Fences in Suburban Gardens A Background research for a proposed exhibition

Student: Pawel Wycinka

Supervisor: Dr Alice Gorman

Industry Partner: Kate Walker, Curator of Unley Museum

Date: 6th November 2009

This report has been produced as a part of the assessment for ARCH 8508 Directed Study in Cultural Heritage Management graduate topic in the Department of Archaeology, Flinders University

This research project was undertaken as part of course requirements for topic ARCH 8508 Directed Study in Cultural Heritage Management and the research results provided should be read in that context. I certify that this research project does not, to the best of my knowledge and belief, incorporate without acknowledgment any material previously published or written by another person except where due reference is made. Signed………………………………………………………… Date………………………… Pawel Wycinka

Executive Summary

The following report outlines and presents a Directed Study project carried out

by the author in Semester 2, 2009; for which Dr.Alice Gorman was the supervisor

and the industry partner was Kate Walker of the Unley Museum. The research

project was to gather data and material for a proposed exhibition to be held at the

Unley Museum. The topic of this exhibition is a historical look at suburban gardens in

South Australia; however due to the large scope of this topic, the research focused

on collecting information about fences, in particular about suburban garden fences.

First of all the research had a look at the historic background of fences, its

definitions and the role fences played throughout civilisation, including Medieval

Europe, colonial America and Australia. Fence throughout Australian history were as

varied as they were widely used; their relics representing our past; and becoming

part of the sense of place and the landscape. However they are majorly

underappreciated due to ignorance of their historic significance, as well as due to the

fact that most historic fences are unattractive and do not hold people’s attention

(Pickard:2007:505). Wrought and cast iron industry in Adelaide was also briefly

discussed. The report then goes on to describe chronologically the history of fence

styles in South Australia, starting at 1840s to the 1950s. This part identified some

fence facts that are unique to South Australia; these included that sizing of iron panel

and masonry base fences and that brush fencing originated in the state.

The last section of the report outlines a basic interpretation plan for an

exhibition, its importance in planning and execution of an exhibition, and also gives

four examples of possible interpretation techniques that could be used.

The end results of this research project included this report, a poster

representing the research (appendix 1), an oral presentation; and as requested by

the industry partner, a collated and chronologically organised folder that contains

historic photographs of fences and gardens, and advertisements for garden

products, to be used in the exhibition. A categorised summary of this folder can be

found in Appendix 2.

Table of Contents

1.0 Introduction 1

1.1 Background to the project 1

1.2 Acknowledgements 1

2.0 Literature review 2

2.1 Background to fences 2

2.2 Wrought and Cast Iron Industry in South Australia 5

3.0 Methodology 7

4.0 Chronological history of fence styles in South Australia 10

4.1 1840s – 1860s 10

4.2 1870s to First World War 10

4.3 Post First World War 13

4.4 Post World War Two – 1950s 15

5.0 Interpretation plan 16

5.1 What 16

5.2 Why 16

5.3 Who 17

5.4 How 17

5.5 Possible interpretation techniques 18

6.0 Conclusion 20

7.0 Reference list 23

Appendices

Appendix 1 Poster 24

Appendix 2 Categorised summary of the material folder 25

Table of Figures

Fig1 Osage hedges in Peats Crater in Muogamarra Nature Reserve 4

Fig2 A dog-leg fence in New South Wales from 1880s 4

Fig3 A wall in Cunninghams Plains Station near Murrumburrah, NSW 4

Fig4 A dingo-proof fence 5

Fig5 The Sun Foundry catalogue 1914 6

Fig6 A simple timber picket fence 10

Fig7 A picket fence with alternative heights 11

Fig8 Corrugated iron fence 11

Fig9 An iron panel on masonry base fence 12

Fig10 Less ornate fences 13

Fig11 Woven wire fence 14

Fig12 Rolled steel ribbon fence 15

Fig13 Brush fence with gate way 15

Fig14 Crazy path 18

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1.0 Introduction

1.1 Background to the project

The focus of this study is to conduct background research for a proposed

exhibition to be held at the Unley Museum. The topic of the exhibition is a historical

overview of suburban gardens in South Australia. Due to the scale of this type of

work, the research conducted by the author will focus on front garden fences, in

particular a quick look at the chronological changes in fence styles, locating past

fence designs in order to reproduce replicas, sourcing advertisements of fence

companies from the past to be used for display purposes and historical photos of

gardens and fences taken within the City of Unley area.

The industry partner for this project is Kate Walker, the curator of Unley

Museum. The small community museum is located on 80 Edmund Avenue in Unley

and is part of the City of Unley Council. The museum has a small permanent display

about Unley‟s history and one about contribution of women in the area.

1.2 Acknowledgments

Many thanks go to my study supervisor Dr Alice Gorman who guided and

supported me though my research. I would also like to acknowledge Kate Walker,

the curator of the Unley Museum, for giving me the opportunity to work on this

research as well as the helpful staff at the South Australian State Library that

assisted me with locating and accessing archival material.

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2.0 Literature review

2.1 Background to fences

In order to introduce fences one should follow Beneke‟s (2005:2) lead and

define the word „fence‟ itself in the Oxford English Dictionary. The first definition for

„fence‟ is a verb meaning „the action of defending, which also relates to what we now

know to be the sport of fencing (Simpson & Weiner:1989:828). It wasn‟t until the

sixteenth century that the word was applied to describe „an enclosure or barrier

along a boundary‟ (Simpson & Weiner:1989:828). Fences are found where a

property edges a street or public grounds and are used to create privacy, provide

security and make an architectural statement that conveys the character of the

garden and building behind it (Tanner:1983:51).

When describing the origins of fences Beneke goes as far as to say that

fences helped to shape modern civilisation (2005:2). He argues that our nomadic

ancestors use to roam the lands in search of food and shelter, but the introduction of

fences offered security to crops from wild animals and the domestication of animals

by keeping them enclosed. Further the definition of land and ownership gave people

the incentive to settle in one place, to build sturdy housing, create communities and

to improve their land and farming techniques. This increased the crop yield and gave

people spare leisure time which in turn was used to come up with aspects of

modernity and culture such as art, music and written language. The best example of

such community is the Sumerians who settled an area in today‟s lower Middle East

about 5000 BP (Encyclopaedia Britannica, 2009). The Sumerians, amongst other

things, are best known for their irrigation practises and the invention of the written

language.

Medieval European farming villages used communal land to grow crops and

tend to stock (Beneke:2005:4). These villages used a system where the land was

separated into sections and the growing of crops and pasturing of animals was

rotated between these sectors. Management of these, and control of the animals,

was carried out by the use of fences. These defined boundaries were later used

when the land was privatised; making fences no longer a simple farming tool but a

sign of power and exclusion.

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In colonial America in the seventeenth century the use of fences transferred

from agricultural to domestic use around houses (Beneke:2005:6). The use of whole

logs for the construction of fences quickly became an inefficient use of this

increasingly scarce resource, and as a result pole fences emerged. With this the use

of flat milled timber planks, rails and vertical pickets became an efficient, effective

and visually attractive way to make fences. The popularity of these fences quickly

took off, with many choosing to paint their fences, and carpenters coming up with

different decorative designs and features. It wasn‟t long until people noticed the

aesthetic benefits of such fences and began putting them up around their homes.

The timber scarcity and the search for cost effective fences on farms also led to the

use of hedge fences. Osage plants, a type of thorned tree, were used to create such

hedges in the 1850s to 1870s (Beneke:2005:7). The use of Osage hedges was brief

due to the fact that in 1873 Joseph Glidden, an Illinois farmer, developed the process

for manufacturing barbed wire, which almost overnight became a booming industry

(Beneke:2005:7).

The scarcity of materials used for fences was also a factor in colonial South

Australia. The Garden and Field magazine published a letter by Thomas Hardy

(1879:143) who stated that timber was becoming a scarce commodity, in particular

on farms, and alternatives should be found. He suggested that trees should be

grown along a fence line, and after a few years of growth wires would be attached to

the trunks to create the fence. According to Hardy this fence would also serve as a

shade for animals and farmers, as well as producing firewood. Another article in the

South Australian Homes and Gardens (1941:12) mentioned changes in boundary

and farming fences that went from simple wood and stone fences to using mesh

wiring and barbed wire for effective control of animals and pests. Country highway

fences similarly changed from wood and stone to more durable and fire-resistant

fences that consisted of concrete posts and iron railings (South Australian Homes

and Gardens:1941:12).

Australia has a rich history of fences not only in the suburbia but also in the

rural areas. The landscape is dotted with a variety fence relics such as the Osage

hedges (fig1), which also suffered short usage due to the introduction of wire

fencing; a dog-leg fence (fig 2) that consisted of White Cypress Pine logs supported

by eucalyptus forked posts; the rare mud walls (fig 3) in areas where there was little

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stone or wood resources; dingo-proof wire fence (fig 4) used to keep sheep safe

from dingoes; and the well known rabbit-proof fences (Pickard:2007:494). These

relics are a reminder and evidence of changes and advancements in technology and

adaption to the new landscape and its new resources; they help to create a sense of

place and hence are important icons in the Australian history (Pickard:2007:490).

Holding such importance, fences are still in many cases ignored as heritage items

due to the ignorance, not knowing and appreciating their historic significance, as well

as due to the fact that most historic fences are unattractive and do not hold people‟s

attention (Pickard:2007:505).

Fig1 Osage hedges in Peats Crater in Muogamarra Nature Reserve. Source: Pickard 2007

Fig2 A dog-leg fence in New South Wales from 1880s. Source: Pickard 2007

Fig3 A wall in Cunninghams Plains Station near Murrumburrah, NSW. Source: Pickard 2007

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2.2 Wrought and Cast Iron Industry in South Australia

The cast and wrought iron industry is an important, though underrated, part of

the South Australian history (Stewart & Harley:1991:1). The city of Adelaide was

developed during the era of this industry and therefore played an important part in

the architecture of the city, as well as country towns that used products from the

local foundries (Robertson: 1973:16). Australian foundries began manufacturing

products by the 1830s, and as time went on the variety and intricacy of designs

increased (Stewart & Harley: 1995:1). Apart from fences, gates and veranda

ornaments, these foundries also produced other household products such as

columns, urinals, tables, chairs, lamps and ventilation inserts. The highpoint of the

decorative cast and wrought iron work was reached in the last quarter of the

nineteenth century during a suburban boom (Stewart & Harley: 1995:1).

One of these local Adelaide foundries was the Sun Foundry, run by the

Stewart and Harley family. They published two catalogues, one in 1897 and the

other in 1914 (Robertson:1973:16). Before the second catalogue came out the

business in 1910 was transferred solely to the Harley family and changed to A.C.

Harley & Co. In 1924 this company was bought out by Forwood, Down & Co,

combining also with the Fulton Foundry at Kilkenny. During the depression the

Kilkenny site was closed down and the company became Forwood, Johns and

Waygood and later again Johns and Waygood and Perry Engineering (Robertson:

1973:17).

Fig4 A dingo-proof fence. Source: Pickard 2007

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Three retail catalogues, one from the above local foundry (fig 5), were located

during the research. These contained many original designs and measurements for

wrought and cast iron products from this period. They should not only be valued from

their historic and design point of view but also be used as a architectural guide for

people who are looking to build or restore houses from this period (Stewart & Harley:

1995:1).

Fig5 The Sun Foundry catalogue 1914

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3.0 Methodology

Methodological basis for this research followed Jennings (2001). Due to the

fact that this is research with a goal to gathering information relating to, in this case,

a planning need, makes is applied research. The chosen approach included

exploratory approach as it mostly draws on qualitative methods of secondary

sources and observations; and a evaluative approach in order to evaluate the data

found and present it in a succinct and relevant way to the industry partner. The

Interpretive Social Sciences paradigm was used as it allows for qualitative

methodology out in the real world rather than a laboratory environment and because

it accepts multiple realities and therefore multiple ways of evaluating and presenting

information (Jennings, 2001, p38).

The research process was conducted in 5 stages that in order included:

1) Preliminary and ongoing consultations with Kate Walker, the curator of the Unley

Museum.

During these meetings Kate explained the background to the exhibition;

identified that she required a chronological look at fences in South Australia and

historic photographs and examples of advertisements for garden products. For the

purpose of the exhibition she also specified for the research to focus more on front

garden fences rather than all types of fences.

2) Intensive qualitative research into the history of gardens and in particular garden

fences in South Australia through a variety data sources that included books,

magazines and archives.

There was a wide range of information about garden history, landscape and

architecture however very little of these materials made reference to fences and

more specifically to fences in Adelaide and the City of Unley area.

The research began at the State Library where books about various aspects

of gardens were consulted. Such books included Trisha Dixon‟s The Essence of the

Garden, an Australian book which discussed a number of different garden styles and

features, and another Australian author Jamie Durie‟s The Outdoor Room which was

a guide for creating modern gardens. There were numerous books of similar nature,

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however very few of them discussed or let alone made mention towards fences. One

book which became quite useful was Beneke‟s The Fence Bible, an instruction book

about on how to build fences that contained a detailed synopsis about the origins,

evolution and history of fences. Another gardening book which made substantial

mention on fences was Howard Tanner‟s Towards an Australian Garden.

Reading through these books lead to the discovery of a several retail

catalogues that included fences from the late nineteenth and early twentieth century.

These included the G.E. Fulton & Co from 1887, the A.C. Harley & Co (Sun Foundry)

from 1914 and the Metters Ltd from 1910. As these were simply catalogues they

contained no written history however they were a rich source fence designs. The

background information about these retailers was located in a couple of books about

the state‟s wrought and cast iron foundry industry during that period.

One part of the research was to locate advertisement and photographic

material of fences and gardens. Two great sources for this purpose were first of all

the South Australian Homes and Garden monthly magazine, available in hard copy

at the South Australian State Library from 1925 to 1953. This publication is not only

great source on the subject of gardens but also other social and historical aspects of

South Australian heritage, such as the introduction of electrical and gas appliances

into the everyday home, leisure time and the wars. The other source used was The

Garden and the Field journal which was published monthly between 1875 and 1940.

This source is also available at the South Australian State Library in hard copy or

microfiche. This journal discussed many topics on agricultural techniques at the time

and was a forum for farmers and industry partners to communicate and share ideas.

Material from these two publications as well as from the retail catalogues mentioned

above that are relevant to fences in particular have been collated and organised into

a folder as a useful source for the design of the proposed exhibition.

Two previous reports became quite important for the discussion about fence

styles. One was Fences in South Australia published by the Department of

Environment and Natural Resources. This report gave detailed account of fence

styles from 1840‟s to Post World War Two as well as conservational and

reconstruction tips for fences. The other useful report was McDougall & Vines‟s

Unley Heritage Research Study. This study gave detailed information about the

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development of the Unley area as well as various architectural building styles with

small references made to fence designs.

Other sources used included websites such Encyclopaedia Britannica (2009)

and Adelaide Brush (2008) as well as the Australian Rural Fences study

(Pickard:2007)

3) Theoretical study of exhibition design and interpretive techniques.

For the final part of the report books on museums, exhibition and

interpretation design were consulted and proved to not only be easily available due

to the ever rising popularity of the subject, but also very useful in using raw factual or

historical data and filtering and organising it in a succinct and presentable way. The

most useful became Black‟s The Engaging Museum – Developing Museums for the

Visitor Involvement which was a detailed account of every aspect of managing

museums and designing effective exhibitions. Also worth a read would be

publications by Sam Ham, one of the leading writers on interpretation and harvesting

its potential.

4) Evaluating and organising the data in a succinct and presentable manner.

The data collected in the above two stages was separated into three sections

that included the background information on fences and industries in Adelaide, the

chronological history of fence styles in South Australia, and the interpretation plan.

The chronological periods followed the ones presented in the Department of

Environment and Natural Resources report (1995) and information from all other

sources that was relevant in this section was organised accordingly.

5) Presenting the results.

The presentation of the results took a number forms which includes this

report, a poster (appendix 1), a formal oral presentation and a collated folder of

garden and fence photographs, advertisements and catalogues organised in a

chronological order. A Categorised summary of this folder can be found in appendix

2.

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4.0 Chronological history of fence styles in South Australia

4.1 1840s – 1860s

During the first years of the new colony of South Australia, properties were

enclosed with very basic stone walls or timber balustrades. Towards the 1860s,

simple timber picket fences (fig 6) were used by most houses and more distinctive

masonry bases topped with wrought iron railings decorated the more prominent

residences and major public buildings (Department of Environment and Natural

Resources: 1995:2). During this period homes in the City of Unley area were found

to not only use timber picket fences but also corrugated iron with timber frames

(McDougall & Vines:2006:29).

4.2 1870s to First World War

Wooden picket fences continued to be used in Adelaide by small cottages on

the street borders. In many cases the fence was on the edge of the veranda where it

doubled as a railing (Department of Environment and Natural Resources: 1995:3).

Even though in some cases the outline of these fences was straight, as in the

previous period, a popular design detail was to use alternating heights to create

patterns (fig 7) or have a curved outline. Another design feature that became

prominent in this period was the use of a variety of heads such as arrowheads,

Fig6 A simple timber picket fence. Source: Department of Environment and Natural Resources 1995

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acorns and rounded patterns on these picket fences (Department of Environment

and Natural Resources: 1995:9). Posts with matching designs to the pickets were

used and often painted a darker colour as a highlighted feature of the fence. The

use of timber picket fences on small houses was utilised in the City of Unley area

(McDougall & Vines: 2006:30).

A number of iron and timber designs were used to create decorative fences

for houses on larger allotments than the small cottages (Department of Environment

and Natural Resources: 1995:3). Panels of timber or corrugated iron were attached

to timber frames and solid timber posts, which were detailed with timber or cast iron

caps (fig 8). These solid, although still decorative, fences were well suited to

buildings of Italian character (Department of Environment and Natural Resources:

1995:8).

Fig7 A picket fence with alternative heights. Source: Department of Environment and Natural

Resources 1995

Fig8 Corrugated iron fence. Source: Department of Environment and Natural Resources 1995

12

During this period some suburban areas of Adelaide were not as closely

divided and these larger blocks of land usually used a simpler fence made of posts

and either chicken wire or strands of wire. Galvanised or wrought iron gates and

thick hedges planted behind such fences were often used (Department of

Environment and Natural Resources: 1995:3).

Another type of fence that utilised iron rails or panels was one where these

materials were set on masonry bases and pillars (Department of Environment and

Natural Resources: 1995:5). These fences (fig 9) were used on larger houses in

prominent areas such as St Peters and North Adelaide, as well as in the City of

Unley Area (McDougall & Vines: 2006:30). During the second half of this period the

masonry bases began to be made of the same material as the house, whether it was

stone or brick, a trend which was also taken up in the City of Unley area (McDougall

& Vines: 2006:31). A unique feature on Adelaide‟s iron and masonry base fences

was that the iron section was of similar height to the base, where in Victoria it was

the norm to use a low masonry base for such iron fences.

Fig9 An iron panel on masonry base fence. Source: Department of Environment and Natural

Resources 1995

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Although a number of local foundries such as G E Fulton & Co and Stewarts

& Harley‟s Sun Foundry who were producing quality cast or wrought iron fencing in a

wide variety of designs, some people still imported such products from overseas

foundries such as in England and Scotland (Department of Environment and Natural

Resources: 1995:7).

A common feature of the variety of front fences for houses constructed in this

period is that all of them allow for a clear view of the front of the house (Department

of Environment and Natural Resources: 1995:3).

4.3 Post First World War

After the First World War, cast iron fencing lost its popularity (Department of

Environment and Natural Resources: 1995:11); however this type of fence regained

its popularity in 1940s where the iron detailing becoming more angular rather than its

curved predecessors, on a masonry base that matched the house material

(Department of Environment and Natural Resources: 1995:15). There was also a

change in the timber fences where the ornate pickets were replaced by squared off

palings capped with solid timber sections (fig 10) (Department of Environment and

Natural Resources: 1995:11).

Fig10 Less ornate fences. Source: South Australian Homes and Gardens, December 1929

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The Government housing programs such, as the Thousand Homes Scheme

in Colonel Light Gardens, and the Cyclone Company establishing a wire factory in

Adelaide, played a major role in the widespread use of woven wire for fences (fig

11), although early examples of this type of fence have been found in the pre-War

period (Department of Environment and Natural Resources: 1995:13).

Another fence and gate material to gain popularity in this period was the rolled

steel ribbon (fig 12), which began production in South Australian in 1905 by the

Hume Brothers. These metal ribbons were curved and riveted together into

decorative panels and were supported by timber or brick pillars (Department of

Environment and Natural Resources: 1995:13). They were marketed as

„everlasting‟; however if the fence wasn‟t well protected by paint it succumbed to

quick corrosion. The Cyclone Compony introduced galvanised iron ribbon panels

with similar designs but having the advantage of lasting for a longer period of time

(Department of Environment and Natural Resources: 1995:15).

As was seen in the previous period, the design and materials used in fencing

varied; however the idea was the same; to create a boundary which complements

the property while providing a good view of the house. Privacy was created with the

use of hedges grown behind the fence (Department of Environment and Natural

Resources: 1995:11).

Fig11 Woven wire fence. Source: South Australian Homes and Gardens, July 1937

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4.4 Post World War Two – 1950s

The return of the wrought iron and matching masonry bases in the last period

was still apparent after the Second World War (Department of Environment and

Natural Resources: 1995:16) as was the case in the City of Unley area (McDougall &

Vines: 2006:32). A new type of economical fence to emerge was wire mesh support

by a metal pipe frame. Although photographic evidence of its earlier use can be

found in the South Australian Homes and Gardens (July 1935:20) brush fences (fig

13) didn‟t become popular until this period with advantage of providing more privacy

and often used to replace other deteriorated fences (Department of Environment and

Natural Resources: 1995:16). Brush fences made of native bush Melaleuca

uncinata, were also known as brushwood or broombush, and originated in Adelaide

where they were first used to create windbreaks and shelter on farms in the 1800s

before being used as suburban fences in the 1900s (Adelaide Brush:2008).

Fig12 Rolled steel ribbon fence. Source: Department of Environment and Natural Resources 1995

Fig13 Brush fence with gate way. Source: South Australian Homes and Gardens, November 1949

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5.0 Interpretation plan

The main purpose of this report is to present the background research

conducted for a proposed exhibition on South Australian home gardens to be held at

the Unley Museum. The following section however illustrates how this information

could be used and gives guidelines for an Interpretation plan, a design tool to help

create a strong and effective exhibition. As well as this throughout the research the

author has collated photographs, advertisements, articles and old design catalogues

into a folder to be given to the curator of the Unley Museum as a reference point in

designing this part of the exhibition.

5.1 What

This section should outline all objects and materials used as part of the

exhibition. In the case of fences such objects will include photographs,

advertisements and replica models created from old designs and photographic

evidence. Material chosen should reflect the varied and important part that fences

have in the Australian history; as well as unique South Australian links such as the

unique sizing of the wrought iron and masonry base fences and the brush fences

originating in Adelaide.

5.2 Why

The reason behind the exhibition should be in line with the organisations

mission, in which case is to „capture a snapshot of Unley's past and present through

vibrant and interactive exhibitions‟ (City of Unley: 2009).Edson and Dean (1994:150)

also point out that the goals of an exhibition are not only to meet the organisation‟s

missions but also to create a desire to change attitudes, in this case to educate and

create appreciation of the state‟s heritage. Another partner who would benefit from

this exhibition is the South Australian Tourism Commission, who in their new State

Tourism Plan 2009-2014, identify one of the tourism development strategies as

capturing the minds of visitors through the use of interpretation in storytelling

(SATC:2009:31).

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5.3 Who

Black (2005:184), states that it is important to identify the audience in order to

choose the appropriate media and techniques to convey the message. Through

consultations, Kate Walker, the curator of the museum, identified one of the main

target audiences as surrounding school groups, mainly in the primary level of

Reception to Year 7. Other potential targets could include elderly retirees who have

spare time on their hands, family groups during the school holidays, and gardening

and architecture enthusiasts.

5.4 How

One of the most fundamental parts of an exhibition is the way the information

and any objects are going to be interpreted and presented to the audience. The

challenge with setting up an exhibit is to both grab and hold the visitors attention by

engaging them with the content (Black:2005:206). Alexander (1979 in Black:

2005:183) explains that there are 5 basic elements of good interpretation:

1) Teach, reveal meaning and impart understanding – in this case to tell a story of

the South Australian gardens which should not only be educational but also

create an appreciation of this part of the state‟s heritage and help preserve the

remaining historic architecture.

2) Based on original objects – in the case of fences it would be hard to bring in a

piece of an original historic fence; hence replicas could be made to go

alongside with the original photographs. Other aspects of the exhibition if

possible could bring in original objects such as gardening tools, plants and

garden ornaments as artefacts.

3) Based on sound scientific and historical research – such research was

conducted by reviewing various books, magazines and catalogues on the

subject of fences.

4) Makes use of sensory perception such as sight and touch – a varied balance of

presentation techniques that make use of different senses should be used.

Statistical data on information retention of visitors, suggests that visitors only

retain 10% of what they hear, 30% of what they read, 50% of what they see

and 90% of what they do (Lewis in Black:2005:198).

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5) Use informal education and avoid the traditional museum outlay and class room

teachings – the way the information and objects are presented should create an

inviting and easy learning environment where one can choose to learn as little

or as much as one likes at one‟s own pace. Children will find this as a

welcoming break from school based learning and adults will enjoy the modern

layout.

A powerful and successful exhibition has clarity by setting clear

communication goals that set the tone and limit the content (Black, 2005:196).

Differentiating from a topic which in this case would be „South Australian suburban

gardens‟; this can be achieved by defining a theme that identifies the story to be told

and gives the exhibit a focus. According to Sam Ham, one of the leading writers in

interpretation, a clear main theme which spreads out into sub-themes will hold the

presentation together (1992 in Black: 2005:249). A simple example of a theme could

be: „There are many aspects of the South Australian suburban garden which hide the

state‟s rich heritage‟. Following from this a sub-theme for the fence aspect could be:

„The ever-evolving fence line not only illustrates our architectural but also the

industrial heritage of South Australia‟.

5.5 Possible interpretation techniques

1) Fence Replicas – when explaining the evolution and trends in fences a

replica from each period could be made to accompany the appropriate

information panels. This would provide something real, not only to see but

also to touch, hence being more memorable than a photo or drawing

2) Crazy path – going through the South Australian Home and Garden

magazine the author notice a trend in the early twentieth century for crazy

paths (fig 14), a pathway made of flat but irregularly shaped rocks. Such a

pathway could be, for example painted onto the floor, and used as a guide

through the exhibition for the visitors.

Fig14 Crazy path. Source: South Australian Homes and Gardens, May 1934

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3) Children‟s activities – these could include a booklet that requires the

children to go through the exhibition in order to complete it. Another way to

engage children could also be a craft activity where the child can design and

build their own miniature fence.

4) Garden displays – during the early twentieth century the South Australian

Home and Garden magazine used to showcase local gardens from the City

of Unley area, examples of which are in the collated folder. Some of these

gardens could be located, photographed in their present state and featured

in a „before and after‟ feature alongside the old photograph. This would

create a special link between the exhibition and the City of Unley residents.

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6.0 Conclusion

The purpose of the above research was to gather background data and

material for a proposed exhibition at the Unley Museum. The exhibition topic is a

historical study of suburban gardens in South Australia; however due to the large

scope of this topic, this research focused on collecting information about fences. The

industry partner for this project was Kate Walker, the curator of the museum, who

was specifically interested in a chronological overview of styles in fences as well as

gathering photographic and advertisement material of fences, in particular relating to

the City of Unley area.

The research process included consultations with Kate Walker, research into

the history of garden fences focusing on South Australia and gathering imagery for

use in the exhibition, looking at exhibit design and techniques, evaluating and

collating the collected data and finally presenting the findings in the form of this

report, a poster, a formal presentation and a collated material folder for the curator of

the museum. A number of information sources were reviewed; however it was

difficult to find specific information on fences and in particular on fences in South

Australia. Some of the more useful publications included books by Beneke (2005)

and Tanner (1983), reports by the Department of Environment and Natural

Resources and McDougall & Vines as well as magazines such as the South

Australian Homes and Gardens and The Garden and the Field.

The report begins by defining what a fence is. Tanner (1983:51) states that a

fence marks a properties edge as a measure of privacy and security but also as an

architectural statement. Following this the origins of the fence is traced back to the

end of the nomadic days and is credited by Beneke as instigating our modern

civilisation by prompting settled communities (2005:2). Beneke also gave insight on

how the process of making bulky farm fences more resource efficient created

aesthetically pleasing fences that people began using to decorate their houses

(2005:6).

Four periods were used to create a chronological look at fences. The first was

the 1840s to 1860s and during this period very simple timber posting and basic

picket fences were used. Following this, to the First World War, the use of picket

21

fences remained on small cottages; however a variety of picket sizes and designs

were used. During this period timber posts and corrugated iron panel with decorative

post capping, as well as wrought and cast iron on masonry based- fences became

popular. A unique feature to Adelaide was that the wrought iron sections were the

same height as the bases (Department of Environment and Natural Resources:

1995:7).

After the First World War cast iron fences lost their popularity. Government

house projects and the establishment of the Cyclone Company wire factory led to the

use of cheaper woven wire fences. The opening of the Hume Brother factory in 1905

also resulted in the rise of steel ribbon as material of choice in fences. Cast iron

fences came back in vogue post-Second World War (Department of Environment

and Natural Resources: 1995:16). Other fences that became popular in the last

period were wire fencing supported by a metal pipe frame, as well as brush fencing

which originated in Adelaide.

The research into the history of fences in South Australia made evident that

Adelaide was home to a thriving wrought and cast iron industry in the late nineteenth

and early twentieth century. Foundries such as G.E. Fulton & Co and Sun Foundry

played a major role in the architectural development of the city and therefore deserve

their recognition and appreciation. During the research three catalogues from these

foundries were found which are included in the resource folder created by the author.

The last section of the report sets out a recommended guideline on how to

use the information provided and present it in the most effective way possible

through interpretation techniques. It outlines the reasons for the exhibition, possible

target audiences and how to organise the exhibition through the use of themes by

giving an example on fences. It concludes by providing examples of interpretation

techniques that include fence replicas, the „crazy path‟ trail, children activities and

garden displays.

After reviewing the results of this research it can be said that the main aim of

this project, which was to conduct background historical research into fences and to

create a chronological overview of fence styles in South Australia, was relatively

successfully met. The second aim was to collect photographic and advertisement

material on fences and other aspects of gardens. The material which originated from

22

the South Australian Home and Garden magazine, The Garden and the Field journal

and foundry retail catalogues were collated and put into a folder as a material

resource for the curator during the design of the exhibition (Appendix2).

One recommendation that could be made from this report is to conduct more

research into fences and their history as little material exists in South Australia on

this subject. This report could also be used as an outline to conduct research on

other aspects of the suburban garden that are to be used for the exhibition. The

curator is also encouraged to develop a strong interpretation plan and in particular

specific theme and subthemes that will guide during the design and execution of the

exhibition.

23

7.0 Reference List

Adelaide Brush 2008 Introduction-What is Brush?. [accessed: 18th November, 2009].

URL: http://www.adbrush.com.au/default2.htm

Beneke, J. 2005 The Fence Bible. United States: Von Hoffmann Graphics.

Black, G. 2005, The Engaging Museum – Developing Museums for the Visitor

Involvement. Oxon: Routledge.

City of Unley 2009 Unley Museum. [accessed: 28th October 2009]

URL:http://www.unley.sa.gov.au/site/page.cfm?u=912.

Department of Environment and Natural Resources 1995 Fences in South Australia.

Adelaide: Department of Environment and Natural Resources.

Edson, G. & Dean, D. 1994 The Handbook for Museums. London: Routledge.

Encyclopaedia Britannica 2009 Sumer. [accessed: 18th November, 2009].

URL:http://www.britannica.com/EBchecked/topic/573176/Sumer.

Hardy, T. 1879 Fences and Breakwinds in The Garden & the Field, 1st

February:143.

Jennings, G. 2001 Tourism Research. Queensland : John Wiley & Sons Australia

Ltd.

McDougall & Vines 2006 Unley Heritage Research Study. Adelaide: McDougall &

Vines.

Pickard, J. 2007 Australian Rural Fences: Heritage Challenges for Conserving the

Unconservable in International Journal of Heritage Studies. Vol.13 No.6 pp.489-510.

Routledge:London.

Robertson, E.G. 1973 Adelaide Lace. Adelaide: Rigby Australia.

SATC 2009 South Australia Tourism Plan 2009-2014. Adelaide:South Australian

Tourism Commission.

Simpson, J & Weiner, E. 1989, The Oxford English Dictionary. Vol.5 Oxford:

Clarendon Press.

South Australian Homes and Gardens 1941 A Hundred Years of Fences in South

Australian Homes and Gardens 1st November:12.

Stewart & Harley 1995 Decorative Cast Iron. Kent Town: AXIOM.

Tanner, H. 1983 Towards an Australian Garden. Australia: Kyodo-Shing Loong

Printing Industries.

24

Appendices

Appendix 1 Poster

25

Appendix 2 Categorised summary of the material folder

Fence and Gate Advertisements

Date Description

1929, August A.E. Hall Metal Gates and Fence

1929, October Adelaide Gate & Fence Co. Gates and Fences

1931, April Adelaide Gate & Fence Co. Gates and Fences

1936, August Cyclone Fence & Gate Co Pty Ltd Wrought Iron Work

1937, March Cyclone Fence & Gate Co Pty Ltd Ornamental Gates & Fences

1937, June Cyclone Fence & Gate Co Pty Ltd Wrought Iron Work

1937, July Cyclone Fence & Gate Co Pty Ltd Chain Wire Fences & Gates

1939, October Cyclone Fence & Gate Co Pty Ltd Garden Fences & Gates

1940, September Cyclone Fence & Gate Co Pty Ltd Garden Gates & Fences

1940, September Hallweld Ltd Fences and Gates

1949, September M.W. Youdell Jarrah Front Fences

1952, February M.W. Youdell Oiled Hardwood Fences

1952, July H & D Manufacturing Engineers Ornamental Wrought Iron Fences

1952, October Arcweld Ltd Fences

1952, November H & D Manufacturing Engineers Wrought Iron Porch Supports

Pergola Advertisements

Date Description

1928, August Cowell Bros & Company Ltd Timber Pergolas and Gates

1929, November Willcocks Pergolas

1930, October Cowell Bros & Company Ltd Pergolas and Garden Furniture

1931, January Cowell Bros & Company Ltd Archway Gates

1931, January B.J. Walters Ltd Pergolas and Gates

Rotary Clothes Hoist Advertisements

Date Description

1928, November L.L. Lambert

1929, December L.L. Lambert

1940, June L.L. Lambert

1952, February Hill‟s Hoist

Lawn Mower Advertisements

Date Description

1927, September Scott Bonnar Ltd Electric Lawnmowers

1929, November Harris Scarfes Garden Tools - Mowers

1933, September William Adams & Coy Ltd Presto Lawn Mower

1936, June Boltons Atco Motor Mowers

1938, November Scott Bonnar Ltd Electric Lawnmower

1939, January Scott Bonnar Ltd Petrol Power Mower

26

Garden Sprinkler and Hose Advertisements

Date Description

1929, October J. Holding Water Sprays

1935, November Goodyear Moulded Garden Hose

1936, October Dunlop Garden Hose

1936, November Goodyear Moulded Garden Hose

1947, March William Adams & Co Ltd World Famouse “Gay” Rotary Sprinklers

1949, March William Adams & Co Ltd World Famouse “Gay” Rotary Sprinklers

Pesticide and Fertiliser Advertisements

Date Description

1927, September Niagara Home Gardener Dust Gun

1934, May Shell Fertilisers Ltd

1946, December Deth-Blo Insect Spray

1947, October Vacuum Oil Compony Pty Ltd Flit Insect Spray

1949, January Taubmans Ltd Rulene Garden and Orchard Spray

1953, July Monsanto Chemicals Ltd Krilium Soil Conditioner

Miscellaneous Advertisements

Date Description

1928, July Bell‟s Concrete Columns

1928, November Hume Concrete Columns

1928, November W.J. Pimlott & Son Wire Screen Doors

1929, May James Bell & Co. Pty Ltd Concrete Paving

1929, November Harris Scarfes Garden Tools - Mowers

1930, September Hume Pipe Co Ltd Concrete Garden Rollers

1930, September Adelaide Quarries Limited Rocks – for Crazy Paths & Rock Gardens

1931, January Herbert S. Hartshorne Domestic Architectural and Garden Designer

1931, February Adelaide Potteries Ltd Decorative Glazed Paving Bricks

1931, April Concrete Products Ltd Concrete Paths and Columns

1931, August Adelaide Quarries Ltd Rocks for Distinctive Gardens

1931, August H.W. Copas & Co Roses

1931, September A.Simpsons & Son Ltd Lawn Tennis Marker

1932, November John Wilson Garden Ornaments

1933, September Harris Scarfe Ltd Garden Ornaments

1934, June Colton, Palmer & Preston Ltd Yates Reliable Seeds

1935, February Colton, Palmer & Preston Ltd Verandah Blinds

1935, July F.M. Burning Engineers Wrought Iron Work

1935, September A.G. Healing Ltd Attractive Lighting Fixtures

1935, December Elder, Smith & Co Ltd Kangaroo Cement

1936, January Atkins Ltd Permoglaze

1936, December Miller Anderson Ltd Garden Can Furniture

1936, December Wunderlich Terra Cotta Tiles

1937, August Cyclone Fence & Gate Co Pty Ltd Tennis Court Enclosure

1938, September Scott Bonnar Ltd The Electrimmer

1940, March The Cement and Plaster Ornament Co Garden Ornaments

27

1940, May Adelaide Potteries Ltd Garden Ornaments

1940, November Miller‟s Lime Ltd Cement Furniture

1940, December The Cement and Plaster Ornament Co Garden Ornaments

1943, January Wunderlich Corrugated Asbestos Sheets

1945, February Pope Products Ltd Ezy-Cut Secateurs

1946, March Flavels Sunblinds and Awnings

1946, November Flavels Garden Swing Lounge

1949, March William Adams & Co Ltd World Famouse “Gay” Rotary Sprinklers

1951, August Rest Easy Garden Furniture

1953, March H & D Manufacturing Engineers Wrought Iron Garden Furniture