower.
33. (Richardson and Wood, and D.R. Gillam) This ranks in the interesting class, and possesses much merit, though suffering unfavourably in the handling of the terminal.
34. (J. Rowsell). This is of the order of the crude.
35. (Harry J. James) is essentially of modernist order influenced by Swedish and Finnish work, and though highly crude in parts has decidedly good possibilities.
36. (A.R. La Gerche and W.E. Gower). This shows one of the very best, and gives throughout evidence of strong architectonic power. The massing, proportional values, recessing and touches of relief are allied with well-defined restraint and full regard to position.
37. (A.Ikin) Here a strong measure of symbolism has aided the design, which possess distinctive individuality. But the hour glass and its flame are really too superfluous.
38. (Bohringer, Taylor and Johnson). Throughout there is evidence of particular care in regard to both mass and detail. One of the happiest efforts on view of the spirit of modernity contrasting with traditonalism. The lofty base seawards ranks high,.
39. (No name attached) This shows good proportional values, but the effect of the terminal sculpture would be entirely lost.
40. (Gustave Pillig) Though a juvenile effort in the sculpturesque direction, the author should persist in imaginative design.
41. (O'Rourke and Obeth) A tower-like structure with an external winding staircase, truly quaint, with clock in minaret.
42. (J. Scarborough and A.C. Lyons). A valuable bit of pure design of nature of a square pylon with stop-chamfered angles resulting in irregular octagon at summit. The entrance doorway is essentially memorial, and the whole composition bears the imprint of genius in exceptional measure.
43. (Arthur H. Cutler) revels but slight knowledge of present architectural advance, presenting a boldly tapering structure, and storeyed, terminating in a cupola.
44. (A.C. Collins). This is in a class by itself, and reveals considerable merit as a study in sheer forms. The idea of the sculptural base is excellent, but requires far more consideration.
45. (H.H.& and F.B. Kemp). Monolithic in character, this contains practically, if not, all the essential elements of design and in excellent measure; and is particularly well adapted for the exposed position on the sea front.
A few of the competitors also submitted models.
