Professor Desley Luscombe is Professor of Architecture in the School of Architecture, UTS Faculty of Design, Architecture and Building, and founding director and consultant to Campbell Luscombe Architects.
Over the past 12 years, Desley held the position of Dean developing a vision of the faculty as a research and creative practice collaborative.Her current role links between the Masterplanning enterprises of the university and a return to focus on educating architects and undertaking research. In her research she focuses on the interpretation of what are traditionally referred to as architectural presentation drawings in the period from the 16th century to the present. This work questions representations of architecture within historically changing notions of the architectural profession.
As part of this research, Desley is investigating the impact of technologies and conventions of drawn representation on architectural practice. Her most recent writing investigates specific drawings from the 20th century including Gerrit Rietveld, Peter Eisenman, Ludwig Mies van der Rohe and Zaha Hadid.
At UTS, her teaching covers both pre-Modern and 20th-century architectural history and theory and she supervises PhD students focusing on architecture's representation.
In her architectural career at Campbell Luscombe Architects, Desley specialises and consults in the marketing and communications aspects of the practice in their focus on residential design and seniors and aged care living. Founded in 1977, the practice has won international, national and state awards including the inaugural National Heritage Award, Australian Council of National Trusts 1986 and the 1993 Blacket Award for Excellence in Country Architecture, Royal Australian Institute of Architects.
Can supervise: YES
Desley Luscombe's research focuses on the representation of architecture within changing notions of the architectural profession in its historical situation. Her research has been funded by the Australian Research Grants Scheme and has developed as a result of her book titled Picturing Architecture that questioned the role of presentation drawings in the Australian architectural practice of the 1980s and 90s. Her latest work on the representation of the architect in sixteenth-century Italy can be seen in The Built Surface: Architecture and the Pictorial Arts from Antiquity to the Enlightenment, edited by Christy Anderson, and the journals Architectural Theory Review and Interstices 7. This research builds on her PhD Inscribing the Architect: The Depiction of Attributes of the Architect in Frontispieces to Sixteenth Century Italian Architectural Treatises. She has also published widely in professional journals and books including Aspects of Quality in Architectural Education (1995) and UNSW Campus: A Guide to its Architecture, Landscape and Public Art (2001).
Architectural Design, Architectural History, Architectural Graphic Communications.
Ballabio, F, di Carlo, T, Kohn, D, Montenegro, M, Dorrian, M, Wilson, P, Moon, I, Olsberg, N, Wegerhoff, E, Stalder, L, Aymonino, A, Lateenmaki, M, Rice, C, Baudez, B, Myers, P, Macarthur, J, Thomas, H, Bingham, N, Reiser, J, Forty, A & Read, S 2019, Architecture Through Drawing, Lund Humphries, London.
This book looks at architectural drawings – specific architectural drawings – as objects that encapsulate complex spatial and cultural ideas. The drawing is the protagonist from which the written discussion is generated, as opposed to being merely an illustration of an argument. Over the last four years Drawing Matter - a private collection in Somerset, through collaboration with many individuals and world class institutions, has explored different ways of writing and thinking about architectural drawings. Through the website (www.drawingmatter.org), exhibitions, colloquia, lectures and conversations, a wide variety of voices speaking from different perspectives have shown that this is a rich seam for investigation, and one which has an engaged and wide readership, from the professional to the general.
With material taken from this original research activity and experimentation, this proposal presents a diverse selection of images with associated writings. These texts are of different lengths and approaches; some are academic and previously unpublished essays drawn from formal events, others are shorter and more direct responses taken from the website or transcribed from conversations in the archive itself. The proposal embraces content from different periods, geographical locations, technical methodologies and purposes, defining a new and generous field for the subject of architectural drawing. As a collective, the writings celebrate the plurality in the understanding of representation in architecture. They reveal the motive for architectural drawing beyond architecture's requirement to document processes underpinning the realisation of the architectural object.
Drawings forming the focus of this book are selected principally from four architectural collections held in Britain – at the Victoria & Albert Museum, the RIBA, Drawing Matter, and the Courtauld Institute of Art., and brings into scholarship a collection of rarely seen images that will further debate...
Luscombe, DO & Peden, A 1992, Picturing Architecture: Graphic Presentation Techniques in Australian Architectural Practice, First, Craftsman House, Sydney.
© 2020, © 2020 RIBA Enterprises. The sketch has long occupied a privileged position in architecture as the conceptual origin of a realised building. However, this privilege is also problematic, as it obscures the greater intellectual basis of the sketch. This contributes to architecture's disciplinary development and experimentation. Analysing one sketch drawn by Zaha Hadid in the process of designing the MAXXI in Rome, this article aims to offer ways to reconsider the role of the sketch. Two analyses are carried out to unravel the greater significance of the sketch in architecture. The first relies on the ideational function of the line in architectural practice, as proposed by Andrew Benjamin. The second studies the line in relation to Gilles Deleuze and Félix Guattari's concept of 'smooth space'. These writings on the role of the line form an important basis that questions the nature of abstraction in the sketch. Taken together, these two analyses and Hadid's earlier explorations of architectural space generate alternative meanings to the lines of her sketch for the MAXXI. Finally, the article questions the figure of the architect in relation to their own sketches. I argue that it is often the architect who redefines how sketches are interpreted over time, and find their place in a specific teleology of development. In conclusion, the sketch is a complex fragment in the realisation of a building. It has broad experimental implications for the discipline.
Luscombe, D 2019, 'Zaha Hadid's Notebooks: The role of the sketch in architecture's representation', The Journal of Architecture.
It was Heinrich Wölfflin who proclaimed in response to Baroque innovation, "The most direct expression of an artist's intention is the sketch." From Wölfflin's influence what is valued is the capacity of the sketch to signify the locus of mastery of the architect's unmediated thought. Considered as the trace of purely cerebral affect, the sketch has been characterised therefore, as having the immediacy of a signature and treated as evidence of creative origins. The work of this paper is to question the assuredness of this claim through an investigation of Zaha Hadid's sketches. This paper will investigate the complex relationship between the sketch, and the realised building in the context of images for the Museo Nationale delle Arti del XXI Secolo (MAXXI) in Rome to question the nature of Wölfflin's claim of 'direct expression of an artist's intention'. It examines the impact of abstraction and representation with regard to the lines of one sketch in order to expand an understanding of the work that is implied through the sketch.
Luscombe, D 2017, 'Illustrating architecture: the spatio-temporal dimension of Gerrit Rietveld's representations of the Schröder House', Journal of Architecture, vol. 22, no. 5, pp. 899-932.View/Download from: Publisher's site
© 2013 The Journal of Architecture. This paper examines two axonometric projections by Gerrit Rietveld that portray the house designed for and in collaboration with Truus Schröder-Schräder.1 Utilising specific attributes of the technique of the axonometric, Rietveld developed concepts of architecture that were both abstract and yet contingent on architecture's material requirements and its function as habitation. Rather than using text to explain the ideas behind the house Rietveld chose drawing, and more specifically the technique of the axonometric, to characterise complex strategies that were fundamental to its distinctive architectural concepts.2 Axonometric techniques, in maintaining dimensional accuracy, can provide an understanding of architectural design that, unlike perspective or photography, avoids placing the viewer's experience as the privileged interpretive paradigm.3 For Rietveld, illustration clearly situated his expectations for architecture's signification beyond its physical presence. His exploration of architecture's potential through the axonometric could also have been influenced by his reaction to popular theories coming from 'scientific' explorations of perceptual space and to artists like Piet Mondrian who had criticised architecture for its inability to come to terms with 'new representation'.4 These two Rietveld illustrations provoke specific understandings of architecture by privileging the abstract conceptual relationships that can be developed between spatial and auxiliary domestic elements of a dwelling. For the discipline of architecture, Rietveld provided an alternative concept for architecture based scientifically on a system of logical equivalency. For architecture this suggested a correlation formed between abstract geometries of form with the contingencies of material habitation.
Luscombe, DO 2016, 'Drawing the Barcelona Pavilion: Mies van der Rohe and the implications of Perspectival Space', Journal of Architecture, vol. 21, no. 2, pp. 210-243.View/Download from: Publisher's site
This article investigates a drawing of the interior of Ludwig Mies van der Rohe's 1929 German State Pavilion for the International Exposition at Barcelona. Investigations of the drawing take two forms. The first focuses on a close reading of the drawing, engaging with the work's 'facture', its method of production and its underlying diagram that structures and pilots meaning for viewers. This section develops a conceptual framing for understanding the drawing's critique of architecture's traditions. The second form of investigation takes a more historical approach. Here, investigation of Miesian scholarship in the context of the Berlin avant-garde during the mid- to late-1920s seeks answers to the questions that emerge from the drawing. Conclusions drawn in the paper show that there are consistencies in approach, especially with the way that other artists in Mies's circle have interpreted specific philosophical texts of the period. The article shows that, while philosophies that in more political circumstances took on a different influence, for artists of this period these same philosophies opened a critique of art's traditional rationale and the visualising structures implicit in those traditions.
Peter Eisenman's axonometric drawings of House VI portray the defining characteristics of what he considered the intellectual contribution of the architectural act. Fundamental to this interpretation of architecture was the perception that architecture should be polemically engaged with the conceptual arts. Eisenman's writing on conceptual architecture at this time can be contextualised by his reactions to a single catalogue: the 1970 Haags Gemeentemuseum catalogue to an exhibition of the sculptor Sol LeWitt. This theoretical milieu influenced the drawings for House VI. Evidenced in Eisenman's drawings are responses to the ideas and images seen in this catalogue. In response, Eisenman exploited an ambiguity found in the axonometric technique to define architecture's divergence from other conceptual arts while maintaining many of their material and spatial qualities. He extended the spatiality implicit in the conventions of architectural drawing through newly formed attitudes to seriality, media and geometry that went beyond the diagrams of Houses I-IV. For House VI, this achieved a new engagement for the viewer in developing a notion of conceptual architecture. It also repositioned the importance of architectural drawing and its relativity to realised architecture. This article examines the drawings of House VI for their diffusion of these complex visual and architectural effects.
Luscombe, DO 2013, 'Illustrating Architecture: the spatio-temporal dimension of Gerrit Rietveld's representation of the Schroder House', The Journal of Architecture, vol. 18, no. 1, pp. 25-58.View/Download from: Publisher's site
This paper examines two axonometric projections by Gerrit Rietveld that portray the house designed for and in collaboration with Truus Schroder-Schrader. Utilising specific attributes of the technique of the axonometric, Rietveld developed concepts of architecture that were both abstract and yet contingent on architectures material requirements and its function as habitation. Rather than using text to explain the ideas behind the house Rietveld chose drawing, and more specifically the technique of the axonometric, to characterise complex strategies that were fundamental to its distinctive architectural concepts. Axonometric techniques, in maintaining dimensional accuracy, can provide an understanding of architectural design that, unlike perspective or photography, avoids placing the viewers experience as the privileged interpretive paradigm. For Rietveld, illustration clearly situated his expectations for architectures signification beyond its physical presence. His exploration of architectures potential through the axonometric could also have been influenced by his reaction to popular theories coming from `scientific explorations of perceptual space and to artists like Piet Mondrian who had criticised architecture for its inability to come to terms with `new representation. These two Rietveld illustrations provoke specific understandings of architecture by privileging the abstract conceptual relationships that can be developed between spatial and auxiliary domestic elements of a dwelling. For the discipline of architecture, Rietveld provided an alternative concept for architecture based scientifically on a system of logical equivalency. For architecture this suggested a correlation formed between abstract geometries of form with the contingencies of material habitation.
Luscombe, DO 2011, 'Between Sky and Water: The face of urban decorum in the Late Renaissance houses on Venice's Grand Canal', Angelaki: Journal of the Theoretical Humanities, vol. 16, no. 1, pp. 41-62.View/Download from: Publisher's site
Represented as the face of Venice, the houses of the Grand Canal were used during the Renaissance to support the portrayal of the Venetian Republic's unique structure of governance. Paolo Paruta's dialogue, Della perfettione della vita politica, a work of political theory on the Venetian Republic, is one such text used here to examine how in a changing context of modernization, architecture has been presented as a representation of state. Paruta's use of architecture as a representation of state was conceptually different from those earlier writers such as Gasparo Contarini who presented the uniqueness of Venice's social qualities through its orderly governance and law. Fundamental to Paruta's incorporation of architecture to the conceptualization of Venice was Daniele Barbaro's interpretation of Vitruvius' representation of the body-of-state, being reflected in the architectural makeup of the city. However, Vitruvius' text, De architectura, described the monarch's body reflected in the architecture and urban strategies of the late Roman Republic. Paruta's use of the text and of Daniele Barbaro aimed to transfer these values to the Venetian Republic and its social formations. Subtly forging links between the radicalism of Doge Andrea Gritti's renovatio programmes and the power struggles of the young patricians, Paruta's aim for architecture was to support the preservation of Venetian values as distinct from those of Rome. Indications are that Paruta's message was understood. To examine the comprehensibility of Paruta's political propositions, his terms and arguments are analysed in the context of three different architectural composition types used in Venetian houses of the mid-sixteenth century.
Luscombe, DO 2011, 'Book Review, Venice Disputed: Marc'Antonio Barbaro and Venetian Architecture 1550-1600, Deborah Howard', Times Higher Education, 17 Nov, 2011, vol. Nov, no. 2,025, pp. 53-53.
Review invited because of disciplinary esteem
Luscombe, DO 2006, 'Constructing the Architect of the Italian Renaissance', Interstices: Journal of Architecture and Related Arts, vol. 7, no. 1, pp. 45-56.
Luscombe, DO 2006, 'Constructing the architect of the Italian Renaissance', Interstices: Journal of Architecture and Related Arts, vol. 07, no. Gen-ius/Gen-ealogy, pp. 45-55.
Luscombe, DO 2005, 'The Architect and the Representation of Architecture: Sebastian Serlio's frontispiece to Il terzo libro', Architectural Theory Review, vol. 10, no. 2, pp. 34-53.
This paper questions what at any time is used to represent the discipline of architecture and the figure of the architect as constructs within historical notions of the social. By examining a single illustration, the frontispiece to Sebastiano Serlio's. II lerzo libro, the paper argues that the frontispiece portrays a correspondence between the technical conventions of the architect with the concepts and principles of the discipline. The frontispiece didactically states that the architect is able to fulfil the role implicit in 'Nature.' to transform the 'licentiousness' of antique architecture through reason and judgment, and through this transformation bring ideals of decorum lo concepts of the social through architecture. The paper shows thai for late Renaissance Italy, the architect is represented as intellectually autonomous from, while dependent on. structures of governmentality and patronage for the formation of the discipline. This formulation enabled the architect to represent the social through architecture's resolution of the competing circumstances of the city.1
Luscombe, DO 2002, 'The Design Approach of Campbell Luscombe Architects', Time + Architecture, vol. 63, pp. 60-69.
High Distribution professional journal. The work was a retrospective selection of design by architecutral firm of which I was a director between 1978-2003. The article discusses changing theoretical interests in architecture over this period. It brings together creative outcomes and scholarly interests
Luscombe, DO & Mueller, J 1996, 'The Politics of Representation in Three Architectural Frontispieces: Alberti, Scamozzi and De L'Orme', Architectural Theory Review, vol. 1, no. 1, pp. 2-19.
Frontispieces are neglected components of the architectural treatises of the Renaissance. They represent disciplinary boundaries, aspirations and disputes in their graphic content. In addition they place these internal concerns in the broader context of the political, aesthetic and technical concerns of their time and trace the architect's role in these processes, and the emergence of the named architect as a figure of authority. The paper argues for a historicist reading of the frontispiece to determine these influences and connections, and a re-appreciation of the political content of the 'neutral' graphic language of antique classicism, of visual rhetoric in general, and the use of history, and other generators of authority in these drawings.
Luscombe, DO 1994, 'Picturing Architecture: Representing Architecture in Two Dimensional Form', Australian Architectural Quarterly, vol. 2, no. 1, pp. 28-39.
Luscombe, DO & Jackson, D 1994, 'Women in Architecture', Architecture Australia, vol. 82, no. 1, pp. 68-73.
Luscombe, DO 1993, '1993 Overview', Architecture Bulletin, vol. December, pp. 6-11.
Luscombe, DO 1993, 'Academically Speaking', Architecture Australia, vol. 81, no. 1, pp. 28-32.
Luscombe, DO 1993, 'Chifley Tower', Architecture Bulletin, vol. April, pp. 9-10.
Luscombe, DO 1993, 'Ken Woolley', Architecture Bulletin, vol. October, pp. 16-19.
Luscombe, DO 1992, 'The Myth', Architecture Bulletin, vol. July, pp. 8-8.
Luscombe, DO 1990, 'Review: Cox, P. and Moore, D., The Australian Functional Tradition', Fabrications: Journal of the Society of Architectural Historians Australia and New Zealand, vol. 1, pp. 99-101.
Hill, M, McNamara, A, McGrath, A, Bogle, M, Luscombe, D, Lewis, M, Hamilton, M, Andresen, B, Melling, G, Bell, P, Hanna, B, Broadfoot, K & Martin, D 1989, 'BOOKS', Fabrications, vol. 1, no. 1, pp. 91-122.View/Download from: Publisher's site
Luscombe, DO 1987, 'Identical Dilemmas: the Problem of the Antipodes', Transition: Discourses on Architecture, vol. 22/23, no. 22/23, pp. 8-14.
Professional Journal with section for refereed papers
Luscombe, D 2019, 'Ludwig Mies van der Rohe and Architecture's Spatial Distraction: The Hofhauser Sketch of c. 1935' in Luscombe, D, Hobhouse, N, Thomas, H & Mallison, H (eds), Architecture Through Drawing, Lund Humphries, London, pp. 40-51.
An architect's design sketches are rarely questioned for repurposing drawing conventions that are otherwise common to the profession. However, an architect's sketches are most often characterised in some way by techniques and conventions underpinning perspective, axonometry or orthography. These conventions define certain ways of thinking about architecture.Through an investigation of a single sketch by Ludwig Mies van der Rohe titled Hofhäuser (Court Houses), completed around 1935, this chapter questions the purpose of framing architectural ideas through perspectival techniques. What these techniques offer is the capacity for the architect's design sketch to reinforce architecture's ordered regularity. For Mies, this attribute supported a specific notion of spatial and material value. In his sketch, perspectival conventions equally reflect a desire for certain human values to be recognised by the viewer. Certain moral inferences within his approach to representation have a mirroring effect on viewer comprehension. The Hofhäuser sketch provides the expectation that potential occupants of his architecture and the architecture itself will unite to reflect the same moral values.
The relationship between the architectural drawing and the realised building is a dynamic one. Some drawings are simply instrumental in the realisation of built architecture. Others resist this instrumentality, and are made instead to articulate architecture's ideas and contemporaneous attitudes. The architectural drawings assembled in this collection are,
largely, the ones that resist. In this resistance to architecture's measured requirements, they critique and propose ideas that guide further experimentation. A spectator can walk through a building, but this experience may not provide the same ideas as those presented through drawing. Equally, while an individual can 'read' an explanation of architectural intent, the apprehension of ideas in their relation to others may not be as obvious as those that are visible through drawing. The drawing can traverse powerful ideas of architectural thought. It visually distinguishes itself from not only written dialogue but also the documentation required for the realisation of single buildings – and from the building itself. While not equivalent to building, the existence of drawings signifies attributes of the architect's dialogue with an intellectual milieu as well as those of a single project, whether realised or unrealised.
Luscombe, DO 2017, 'Architectural Drawing: Architecture's speculative visual history' in Stoppani, T, Ponzo, G & Themistokleous, G (eds), This Thing Called Theory, Routlege, London and New York, pp. 114-125.
Luscombe, DO 2002, 'Architecture and the Narrative Dimensions of Two Alberti Frontispieces of the Sixteenth and Eighteenth Centuries' in Anderson, C & Koehler, K (eds), The Built Surface - Architectural and the Pictorial Arts from Antiquity to the Enlightenment, Ashgate Press, London UK, pp. 180-202.
Contribution to a major collection of works considering the relationship between drawings and architecture. Other contributors are renowned scholars in architectural history at distinguised universities across the world
Luscombe, DO 2012, 'Rietveld's Axonometric Illustrations and the Problems of History', Conference Proceedings: Fabulations, Myth, Nature, Heritage, the 29th Annual Conference of the Society of Architectural Historians Australia and New Zealand., Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, UTAS, Launceston, Tasmania, Australia, pp. 632-649.
Luscombe, DO 2009, 'Inscribing The Architect: the Frontispiece and the Renaissance Architecture Book', The Renaissance Society of America Annual Meeting Program and Abstract Book, The Renaissance Society of America Annual Meeting, The Renaissance Society of America, Los Angeles, pp. 161-161.
Luscombe, DO 2007, 'Architecture and the Urban as a Metaphor of Governance: Paolo Paruta and the Spatiality of Venice in the Late Sixteenth Century', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand Annual Conference, SAHANZ, Adelaide, Australia, pp. 1-12.
Vitruvius text, De architectura, described the practice of architecture and urban strategies for the late Roman Republic. Later use of the text and its messages, emerging with the growing impact of printing on specific changes in power relations associated with governance of cities, provided the opportunity for a politicized agenda to be incorporated to appease these differing contexts. It was during the Renaissance that Vitruvius and other antique authorities were employed in discourses on citizenry where architectures attributes were used to reinforce ideals of good governance in the emerging urbanity of city-states. This paper investigates Paolo Parutas Della perfettione della vita politica, a work of sixteenth-century political theory on the Venetian Republic, to examine how politically inspired uses of Vitruvius concepts supported the survival of Venices model of a republic. Paolo Paruta was to become Procuratore of San Marco in 1597. Fundamental to his validation of Venetian governance was Vitruvius representation of the body-of-state being reflected in the architectural make-up of the city.
Luscombe, DO 2007, 'The City as an Image of Social Governance: Vitruvius and the Sixteenth-Century Venetian Republic', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, SAH, Pittsburgh, USA, pp. 58-58.
Evidence of peer review in separate file - sighted for ERA collection 2009
Luscombe, DO 2006, 'FranÃ§ois Blondel and the Self-Representation of Architecture', Art & Art History: Contents, Discontents, Malcontents, the 32nd Annual Conference of the Association of Art Historians, Association of Art Historians, AAH and the University of Leeds, Leeds, UK, pp. 31-31.
Luscombe, DO 2002, 'Sebastiano Serlio's Symbolic Perspective', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Queensland University and SAHANZ, Brisbane Art Gallery, Queensland Australia, pp. 1-14.
Luscombe, DO 2001, 'Diversifying Architectural Practice', Remaking the Framework of Architectural Education, Hong Kong Institute of Architects, Hong Kong.
Luscombe, DO 1999, 'Conventions in Picturing and Text Relationships in Renaissance Architectural Practice', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, University of Tasmania and SAHANZ, Launceston, pp. 189-196.
Luscombe, DO & Mueller, J 1997, 'Politics, Practice and Concepts of the Modern: Appropriating Alberti and Vitruvius', Reflections on Heritage and Modernity: 1997 ACSA Northeast Regional Meeting, 1997 ACSA Northeast Regional Meeting, Roger Williams University, Rhode Island, USA, pp. 383-389.
Mueller, J & Luscombe, DO 1998, 'The Triumph of Delight', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, University of Melbourne and SAHANZ, Melbourne, pp. 197-202.
Luscombe, DO & Mueller, J 1997, 'Architectural theory making in the Renaissance: magnanimity, magnificence and civic life', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Louis Laybourne Smith School of Architecture, University of South Australia, and SAHANZ, Adelaide, pp. 155-162.
Luscombe, DO & Mueller, J 1996, 'The Salon 1912-1916: Myths of Motherland and Nationhood', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, University of Melbourne and SAHANZ, Auckland, NZ, pp. 68-79.
Luscombe, DO 1995, 'n/a', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, SAHANZ and UNSW, Sydney, pp. 1-140.
Luscombe, DO 1995, 'The Impact of Architectural Drawings on Concepts of the Modern in "Architecture and the Arts": 1953-60', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, SAHANZ and UNSW, Sydney, pp. 32-38.
Luscombe, DO 1993, 'Structures of Visualisation in Architectural Theory', Building Bridges Conference Papers, COFA, Sydney, pp. 21-26.
Luscombe, DO 1990, 'Shadowy Influences and "This Goes With That at Sussan's"', Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, Society of Architectural Historians, Australia and New Zealand (SAHANZ) Annual Conference, SAHANZ and UNSW, Sydney, pp. 84-89.
Luscombe, DO & Peter, S 1990, 'Visualising Architectural Designs', Australian and New Zealand Architectural Science Association (ANZAScA) Annual Conference, Australian and New Zealand Architectural Science Association (ANZAScA) Annual Conference, School of Architecture UNSW, Sydney, pp. 171-175.
Campbell, L & Luscombe, D 2017, 'Carrington Camden Master Plan'.
This project was to complete a 20 year masterplan for the retirement and nursing home facility. The proposal rethought current attitudes to nursing home facilities proposing an apartment style facility. With this there were a number of additional independent living units and ancillary facilities. Planned in natural bushland consideration was made to the retention of natural stands of mature trees, height lines to existing proximate airports and fire/flood issues.
Campbell, L & Luscombe, D 2016, 'Aged Care Facility, Osborne Street, Nowra, UnitingCare Ageing'.
The project included a three storey independent living complex with additional accommodation in adjacent sites. The bulk of the master plan work was focused on an existing site working to maximise and rationalise development for future growth.
Campbell, L & Luscombe, D 2016, 'New Aged Care Facility Masterplan, Bellingen, Master Masons'.
Creation of a large facility to incorporate independent living as well as nursing home facilities.
Campbell, L & Luscombe, D 2016, 'Seniors Housing Epping, UnitingCare Ageing'.
Taking an old facility and rethinking an expanded site area to maximise floor-space while maintaining high level independent living standards and architectural worth.
Campbell, L & Luscombe, D 2016, 'Seniors Housing, Brighton-Le-Sands, Havestone'.
Increased density required on an existing facility
Campbell, L & Luscombe, D 2016, 'Seniors Housing, Tamworth, UnitingCare Ageing'.
Expansion of an existing facility.
Campbell, L & Luscombe, D 2016, 'Seniors Housing, Yagoona, UnitingCare Ageing'.
A re-evaluation of an existing facility to upgrade both independent living and nursing home facilities.
Campbell, L & Luscombe, D 2016, 'Yowani Country Club Seniors Living, Canberra'.
Rethinking an older style of development to maximise site coverage
Campbell, L & Luscombe, D 2015, 'The Brighton, Catholic Healthcare Independent Living UnitsCroydon Ave, Croydon, NSW', Master Builders Excellence in Housing Awards NSW 2015, Lifestyle Living over 55's and Best Use of Brick Awards.
This complex incorporated 101 independent living units and ancillary facilities including swimming pool, recreation lounges, hairdresser, billiard room, dining room and other external facilities. Construction costs were $42,000,000. The development was a mix of high and low rise buildings that responded to the historical Federation context of Croydon.
Campbell, L & Luscombe, D 2014, 'Master Plan for The Garrison Mosman Redevelopment, UnitingCare Ageing'.
Master plan to redevelop an existing nursing home. Proposing to buy a cinema site adjacent. The project was a feasibility study to increase nursing home beds to 60 in addition to the existing facility
Campbell, L & Luscombe, DO 2014, 'Nambucca Heads Uniting Care Ageing Special Care Residence', Architecture for an Aging Population, Nambucca Shire, Short Street.
The project was one of two aged care facilities commissioned by UnitingCare Australia. Crucial to the design is the research approach that develops a home-like environment aimed to deinstitutionalise care and foster a person-centred care approach.Conceptually the facility breaks into a cluster of small residential facilities. It takes on a 'town' concept with key locations like community areas, chapel and shops that become locations attracting travel in the community.
Campbell, L & Luscombe, DO 2013, 'Earl Street Residence', -, Randwick, Sydney.
Located in a quiet street in Randwick the renovation to this semi-detached residence explored the maximisation of space and light on the Western face of the house. Research explored how through materials, colour, texture and roofline the composition of the house provided a complex modern approach to the suburban house while providing for client needs of yoga room and separate living for a teenage daughter.
Campbell, L & Luscombe, DO 2013, 'Gibralter Park Retirement Village', Wingecarribee Shire Council, Old Bowral Road.
A new retirement village on a challenging site with spectacular views over rural lands. The research stretched the brief for the masterplan to increase density by working with new flat-slab percast construction techniques. ...
Campbell, L & Luscombe, DO 2013, 'RFBI - Tamworth Cottage Homes', -, Tamworth Regional Council, Kitchener.
This group of single cottages was added to an adjoining site where CLA completed a renovation of an existing aged care facility. Research undertaken developed a response to bringing a masterplanning approach to a small site. A town-centre approach developed pathways for travel to locations on residential importance like community facilities. The residences also introduced an internal street and courtyard culture to encourage community amongst the residences.
Campbell, L & Luscombe, DO 2012, 'Bird Residence - Warawee', Kuring-gai Council, not disclosed.
Campbell, L & Luscombe, DO 2012, 'Port Macquarie UnitingCare Ageing 'Mingaletta' Special Care Residence', Katrinka Smith Sloan IAHSA, Architecture for an Ageing Population, Port Macquarie-Hastings Council, Sherwood Road.
The project ...
Campbell, L & Luscombe, DO 2012, 'Yamba Master Plan - Uniting Care Aging', Clarence Valley Council, Freeburn Street.
Campbell, L & Luscombe, DO 2011, 'Singleton Golf Club', Singleton Council, rural land.
The form of the club was developed to take a commanding position on top of a hill. Research investigated formal type associated with modelling a complex massing that would take advantage of the many approaches to the club house.
Campbell, L & Luscombe, DO 2010, 'Kantarra (RSL Tobruk Village) Austral, NSW', -, City of Liverpool, Tenth Avenue.
A development of Seniors Living at Austral NSW Kantarra is set amongst six acres of landscaped grounds. The research initiated a search for formal expression that would create an urban presence in this outer suburb of Sydney. The village continues our research into the architectural implications of aged living. The project brings together issues of independent and community living.
Campbell, L & Luscombe, DO 2009, 'Cometrowe Street House', City of Canada Bay, Cometrowe Street.
In a typical suburban street of Drummoyne this residence brought an exploration of dynamic forms to its resolution of renovation of an old timber cottage. Exploration took advantage of passive solar design principles, links to landscape and outside living that Sydney enables. Internally volumes were created through the interstitial spaces gained between the old house and the new extension. This took advantage of the North facing side face of the house as well as the link to the back garden.
Campbell, L & Luscombe, DO 2009, 'Treeview Estates Lithgow, NSW', -, Lithgow City Council, Col Drewe Drive.
On the outskirts of Lithgow this Seniors Living complex created a tight knit design of single houses clusterred around a community centre and common facilities. Rather than repeat the up-market expression established
Campbell, LG & Luscombe, DO 2008, 'Designing Seniors-Friendly Communities: a Look at Recent Trends', Beyond Beige: Improving Architecture for Older People, RAIA, Manuka ACT, pp. 62-69.
Luscombe, DO 1994, 'Architectural Rendering CRC and H22 Building UNSW', Monument, Sydney.
Luscombe, DO 1994, 'Manly House Analytical Rendering', Wohn! Design: Internationales Magazin fur Arkitektur, Wohnen und Design, Berlin.
Luscombe, DO 1994, 'University Hall UTS', Architecture Bulletin, Sydney.
Luscombe, DO 1992, 'Glouster Street Drawing', Picturing Architecture: Graphic Presentation Techniques in Australian Architectural practice, Sydney.
Luscombe, DO 1992, 'Manly House Analytical Rendering', Picturing Architecture: Graphic Presentation Techniques in Australian Architectural practice, Sydney.
Campbell, L & Luscombe, DO, 'Lifestyle Manor, Flood Street, Bondi', n/a, Aged Care Association of Australia/NSW: a chronicle, In situ.
Lifestyle Manor Bondi is a unique advance in architectural design for Australian retirement living. Taking advantage of the dense urban, eastern suburb context, the development strategy built a vital, engaging seniors community. The research focus takes the core of the development for 42 apartments to develop a 'vertical village'. By internally revealing resident movement over four levels through an atrium, the sense of physical, social and visual communication reinforces communality. The practice research approach of Cambell Luscombe emerges from the issues that have influenced retirement living in the past; dominated either by controlling mechanisms of care or by simply housing the older and underprivileged through organizations like church bodies or charities. Our research focused on the attitude of 'ageing with dignity', a design approach (tested successfully over a number of projects, each with markedly different site conditions and aesthetic expressions) with three main attributes : "self-confidence of the residents should be paramount, supported through all architectural decisions; "architecture should be aspirational for residents rather than diminishing in its expression and experience; "retirement living complexes should return suitable gains for their financiers without undermining sustainability of their aesthetic value. In Lifestyle Manor Bondi the ESD strategy maximizes the number of corner apartments with increased access to natural daylighting and cross-ventilation. The complex incorporates rainwater harvesting, grey water recycling system, solar hot water and thermal stack ventilation. The style of the building responds to aesthetic aspirations and memories of senior residents by utilizing a dignified contemporary interpretation of the 'grand' apartment buildings of the 1920s.
Campbell, L, Luscombe, DO & Luscombe, G, 'Stackpool Residence, Drummoyne', n/a, The Daily Telegraph May 19 2007, Drummoyne.
This house was developed over a number of years (first as Campbell Luscombe residence). It took the model of a suburban dwelling that was introverted and room bound and converted this to a well oriented open plan residence. The final renovation for later owners was reviewed in the Daily Telegraph's Home section during May 2007. Budget $600,000. In conjunction with Campbell Luscombe and Campbell Luscombe Folk Litchman. Influence was over the complete design from 1980s-2006. Published earlier - September 1993 in earlier version - Trends: Australian new home and renovation.
Luscombe, DO & Hughs, J, 'John Horbury Hunt: Radical Architect 1838-1904', John Horbury Hunt: Radical Architect 1838-1904, Historic Houses Trust, NSW, Museum of Sydney, Sydney.
Contract to provide a series of architectural models and flythough digital interactive displays to support the exhibition.
Luscombe, D 2018, 'Zaha Hadid, Planetary Architecture', Drawing Matter.
This article explores the first solo exhibition of the drawings and paintings created by Zaha Hadid. It was held at the Luce Van Room Gallery, Amsterdam.
Campbell, L & Luscombe, DO 2001, 'Excellence in Housing Award: Waterbrook Retirement Complex'.
Campbell, L & Luscombe, DO 2001, 'Urban Development Institute of Australia Award for Excellence in Urban Development, Retirement Lifestyle Development, for Waterbrook Retirement Complex'.
Campbell, L & Luscombe, DO 1994, 'Award for Construction Category $500,000-$5m: Orang-Utan House, Taronga Zoo'.
Campbell, L & Luscombe, DO 1994, 'Certificate of Commendation: University of Technology Sydney, University Hall'.
Campbell, L & Luscombe, DO 1994, 'Merit Award: University of Technology, University Hall'.
Campbell, L & Luscombe, DO 1993, 'Award for Construction Category $500,000-$5m: University of Technology Sydney, University Hall'.
Campbell, L & Luscombe, DO 1993, 'Blacket Award for Excellence in Country Architecture: Wyong Court House with Government Architects'.
Campbell, L & Luscombe, DO 1992, 'Horbury Hunt Merit Award for Brick Architecture: Wetherill Police Station in Assoc with Govt Architect'.
Campbell, L & Luscombe, DO 1991, 'Horbury Hunt Merit Award for Brick Architecture: Rectory, All Saints Woollahra'.
Campbell, L & Luscombe, DO 1986, 'Merit Award for Excellence in Architecture: All Saints Church, Woollahra'.
Campbell, L & Luscombe, DO 1986, 'National Heritage Award: Rectory All Saints Church, Woollahra'.