On 18 September 1982 the Governor of New South Wales His Excellency Air Marshal Sir James Rowland AC, KBE, DFC, AFC opened the new brutalist style office extensions for Campbelltown City Council.
Gosford architects Grenfell, Fraser and Associates designed the office extensions and when combined with the 1964 building created one of the most important modernist building precincts in the Macarthur region.
Mayor Thomas stated at the official opening that the city had undergone ‘unprecedented’ growth and embraced ‘enormous changes’ since 1964. (Official programme)
The city’s population growth had grown from 24,000 (1963) to 43,000 (1974) and by 1980 was 120,000.
The council’s administration was ‘strained to the limit’, and there was a risk of fragmentation of council departments. To avoid this, the architects recommended a new single building to accommodate council staff.
The architects presented three sites for the council’s consideration: the existing civic centre site; Camden Road opposite the Campbelltown Catholic Club; and the Macarthur Regional Growth Centre.
After considering the three options, the council felt that it had a ‘moral obligation’ to the existing Queen Street commercial precinct to remain at the civic centre site.
The new office building would act as an ‘anchor of confidence’, and the site would remain as the northern gateway to the commercial precinct. It would set a standard for future development in the area. (Official programme, 1982)
The council requested that the architects design a ‘four-storey administrative building’ of around 2000m2 with associated pedestrian plaza, landscaping and parking within the civic centre precinct.
In 1980 the civic centre precinct consisted of the 1966 single floor community hall, the 1971 single-storey library building, a single-story women’s rest centre, a service station, the former fire station and two-storey ambulance station. (Official programme, 1982)
For the completion of the project, the council needed to acquire the service station on the corner of Queen and Broughton Streets.
The primary design constraint on the civic centre site was the 1964 office tower of 1400m2 containing the council chambers and the administration offices. (Proposed Civic Centre Development, Grenfell, Fraser and Associates, 1980)
The building completely dominated the precinct and was ‘considered as the major visual element in any design’ because of its height’. The architects described it as a “high rise” curtain wall construction with external sun shading’. (Proposed Civic Centre Development, Grenfell, Fraser and Associates, 1980)
Architects Grenfell, Fraser and Associates felt that new building extension had to integrate with the 1964 office tower in a functional as well as aesthetically pleasing fashion.
The spirit of the past
The architects stated that the design of the new building extensions and its ‘scale, proportion and detailing’ recognised ‘the legacy of the district’ :
‘The “colonial” pitched roof on the new extensions reflects the graceful simplicity of colonial architecture, and the simple proportions, “depth” façade detailing and pitched roof echo the features of “old” Campbelltown buildings’. (Official programme, 1982)
The building design inspired Mayor Thomas to draw on the past and ‘old Campbelltown’ as an inspiration for his address.
The new building was a metaphor for the area’s pioneering spirit.
The mayor stated that the new building illustrated how the spirit of the Campbelltown pioneers had not ‘suppressed the basic community character of Campbelltown’s early days’.
‘The spirit of the hardy pioneer bred of early settlers is woven into the fabric of our history and community life of today’, he said.
‘The City of Campbelltown has an ancient heritage in terms of the nation’s history, and this is being matched by a vital modern record of achievement’, said the mayor.
Mayor Thomas said
The wisdom and vision of another progressive Governor of this State, Lachlan Macquarie, almost 160 years ago, formed the nucleus of the closely-knit community which continues to grow in size and stature. The spirit of the hardy pioneer breed of early settlers is woven into the fabric of our history and community life of today. (Official programme)
Scale, proportion and detailing
The new office building was set at the rear of the civic centre site and kept a ‘lower profile to Queen Street, consistent with the general two-storey nature of the older buildings’. This design provided ‘an intermediate scale’ to help its integration with the existing higher 1964 building. (Official programme, 1982)
The building materials for the project ensured that the external finish blended ‘aesthetically with existing buildings and landscape and are architecturally pleasing’, and the ‘finishes are dignified, tastefully chosen and dignified’. (Official programme, 1982)
The proposed building used reinforced concrete as the main structural element, with ‘precast concrete with exposed aggregate finish’ to the exterior walls with anodised aluminium window frames. The internal walls were concrete blockwork with cement rendering.
The new design ‘provide[d] a building of similar bulk possessing a horizontal fenestration opposed the vertical nature of the existing building’ to act as a ‘counterfoil’ to the 1964 office tower. (Proposed Civic Centre Development for Campbelltown City Council feasibility study. Grenfell, Fraser and Associates, 1980)
At the end of the design phase, the architects believed that the proposed scheme was both ‘aesthetically and materially adequate’ and ‘integrated functionally and aesthetically’ with the civic auditorium. (Proposed Civic Centre Development for Campbelltown City Council feasibility study. Grenfell, Fraser and Associates, 1980)
Brutalism grew out of the early 20th-century modernist movement that is sometimes linked with the dynamism and self-confidence of the 1960s. The characteristics of the style are straight lines, small windows, heavy-looking materials, and modular elements with visible structural elements and a monochromic colouring.
The brutalist-style appeared in the post-war years in the United Kingdom and drew inspiration from mid-century modernism. The style became representative of the new town movement and appeared in modernist UK cities like Milton Keynes. Brutalism was common in the Sydney area in the late 1960s and 1970s and an integral part of the 1973 New Cities of Campbelltown, Camden, Appin Structure Plan.
Consequently, the Campbelltown area has several brutalist-style buildings including Airds High School (1974), Glenquarie Shopping Centre (1975), Campbelltown TAFE College (1981), Macarthur Square (1979), Campbelltown Hospital (1977), and Campbelltown Mall (1984).
The new 1982 office extension reflected how the winds of change from population growth had re-shaped the Campbelltown area since the construction of the 1964 modernist office tower.
The author would like to acknowledge the assistance provided by the local studies librarians at the Campbelltown City Library in the completion of this blog post.
The Camden story is a collection of tales, memories, recollections, myths, legends, songs, poems and folklore about our local area. It is a history of Camden and its surrounding area. I have created one version of this in the form of a 1939 district map.
Camden storytelling is as old as humanity starting in the Dreamtime.
The Camden story is made up of dreamtime stories, family stories, community stories, settler stories, local stories, business stories, personal stories and a host of others.
These stories are created by the people and events that they were involved with over centuries up the present.
Since its 1997 inception History Week has been an opportunity to tell the Camden story.
What is the relevance of the Camden story?
The relevance of the Camden story explains who is the local community, what they stand for, what their values are, their attitudes, political allegiances, emotional preferences, desires, behaviour, and lots more.
The Camden story explains who we are, where we came from, what are we doing here, what are our values and attitudes, hopes and aspirations, dreams, losses and devastation, destruction, violence, mystery, emotions, feelings, and lots more. The Camden story allows us to understand ourselves and provide meaning to our existence.
Local businesses use the Camden story as one of their marketing tools to sell local residents lots of stuff. There is the use of images, logos, branding, slogans, objects, window displays, songs, pamphlets, newspapers, magazines, and other marketing tools.
What is the use of the Camden story?
The Camden story allows us to see the past in some ways that can impact our daily lives. They include:
the past is just as a series of events and people that do not impact on daily lives;
the past is the source of the values, attitudes, and traditions by which we live our daily lives;
the past is a way of seeing the present and being critical of contemporary society that it is better or worse than the past;
the present is part of the patterns that have developed from the past over time – some things stay the same (continuity) and some things change.
History offers a different approach to a question.
Historical subjects often differ from our expectations, assumptions, and hopes.
The Camden storyteller will decide which stories are considered important enough to tell. Which stories are marginalised or forgotten or ignored – silent stories from the past.
Just taking one of these component parts is an interesting exercise to ask a question.
Does the Camden story contribute to making a strong community?
The Camden story assists in building a strong and resilient community by providing stories about our community from past crises and disasters. These are examples that the community can draw on for examples and models of self-help.
A strong and resilient community is one that can bounce back and recover after a setback or disaster of some sort. It could be a natural disaster, market failure or social crisis.
The Camden district can be hard to define and has changed over time. Dr Ian Willis conducted research in the mid-1990s to determine the extent of the Camden district at the outbreak of the Second World War. This was part of his post-graduate studies at the University of Wollongong on the effect of the Second World War in Camden.
The boundary of the Camden district could be: an arbitrary line on a map based on a political decision; a natural region; an idea in someone’s mind; the delivery round of a Camden business; the geographic circulation area of a Camden newspaper; the emotional attachment of a person to a general area called Camden; the catchment area of a special event in Camden; the membership of a Camden organisation; the social networks of people who live in the Camden area; or any combination of these.
From historical research I have conducted I have found the boundary of the Camden district to a moveable feast. By the 1930s it took in an area of 1180 square kilometres and a population of around 5000. The result is on the attached map. It is a combination of the factors outlined above.
Origins of the Camden district
The concept of the Camden district was set in motion by 1827 when the early pattern of the early land grants had determined the road network. This process was re-enforced by the arrival of the tramway in 1882, the road traffic along the Hume Highway going to Goulburn, and the movement of silver from Yerrandarie and coal from the Burragorang Valley to the Camden railhead. As a result, the town became an important transport interchange and centre for economic activity for a district, which extended out to Burragorang Valley and Yerrandarie.
By the 1930s the growth of the town had attracted additional businesses and the town had become the centre for government services and community organisations. The town was a meeting place for local people and acted as a stepping off point to the rest of the outside world.
The district’s population came together on Sale Day (still Tuesdays) to meet and do business. The livestock sales were the town’s busiest day of the week The annual Camden Show was (and still is) always a popular attraction and people came from a wide area to compete and exhibit their crafts, produce and livestock.
Daily life in the Camden district is recorded in the two local newspapers
District life was reported in detail in Camden’s two newspapers, the Camden News and the Camden Advertiser, which were widely circulated in the area. Camden businesses had customers from all over the local area. Some had regular delivery runs that reached to Burragorang Valley and beyond.
Since the 1930s many things have happened. The largest change has been the growth in population, and the town and district are now part of the Greater Metropolitan Area of Sydney. Despite this, the district still has a discernable identity in the minds of local people.
1973 New Cities Plan
The creation of The new cities of Campbelltown, Camden, Appin: structure plan(1973) was one of the most profound changes to the Camden district. The New Cities proposal was part of the 1968 Sydney Region Outline Plan developed by the State Planning Authority of the Askin Liberal government and became a developers’ dream.
Current planners, bureaucrats, businesses, and residents need to have an understanding of this local identity and build on the opportunities that it presents.
Today the Camden district is part of the Macarthur region.
One of the Camden area’s little known endangered plant species in Pimelea Spicata or in plain English Spiked Rice-flower. The little pretty flower is threatened by a proposed development of Studley Park house and its surroundings.
Proposed development of Studley Park house
Spiked Rice-flower is a low growing shrub that flowers occasionally. The small flowers are white tinged with pink. The plant usually does not grow to more than 30 cms in height.
The NSW National Parks and Wildlife Service information sheet states that the plant is difficult to detect unless it is in flower. It flowers sporadically between May and January depending on rain.
Locality and distribution
The plant occurs in fragmented areas in urban fringe areas, including patches of remnant Cumberland Woodland in the Narellan area..
More specifically it is distributed in Cumberland Woodland in Western Sydney from Mt Annan and Narellan Vale, to Freeman’s Reach and Penrith, as well as Western Sydney Regional Park, Prospect Reservoir Catchment, Australian Botanic Garden at Mount Annan and the St Marys ADI site. It extends to the Illawarra where it is found in areas from Mt Warrigal to Gerroa and Minnamurra, mainly on coastal headlands and hilltops.
Threats to the plant include habitat modification and loss, weed invasion, dumping of rubbish, arson, fire hazard reduction, trampling and compaction from bikes, walkers and vehicles and exposure to herbicides.
Another free bi-annual colour magazine has recently come to my attention called Smarter Macarthur. While it has been present for a few editions this newspaper nerd did not notice it, probably because it is a ‘business-to-business’ publication in the local media landscape.
The masthead is published by Smarter Media with a circulation of 5000 copies. It is letter-boxed to businesses across the region, dropped in professional premises and eateries, and distributed to advertisers and local networking groups.
Smarter Macarthur was originally published in 2014 and is produced with 200gsm Gloss Artboard cover and internal pages of 113gsm Gloss Artpaper, which gives the full colour magazine a quality feel and presentation. The publisher stays local by employing local photographers Brett Atkins and Nick Diomis.
The 52pp print edition for Winter/Spring 2019 is supported by an online presence. There is a Facebook page and a website , both appearing in 2014, with the website including a directory of advertisers.
Editor Lyndall Lee Arnold maintains that:
Our aim to produce quality content, to showcase local businesses within the area.
The print magazine carries news articles of local interest, stories of local businesses and advice pages on leadership, technology and health. The editorial approach of the magazine is to stress the local.
The editorial policy and the presence of the magazine strengthens regional identity and the construction of place by telling the stories of the local businesses and their owners.
This is a screenshot of the website established in 2014 for the Smarter Macarthur bi-annual glossy free colour magazine. (I Willis)
Being on the front cover of Smarter Macarthur along with our business story being featured inside the last issue has been so positive!
Macarthur businesses seem to want to support a new addition to the local media landscape.
On the Facebook page the editor maintains that she is looking to the future and the growth of the regional market place with the construction of the Western Sydney Airport, apply named Nancy Bird-Walton Airport, at Badgerys Creek.
The success of the publication will add to community sustainability by strengthening the local economy, job creation and economic growth.
It will be interesting to see if the Macarthur region’s competitive market place continues to support this masthead.
One of the largest tourist attractions to the local area in the mid-20th century was a local milking marvel known at the Rotolactor.
The Rotolactor was truly a scientific wonder that captured the imagination of people at a time when scientific marvels instilled excitement in the general public.
In these days of post-modernism and fake news this excitement seems hard to understand.
What was the Rotolactor?
The Rotolactor was an automated circular milking machine with a rotating platform introduced into the Camden Park operation in 1952 by Edward Macarthur Onslow from the USA.
The Rotolactor was part of the process of agricultural modernism that the Macarthur family had implemented on their colonial property of Camden Park Estate to improve their dairying operations in the mid-20th century.
The idea of a rotating milking platform was American and first introduced in New Jersey in the mid-1920s.
The 1940s manager of Camden Park Lieutenant-Colonel Edward Macarthur Onslow inspected an American Rotolactor while overseas on a business trip and returned to Australia full of enthusiasm to build one at Camden Park.
The Menangle Rotolactor was the first in Australia and only the third of its kind in the world.
The rotating dairy had a capacity to milk of 1,000 cows twice a day. It held 50 cows a time and were fed at as they were milked. The platform rotated about every 12 minutes.
The Rotolactor was a huge tourist attraction for the Menangle village and provided a large number of local jobs.
In 1953 it was attracting 600 visitors on a weekend in with up to 2000 visitors a week at its peak. (The Land, 1953Mar27)
Town planning disruption
In 1968 town planning disrupted things. The Askin state government released the Sydney Regional Outline Plan, followed by the 1973 the New Cities of Campbelltown, Camden and Appin Structure Plan, which later became the Macarthur Growth Centre in 1975.
The structure plan did recognise the importance of the Rotolactor and the cultural heritage of the Menangle village. (The State Planning Authority of New South Wales, 1973, p. 84)
These events combined with declining farming profits encouraged the Macarthur family to sell out of Camden Park including the Rotolactor and the private village of Menangle.
The Rotolactor continued operations until 1977 and then remained unused for several years. It was then purchased by Halfpenny dairy interests from Menangle who operated the facility until it finally closed in 1983. (Walsh 2016, pp.91-94)
Community festival celebrates the Rotolactor
In 2017 the Menangle Community Association organised a festival to celebrate the history of the Rotolactor. It was called the Menangle Milk-Shake Up and was a huge success.
The Festival exceeded all their expectations of the organisers from the Menangle Community Association when it attracted over 5000 of people to the village from all over Australia. (Wollondilly Advertiser, 18 Sept 2017)
The Menangle Community Association Facebook page described it this way:
‘A true country event like in the old days. So many visitors came dressed up in their original 50s clothes, and all those wonderful well selected stall holders. It was pure joy.’
Despite these sentiments the event just covered costs (Wollondilly Advertiser 5 April 2018)
The festival’s success was a double-edged sword for the organisers from the Menangle Community Association.
The festival’s success demonstrated to local development interests that Rotolactor nostalgia could be marketized and had considerable commercial potential.
The Menangle Community Association attempted to lift the memory of the Rotolator and use it as a weapon to protect the village from the forces of urban development and neo-liberalism
The success of the festival was also used by Menangle land developers to further their interests.
Developer Halfpenny made numerous public statements supporting the restoration of the Rotolactor as a function centre and celebrating its past. (The Sydney Morning Herald, 22 December 2017).
The newspaper article announced that the owner of the site, local developer Ernest Dupre of Souwest Developments, has pledged to build a micro brewery, distillery, two restaurants, a farmers market, children’s farm, vegetable garden, and a hotel with 30 rooms.
In 2017 the state government planning panel approved the re-zoning of the site for 350 houses and a tourist precinct. Housing construction will be completed by Mirvac.
Mr Dupre stated that he wanted to turned the derelict Rotolactor into a function with the adjoining Creamery building as a brewery, which is next to the Menangle Railway Station.
He expected the development to cost $15 million and take two years. The plan also includes an outdoor concert theatre for 8000 people and a lemon grove.
Moviemakers have always had an eye on the Camden district’s large country houses, rustic farm buildings, quaint villages and picturesque countryside for film locations.
From the 1920s the area has been used by a series of filmmakers as a setting for their movies. It coincided was an increasing interest in the area’s Englishness from poets, journalists and travel writers. They wrote stories of quaint English style villages with a church on the hill, charming gentry estates down hedge-lined lanes, where the patriarch kept contented cows in ordered fields and virile stallions in magnificent stables. This did not go unnoticed in the film industry.
One of the first was the 1921 silent film Silks and Saddles shot at Arthur Macarthur Onslow’s Macquarie Grove by American director John K Wells about the world of horse racing. The film was set on the race track on Macquarie Grove. The script called for a race between and aeroplane and racehorse. The movie showed a host good looking racing blood-stock. There was much excitement, according to Annette Onslow, when an aeroplane piloted by Edgar Percival his Avro landed on the race course used in the film and flew the heroine to Randwick to win the day. Arthur’s son Edward swung a flight in Percival’s plane and was hooked on flying for life, and later developed Camden Airfield at Macquarie Grove.
Camden film locations were sought in 1931 for director Ken G Hall’s 1932 Dad and Dave film On Our Selection based on the characters and writings of Steele Rudd. It stars Bert Bailey as Dan Rudd and was released in the UK as Down on the Farm. It was one the most popular Australian movies of all time but it was eventually shot at Castlereagh near Penrith. The movie is based on Dan’s selection in south-west Queensland and is about a murder mystery. Ken G Hall notes that of the 18 feature films he made between 1932 and 1946 his film company used the Camden area and the Nepean River valley and its beauty for location shooting. The films included On Our Selection (1936), Squatter’s Daughter (1933), Grandad Rudd (1934), Thoroughbred (1935), Orphan of the Wilderness (1936), It Isn’t Done (1936), Broken Melody (1938), Dad and Dave Come to Town (1938), Mr Chedworth Steps Out (1938), Gone to the Dogs (1939), Come Up Smiling (1939), Dad Rudd MP (1940), and Smith, The Story of Sir Charles Kingsford Smith (1946).
The Camden district was the location of two wartime action movies, The Power and The Glory (1941) and The Rats of Tobruk (1944). The Rats of Tobruk was directed by Charles Chauvel and starred actors Chips Rafferty, Peter Finch and Pauline Garrick. The story is about three men from a variety of backgrounds who become mates during the siege at Tobruk during the Second World War. The movie was run at Camden’s Paramount movie palace in February 1945. The location for parts of the movie were the bare paddocks of Narellan Vale and Currans Hill where they were turned into a battleground to recreated the setting at Tobruk in November 1943. There were concerns at the time that the exploding ammunitions used in the movie would disturb the cows. Soldiers were supplied from the Narellan Military Camp and tanks were modified to make them look like German panzers and RAAF Camden supplied six Vultee Vengeance aircraft from Camden Airfield which was painted up to look like German Stuka bombers. The film location was later used for the Gayline Drive-In. Charles Chauvel’s daughter Susanne Carlsson who was 13 years old at the time reported that it was a ‘dramatic and interesting time’.
The second wartime movie was director Noel Monkman’s The Power and The Glory starring Peter Finch and Katrin Rosselle. The movie was made at RAAF Camden with the co-operation of the RAAF. It is a spy drama about a Czech scientist who discovers a new poison-gas and escapes to Australia rather than divulges the secret to the Nazis. Part of the plot was enemy infiltration of the coast near Bulli where an enemy aircraft was sighted and 5 Avro-Anson aircraft were directed to seek and bombed the submarine. The Wirraway aircraft from the RAAF Central Flying School acted as fighters and it was reported that the pilots were ‘good looking’ airmen from the base mess. There was a private screening at Camden’s Paramount movie theatre for the RAAF Central Flying School personnel.
Camden Park was used as a set for the internationally series of Smiley films, Smiley made in 1956 and in 1958 Smiley Gets a Gun in cinemascope. The story is about a nine-year-old boy who is a bit of rascal who grows up in a country town. They were based on books by Australian author Moore Raymond and filmed by Twentieth Century Fox and London Films. Raymond set his stories in a Queensland country town in the early 20th century and there are horse and buggies and motor cars. The town settings were constructed from scratch and shot at Camden Park, under the management of Edward Macarthur Onslow. The movies stars included Australian Chips Rafferty and English actors John McCallum and Ralph Richardson. Many old-time locals have fond memories of being extras in the movies. Smiley was released in the United Kingdom and the United States.
In 1999 Camden airfield was used as a set for the television documentary The Last Plane Out of Berlin which was the story of Sidney Cotton. Actor Geoff Morrell played the role of Cotton, who went to England in 1916 and became a pilot and served with the Royal Naval Air Service during the First World War. He is regarded as the ‘father of aerial photography’ and in 1939 was requested to make flights over Nazi Germany in 1939. Camden Airfield was ‘perfect location’ according to producer Jeff Watson because of its ‘historic’ 1930s atmosphere.
In 2009 scenes from X-Men Origins: Wolverine was filmed at Camden and near Brownlow Hill.
In 2010 filmmaker Sandra Pyres of Why Documentaries produced several short films in association for the With The Best of Intentions exhibition at The Oaks Historical Society. The films were a montage of contemporary photographs, archival footage and re-enactments by drama students of the stories of child migrants. The only voices were those of the child migrants and there were many tears spilt as the films were screened at the launch of the exhibition.
In 2011 scenes from director Wayne Blair’s Vietnam wartime true story of The Sapphires were filmed at Brownlow Hill starring Deborah Mailman, Jessica Mauboy and Chris O’Dowd. This is the true story of four young Aboriginal sisters who are discovered by a talent scout who organises a tour of American bases in Vietnam. On Brownlow Hill, a large stage was placed in the middle of cow paddock and draped with a sign that read ‘USC Show Committee presents the Sapphires’ and filming began around midnight. The cows were herded out of sight and the crew had to be careful that they did not stand of any cowpats. Apparently, Sudanese refugees played the role of African American servicemen of the 19th Infantry Division.
The romantic house of Camelot with its turrets, chimney stacks and gables, was built by racing identity James White and designed by Horbury Hunt was the scene of activity in 2006 and 2007 for the filming of scenes of Baz Luhrman’s Australia, starring Nicole Kidman and Hugh Jackman. The location shots were interior and exterior scenes which involved horse riding by Kidman and Jackman. The film is about an aristocratic woman who leaves England and follows her husband to Australia during the 1930s, and live through the Darwin bombing by the Japanese in the Second World War.
Camelot was a hive activity for the filming of the 1950s romantic television drama A Place to Call Home produced by Channel 7 in 2012. Set in rural Australia it is the story of a woman’s journey ‘to heal her soul’ and of a wealthy family facing changes in the fictional country town of Inverness in the Bligh family estate of Ash Park. Starring Marta Dusseldorp as the mysterious Sarah and Noni Hazlehurst as the family matriarch Elizabeth, who has several powerful independently wealthy women who paralleled her role in Camden in time past on their gentry estates. The sweeping melodrama about hope and loss is set against the social changes in the 1950s and has close parallels to 1950s Camden. The ‘sumptuous’ 13 part drama series screened on television in 2013 and according to its creator Bevin Lee had a ‘large-scale narrative’ that had a ‘feature-film feel’. He maintained that is was ‘rural gothic’, set in a big house that had comparisons with British television drama Downton Abbey.
The 55-room fairytale-like mansion and its formal gardens were a ‘captivating’ setting for A Place to Call Home, according to the Property Observer in 2013. Its initial screening was watched by 1.7 million viewers in April 2013. The show used a host of local spots for film sets and one of the favourite points of conversation ‘around the water-cooler’ for locals was the game ‘pick-the-place’. By mid-2014 Channel 7 had decided to axe the series at the end of the second series. There was a strong local reaction and a petition was circulating which attracted 6000 signatures to keep the show on the air. In the end, Foxtel television produced a third series with the original caste which screened in 2015.
Camden airfield was in action again and used as a set for the Australian version of the British motoring television show Top Gear Australian in 2010. Part of the show is power laps in a ‘Bog Standard Car’ were recorded on parts of the runways and taxiways used as a test track.
Camden Showground became the set for Angelina Jolie’s Second World War drama Unbroken in 2013. The main character Louis Zamperini, a former Olympic runner, and Onslow Park were used as part of the story of his early life as a member of Torrance High School track team. The movie is about Zamperini’s story of survival after his plane was shot down during the Pacific campaign. The filming caused much excitement in the area and the local press gave the story extensive coverage, with the showground was chosen for its historic atmosphere. Camden mayor Lara Symkowiak hoped that the movie would boost local tourism and the council was supportive of the area being used as a film set. The council had appointed a film contact officer to encourage greater use of the area for film locations.
Edwina Macarthur Stanham writes that Camden Park has been the filming location for several movies, advertisements and fashion shoots since the 1950s. They have included Smiley (1956), Smiley Gets a Gun (1958), Shadow of the Boomerang (1960) starring Jimmy Little, My Brilliant Career (1978) was filmed in Camden Park and its garden and surrounds, and The Empty Beach (1985) starring Bryan Brown, House Taken Over (1997) a short film was written and directed by Liz Hughes which used lots of scenes in the house. In the 21st century, there has been Preservation (2003) described a gothic horror movie starring Jacqueline Mackenzie, Jack Finsterer and Simon Bourke which used a lot of the scenes filmed in the house.
In 2005 Danny De Vito visited Camden Park scouting for a location for a movie based on the book “The True Confessions of Charlotte Doyle”. In Sleeping Beauty (2010) an Australian funded film was shot at Camden Park and the short film La Finca (2012). In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In September 2014 Camden Park was used as a location in the film called “The Daughter” starring Geoffrey Rush. Extensive filming took place over 3 weeks and members of the family and friends and Camden locals played the role of extras.
In 2015 the Camden Historical Society and filmmaker Wen Denaro have combined forces to telling the story of the Chinese market gardeners who settled in Camden in the early twentieth century. The project will produce a short documentary about the Chinese market gardeners who established vegetable gardens along the river in Camden and who supplied fresh product to the Macarthur and Sydney markets.
In 2015 an episode of the Network Ten TV show of The Bachelor Australia was filmed at Camden Park in August 2015. They showed scenes of the Bachelor Sam Wood taking one of the bachelorette Sarah on a romantic date to the colonial mansion Camden Park. There were scenes of the pair in a two-in-hand horse-drawn white carriage going up and down the driveway to the Camden Park cemetery on the hill overlooking the town. There were scenes in the soft afternoon sunlight of the couple having a romantic high-tea on the verandah of Camden Park house with champagne and scones and cupcakes. In the evening there were floodlit images of the front of Camden Park house from the front lawn then scenes of the couple in the sitting room sitting of the leather sofa sharing wine, cheese and biscuits in front on an open fire and candles. Sarah is gobsmacked with the house, its setting and is ‘amazed’ by the house’s colonial interior.
In 2018 a children’s film Peter Rabbit was been filmed in the Camden district. The movie is based on Beatrix Potter’s famous book series and her iconic characters. The special effects company Animal Logic spent two days on the shoot in Camden in January 2017. The first scene features the kidnap of the rabbit hero in a sack, throwing them off a bridge and into the river. For this scene, the Macquarie Grove Bridge over the Nepean River was used for the bridge in the movie. According to a spokesman, the reason the Camden area was used was that it fitted the needed criteria. The movie producers were looking for a location that screamed of its Englishness. Camden does that and a lot more dating back to the 1820s. The movie is set in modern-day Windermere in the English Lakes District. The location did not have to have too many gum trees or other recognisable Australian plants. John and Elizabeth Macarthur would be proud of their legacy – African Olives and other goodies. Conveniently the airport also provided the location for a stunt scene which uses a bi-plane. The role of the animators is to make Australia look like England.
In August 2018 the colonial Cowpastures homestead of Denbigh at Cobbitty was the set for popular Australian drama series Doctor Doctor. The series is about the Knight family farm and the show star is Roger Corser who plays doctor Hugh Knight. He said, ‘
The homestead is a real star of the show. The front yard, the dam and barn brewery on the property are major sets – I don’t know what we would do without them.
The show follows the high-flying heart surgeon and is up to season three. Filming lasted three months and the cast checked out the possibilities of the Camden town centre. Actor Ryan Johnson said that Denbigh ‘made the show’.
Denbigh homestead was originally built by Charles Hook in 1818 and extended by Thomas and Samuel Hassell in the 1820s.
In late 2018 the TV series Home and Away has been using the haunted house at Narellan known as Studley Park as a set for the program. The storyline followed three young characters going into the haunted house and staying overnight. They go into a tunnel and a young female becomes trapped. Tension rises and the local knock-about character comes to their rescue and he is a hero. The use of the set by the TV series producers was noted by Macarthur locals on Facebook.
Studley Park has recently been written up in the Camden-Narellan Advertiser (4 August 2017) as one of the eight most haunted places in the Macarthur region. Journalist Ashleigh Tullis writes;
Studley Park House, Camden
This impressive house was originally built by grazier William Payne in 1889. The death of two children has earned the house its haunted reputation.
In 1909, 14-year-old Ray Blackstone drowned in a dam near the residence. His body is believed to have been kept at the house until it was buried.
The son of acclaimed business man Arthur Adolphus Gregory died at the house in 1939 from appendicitis. His body was kept in the theatrette.
In 2019 movie-making in the area continues with the 4th series of Doctor Doctor. Wikipedia states of the plotline:
Doctor Doctor (also known outside of Australasia as The Heart Guy) is an Australian television drama that premiered on the Nine Network on 14 September 2016. It follows the story of Hugh Knight, a rising heart surgeon who is gifted, charming and infallible. He is a hedonist who, due to his sheer talent, believes he can live outside the rules.
Camden was used as one location along with the historic colonial property of Denbigh. Mediaweek stated in 2016 (Sept 9):
The regional setting for the series has proven to be a benefit for narrative and practical production reasons. While all of the hospital scenes were filmed in a hospital in the Sydney inner-city suburb of Rozelle, exterior shooting took place in Mudgee, with filming of Knight’s home was shot in Camden. In addition to $100,000 worth of support from the Regional Filming Fund, the regional setting delivers a unique authenticity to the series that it would otherwise lack.
Sometimes the local area is used a set for an advertising campaign by a fashion label or some other business. The owners of Camden Park House posted on Facebook in August 2019 that the house and garden were used as a set by the Country Road fashion brand.
While no specific details about plotlines or particular actors were given away, the spokesman said the production was filming on August 7 at the Narellan Jets Football Club and Grounds, Narellan Sports Hub.
The Camden town centre and its multi-layered history are evident in the many different building styles evident as you walk along the main street.
If walls could talk they would tell an interesting story that would immerse you in the past in the present. They would provide a gripping account of the characters that were central to the stories.
Living history is storytelling
Living history allows participants to be able to read the layers of history of an area.
Living history is like peeling off layers of paint from a wall when viewers peel back the layers of history of a site, building or place. Each layer has a special meaning – a special presence.
Lived experience leads to storytelling which is real and authentic.
Storytelling creates the meaning of the past and creates the characters of the past in the present. It allows the past to speak to the present. Storytelling and stories at the essence of place.
The living history movement
Living historian Scott Magelssen maintains that living history museums ‘engage strategies in their performance of the past’, claiming to be ‘real history by virtue of their attention to detail’. (pp. xii-xv)
One of the early influencers of the living history movement in North America was Henry Ford who established his indoor and outdoor living museum experience in the Detroit suburb of Dearbourn in Michigan USA. Henry Ford said of his museum
I am collecting the history of our people as written into things their hands made and used…. When we are through, we shall have reproduced American life as lived, and that, I think, is the best way of preserving at least a part of our history and tradition…
Camden storytellers peel back the layers of the history of the town and district and reveal the tales of local identities, larrikans, characters, rascals, ruffians and ratbags.
There are a number of layers to the Camden story and they are
Pre-European period of the Indigenous Dharawal people when they called the area Benkennie
The Cowpastures were named by Governor Hunter in 1795 and the establishment of the Cowpastures Government Reserve. Under European control the Indigenous Dharawal people dispossession and displacement of their country. The Macarthur family’s Camden Park Estatestarted with the 1805 grant to John Macarthur.
The Camden township was established as a private venture of the Macarthur family in 1840. The streets were named after its founders – Macarthur, Elizabeth, John, Edward.
The Macarthur region (1970s +), named after the famous local Macarthur family, grew as part of Sydney’s rural-urban fringe. It is made up of Camden, Campbelltown and Wollondilly Local Government Areas.
Immerse your imagination in the past at the Camden Museum through living history.
The Camden museum tells the Camden story through displays of artefacts, objects, memoriabilia and other ephemera by using a living history approach.
The displays tell a story of an earlier period and allows visitors to immerse themselves in the past in the present.
Map of the Camden district in 1939 showing the extent of the area with Camden in the east. The silver mining centre of Yerranderie is in the west. (I Willis, 1996)
Walking the past through living history
Visitors to Camden can walk the streets of the town centre and imagine another time. A time past that can be recalled through living history.
A 2010 meeting of Camden Council on Sydney’s southern outskirts voted five to four to demolish a simple 1890 Federation farm cottage known as Carinya at Harrington Park. The owner, Nepean Pastoral Company, wants to develop a 97-residential lot subdivision on the farm site.
The decision illustrates a wider malaise that has enveloped heritage in this state — a worrying trend that is seeing our past disappear.
Demolition of Carinya
Camden Council’s decision to approve Carinya’s demolition was based on reports written by heritage consultants, Urbis. Urbis stated that, while the cottage was intact and in reasonable condition, it was not of local significance. In their view Federation cottages, while rare in the Narellan area, are not rare in the Camden local government area (LGA). Secondly, Carinya has little associative value with the Cross and Paxton families who lived there.
Many people do agree with these conclusions. In the past Carinya has been overlooked in heritage surveys of the Camden LGA and had not been included on any local lists of historic houses. While not a reason for demolition, it is a contributing factor.
Even more damming, ”heritage listing at the local level does not provide much protection at all”, wrote Graeme Aplin, from Macquarie University, in Australian Quarterly (May-June 2009).
”What we have witnessed over the last five years is the systematic dismantling of heritage protection,” stated Sylvia Hale, Greens spokeswoman on planning (”Heritage at risk”, National Trust Magazine, February-April 2010).
More than this the imminent loss of Carinya reflects wider problems in heritage affairs across New South Wales. There is a blatant disregard of the importance of simple cottages of historic value especially at a local level. They represent the lives of ordinary folk. Simple salt of the earth people who struggled to make a living from the soil.
The story of Carinya fits within the Australian Historic Themes identified by the Australian Government (Australian Heritage Commission 2001). These are common national standards for idenfication and conservation of heritage places. Yet this does not qualify Carinya for recognition of local significance.
Even examples of Australia’s important early colonial houses on Sydney’s urban fringe, which are of national significance, such as like Oran Park House and Maryland suffer from indecision and dithering by the authorities.
Conflict of interest in heritage
There is a real, or at least a perceived, conflict of interest for some by heritage consultants in the assessment process. Consultants are a gun for hire. There needs to be a separation of roles in the assessment process of historic houses. The judgment concerning the assessment of significance should be conducted by an independent third party. Heritage consultants should not be judge, jury and hangman. There is a need for due diligence.
The assessment process needs the expertise of professional historians to examine the appropriate historical evidence. There were no historians engaged in the assessment process of Carinya. Urbis has largely relied on a cursory examination of documents at the local library and museum.
Council planning and development officers are under incredible pressure to meet timely decisions for development applications. This particularly applies in the Camden LGA, which is a designated growth area for Sydney.
Council officers and their elected councilors rely on reports written by heritage consultants. Officers and councilors may have had little or no specific training assessing heritage significance, local or otherwise. They are not experts in history and heritage.
One of the casualties in the assessment process is the thorough and considered assessment of historic houses.
Loss of interest in heritage
The current political climate in NSW is not conducive to the protection of historic houses. Heritage is not a high priority. Crowded Sydney and a shortfall in housing stock are political priorities. For this read new estates on the urban fringe, like the approved Carinya farm subdivision.
The developers of Carinya farm housing estate are selling a dream that is just that, a dream. The new estates create a bland homogenised suburban streetscape with little charm or character.
The Carinya farm sub-division is part of Sydney’s urbanisation. An octopus that devours all in its path — including ethical standards, community identity, sense of place and apparently local heritage and history.
The destruction of simple charming 19th century cottages is unnecessary. There is a demand from house buyers who want to live in historic cottages. These buyers restore the cottages to their former glory.
What have we come to in the new century? We have certainly not come to appreciate our past, our inheritance.
In October 2016 historian and author Dr Ian Willis addressed a Council Council general meeting. He spoke in support of a motion proposed by Councillor Cagney for the formation of a heritage protection sub-committee.
Dr Willis stated:
Camden Council Public Address
25 October 2016
ORDINARY COUNCIL ORD11
NOTICE OF MOTION
SUBJECT: NOTICE OF MOTION – HERITAGE PROTECTION SUB-COMMITTEE
FROM: Cr Cagney
TRIM #: 16/300825
I would like to thank the councillors for the opportunity to address the meeting this evening.
I would like to speak in support of the motion put by Councillor Cagney.
I think that a section 355 sub-committee on Heritage Protection is long over due in the Camden Local Government Area.
A panel of councillors, experts and community members could give sound and constructive advice to Camden Council on local issues of substance related to local heritage.
This could contribute to the Council’s knowledge of heritage matters within the community.
The proposed Heritage Protection sub-committee could allow stakeholders a platform to voice their concerns around any proposed development that effected any issues concerning heritage in the Local Government Area.
The proposed Heritage Protection sub-committee could seek the view of external experts on contentious heritage matters within the Local Government Area.
The proposed sub-committee could provide considered advice to Council on matters of heritage concern to the community.
Perhaps provide more light that heat on matters of community concern. Such advice might lower the noise levels around proposed development around heritage issues that have arisen in recent months.
In 2010 I wrote an article that appeared in Fairfax Media which I called ‘Heritage, a dismal state of affairs’. It was in response to an article by journalist Jonathan Chancellor about the neglected state of Camden’s heritage lists.
In the article I quoted Sylvia Hales view expressed in the National Trust Magazine that in New South Wales there had been ‘the systematic dismantling of heritage protection’ over the past five years.
I also quoted the view of Macquarie University geographer Graeme Alpin who wrote in Australian Quarterly that ‘heritage listing at the local level does not provide much protection at all’’.
I expressed the view at the time that there needed to be a ‘ thorough and considered assessment of historic houses’. And that
The current political climate in NSW is not conducive to the protection of historic houses. Heritage is not a high priority.
Six years later I have not changed my view.
The proposed sub-committee could give greater prominence to the Camden Heritage Inventory, similar to Campbelltown Council and Wollondilly Council.
In 2015 I wrote a post on my blog that I called ‘Camden Mysterious Heritage List’ in frustration after spending a great deal of time and effort trying to find the heritage inventory on the Council’s website. It is still difficult to find.
In conclusion, the proposed Heritage Protection sub-committee would be a valuable source of advice for council and provide a platform for the community to express their view around heritage issues.
Camden Council approves formation of a Heritage Advisory Committee