reflects the architect's concern with the processes of nature and the forms they produce. Buildings designed to this philosophy made use of local materials, responded to the local topography and climate to produce comfortable conditions, and were organised so as to form an organic, integrated whole. Through publications such as newspapers and architecture journals, Wright's influence spread around the world. Early proponents of his style in Australia were Chicago-based architects Walter Burley Griffin and his wife Marion Mahony Griffin, famous for winning the international competition to design the city of Canberra (1912), who had worked for Frank Lloyd Wright in America. Several young Australian architects influenced by Wright were designing in an organic idiom in the 1950s, particularly in the southern states, but it was not until the 1960s that there were enough examples of organic architecture for an organic style to be discernible in Australia. A 1969 journal article, which included Oribin's first house as an example, displayed the wide variety of forms, materials and interpretations of organic philosophy that were employed by Australian architects, with features such as clearly expressed timber structure, textured brickwork, free massing and complex geometries that complemented natural elements of the site. In 1959 Oribin designed a studio separate from his house from which to run his solo architecture practice. Like his first house, designing the studio was an opportunity for Oribin to put into practice his most creative and technical ambitions and create a working environment that suited his needs, with a large, well lit office and service and storage areas. In common with other architect's personal projects, the studio was also a showpiece of Oribin's skills and design philosophies. Construction was completed in 1960 and the studio served as Oribin's personal drawing office until 1973. Located on the opposite side of the creek in the south-west corner of the property, the studio was a small, two-storey timber and concrete building, accessed by a timber walkway connecting it to the house. The studio layout consisted of a two rooms on the upper floor that were used as the drawing office, with built-in desks lining the edges of the main south-east facing glazed walls. The ground floor was partially enclosed with concrete walls and used as a carport. The design of the studio was greatly influenced by the works of Frank Lloyd Wright, in particular by his Unitarian Meeting House (1947–51), built for the