Bohemian Modernism -Heidi II McGlashan Everist – Art meets Architecture…

To think of Heide is to conjure thoughts of post-war bohemian modernism. A place where mythology and dreams filled an artistic landscape that would endure for decades. John and Sunday Reed acquired the parcel of land in 1934, they named it ‘Heide’ for Heidelberg. They had a strong vision of an honest life that would be fulfilled by supporting creativity in others. John and Sunday commissioned young architect David McGlashan to build Heide II in 1963. Everything was a joint activity with John and Sunday.

In function they envisioned a gallery to be lived in that would be ageless. In form, they desired romance, ruins, and mystery. It was to be a good match, David, John, and Sunday. David was half of a design duo McGlashan Everist, an architectural practice founded in 1955. It still exists today in Drummond Street Carlton. The two Directors are John Lee and Geoff Saunders, they have been there for more than thirty years, so there remains a connectedness that bridges the bounds of time.

McGlashan says ‘they tried to design houses that were without a time scale’. The practice became known for its modular style of building. They often built on steep, sloping sites. Heide II is unique because it is made from Mount Gambier Limestone. This was chosen because it would weather and age gracefully on the outside and stay light and pristine on the inside. It would provide a neutral background for hanging art.

Heide II was designed to be a physical experience of moving ‘through space’, transitioning from the house site to the art and then extending into the garden. McGlashan used techniques of framing to facilitate this experience. He wanted it to look as if it belonged to the landscape, as elegant as a sculpture, and as timeless as a ruin.

Construction was laboured and took far longer than anticipated. The limestone required precision placement and the build became fraught with tension as the builder nearly went bankrupt. He had underquoted substantially on the cost of labour during construction. Finally, Heide II was complete. There were no skirtings or plaster traditionally associated with houses of that time. Terrazzo tiles, timber, glass, and leather door pulls had been utilised to maintain a connectedness with nature. It was a modern masterpiece that fulfilled the essence of the brief.

John and Sunday moved into Heide II just after Easter in 1967. They had been in the Victorian farmhouse on the property for more than thirty years so this was the beginning of a new era for them at Heide. In 1968  McGlashan Everist won the Royal Australian Institute of Architects Award for a residential building of the year. John and Sunday resided at Heide II until the winter of 1980.

Life had become extraordinarily difficult for John and Sunday, around this time and they had suffered some great personal losses, but their love for Heide and one another endured. In 1981 Heide II was to begin a new phase of its life as a public art gallery. John and Sunday spent the last year of their forty-seven years at Heide back in the Victorian farmhouse. They both died there ten days apart in December 1981. They never left Heide, their ashes scattered at the base of a scarred red river gum. In 2015 Heidi II received an Enduring Architecture Award, a triumph for modernist architecture.

A literary reflection of my time working at Heide II – 2015

My office, the former guest bedroom, with desk abutting wall, where the bed once did. Perpetual distraction, a tantalising essence of the incorporeal. Those who had lay in this tiny den, three stone walls, no windows. I place my hand on the limestone, little fragments of dust coming away. I go home, and the day comes with me, smudges of lime, little chalky writings adorn my dress. Another pair of heels ruined on the stone steps. Desire and destruction float in equanimity. The air is cool, and the light is thin, this little box I languor in.

Nicole Cullinan

For a taste of Bohemian Modernism -Heidi II McGlashan Everist is open 10 am-5 pm Tuesday to Sunday, 7 Templestowe Road Bulleen 3105 – twenty minutes from Melbourne’s CBD.

For more information on Heide MOMA

For more information on McGlashan Everist

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How to sabre a bottle of champagne…

It has been said that when a bottle of champagne is sabred correctly it sounds like the sigh of a content woman. Let me show you how to sabre a bottle of champagne. It begins with peeling off the layer of gold foil, slowly and purposefully, for it is delicate. Then releasing the cage around the cork so that the pressure can escape. Carefully untwisting the wire to prevent the cork from releasing ahead of time. Running my fingers along the seam on the neck of the bottle. Being confident, place the sabre on the seam, apply the right amount of pressure and then swiftly slide along the neck. I don’t want the cork to be unyielding. An inexorable sigh escaped with a sudden burst of satisfaction. The trick is not to be strong and rigid but sure and intentional. Go all the way; it is a clean movement.

The history of sabrage is surrounded by myth and mystery. It goes back to the French Revolution of 1789  when Napoleon Bonaparte used his sword to sabre champagne. He and his soldiers, Hussars, would drink it in defeat and exaltation. They could sabre a bottle with their brass-hilted swords whilst on horseback.

Legend says they would visit Veuve Clicquot in Reims and be entertained by the widow Barbe-Nicole Clicquot, dining at her vineyard. Madame Clicquot took over the champagne business after her husband died in 1805 when she was twenty-seven. The bottle is still representative of her. Today, Veuve is the French word for the widow. She was a woman of contradictions, described as a formidable businesswoman and an entertainer of great frivolity. Historians still claim that because of her, “no business in the world has been as much influenced by the female sex as that of champagne”. As the soldiers would depart her vineyard, she would gift them a bottle of champagne that they would sabre as they rode off to their next battle.

Champagne sabrage has been kept alive in modernity by companies such as Mumm, who have made it a feature of their brand to keep this practice relevant. I was trained by a Mumm representative some years ago now. It is possible for inexperienced hands to cause injury to themselves and others. Still, as you can see, when done well, it is a seamless performance and makes a welcome addition to any dinner party.

How could anyone say no to a satisfied sigh…

To purchase a sabre—stainless-steel/3586672.html

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Cry Cupboard

About us

Cry Cupboard (previously known as A Poetic Point of View) is a Melbourne based design practice creating meaningful content for people, places, projects and products. For us, every project is an opportunity to contribute in a positive way to the vision you have for building your brand. Cry Cupboard makes content that is both beautiful and beguiling with the brand at the centre of the concept beckoning bespoke solutions that consider how design can meet your needs. We value your privacy and are about connecting individuals and companies with a clearly defined design path that articulates the vision you imagined.

The scale of our projects varies from providing stock images, to copy, website development, visual merchandising, product launches, press kits, workshops, installations and exhibitions. We have worked with architects, artists, institutions and luxury brands. From floral installations for corporate events to entire exhibitions including concept, curation and installation, each is bound by a commitment to considered detail.

To view our projects and client list follow the link to

We acknowledge the Wurundjeri and Bunurong people of the Kulin nation on whose country we work and create.

We also acknowledge the traditional custodians throughout Aboriginal and Torres Strait Islander lands where our projects are placed. We recognise their ongoing connection to country, land and waters that were never ceded and pay our respects to Elders, past, present and future generations.


Mitchell House Suite 31, Level 4
352 Lonsdale Street Melbourne


Commended multiple photos The Mono Black and White Photo Awards 2022


World Architecture News (WAN) Female Frontier Awards 2022


Victorian Premier Design Awards 2021


The Design Files Awards Collaboration Poodle Bar with Bergman and Co.

Highly Commended The Mono Black and White Photo Awards

Academic writing

Globalisation and Identity in Place and Space

Establishing identity in a globalised world.

In the pursuit of love, then and now.

Discover how we fall in love today compared to thirty years ago.

Subculture, Resistance, Violence and the Female Perspective

Utilising a life course perspective to explain women over 55 being the fastest growing group of homeless people in Australia

Enduring Love


On enduring love. Thirty years ago today I met my love. I am in my forties. He calls me ‘Cosi’, although only occasionally now. It was a childhood name. Reserved for grandparents and parents and my love. It’s very affectionate. Everyone else calls me Nicole, this is the way I prefer it, I don’t like nicknames.

I don’t have strong memories of meeting him. I met many people that day. I recall he was shy and had beautiful eyes. At some point I became curious. And so there was the slow revelation of truths over the coming months. There was no internet at that time. Things were different. A stalker was someone who hid in a tree in your garden not a person at home hunting on their computer for pieces of information that would disqualify or promote someone’s worthiness. How different the genesis of love can be today.

As the months passed I would recall my Grandmothers words ‘ Patience is a virtue. Possess it if you can. Found often in a woman and seldom in a man’. We lived in a narrative of binary beliefs with a total lack of awareness. Everything was uncomplicated. Slowly we migrated from friendship to love. There was never a moment doubt for me. I’ve always known what I want. Such burning desire.

First ten years and then twenty. I was engulphed by breathless adoration. Should all loves be so lucky to have twenty years like this. Life was easy and we knew it. We didn’t sweat the small stuff. We never have. The affection and devotion upon which I regarded my love was intoxicating to those around us. I fielded constant inquiry as to what the secret is. I thought I knew. With unrivalled arrogance I would tell others the secret is ‘not to let the sun go down on an argument’. The ability to forgive. A lesson I learnt from my loves Grandmother. She was married for more than fifty years to a man with a similar temperament and the same moniker as my love.

And so we slid confidently into our third decade. Me, my love and our four children. I can hear the children’s laughter, it fills my heart with joy. The days pass with a satisfying exhaustion that comes from giving everything. The bedtime stories. The silence of them sleeping. The time for us. The closed doors, the fire, the heat, the dry skin, the moistness. I remember everything, like it was yesterday. Time and space recorded in little dioramas for my thoughts to browse.

Do you remember my love? The beginning, we had nothing and everything. Materiality was meaningless. I was a well that could not be emptied. I was young.  I don’t want to be patient anymore. I feel a sense of urgency, like time is moving too fast. The world has changed. I have changed. There is only one thing I am certain of, the passion I have for you my love. Tomorrow we begin our fourth decade.

Touch me and you will know what it is to be loved… Just touch me, my love.

For relationship guidance

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