The name Narellan is used for the village, the district and the parish, and was probably derived from William Hovell’s 1816 grant of 700 acres (283 hectares) called Narralling. Most of the parish of Narellan was granted to settlers by Governor Macquarie between 1810 and 1818.
In 1827 Robert Hoddle and John Oxley had surveyed the site of the village, which was set out in a rectilinear plan, and marked the site of a church, school and courthouse.
Narellan was one of four villages that pre-date the foundation of Camden in 1840 in the Cowpastures. The others were Cawdor, Cobbitty and Elderslie.
Narellan’s built heritage items
Former St Thomas Church Hall and schoolhouse
1A Wilson Crescent
Built in 1839 as a church by Thomas Hassall and served on weekdays as a schoolroom.
Former St Thomas Church
1A Wilson Crescent
Built in 1884 to a design by colonial architect Edmund Blacket (1879)
Former Camden Country Milk Depot
259 Camden Valley Way
Built in the 1920s and owned by Mr Coleman. It was closed in 1931 when stricter health regulations around milk were introduced in NSW.
Former Tildsley butcher shop
269 Camden Valley Way
Built in 1937 and operated until the early 2000. The site has operated as Cake Biz since 2003.
279-283 Camden Valley Way
The former Queen’s Arms Hotel opened in 1847, modified in 1937 and operated as Byrne’s Hotel. The current building underwent extensive renovations in 2003.
311 Camden Valley Way
Built in 1919 by George Blackmore as a residence for Anne Stuckey. Later a maternity hospital and in the 1960s a convalescent hospital.
Former Burton Arms Inn
332 Camden Valley Way
Built in c1830, the site has operated as a hotel, general store, auto electrical workshop, and most recently a real estate office.
Built in 1888-1889 as the last gentleman’s ‘country estate’ in the local area by Sydney businessman William Charles Payne. Designed by Sydney architects AL & G McCredie. Served as Camden Classical and Commercial School (1901-1919), country retreat for Twentieth Century Fox executive AA Gregory (1933-1939), Eastern Command Training School (Army) (1940-1945), Citizen Military Forces (Army Reserve) (1948-1951), Women’s Royal Australian Army Corps (1951), Camden Golf Club (1951-present)
There are examples of this style in most of villages and hamlets across the local area and many isolated ones on local farms.
The name Edwardian is loosely attached to cottages and buildings erected during the reign of Edward VII from 1901 to 1910. This period covers the time after the Federation of the Commonwealth of Australia in 1901 when the six self-governing colonies combined under a new constitution. They kept their own legislatures and combined to form a new nation.
The housing style was evidence of the new found confidence of the birth of a new nation that borrowed overseas trends and adopted them to suit local conditions. These style of houses were a statement of the individualism and the national character.
The Edwardian style of housing also includes a broad range of styles including Queen Anne, Federation, Arts and Crafts and Early Bungalow. These styles often tend to be asymmetrical with a projecting from gable, can be highly decorated with detailed work to gables, windows and verandahs. Edwardian style cottages often fit between 1900 and 1920, although the style extends beyond this period influencing the Interwar style housing.
Typical Edwardian colour schemes range from apricot walls, gables and barge boards, with white lattice panelling, red roofing and green coloured windows, steps, stumps, ant caps.
A number of Camden Edwardian cottages have a projecting from room with a decorated gable. A number of been restored while others have been demolished.
Edwardian country cottages are not unique to the Camden area. Toowoomba has a host of these type of homes and published the local council publishes extensive guides explaining the style of housing and what is required for their sympathetic restoration in the online publication The Toowoomba House (2000).
Examples of Edwardian style cottages, including in and around Camden, were an Australian version of English Edwardian houses. Houses were plainer in detail, some with lead lighting in the front windows. Australian architecture was a response to the landscape and climate and the building style tells us about the time and the people who built them, how they lived and other aspects of Camden’s cultural heritage.
In the most March 2014 edition of Camden History Joy Riley recalls the Edwardian cottages in John Street. She stated:
‘I lived at 66 John Street for the first 40 years of my life before moving to Elderslie with my husband Bruce Riley. The two rooms of 66 John Street were built by the first John Peat, Camden builder, to come to Camden. In the 1960s I had some carpet put down in my bedroom, the floor boards were so hard, as they only used tacks in those days to hold carpet, the carpet just kept curling up.’ She says, ‘The back of the house was built by my grandfather, William Dunk. They lived next door at 64 John Street. He also built the Methodist Church at Orangeville or Werombi.
This housing style is often characterised by a chimney that was a flue for a kitchen fuel stove and chip copper in an adjacent laundry. In some houses plaster cornices were common, sometimes there were ceiling roses, skirting and architraves. A number of been restored while unfortunately many others have been demolished.
Some Camden Edwardian homes had walls of red brickwork, sometimes with painted render in part. While there are many examples in the local area of timber houses with square-edged or bull-nosed weatherboards. Sunshades over windows supported by timber brackets are also common across the local area.
‘You are the problem’ railed Michael Pascoe in a recent op-ed about the current imposition of heritage listings by local government authorities.
It prompted me to think about a piece I wrote in 2010 about the loss of Edwardian farming heritage on the urban-rural interface on Sydney’s edge. In that I expressed dismay at the loss of early 20th craftsmanship that was seen by decision makers as redundant and out of date. To be replaced by ubiquitous uninteresting modern boxes.
It is interesting that those who think outside the box can take a simple Edwardian cottage, with flair and patience, turn it into a modern family without devaluing the original craftsmanship that built it.
There is a distinct lack appreciation amongst many contemporaries of simple robust country farm cottages that, with imagination and patience, can be up-dated with contemporary fit-outs that suit the needs of the current homeowner.
Despite Pascoe’s outcries others have a different take on the story.
Neglectful heritage lists
In 2010 Jonathon Chancellor noted (‘Fight to save Tilba underlines heritage neglect’, SMH 22/3/10) that many councils had ‘neglectful heritage lists’.
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 spokesperson on planning (‘Heritage at risk’, National Trust Magazine, Feb-Apr 2010).
Demolition of Federation farm cottage
In 2010 Camden Council approved the demolition (Camden Council, 23/3/10) of a simple 1890 Federation farm cottage known as Carinya at Harrington Park. The owner, Nepean Pastoral Company, sought to develop a 97 residential lot subdivision on the farm site.
The Harrington Park housing estate is now fully occupied by newly arrived families from the burbs who are probably completely unaware of the history of Carinya. They come with the own hopes, just as the Cross and Paxton families, who lived in Carinya cottage, did in an earlier generation.
The story of Carinya cottage fits within the Australian Historic Themes identified by the Australian Government (Australian Heritage Commission 2001). These are common national standards for identification and conservation of heritage places. Yet this did not save it from the demolisher’s hammer.
Australian’s have a genuine interest in their past and the story of their ‘historic’ homes. Witness ABCTV’s ‘Who’s Been Sleeping in My House’ and the efforts of what Adam Ford calls housetorians. He is able to ‘unlock the mysteries of the past’ and tell a good yarn about houses across Australia.
One homeowner Dorothy felt that Ford’s investigations increased her sense of attachment to place and her home. She stated
‘I feel like it has been a place that has nurtured and cared for a lot of people over the years. It’s cosseted us and cared for us’.
‘The house will be here long after I’ve gone and I’m just privileged enough to be living here for a period of time.’
These homeowners have a creative appreciation of the worth of the story embedded in their homes. They understand that they are participants in an unfolding history, by providing a new layer in the story.
In 2010 the developers of the Carinya sub-division were selling a dream. For some the dream is realised for others the new estates create a bland homogenised suburban streetscape with little charm or character.
The Carinya sub-division was part Sydney’s urbanization that, like an octopus, devours all in its path. Including ethical standards, community identity, sense of place and apparently local heritage and history.
The destruction of a simple charming 19th century farming cottages was unnecessary. Old and new can blend and add to the vibrancy and interest of emerging urban landscapes.
The council seems to be blind to the possibilities that a creative use of history and heritage has in the urban landscape for tourism, business and the wider community. The pleadings of the Chamber of Commerce for a ‘prosperous’ business sector have fallen on deaf ears at council. Likewise the pleadings of the community for positive and deep engagement in the urban planning process in one of Sydney’s most sensitive and historic town centres.
Heritage values and good urban planning are not mutually exclusive as some commentators obviously think. But they do require patience, creativity, flair and community engagement from all stakeholders.