The diverse ecosystems that were once prevalent in the valley from the rainforest along the river banks to the wetlands, lagoons and surrounding paperbark forests provided an abundance of food, fresh water and materials.

During the next 82 years, Charles and subsequently, his widow Frances, his son Frank and grandson Darcie, managed Tocal, to become one of the most important Hereford, Devon and thoroughbred studs in the country.

Hunt's fascination with Tocal that had begun as a child whilst on fishing trips to the Paterson River from his nearby home at Kirkton, near Belford, was to continue for a life time.

[7][1][3] It was while working with this firm in 1962 that Cox's architectural talents were recognised by Edward Alan Hunt who was at the time commencing proceedings in the Equity Court, on behalf of the Presbyterian Church, for the use of the C. B. Alexander Trust.

An initial sketch design for the "Emerald Hills" project, which was intended to be a country retreat for 40 adolescent boys who had committed juvenile offences, was completed by Cox in late 1962.

One of his first lecturers was Myles Dunphy, whose knowledge of architectural history and understanding of structure including his ability to draw a large scale cross section of Chartres Cathedral in chalk on the blackboard, as well as his avid interest in conservation, of the Australian landscape, was a lasting source of inspiration.

The construction drawings for Emerald Hill are entitled as Ian McKay and Philip Cox, Architects in Association, 68 Blues Point Road, North Sydney and dated January 1963.

Recycled second-hand bricks were laid in enlarged mortar beds of an ochre colour and the joints struck flush to enhance the sense of solidity, and the roof structure consisted of exposed rough sawn timbers.

[1][3] The scheme, as it evolved, became far more responsive to its unique setting, drawing greater inspiration from the "village environment" of the historic homestead complex, and closely integrated with the surrounding landscape.

[1][3] The amplification of the village environment of the Tocal homestead complex, the clarity of structural expression and the use of vernacular materials, locally sourced and in a natural state were the fundamental principles for the design of the College.

McKay recounts that one day it developed a slight bow, and astoundingly, the tree was straightened through releasing the tension on the outer curve of the trunk with a single powerful blow of a broadaxe.

[33] Similarly the adzing of over fifty Brushbox trunks to form the colonnade pillars was also undertaken on site by local woodworkers, as too was the construction of the bolsters, or brackets, supporting the roof of the main hall.

Rafters sit squarely on beams, which are cut neatly into posts: Struts are halved over purlins; and the beautiful tusk tenon survives in a world just discovering the convenience of punched steel connectors".

[36][1][3] Norman & Addicoat and Taylor Thomson Whitting were the consulting hydraulic and civil respectively[27] but specialist structural advice for the timber components of the project was provided by Professor Stan Shaw from the University of New South Wales.

The design of the chapel spire presented the most challenging of structural problems, the resolution of which required a unique jointing system utilising exposed stainless steel shear connector plates to connect the halved trusses to the king pole.

McKay's earlier experimentations with the expressive qualities of reinforced concrete in the late fifties and early sixties provided the necessary understanding for integrating a contemporary material with timber that has been crafted using time honoured techniques.

In its development, application and appropriateness it was thoroughly and distinctly AustralianThe construction of the buildings, direct, simple and thoughtful, had a crafted quality and was often exposed as a powerful part of the design.

Hunt's son David, and his wife Judy, Philip Cox's sister, have retained association with Tocal and assist in raising funds for conservation works to the buildings.

The estate extends along the valley floor at the confluence of the Paterson River and Webber's Creek, encircled by watershed ranges to the northwest and northeast, forming a remarkably beautiful contained setting.

The first impression of the College via glimpses from Tocal Road through stands of Spotted Gums, is of a long low complex straddled along the ridge; of massive, shielding walls of sandstone coloured brickwork, deeply folded into narrow window openings thrown into deep shadow, and above which rises a spire of unexpected height.

Focus on the quadrangle is retained, and intensified, by the central placement of the College chapel with its dramatic spire, and by the encircling colonnades that serve as the primary circulation between the main campus buildings, providing shade and shelter from conditions on the exposed ridge.

[1][3] The quadrangle is unified by the simple repetition of forms and structure, enhanced by the play of light and shadow, and by a limited palette of locally sourced materials; brick, timber, and terracotta tile, all chosen for their textural qualities.

Similar coloured kiln fired bricks are used as paving throughout the colonnades and the interiors of the buildings, and the ground plane is modelled with sunken terraces, such that the walls appear to rise out of the earth.

[1][3] The common palette of materials, of brick, timber and terracotta tile, and the extensive colonnades connecting the main campus buildings make for a unified complex but within this uniformity there are marked contrasts of architectural expression.

The building is square in plan with battered brick walls supporting a low clerestory above which a spire that rises a further 30 metres in height, its apex surmounted by a two-metre-high (6.6 ft) cast stainless steel cross.

From the four corners of the ring beam spring the low raked intercepting timber trusses that support both the clerestory roof framing and the massive king post of the spire.

Attention to detail extended to every aspect of the interior finishes and the construction: each concrete roof tile of the spire was double wired and further fastened to the timber battens with two brass screws.

Created by Margaret Grafton, and woven of hand spun wool dyed with natural dyes, its warm colours and soft texture contrast with the raw Spartan interior.

The selection of materials, such as hardwood timbers and facebrick, and the design of the buildings that incorporates large roof overhangs, colonnades and deeply recessed openings, provides a high degree of weather protection.

The locally based approach through choice of vernacular materials and forms, (such as the language of the Tocal barn) and the environmentally sensitive response to location is credited with being a truly Australian architecture.