FINAL Featherston VCE VisualCommunicationDesign3 · Best known for his Contour series of bent plywood chairs produced in the early 1950s, Grant Featherston was a highly successful

DESIGN FOR LIFE: GRANT AND MARY FEATHERSTON30 JUNE – 7 OCTOBER 2018

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© 2018 Heide Museum of Modern Art. This material may be downloaded, copied, used and communicated free of charge for non-commercial educational purposes provided all acknowledgements are retained.

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DesignforLife:GrantandMaryFeatherston

ExpoSoundChairMark11,1967,photographerunknown,FeatherstonArchive,NationalGalleryofVictoria

DesigninPracticeVCEVisualCommunicationDesignThisEducationResourcehasbeenproducedbyHeideMuseumofModernArt.Reproductionispermittedforeducationalpurposesonly.Nopartofthiseducationresourcemaybestoredinaretrievalsystemortransmittedinanyformorbyanymeans.


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VCEVisualCommunicationDesignThefollowingcontentaimstosupportteachingandlearningprogramsforVCEVisualCommunicationDesign2018-2022.ThisresourceisdesignedtosupportbothstudentsandteachersofVCEVisualCommunicationDesignStudyDesignUnits1-4.TheresourceaddressesspecificaspectsoftheStudyDesign,althoughteacherscaneasilyadaptanyaspecttodifferentoutcomesandkeyknowledgeaccordingtotheneedsandinterestsofstudents.TheguidelinkscontenttotheMelbourne-basedfurnituredesigners,GrantandMaryFeatherstontosupportstudent’sunderstandingof;historicalandcontemporarylocaldesign,Environmental,IndustrialandCommunicationdesign,andprofessionalindustrypractice.Thestagesofthedesignprocessareilluminatedthroughcasestudiesspecifictothethreeareasofdesign:

1. IndustrialDesign(Furniture):ContourChairsR152andR160(1951)2. EnvironmentalDesign(Interior):NationalGalleryofVictoriainteriorfit-out(1968)3. CommunicationDesign(Graphic):OboChairadvertisement(1975)

Unit1:

AreaofStudy1–ThisareaofstudyreferencestheinventionoftheContourChair,Ideagenerationandthefunctionofobjects.Anexplorationofstructuresusingmanualanddigitalmethodssuitableforcreatingdrawingsisinvestigated.AreaofStudy2–DesignelementsandprinciplesareaddressedintasksreferencingthestudyoftheContourChair,requiringstudentstoobserve,reflectandanalyse.AreaofStudy3–VisualcommunicationincontextisaddressedthroughtasksexploringglobaltwentiethcenturyhistoricalandculturalpracticesindesignandhowtheseaffectedtheAustraliandesignlandscape.

Unit2:AreaofStudy1–Technicaldrawingincontextisexploredinrelationtothree-dimensional,manualanddigitaltechniquesusedtorefinedrawings.AreaofStudy2–TypeandImageryincontextisaddressedusingtechniquesanalysingtherelationshipbetweentypographyandimageryofanOboChairnewspaperadvertisementfrom1975.AreaofStudy3–ThedesignprocessisinvestigatedwithadesignbrieftaskaimedatadvertisingtheOboChairtocontemporaryaudiences.KeyknowledgeareasareexaminedinrelationtotheroleofthebriefinOutcome3.

Unit3:AreaofStudy2–Thisareaofstudyconsidersmethods,materials,constraintsandlimitationsinrelationtothedesignandinteriorfit-outoftheNationalGalleryofVictoriain1968.

Unit4:AreaofStudy3–Evaluationisintroducedthroughtasksandactivitiesthatoffermodelstosupportthepresentationofapitch.

ContentandtasksinthisresourcecanbeusedtofocustheVCEteachingandlearningprogramand/orprovidestudentswithreflectivepracticeinpreparationfortheVCEVCDexamination.


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DesignforLife:GrantandMaryFeatherston

GrantandMaryFeatherstonc.1973,photographerunknown,FeatherstonArchive,NationalGalleryofVictoria

How did I become a designer? The answer to that is: One never knows how one begins in designing. It just happens.1

BestknownforhisContourseriesofbentplywoodchairsproducedintheearly1950s,GrantFeatherstonwasahighlysuccessfulMelbourne-basedindustrialdesigner.Grant’stalentandloveofdesignsawhimcreatemanythingsbut,between1947andthemid-1970s,hefocusedonchairsandfurniture.Duringthistime,hedevelopedhundredsofdesigns,manyofwhicharehighlysoughtaftertoday.GrantmetMaryinthemid-1960sandtheyworkedinpartnershipfrom1965untilGrant’sdeathin1995.MarywasanEnglish-bornRMITInteriorDesigngraduate.Together,theyformedacreativepartnershipinlifeandbusiness.Overthespanofthirtyyears,thepairwoulddesignmanyacclaimedpiecesoffurnituretogether.Theyalsocompletedinteriorfit-outcommissions,includingtheinteriordesignoftheNationalGalleryofVictoriabetween1966-68.MarystilllivesandworksinMelbourne.Herprimaryareaoffocusisinthedesignofearlychildhoodlearningenvironments.Together,GrantandMaryleaveanenduringlegacywithmanyoftheirdesignsrecognisedtodayassignificantachievementsinAustraliandesignhistory.

1GrantFeatherstonasquotedin‘FurnitureFashionTime:AnArgusSouvenir’,Argus,19October1955,p.6.


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ExcerptsfromDesignforLife:GrantandMaryFeatherstonbyDeniseWhitehouse

NumeroIVLounge1974,photograph:Grant&MaryFeatherston,FeatherstonArchive,NationalGalleryofVictoria

ThestoryofFeatherstonDesignbeginswithGrantFeatherston,whowasattheheightofhiscareerwhenheandMarymarriedandestablishedtheirpartnership.Italsobeginswiththequestionofwhatmakesadesignerand,morespecifically,whatmadeGrantFeatherston‘oneoftheforemostandmostdiscussedmeninhisfieldinAustralia?’2 Whatfactorsshapedhisfamousintensityanddrive,hisdesiretoexcel,hisurgetoinnovateandmake,andhisbeliefthatdesigncouldshapeandchangetheworld?WhatinspiredayoungmanlivinginruralAustraliainthe1930stodedicatehislifetothedevelopmentoftherelativelyunknownpracticeofindustrialdesign?Shapedhisperceptionoftechnologyandmaterialsandhisdrivetoconvertthemintomeaningfulobjectsandexperiences?Andstimulatedhisinterestintheinternationalphenomenoncalledmodernism,andwiththisapassionatehumanistbeliefinthesocialresponsibilityofdesign? GrantFeatherston:ChildhoodBornon17October1922asthefirstchildofEvaandStanleyFeatherston,GrantFeatherstonhadaquintessentialAustralianchildhood.HegrewupinGeelong,aregionalcountrycentrewithintheshadowofVictoria’scapitalMelbourne.Athrivingbeachtownandanindustrialport,GeelongservicedtheinterestsofVictoria’sprosperousWesternDistrict,thehomeofthemerinowoolindustryonwhichthenation’seconomywasbuilt.

2Featherston,‘FurnitureFashionTime’,p.6.


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Spiralfern(1950s),photographs:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria

EvaandStanbuilttheirmarriagearoundanethicofself-sufficiencyandsocialresponsibility.Ardentgardeners,theygrewtheirownproduce.Stanmadethechildren’swoodentoysandmuchofthefamily’sfurnitureandEvamadethefamily’sclothesandfurnishingswithatouchofstyle…Stanwasalsoanenthusiasticphotographerwhocapturedthefamily’sactivitieswithhiscamera.Snapshotaftersnapshotrevealsachildhoodfullofexplorationandadventure,beginningwithinthebigbackyardandthespareblocknextdoor,andstretchingoutintothecountrysideanddowntothebeach…Grantwouldreturntothelandscapesofhischildhood,tothebushandthebeach,photographingthemtimeandagain,studyingthenaturalorderofformandpatterninseashells,driftwood,treesandrocksinaquesttofind‘thesimplesolution’.DiscoveringIndustrialDesignandNewMaterials

Winsome(Grant’ssister)remembersthatwhenGrantturnedsixteentheirparentswereapproachedwiththeproposalthat,givenhisdrawingskills,heshouldtakeupanapprenticeshipwiththeMelbourneglassmanufacturer,Oliver-DaveyGlassCo.ThisinvolvedthebigstepofGrantmovingtoMelbourneinlate1938whereheworkedwithOliver-Daveydesigningdecorativemotifsforsandblastedglassdoorsandpanelsbeforemovingonin1939toworkforthedomesticandarchitecturallightingfirmNewton&GrayinSouthYarra,wherehewouldfirstencounterplasticsproduction.Theextensiveuseofglasswallsandmirrorswasbringinglight,spaciousnessandthelanguageofreflectiontotherecoveringindustrialandcommercialsectors,inwhichtheinfluenceofAmericanmarketingwasstrong.Thebuilding,architecturalanddecoratingmagazinesofthetimeoverflowwithnewglassproducts,especiallystructuralanddecorative—glassbricks,tiles,coloured,sandblastedandetchedwallsurfaces,bentglass,shopfrontsandmilkglasslight-fittings.


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Glassnecklacec.,1947-50,andDarianbuttonc.,1947-54,FeatherstonArchive,NationalGalleryofVictoria

TheseweretheformativeyearsthatshapedFeatherston’slifelongfascinationwiththeplasticityofmaterialsandmodernmanufacturing’suseofdifferenttechnologiestotransformmaterialsintonewproductswhich,liketheglassthatbroughtsunlightintoMelbourne’snewhospitals,couldbesignificantlylife-changing.Young,curiousandsearchingforhisplaceintheworld,Featherstonwascaptivatednotonlybythemannerinwhichmodernmaterialsweredrivingprogressbutalsobytheadaptabilityandnewpropertiesofglassandplasticmadepossiblebyadvancesofindustrialscience.3Hewastakenbytheaestheticandfunctionalpropertiesofglass—itsorganicflowingforms,itstranslucencyandabilitytoholdlightandspace—anditwouldbecomeanexpressivemediumthatheusedtodevelophisdistinctivevisuallanguage.Besidesfiringhispassionformodernscienceandmanufacturing,Featherston’stimeintheglassindustryintroducedhimtothenexusbetweenMelbourne’smodernarchitectsandmanufacturersandplacedhimatthecentreofanemergingdesignprofession.WhenhearrivedinMelbournethepossibilityofwarcombinedwiththeflushofpost-Depressionprosperitywasstimulatingnationwidegovernmentandindustryinterestinthedevelopmentoflarge-scalemanufacturingforthehomemarketandexport,theflow-oneffectwasademandfordesigners.Intheseearlyyearsindividualsworkingascommercialandindustrial‘artists’hadnoprofessionalcode,nostanding,andnocopyrightprotection.Withtheconceptoftheindustrialdesignerrelativelyunknown,thoseworkingasdesignersinindustrylikeFeatherstonweregenerallyknownasdraughtsmen.TheircommercialactivitiescametoanendastheenergiesofAustralia’sarchitectsanddesignerswereabsorbedintothewareffort.Nonetheless,whenheenlistedintheArmedForceson14August1941,twomonthsbeforehisnineteenthbirthday,GrantFeatherston,perhapswithaneyeonthefutureorinashowofprofessionalpride,listedhisemploymentas‘industrialdesigner’.PostwarReconstruction:DesignforSocialChangeDrH.C.‘Nugget’Coombs,Director-GeneraloftheDepartmentofPost-WarReconstruction,wasvisionaryinhispromotionofculturalintellectualsaskeyplayersinthereconstructionofAustraliaasamoderndemocraticnation.Australia’swarefforthadstimulatedagreaterconfidenceintechnologyandmanufacturingandincreasedrespectfortheAmericansandtheirindustrialintelligence.AsAustraliatookaprominentroleintheformationoftheUnitedNations,theoverwhelmingsentimentwasthatpostwarAustraliawouldnolongerbeaBritishcolonialoutpost,butayoungandmodernnationwithitsownmanufacturingbaseanddistinctiveculture.

3TheAllianceofArtandIndustry;ToledoDesignsforaModernAmerica,ToledoMuseumofArtandHudsonHillsPress,NewYork,NY,2002:JohnHeskett,‘TheEmergenceoftheIndustrialDesignProfessionintheUnitedStates’,pp.67.


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SocialandCulturalFactorsInfluencingDesign

BauhausinDessau,Germany(2005)Architect:WalterGropiusAsCoombssawit,architectsanddesigners,withtheirrootsintheBauhaus,Europeanavant-gardismanddemocraticsocialism,wouldbring‘intelligenceandunderstanding…tothedaytodayproblemoflivinginawaywhichwillnotmerelyincreasecomfortandconveniencebutwillalsoincorporatesimplicityandgraceindesign.4ImportantlytheywouldhelphouseAustraliansbyusingtheprinciplesofmodernismtotranslatethelessonsofmassproductionintothehomeanddrivetheindustrialisationofthebuildingandfurnitureindustries.PostWorldWarII–NewBeginningsFeatherstonwouldhavenotoleranceforwar:heseldomspokeabouthisexperiencesandthosewhoknewhimspokeofhisdistressoverthebombingofHiroshimaanddeeplyheldpacifism.5Thewardid,however,firehisambitiontoshapeanewandbetterworld.AsamemberoftheAustralianMilitaryForces’CartographyCompany,FeatherstonwasstationedinDarwinduringtheJapanesebombinginFebruary1942andfoundthisexperiencetraumaticandlife-shaping.WithhishealthaffectedhespentthefollowingyearorsoinandoutofmilitaryhospitalsbeforebeingmedicallydischargedwithapepticulcerinSeptember1944.HethenspenttimewithhisparentsinMortlakeincountryVictoriaexperimentingwithlightingdesignbeforereturningtoMelbourneinearly1945,wherehefoundroomsinWalshStreet,SouthYarra,andbeganworkattheCommonwealthAircraftCorporation(CAC)atPortMelbourne,asaproductionillustratordrawingmapsandaircraftparts.6Workingthere,FeatherstonencounteredAmerican-influencedmanufactureatitsbestasengineers,scientists,techniciansanddesignerscollaboratedonresearchanddevelopmentprojects.HealsobegantodevelopaheightenedinterestinAmericanmanufacturingdesign—informationaboutwhichwasrelativelyaccessible—collectingbooksbyAmericanindustrialdesignpioneerssuchasHaroldVanDorenandGeorgeNelson,andarticlespulledfromAmericandesign,businessandfashionjournals.

4NuggetCoombs,‘Foreword’,inWalterBunning,HomeintheSun:ThePastPresentandFutureofAustralianHousing,W.J.Nesbit,Sydney,p.4.5EuniceandKevinMcDonald,interviewwithDeniseWhitehouse,August2005.BruceAnderson,interviewwiththeDeniseWhitehouse,August2005.MaxDidier,interviewwiththeDeniseWhitehouse,February2017.6WinsomePlumb,lettertoDeniseWhitehouse,26November2005,andemail,22February2013.GwenAtkinson,‘GrantFeatherston:PresidentoftheSocietyofDesignersforIndustry’,AustralianFurnishingTradeJournal,March1955,p.57.


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TheRelaxationSeries

Relaxationchair,webbingandcord,1949-51

ReturninghomefromthewarandmovingtoMelbourne,Grantreleasedhisfirstrange,theRelaxationseriesin1947,whichwasannouncedwithanendorsementbyarchitectRobinBoydinTheAge.TheAustralianpubliclovedit.Featherston’sRelaxationChairwasoriginalandsimpleinform,constructedfromlaminatedplywoodandupholsteredwitheitherwebbingorspongerubber.Thewebbingchairhadaningeniousrubbercordtofixthetensionandallowedtheoccupanttositfirmlywhilemouldingto‘fithisfigure.’Thespongerubberchairhadaremovablecolouredslipcoverwithalacedbackandcameinfivecolours.ThesesimplelightframesandflexibleupholsteryallowedforbodymovementandgaveexpressiontotheFeatherstons’beliefthatachair‘isbestbutnomorethanaresilientsupportfollowingthecontoursofthebody’.7TheContourChair(1951)Thoughinventedinanintuitivemoment,theContourChairwas,infact,theculminationofseveralyearsofexperimentationafterFeatherston’sreturnfromwarservice.ThestoryoftheinventionoftheContourChairstandsasanarchetypicalillustrationofAustraliandesigningenuityandprocess.Understandingthepowerofthepress,FeatherstonusedthelaunchofthechairtooutlinetheprinciplesandprocessofBauhaus-inspiredfunctionalistdesign,beginningwiththeobstacleshefacedwhenseekingtointroducenewmaterialsandtechnologiestofurnituremanufacture.TheContourChairevolved,heexplained,when,duringhissearchtodevelopmoreefficientfurnituretypes,hebeganexperimentingwithplywood,amaterialthatwasinexpensive,light,flexibleandreadilyavailable.HeknewofMarcelBreuer’sandRayandCharlesEames’sresearchintocomfortandmodernsittinghabits,andoftheirattemptstodevelopmouldedplywoodfurnitureformassproduction.ButaswasoftenthesituationinAustralia,themouldingtechnologywasnotreadilyavailable—thecostofdiesandpresseswereprohibitive.Featherston,alwaysresourceful,lookedforotherwaystomanipulateplywoodintograceful,body-supportingforms.

7RobinBoyd,‘NewFurniture’,SmallHomesSection,Age,26November1947,p.5.


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Thebreakthroughcame,asjournalistGwenAtkinsonreportedtothefurnitureindustry,when‘travellingcitywardsonemorning,heabsentlytwistedandfoldedhistramticket—andsuddenlytheanswerlayinhishand,inthesmall,tornpieceofpaper’.Duringthenewfewdays,‘heruinedalotofplywoodexperimenting,butfinallyproducedhisfirstchairshell’.8

Left:GrantFeatherston,PhotomontageofR152ContourChaircomponents,AustralianHomeBeautiful,May1952Right:R152ContourChair,1950,hardwood,plywoodandlinen,NationalGalleryofVictoria

InFeatherston,Australiahadayoungentrepreneurwhose‘creativeimpulse’andpassionatepursuitofnewideaswas,likethatofthemodernartist,contributingtothedevelopmentofanewaestheticorder…9Australia’sloveaffairwiththeFeatherstonchairofficiallybeganwiththespectacularlaunchofthefullContourrangeattheHotelFederalinCollinsStreeton6July1953when,inablazeofpresscameras,Featherstonloweredayoungwomanintoaplywoodchairshelllinedwithwetplastertoillustratetheform-fittingqualitiesofhisdesigns.

SpaceContoursetting(B210H,BS211HandC21table)atHotelFederalExhibition1953,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria 8GwenAtkinson,‘GrantFeatherston;PresidentoftheSocietyoftheDesignersforIndustry’,AustralianFurnishingTradeJournal,March1955,p.56.9JoanLeyser,‘AnIndustrialDesignerandtheCreativeImpulse’,TheArtsinAustralia,DepartmentofInformation,March1952,originaltranscript,pressclippingsbook1,nopagination,FeatherstonArchive,NationalGalleryofVictoria.


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TelevisionSpaceContoursetting(B230,BS231H,B230HandC21table)atHotelFederalExhibition1953,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria

Withitsdemonstrationsbyphotogenic,fashionablewomen,theopeningprovedacleverdeviceforcapturingthepublicimaginationwhileillustratingthepracticalsimplicityofthechair’splywoodconstruction,itsstrength,lightnessandflexibility—andtheprinciplesofContourcomfortineverydayuse.Themedium-heightTVSpacesetteeandchairs,forexample,wereidealforapartmentlivingandcouldbeeasilymovedandarrangedforTVviewing—whentelevisionarrivedinAustralia,thatis.Similarly,asthepressalsoexplained,thetallerSpacesuitewaslightandspacesavingandcamewithorwithoutcut-outholes.AfirstforAustralia,thebeautifullyformedholeswereintendedtoallowformovementandtoaccommodatethebody’snaturalcurveswhilebringingafeelingofopenspaciousnesstothesmallhome.Alsocomingwithorwithoutholes,theflexibleandsoftCurlUpChairincludedcutoutsthatallowedyoutorelaxanddangleyourlegsandarmswithoutlookingungainly.

Inthemonths,followingthestoryofFeatherstonandhischair’sinventiontookonculturalsignificanceasevidencethatAustraliafinallyhada‘genuine’contemporarydesignercapableofinventingnotonlyanewlanguageofformbutalsoanewsystemofproduction.Returningtothethemeofhis1948article‘ChairsthatareMadetoFitYou’,JohnDrakejoinedGeraldStewarttowriteanarticletimedtocoincidewiththemid-yearfurniturefestivals,toannouncethatthetidewaschangingforcontemporaryfurniture.DuetoFeatherston’spioneeringefforts,theyproposed,Australianowhadnotonlyascientificallyresearched,comfortablechairthatwasanear-perfectnegativeofthebody,butalsoamarketforcontemporarydesign.10 ExplainingthesignificanceofFeatherston’sachievementtheduorecountedthestoryoftheContourChair’sinventionastheexemplarofdesignpractice,beginningwiththeprocessofexperimentationthatledtothelight-bulbmomentwhen,playingwithatramticket,Featherstonhadmadeacreativebreakthroughanddiscoveredthathecouldmakecomplexcurvedformsbybendingratherthanmouldinglaminatedplywood.Thisunprecedentedapproachwasnowthebasisofafamilyoftwenty-oddchairsthatwasleadinganexpandingcontemporaryfurnituremarketnotonlyinAustralia,butalsoinNewZealandandSingapore.Apartfrombeingafunctionalandaesthetictriumph,theContourChairwasamodelformassproduction,withthepotentialtosetthefoundationsforadesign-ledindustry.In1965GrantFeatherstonmarriedMaryCurreyandestablishedtheFeatherstondesignpartnershipwhichwouldseethemproducesomeofAustralia’smosttechnicallyandaestheticallysophisticatedfurnituredesigns.

10JohnDrakeandJohnStewart,‘ChairsthatareMadetoFitYou’,AM:AustralianMonthly,4August1953,pressclippingsbook1,nopagination,FeatherstonArchive,NationalGalleryofVictoria.


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GrantandMaryFeatherston:ADesignPartnershipPart1:1965–69

GrantandMaryFeatherstonc.1973,photographerunknown,FeatherstonArchive,NationalGalleryofVictoria

TheonlychildofEnglishmigrants,MaryCurreyhadaninnatecommitmenttoshapingabetterfuture.HerparentshadcometoAustraliaseekingabetterlifethanthatinpost-warEnglandwheretheyhadworkedlonghoursattheirtradesofbutcheryandhairdressingforlittlereturn.SettlinginEastBurwoodtheyenrolledMaryinthePresbyterianLadiesCollege,renownedforitssocialdemocraticidealsthoughnotitsartseducation.Mary’screativitywasinsteaddevelopedbyhersociallyoutgoingparents,who,takingpleasureinbeautyandstyle,wouldtransformtheirsmallsuburbanhomeinto‘glorious’Christmasandbirthdayinstallations.TheyfosteredMary’sinterests,helpingtosetupasmall‘studio’forherandneighbouringchildreninthegarage.BettyCurreywasambitiousforMary.Herhusband,intentondistancinghimselffromthepovertyofhischildhood,wouldnotlethiswifegoouttowork.Avivacious,intelligentwoman,Bettysoughttherespectablealternativesofvolunteerworkasabeauticianandthecultivationofimpeccabletaste,tailoringstylishclothestomatchherstrikingbeauty.Shealsodevelopeda‘goodeye’forcontemporarydesign,purchasingablackFeatherstonContourSettee,whichsatintheloungeroomasanexpressionofthefamily’scommitmenttoAustraliaandanewwayoflife.11WhenGrantandMaryFeatherstonmarriedinSeptember1965theysignedthepapersforapartnershipthatwouldbondtheirpublicandprivatelivesanddistinguishthemwithinthefield.Professionalpartnershipswerenotrareinthefieldofarchitecturebuttheywereinindustrialdesign,whichwasmaledominateddespiteanincreasingnumberoffemalegraduates.TheFeatherstonpartnershipwasdistinctivenotleastbecauseofthetwenty-yearagegapthatbroughttogethertwogenerationalmomentsofchangeinAustraliandesign:postwarreconstructionandtheredefinitionofculturalvaluesassociatedwithbabyboomersinthe1960sand1970s.WhentheFeatherstonsmet,Grantwasatthepeakofhiscareerandindustryleadership.Marywasaninteriordesignstudentyettofindherdirection,butasaneducatedyoungprofessionalwouldbeattheforefrontofchange.Enteringthedesignindustryinthemid1960s,Marywasaproductofsocialchangesthathadtriggeredthewomen’smovementandshiftsinmarriage,familyandworkrelationshipsandthisbroughtadistinctivedynamictotheFeatherstonpartnership.

11 GrantFeatherston,PlasticFurnitureintheWorldToday,lecturetranscript,24July1972,FeatherstonArchive,NationalGalleryofVictoria.


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WhatdrewGrantandMarytogetherwastheirsharedidealsandpassionfordesignasawayofbeingintheworld.Asonefriendputit;‘Designandsocialchangewereindivisibleforthem.Forthemdesignis…totallyintegratedintohowyouliveanddon’twanttolive.Lifeandworkisallofapiece.’12AustralianPavilion,WorldExpo1967,Montreal

HostessesattheAustralianpavilion,Expo’67,Montreal–1967.ImagecourtesyoftheNationalArchivesofAustralia.NAA:AA1982/206,28 Latein1965GrantwascontactedbyRobinBoyd,whowantedtodiscussideasfortheAustralianPavilionatMontrealExpo’67,forwhichhehadbeenappointedexhibitsarchitect.HewaspreparinghisproposalfortheAustralianExhibitionOrganisation(AEO)andwantedtotestthepossibilityofintegratingstereophonicsoundintoachairdesignsoExpovisitorscouldsitandlistentorecordedtalksaboutAustralianlifeandculture.ExpovisitorfatigueandcreatingamemorableexperiencethatwouldcapturetheattentionoftheinternationalpressandbringinthecrowdswereBoyd’smajorchallenges.HisquestionforFeatherstonwaswhetheritwaspossibletoproduceasoundchairalongthelinesof‘thoseverybigwingbacks’hehadmadeinhis‘formedplywoodphasewiththeholeintheback’.13Ifsuchatechnicallyandaestheticallyadvancedchairwaspossibleitwouldformthe‘dynamic’elementofhisplantoconvertAustralia’spavilionintothe‘mostluxuriousandcivilizedsalon’atExpo’67.TheExpo‘67TalkingChairTheAustraliangovernment’slast-minutedecisiontoparticipateinExpo’67placedtheFeatherstonsunderconsiderablepressure.14ThefirsthundredchairsneededtobereadyforshippinginJuly1966,beforethenorthernwinterclosedMontreal’sports,givingthemashortturnaroundoftwenty-fourweekstodesignandbuild.ItisclearfromthearchivesthatGrantwaswelladvancedinhisthinkingwhenBoyd’sbriefarrivedon12Januaryfor‘250chairs,fairlysnug-fittingwingswiththeheadwell 12GrantFeatherston,‘PlasticinFurnitureDesign’,IDCAdesignreport,no.59,September1971,p.2.13TheBoydandFeatherstonarchivesindicatediscussionsbeganpriortoBoyd’sofficialappointmentasExhibitsArchitect,22November1965,SeeExpofilesinFeatherstonArchive,NationalGalleryofVictoria;Grounds,RombergandBoydArchive,MS13363:PA95/128,box85,StateLibraryofVictoria,Melbourne.ForacomprehensiveaccountseeCarolynBarnesandSimonJackson,‘ASignificantMirrorofProgress:ModernistDesignandtheAustralianParticipationatExpo’67andExpo’70’,inSeizetheDay:Exhibitions,AustraliaandtheWorld,editedbyKateDarian-Smithetal.,MonashUniversityePress,Melbourne,pp.19,20.1–20;DeniseWhitehouse,‘SpeakingforAustralia:TheExpoTalkingChair:MaryFeatherstoninterviewwithDeniseWhitehouse’,inModernTimes:TheUntoldStoryofModernisminAustralia,editedbyAnnStephen,PhilipGoadandAndrewMcNamara,PowerhouseMuseum,Ultimo,NSW,c.2008,pp.186–91.14BarnesandJackson,‘ASignificantMirrorofProgress’;Whitehouse,‘SpeakingforAustralia’.


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cradled,armsofcourse,woolfabricandaloosecushionandanaluminiumbaseasyousuggested.’ThechairwasrequiredtoseamlesslyincorporatewiringthatwouldactivateacentralbankoftapeplayersinthebasementofthePavilionaswellasstereospeakersclosetotheusers’ears.Italsoneededtobelightweightandrobust—tocaterforfivethousandvisitorsaday—andsuitableforbatchproduction,transportationandinstallation.Finally,itwastobeattheforefrontofdesignandprototypesforacousticaltestingandtendersneededtobereadybyMarch.15

FourWeekstoProveItWasPossible

MiniaturepaperandcardboardsketchmodelsfortheExpo’67TalkingChair1966,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria

CardboardmouldforExpoChairprototype,1966,Photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria

TheExpoprojectwasformativeforbothMaryandthepartnership.WorkinginaclimateofurgencysheassistedGrantinestablishingthefeasibilityofasoundchair.Togethertheydevelopedtheprototypeinfourweekswhilealsoresearchingthevisitorexperienceandexhibitioncontext,andtestingthepotentialsandconstraintsofdifferentmaterialsandproductiontechniques.WatchingGrant‘puzzling’awaymakingtinypapermodels,whichdevelopedintoaformthatrosefromthefloorlikeaplantstemtoopenoutandcocoonitsoccupantinacurvaceousandenvelopingsound-shell,shewasstruckbyhisinventivemasteryofform.16Itwasachair,Featherstonexplainedtothepress,thatwouldbelongtothe‘occupant,notthebuilding,lookrightinanyposition’,andbringa‘highdegreeofvisualjoy’and‘senseofplay’toBoyd’s‘quiet,gracioussalon’.Thoughsimpleinappearance,itsproductionandfunctionalityweredependentonadvancedplasticsandsoundtechnologies.17 15GrantFeatherstoncorrespondencewithRobinBoyd,beginningDecember1965,particularly11,18January;8,9February1966,FeatherstonArchive,NationalGalleryofVictoria.16DeniseWhitehouse,‘SpeakingforAustralia’.17Featherston,‘TheDesigneroftheExpoChair’;Boydcorrespondence2March1966toW.Worth,ExecutiveManager,AEO,Grounds,RombergandBoydArchive,MS13363:PA95/128,box85.


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Left:PolystyreneprototypefortheExpo’67TalkingChair,1966,photograph:GrantFeatherston,FeatherstonArchive,National Gallery of Victoria Right:Expo’67TalkingChair1966,photograph:Grant&MaryFeatherston,FeatherstonArchive,NationalGalleryofVictoria

WorkingintheirtinyQuambystudio,theFeatherstonssetaboutprototypingapolystyrenechairinaprocessthattookclosetofivehundredhours.18Theybuiltafull-sizecorrugatedcardboardformintowhichtheylayeredfinestripsofpolystyrenetocreateashellfromwhichthealuminiummouldwouldbemade.Ontheadviceofexpertmould-makerstheyspenthourslaboriouslysandingandrefiningtheirmodeltoensureitsmeasurementsandflowingformsweremillimetreexact.GrantthenproducedthespecificationdrawingsforwhatwouldbethelargestmouldingofitskindproducedinAustraliaatthetime.SimultaneouslyGrantbeganworkingwiththeCommonwealthAcousticLaboratoriesonsounddelivery,asolutionforwhichwasaheadrestembeddedwithsmallspeakersthatbroughtsoundclosetotheearswiththehelpofthechair’swings,reducingoutsidedistraction.Withwiringembeddedintothechair-shellatriggercushionwasdevelopedsothatwhensomeonesatonthechairthe‘soundstory’wouldbeactivatedviatapeplayersinthepavilionbasement.WhentheMontrealExpoopenedinApril1967Australia’sserenelysophisticatedpavilionwithits‘softlyspoken’chairs‘sellingAustralia’wasanoutstandingsuccess,attractingonefifthofExpovisitorsattherateoffifteenthousandvisitorsaday.AmanifestationoftheelectronicrevolutionthatmediaguruMarshallMcLuhanarguedwasconvertingtheworldintoaglobalvillage,Featherston’ssoundchaircapturedtheimaginationofCanadiansandNorthernAmericans,whoswiftlyreleasedcommercialversions,‘straightfromExpo’,ontothemarket.AthomeitwonaGoodDesignAwardandFeatherstonimmediatelybeganworkontheExpoMarkIIchairwhich,launchedontothemarketinOctober1967,wasplayfullypromotedasa‘privatehome-listeningchair’and‘personaldiscotheque’.Itwas,accordingtooneenthusiasticMelbournejournalist,‘theswingingestchairof[the]decade19

18GrantFeatherston,storyboardandfilmscriptsheet,FeatherstonArchive,NationalGalleryofVictoria.19Untitledarticle,Age,20October1967,presscuttingbook1,FeatherstonArchive,NationalGalleryofVictoria.


HEIDEEDUCATION

TheInteriorFurnishingandFit-OutoftheNationalGalleryofVictoria(1968)

NationalGalleryofVictoria.Architect:RoyGrounds

NosoonerhadtheFeatherstonsfinishedtheExpoprojectthanGrantwasinvitedinSeptember1966totakeoverthetroubledfit-outoftheprestigiousNationalGalleryofVictoria,designedbyRoyGrounds.20TheFeatherstonswereawareofongoingproblemsthathadseentheGallerytrusteesinsistthatanexperienceddesignerbeappointedtoworkwiththegallerystaffandarchitectonpreparingforthetransferandinstallationoftheNationalGalleryofVictoriafromSwanstonStreettothenewbuildinginStKildaRoad.AsAustralia’sfirstpurpose-built,modernstategalleryandthefirststageoftheVictorianCulturalCentre,thenewNationalGalleryofVictoriawasMelbourne’sanswertoSydney’sOperaHouseandapioneeringprojectforwhichtherewerefewinternationalprecedents.ExpectationswerehighthatGrounds’smodernistmasterpiecewoulddrawtheinternationalspotlightontotheNationalGalleryofVictoria’simportantcollectionandmeetthepromisemadebyitsdirector,EricWestbrook,thatthiswouldbeapeople’sgallery:a‘livingmuseum’designednotfor‘thehigh-browelite’,butfor‘thecommunityithastoserveandwhowilluseit’.21WhentheFeatherstonsjoinedtheprojectinmidOctober1966,thegallery’sinteriorhadbeenset.Theirtaskwasfunctionalandthis,theytoldthepress,involved‘everymovingfittingbutthephones’.22Theypromptlyinterviewedeveryone,fromthedirectortothesecuritystaff,askingabouttheirexpertiseandtheactivitiestheyenvisagedwouldcharacterisetheirpracticeinthenewbuilding.Thisimmersionintheorganisationalcultureenabledthemtomapthegalleryinitsentiretyandshapeabriefcoveringeverything:fromtheintricaciesofcollectionmanagement;tolibrary,publication,education,photographyandconservationservices;tothedesignofpublicamenitiesandthefinerdetailsofsignage,labelsandtableware.Usingsystemsthinkingtoidentifyusagepatternstheydevelopedanall-purposesystemforfurniture,materialsandfinishesthat,appliedholistically,wouldidentifytheNationalGalleryofVictoriaasamodernorganisation. 20ForacomprehensiveaccountseeDeniseWhitehouse,‘EncounteringArtinthePeople’sGallery:GrantandMaryFeatherstonandtheInteriorFurnishingandFit-outoftheNationalGalleryofVictoria,1966–1968’,ArtJournaloftheNationalGalleryofVictoria,no.54,2015,pp.9–23.21‘CulturalCentretoAttractAll:“NotDesignedforHighbrowElite”,Age,22February1961,NationalGalleryofVictoriafit-outfiles,FeatherstonArchive,NationalGalleryofVictoria.22ChristineAndrews,‘EverythingButthePhones’,SunNews-Pictorial,SunArtsCentreSupplement,20August1968,p.10,NationalGalleryofVictoriafit-outfiles,FeatherstonArchive,NationalGalleryofVictoria;GrantandMaryFeatherston,‘VictorianArtsCentre’,pressrelease,NationalGalleryofVictoriafit-outfiles,FeatherstonArchive,NationalGalleryofVictoria,c.1968.


HEIDEEDUCATION

ModularSolution

Drawingsforthemodulesystemoftheislanddisplaycases,includinglightingboxes,NGV1967,FeatherstonArchive,NationalGalleryofVictoria

Displaycases,internallightingandfurnishings,OrientalGallery,NationalGalleryofVictoria,1968,photograph:MarkStrizic,FeatherstonArchive,NationalGalleryofVictoria

Thecomponentsoftheirmodularsystemofdesks,tables,chairsandcabinetrycouldbeconfiguredaccordingtoneed.TheirminimalistaestheticblendedseamlesslywithGrounds’sinteriorsofsteel,bronze,concreteandglass,softeningthemwithmountainashandgoldcarpetingwhilesettingaunifying‘gooddesign’aestheticthatevokedbusinessefficiencyandprofessionalism.Asurveyofeachdepartment’slargelyuncataloguedcollectionrevealedapatternofdesignproblemsnotleastofwhich,theFeatherstonstoldthepress,wasthesheernumberofobjects.WhiletheEuropeanandAustralianpaintingcollectionswerestraightforward,thevastdecorativeartscollectionpresentedaraftofproblems:the10metreTrinitariascarpet,barkpaintings,1500Europeanceramics,2100Orientalceramics,glassware,costumes,chairs,chandeliers,laceandsoon.Organisedintohistoricaleras(Antiquities,GreekandRoman)andregions(Oriental,European)eachsectionhadspecialpresentationanddisplayrequirementscomplicatedbyissuessuchassusceptibilitytolightanddust.Putsimply,thedesignchallengewashowtodevelopasystemthatwouldbestdisplaythebewilderingdiversityoftheobjectsinvolved.23Withonethirdofthecollectiongoingonpermanentdisplayasecureyetaccessiblestoragesystemwasalsoneededforconsultationandstudy.Heretheconsistencyoftheissues—size,lighting,materialconservation,accessibility,protection,security—suggestedthedevelopmentofamodularsystemofdisplaycases,storagefurnitureandhangingsscreensthatcouldbeappliedwithvariationsacrossall

23DeniseWhitehouseworkedwithMaryFeatherstonontheAustralianResearchCouncil’sLinkageProjects,‘TheSchool:DesigningaDynamicVenuefortheNewKnowledgeEnvironment’,2007–10,andhasfirsthandknowledgeoftheseprojects.


HEIDEEDUCATION

areas.But,asMaryrecounts,Groundsinsistedthattheartbeviewedwithoutprotection,promptingdiscussionsaboutelectricfields,glassscreensandbarriers—beforethedecisionwasmadetoconsiderthepossibilityofdisplaycases.ShealsorecallshowGroundssetthechallenge,tellingtheFeatherstons:‘Idon’twanttobeabletoseethefurniture;itistheGreekurnthatisimportant,notthedisplaycase.’24Experimenting,theyfoundthesimplestsolutioninamodularsystemofinterchangeableglassboxes,lightweightmountainashcradlesandlight-boxes.Afour-partsystem,itcomprisedislandcasesforviewingfromallsides,freestandingdeskcasesforviewingfromabove,andglasswallcasesthat,designedtofitintothefive-footcavitieswithinthegallery’swalls,providedthebasisforaproportionalsystemthatdirectlyrelatedtothearchitecture.Thesolutionforstudystoragewasatwo-partsystem:‘pull-out’slidingverticalpanelsforobjectssuchasbarkpaintings,medievalaltarpiecesandpaintings,anddrawercabinetsfortextiles,jewelleryandothersuchitems.

Displaycases,internallightingandfurnishings,OrientalGallery,NationalGalleryofVictoria1968,photograph:GrantFeatherston

Withthedisplaycasesandhangingscreensprovidinganorganisationalandaestheticlogic,theFeatherstonshelpedcuratorsorchestratethelayout,lightinganddisplayofthedynamicinstallationsthatwould‘shock’theAgeartcriticPatrickMcCaugheywhenthepeople’sgalleryopenedinAugust1968.25Hewasinspiredtorapturousdescriptionsofthe‘surprises,revelationsandmasterpieces’thatdrewoneinto‘look,contemplate’andbecomeimmersedwhilemovingthroughthedifferentgalleryspaces.26TogetherwithMcCaugheyandanenthusiasticpressheagreedthehistoryofarthadbeenbroughtalive.BriefingthemediawithGrant,Maryexpressedtheirsenseofprivilegeatbeinginvolvedinthedesignof‘avitallivingcentreoftheArts’,commentingthatthey‘foundtheworkmoredemandingbutalsomorerewardingthancommercialwork’.TheNationalGalleryofVictoriafit-outwasaprojectthatwouldbepivotallyimportantforMaryasaninteriordesigner,shapingtheuser-basedapproachthatshebroughttoherdesignsforchildrenandlearningenvironments.Italsolaunchedherintothepubliceyeasshegavepressinterviewsandpublictalksexplainingthedesignprinciplesinvolvedintheproject.

24MaryFeatherston,interview,2015.Anxietywashighaboutresolvingthedesignofdisplaycases.PrototypingwasapprovedMarch1967.25GrantandMaryFeatherston,‘InteriorDesign’,ArchitectureToday,September1968,pp.35–41;MaryFeatherston,transcriptoftalktoNationalGalleryofVictoriagalleryguides,March1969,NationalGalleryofVictoriafit-outfiles,FeatherstonArchive,NationalGalleryofVictoria.26PatrickMcCaughey,‘CollectioninaNewLight’,Age,NationalGallerySupplement,20August1968,p.20,NationalGalleryofVictoriafit-outfile,FeatherstonArchive,NationalGalleryofVictoria


HEIDEEDUCATION

1970–1995

Polichairandottoman1972,Photograph:GrantandMaryFeatherston,FeatherstonArchive,NationalGalleryofVictoria

InJanuary1970theFeatherstons’sonRobinwasborn.Robin’sbirthwouldtakeMaryawayfromtheconsumer-focusedworldofindustrialdesignintothesocialdynamicsofthewomen’sandchildren’sliberationmovementsandtheirdemandsfornewhomeandworkenvironmentsandservicessuchascommunity-basedday-care.ButtheseinterestshadtobeputonholdassheandGrantturnedtheirenergiestobuildinganewpracticeinamarketplacewhereopportunitiesforresearchanddevelopmentwerescarceandthedependencyonoverseaslicences,combinedwiththeentryofmultinationalmanufacturers,wasreducingdesigntoamatterofconsumerstyling.Ratherthan‘becompromisedinmeetingtherequirementsofmanufacturerswhoweremoreconcernedwithprofit-makingthansocialneed’,theFeatherstons,astheyinformedthepressinJanuary1971,haddecidedtobecomeself-employed.HavingababyhadnotstoppedMary;sheranbothabusinessandhomesuccessfullybecauseshewanteditthatway.Shewas,accordingtotheGrant,bringingnewpurposetotheirworkbymovingtheirdesignemphasistootherareasthanfurniture.‘Wearecaughtinaritualofdesignforsale,butitshouldbeforhumans,foruse,forjoy,forlife’.27BuildingontheirExpochairexperiences,Grantwaskeentopushonwithexploringwhathecalledthe‘plasticofplastic’,thatis,itsinherentaestheticpropertiesandpotentialtocreateshapesanalogoustothehumanformandnature.Incontrasttosteelandwood,plasticofferedthepotentialtomakeachairofanyshapeandfulfilhisidealofscience-ledorganicdesignwhosevitalformsandmaterialityparalleledfundamentallife-patterns.Settingupaseriesofprojects,includingtheOne-shotChair,Grantreturnedtothesculpturalexplorationofnaturalforminabidtodevelopcomponentfurnitureusingmouldingtechnologies.

27DesignersatWork:GrantandMaryFeatherston,DesignAustralia,p.31.


HEIDEEDUCATION

Numero(1973)andObo(1974)

GrantFeatherstonandMaryFeatherston(designers),UniroyalPtyLtd,Melbourne,Victoria,Australia(manufacturer),NumeroIVchairsandottomans(1973–4),polyurethanefoam,ABSplastic,wool,MuseumofAppliedArtsandSciences,Sydney,purchased2012,photograph:SothaBourn©GrantFeatherston/LicensedbyVISCOPY,Australia2018

TheFeatherstons’breakthroughintoNumero(1974)andObo(1975)camenotwhileworkingwithfurnituremanufacturersbutwithSouthAustralianRubberMills(SARM),amanufacturerofmouldedautomotivecomponents.Asmallentrepreneurialcompany,SARMwasthefirstinAustraliatoproducepolyesterandpolyurethanefoamandmouldedfoamcar-seats.Grantwontheirinterestwithaseriesofcolouredsketchesthatillustratedtheirideaforasystemofmodularloungeunitsforinformalliving/rumpusrooms.Numero,heexplained,wastobeassimpleascouldbe;itwouldcomprisemouldedformswithpull-onstretchcoversthatfittedlikeaglove.Productioncouldbeginasasystemofthreeorsocomponentsandbeextendedasrequired.Grantalsofloatedthepossibilitiesoftotalfurnitureenvironmentsandkindergartenandchildren’splayfurnituremadefromcutfoam,addingthattheyweredevelopingpotentialideasintheseareas.28Buttheitemthatwontheday,accordingtoMary,wasthehollow,spherical,one-pieceObo.Theidea‘hadsprungfullyformedintoGrant’sheadonedayashewasexperimentingwithformstoexploittheplasticityofthemouldedurethane.Heformedaprototypefromsheetfoam,cutandgluedtosimulateahollowsphere,whichhepartiallyfilledwithpolystyrenepelletsbeforesettingoffforAdelaidewithitoverhisshoulderinalargedrawstringbag,lookingratherlikeabundleoflaundry.’29

Left:NumeroIVLounge1974,photograph:Grant&MaryFeatherston,FeatherstonArchive,NationalGalleryofVictoriaRight:OboChairwithMaryFeatherston1974,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria

28GrantFeatherston,correspondencewithUniroyal,SouthAustralia,July1971,FeatherstonArchive,NationalGalleryofVictoria.29MaryFeatherston,Mouldto???:TheNumeroSeries.


HEIDEEDUCATION

DesignforLife

NautilusPuzzle1984,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria

GrantFeatherston’slastwork,theNautilusPuzzle(1982–84),wasavariationonRubik’scubedesignedtoopenchildrenandadultstothebiologicalorderofdesign,theimportanceofwhichstretchedfarbeyondfashion,egoandthemarket.Talkingofhisparents’passionatewonderattheworldofscienceandnature,JulianFeatherstonspokeofthedepthofhisfather’srespectfornature—‘hejustlovedit’—andhisintellectualfascinationwiththeinfinitemathematicalpermutationsof‘theworldofliving.Basedonthenautilusshell,alivingfossiland‘oneoftheworld’smostbeautifulnaturalobjects’,Featherston’sgameinvitedplayerstoexplorethemathematicalpropertiesofnaturalsystems:the‘logspiral,exponentialfunction,FibonacciSeries,GoldenMeanetc.’Andtofindtheparallels,ashehaddone,inotherspiralsofnature:‘fronds,tendrils,spiderwebs,shellsetc.includingtheancientrelativesofthenautilus,theammonites’,andinsodoingdevelopanunderstandingofevolutionarynatureofdesign.30Hewouldarguethatdesign,likelife,shouldbeever-changingandresponsivetohumanneed.31WhatisdistinctiveaboutFeatherstondesignisthewayitpromptsustointuitivelyrespondtoline,form,lightandspace,andtowonderaboutthenatureofthingsandhowdesigncantransformmaterialsintobeautiful,functionaleverydayobjects.Featherston’sdesigngraciouslychallengesustoengagewithideasaboutwhatitmeanstohumanandconsiderthecontributiondesigncouldorshouldmaketotheworldasitbecomesincreasinglydehumanised.Gooddesigninthepurestsense,asMaryFeatherstonisoftenheardtosay,isbothbeautifulandfunctional:‘Onedoesnotexistwithouttheother.Thebriefstartswithhumanneedandgrowsoutfromthat.Thequintessentialexpressionofthatisinnature,wherenaturethroughevolutiongeneratesexquisiteformsthatarealsostructurallyefficient.’32‘Theobjectis,astheFeatherstonsandtheirfriendRobinBoydtellus‘tosayordotheessentialassimplyanddirectlyaspossible’andthat‘essentialthingisthehigherqualityofliving...thesomethingthatturns[anobjector]abuilding,howeverslightly,intoanexpressionofthehumanspirit.33

30GrantFeatherston,NautilusSpatiologicalPuzzle,FeatherstonArchive,NationalGalleryofVictoria.31RachelFaggetter,interviewwithDeniseWhitehouse,2016;JudyMcKinty,interviewwithDeniseWhitehouse,2016;seealsoChildren’sMuseumofVictoria,ReportoftheFirstYear,1985,JudyMcKintyChildren’sMuseumcollection.32DeniseWhitehouse,GrantandMaryFeatherston:ThePartnership1965–1970s,video,DesignHistoryAustraliaresearchnetwork,dharn.org.au/grant-mary-featherston-thepartnership-1965-1970s.33RobinBoydasquotedbyMaryFeatherston,transcriptofadiscussionabouttheFeatherston–Boydcollaboration,Philosopher’sZone,24ABCRadioNational,October2005,DeniseWhitehouseArchive.


HEIDEEDUCATION

StudentTasksCaseStudy1:IndustrialDesignContourChairsR152andR160(1951)Unit1AreaofStudy1–DrawingasameansofcommunicationWhenfoldingatramticketonhiswayintothecityofMelbourne,Grantdiscoveredamethodforbendingtwosheetsofplywood.Withthisticket,heformedasimplecurveshellthatwouldlaterbedevelopedintotheContourChair.ThiswasthebeginningofaprocessthatledtoaseriesoficonicAustraliandesignsknownastheContourRange.

Left:B210HTelevisionSpaceChairshell1953,FeatherstonArchive,NationalGalleryofVictoria Right:B210HTelevisionSpaceChair1953,FeatherstonArchive,NationalGalleryofVictoria

examplesketchmodels

Manydesignersbeginbyfoldingpaperasastartingpointforgeneratingideas.Foldingpaperorcardtocreatequickthree-dimensionaldesignconceptsisknownassketchmodelling.

• Usingfoldedpaper,createaseriesofyourownsketchmodelchairs.Thinkabouthowyourdesignsmightcontourthebody.Whatmaterialswillyouuse?

• Usingastronglightsource,photographthesketchmodelstocreateshadows.Thinkaboutasuitablebackdrop,suchasawhitebox,tosimulatearoom.

Usingyoursketchmodelobjectsorphotographs,completeasetofrepresentationaldrawingsofyourchairsincluding:


HEIDEEDUCATION

• atwo-dimensionalorthogonaldrawingand• apara-linedrawing(eitherisometricorplanometric)• aone-andtwo-pointperspectivedrawing

Usingrenderingtechniques,addshadeandshadowtodepictthedirectionoflight.Addsurfacetextures.

Unit1AreaofStudy2–Designelementsanddesignprinciples BothGrantandMaryFeatherstonwereinspiredbynatureandpassionateabouttheenvironment.ManyofGrant’searlydesignsdrewinspirationfromnaturalformssuchasbones,seashells,driftwood,treesandstones.TheuseoforganicshapesisevidentintheContourRange,andmanyotherdesigns,whichappeartohavegrownnaturallywhilebeingunmistakablytwentiethcenturyincharacter.

StemChair,1969,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria

• IdentifyfourFeatherstonchairdesignsthathaveanorganicaesthetic.• Whatdesignelementsinthesechairsmightbecommonlyfoundinnature?• Identifyanddiscusstheuseofdesignelementsinthesechairs.• Howhasthedesignprinciplebalancebeenusedtosupportaneffectivedesignaesthetic?

AreaofStudy1:Analysisandpracticeincontext

• Writeashortappraisalofachairfromyourenvironment.Thismightbeacouchathome,aparkbenchoradeskchairatschool.Sitinthechairforaminutewithyoureyesclosed.

• Paycloseattentiontowherethechaircomesintocontactwithyourbody.Whereisitsupportingyou?Whatposturedoesthechairencourage?Doesitallowmovement?Howdoyouthinkthischairisencouragingyoutosit?Howdoesitmakeyoufeel?

• Considerthebriefforthedesignerwhodesignedthischair.Whatdoyouthinktheirintentionswere?Whatdidtheyneedtoconsiderwhendesigningthischair?


HEIDEEDUCATION

AreaofStudy3:Developingabriefandgeneratingideas

Left:Tensionresolves(seatedfigure)1950–51,FeatherstonArchive,NationalGalleryofVictoria Right: AristocChristmasadvertisementc.1963–64,FeatherstonArchive,NationalGalleryofVictoria

UsingyouranalysisofbothFeatherstondesignsbasedonthenaturalenvironmentandchairsinyourownenvironment,designyourownchairinspiredbyanorganicshape,anddevelopabrief.Usethethreestagesofthedesignprocess:developmentofabrief,research,andthegenerationofideas.

• Researchandgenerateideasbasedonorganicforms.Thesecouldbemacroormicroformsorshapefoundonlandorsea,suchasanorganismnotvisibletothenakedeye,atwistedshellorafannedleaf.Makeaseriesofdrawingsoftheseshapes.

• Usingthesedrawings,designachair.Considerhowthehumanbodymightconformtothispieceoffurniture.Youmightstriptheorganicshapebacktoitsbareessentialsormakeadditionsforthehead,armsorlegs.

• Whenwritingyourbrief,youshouldproposetwodistinctcommunicationneedsforanimaginaryclient.Foreachneed,considerationmustbegiventothetargetaudienceandthepurposesofthechairdesign.

AreaofStudy3–VisualCommunicationincontextTheaftermathofWorldWarIIprofoundlyalteredestablishedwaysoflifeinAustralia.Thewaryearshadbeenatimeofhardship,rationing,scarcityofmaterials.Afterthewar,Australiansbegantoseetheriseofnationalreconstructionthatsetthenationonapathofeconomicgrowth.Optimismandinnovationwerehigh.Atthistime,post-WWIIdesigninAustraliawasinfluencedbymovementssuchastheBauhausandtheInternationalStyle.TheBauhauswasaschoolfoundedin1919inthecityofWeimarbytheGermanarchitectWalterGropius.TheBauhaussoughttounitetheartswithcraftsbyclosingthegapbetweenartandindustry.TheBauhausstylecombinedelementsofbothfineartsanddesigneducation.Itbecameoneofthemostinfluentialmovementsinmoderndesign,architectureandart.Inarchitecture,theBauhausinfluencecanbeseenintheInternationalStyle,characterisedbytheuseoflightweight,mass-produced,industrialmaterials.Typicallyfeaturingrepetitivemodularforms,theuseofflatsurfacesandlargeareasofglass,theInternationalStylerejectedornamentationinfavourofpracticality.Examplesofmodernisminbotharchitectureanddesignatthistimeembracedsociallyinformedwaysofbuildingspacesandobjectsforlivingaccordingtoneedandfunction.


HEIDEEDUCATION

• ResearchtheInternationalStyleandtheBauhausmovements.HowdoFeatherstondesigns

reflectthekeycharacteristicsofthesemovements?• InadditiontofurniturewhatotherdesigndisciplinesareshownintheworkofGrantand

MaryFeatherston?• HowdidFeatherstondesignembracenewtechnologiesandmaterials?• HowdidGrantovercometheobstaclesofcosttoofferordinaryAustraliansaffordableaccess

tohisdesigns?Whywasthisimportanttohisproductionmethods?• MakealistofallthematerialsusedinFeatherstondesignintheexhibition.

Grantwasawareofinternationaldesigndirections,andthecreativepartnershipbetweeniconichusbandandwifedesigners,RayandCharlesEames.TheEamesesareamongthemostimportantAmericandesignersofthetwentiethcenturyandtheymadesignificanthistoricalcontributionstothedevelopmentofmodernarchitectureandfurniture.Theypioneeredtechnologies,suchasmouldedplywood,fibreglassfurnitureandplasticresinchairs.CharlesandRayEamesmarriedin1941andmovedtoLosAngeles,wheretogethertheybeganexperimentingwithtechniquesforthree-dimensionalmouldingofplywood.Theaimwastocreatecomfortablechairsthatwereaffordable.Inadditiontotheirworkinfurnituredesignandarchitecture,theyalsoregularlyturnedtheirhandtographicdesign,photography,filmandexhibitiondesign. Earlyinhiscareer,CharlesEameswasgreatlyinfluencedbytheFinnisharchitectElielSaarinen.Eliel’ssonEerofollowedinhisfather’sfootstepsandbecameanarchitect.EeroandCharlesbecamefriendsandcollaboratedontheprize-winningOrganicChairforNewYork'sMuseumofModernArt‘OrganicDesigninHomeFurnishings’competitionin1940.TheirworkshowcasedthenewtechniqueofwoodmouldingthatEameswouldfurtherdevelopinmanyproducts,includingchairs,splintsandstretchersfortheUSNavyduringWorldWarII.

• ResearchtheEames/SaarinenOrganicchairfrom1940.• CompareandcontrastthischairwiththeR160designofGrantFeatherstonfrom1952.• Whatinnovativemid-centurytechnologydidthesechairsshare?• WhywasthistechnologyimportanttotheAustralianmarketplace?

Left:Eames&SaarinenTheOrganicChair,1940PhotographbyRama,WikimediaCommons,Cc-by-sa-2.0-frRight:TelevisionSpaceChair,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria


HEIDEEDUCATION

CaseStudy2:GraphicDesignOboChairAdvertisement(1975)Unit2AreaofStudy2:Typeandimageryincontext

Oboadvertisement,designer:unknown,HeraldMelbourne,1975

LookcarefullyattheOboadvertisementfromtheHeraldnewspaperin1975.Thedesignerhasusedmultipleimagestocommunicatetotheaudience.Theaccompanyingtextconveysinformationabouttheproductitselfandhowitcanbeused.Thebodytextreads:

AswellasbeingfoundinanorchestraanObocanbefoundinMyerCityandsuburbanstores&FurnitureCity/BecauseanOboisanewcasualchairmadebyUniroyal/Itismadefromhighresilientpolyurethanefoam/partfilledwithpolystyrenebeads/&coveredincolourful,hardwearingfabrics/Itcanbesaton/squattedon/curledupon/sprawledupon/andcountedontobouncebackintoshapeeverytime.

• Whatisthekeymessage?• Whatistherelationshipbetweenimageandtext?• Identifythetargetaudience.Whatdidyoubasethison?• Listtheinformationthisadvertisementconveysotherthanhowtousethechair.• Wouldtheadvertisementcommunicatethesamekeymessagewithoutthetext?Discuss.• Whattypographicandlayoutconventionsassistwithreadabilityandlegibility?• Thelayoutusesagridtobreakupspace.Whyisthegridausefultoolingraphicdesign?


HEIDEEDUCATION

Typeandimageryincontext ThetypefaceGillSansMediumhasbeenusedforboththeheaderandfootertext.GillSansisakeyhistoricaltypefacewhichwascreatedin1928byEricGill.Withitsclassicalproportions,cleanlinesandhighlegibility,GillSanswasanimmediatesuccesswhenitwascreatedin1928.Itcontinuestobewidelyusedtoday.

GillSansCondensedFontFamilyGillSans

• ResearchGillSansanditsapplicationssincetheearlytwentiethcentury.• Identifythefeaturesandcharacteristicsofthistypefacefamily.• IsGillSansMediumasuitabletypechoicefortheOboadvertisement?Discuss.• FindfivegraphicdesignexamplesusingthetypefaceGillSans(includingatleasttwo

contemporarydesigns).

OboChairwithMaryFeatherston1974,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria

EXCLUSIVE

MANSITS ON OBO.

PHOTOGRAPHS!


HEIDEEDUCATION

AreaofStudy3:ApplyingthedesignprocessTheBrief:TheOboIconicAustraliandesign,reissued.Featherston2016isareissuedcollectionof17iconicFeatherstonfurniturepieces,manufacturedlocallytoFeatherstion’soriginalspecificationsbyGordonMatherIndustries.TheprojectwasfacilitatedbyGordonMatherwithGraziaMateriaofGrazia&Co,inclosecollaborationwithMaryFeatherston.Background:GraziaMateriacreatedherownfurniturebusinessGrazia&CoafterworkingwithGordonMatherIndustriesfor10years.MatherapproachedMaryFeatherstonwiththeideaofaligningwithGrazia&CotointroducenewpiecesfromtheFeatherstonarchiveandrelaunchwhatwouldbecomeFeatherston2016.MaryFeatherstondidhaveonecondition:there-launchshouldincludeherfavouritearchivedFeatherstonpiece,theObo,asphericalfoamballchairwithreflexmemory.TheBrief:Grazia&CoandGordonMatherIndustrieshaveselectedyoutodesignoneprintandoneonlineadvertisementforthereissuedOboChair.TheadvertisementwillappearinavarietyofAustralianmagazinesdedicatedtoyouthculture,artanddesign.ThesemagazinesincludeFête,KinfolkandPaperSea.TheClient:Grazia&CoareaMelbourne-basedfurnituredesignandmanufacturingcompany,dedicatedtothevaluesofauthenticity,integrityandcommunity.Grazia&CoarecollaboratingonFeatherston2016withGordonMatherIndustriesandMaryFeatherston.Since1987GordonMatherhasmanufacturedanddesignedfurnitureforthecommercialandresidentialmarkets.TargetAudience:Peoplebetween20and35yearsofagewhoareinterestedindesignandcontemporaryculture.Theaudienceispredominantlyfrommiddle-classsocio-economicbackgroundsandiswelleducated.Purpose:TopromotetheFeatherston2016rangeofclassicfurnituretoyoungeraudiences.CommunicationNeeds:1xfullpageprintadvertisement 1xsmallonlinemagazineadvertisementColour:CMYK Colour:RGBDimensions:w210mmxh275mm Dimensions:150pxx125pxResolution:300ppi Format:giforjpgFormat:AdobePDFPressQuality Filesize:50kb

ExpectationsandConstraints

• TheadvertisementmuststatethattheObowillonlybeavailableforpurchaseatGrazia&Co• Theadvertisementmustmentiontheuseofcontemporarymaterials:afoamballchairwith

latesttechnologyreflexmemory.• Theadvertisementwillruninmultiplemagazinessimultaneously,bothinprintandonline• Thelookandfeeloftheadvertisementshouldappealtoyoungeraudiences.


HEIDEEDUCATION

CaseStudy3:EnvironmentalDesignNationalGalleryofVictoriaDesignFit-Out(1968)

GrantandMaryFeatherstonintheNationalGalleryofVictoria’sOrientalgallery1968,photograph:MarkStrizicCommissionedtodesignandcreatethefit-outandfurniturefortheNationalGalleryofVictoria’snewbuildingdesignedbyRoyGrounds,theFeatherstonsworkedintensivelyontheprojectfrom1966to1968.Thefit-outinvolvedsystematicconsultationwithgallerystafftoidentifythepracticalneedsofmultipleuserswhoincludedadministrators,curators,scholarsandthegeneralpublic.Italsoinvolvedthedevelopmentofanextensive,modularfurnituresystemthatshapedthevisitors'engagementwiththecollectionwhilesolvingproblemsofstorageofavastcollection.ThisexperienceintroducedMarytothedepthofGrant’scommitmenttopubliceducationandconsultation.Withinthecontextofthisproject,Mary’spublicpersonaasadesignprofessionalbegantotakeshape.


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MaryFeatherstonrecalls:Inthisproject,IcametounderstandGrant’srigorousandlogicalapproachtothedesignprocess.Investigatingtheneed:thepracticalandpsychologicalneeds.Havingdonethedetailedanalysisofneed,itwasaquestionofhowwecouldsolvethedisplayneedsinthemostefficientwaybecause,asever,thebudgetwasverylimited.ThisiswhereGrant’sapproachtomodularthinkingandsystemsthinkingreallycomesin:thisabilitytosiftthroughandseewaystosolvetheneedsinthesimplestwaypossible.Soquiterightlythearchitectandthedirectorsaidthattheyreallydidn’twanttoseethedisplaycases.TheyjustwantedtoseetheGreekurn,notthecasethatitwasheldin.Whatwecametowasasystemoffree-standingcasesontimberbases.Therewasaminimumnumberofunitsthatcouldsatisfythecomplexneeds.Sothatinvolvedmanytechnicalchallengesintermsofglass,adhesive,lighting.Allsortsofaspectsthathadtobeinvestigatedbeforecomingtoasolution.Unit3AreaofStudy2–DesignindustrypracticeWatchMaryFeatherstondiscussthepartnershipincludingtheprocessoftheNationalGalleryofVictoriafit-out:

http://dharn.org.au/grant-and-mary-featherston-the-partnership-1965-1970s

• DescribetheinnovativedesigndecisionsmadebytheFeatherstons.• WhatconstraintsandlimitationsdidtheFeatherstonsfacewiththedesignbrief?• Howdidtheycreateinnovativedesigntoovercometheseissues?• Whatweretheneedsoftheclients(NationalGalleryofVictoria)inthislargescale

fit-out?• Discusstheenvironmentalandculturalfactorsthatmightimpactare-designof

theNationalGalleryofVictoriatoday.Considerthestorageanddisplayofdigital,installationandephemeralartworks.

StaffassemblingthefullrangeofdisplaycasesforinstallationintheNationalGalleryofVictoria’snewbuildingonStKildaRoad,Melbourne1968,photograph:GrantFeatherston,FeatherstonArchive,NationalGalleryofVictoria


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VCE:VCDThePitch-TheExpoChair(1967)Unit4AreaofStudy3-Evaluationandexplanation

ExpoSoundChairMarkII1967,photograph:Grant&MaryFeatherston,FeatherstonArchive,NationalGalleryofVictoria

Thistasksimulatesthestudyoutcomerequiringstudentstoprepareapitchfortheirownvisualcommunicationpresentations.Workinginpairs,studentsaretodeviseashort10-minutepitchoftheExpoChairwhichcouldbepresentedtopotentialcontemporarybuyers.Thedevelopmentofthetaskshouldbecompletedinonelesson,asallinformationrequiredisavailableinthisresourceandtheaccompanyingcatalogue.Thepresentationsaretobesuccinctandshouldprovideanopportunitytobothpracticeandbecomefamiliarwithkeyknowledgeandskillsrequiredbytheoutcome.Themostsuccinctpresentationsaddressingthecriteriaaretobepresentedtothewholeclassasamodelpractice.AprecedingclassdiscussionandevaluationoffersanopportunityfortheteachertohighlighttheexpectationsofthefutureindependenttaskstudentswillundertakeasSchoolAssessedCoursework.Discussionsmaybebasedonacritiqueofthefollowing:• Thedegreeofclarityintheexplanationofhowideashavebeenconceivedanddeveloped.This

contentcoulddrawonthecultureandcontextofthetime,theinterestsandexperienceofthedesignersandthedesigninrelationtoclientneeds.

• ThepresentationofkeydesignfeaturesandthedegreeofclarityusedtoexplainhowthesefeaturesaddresstherequirementsoftheRobinBoydbrief.

• Theappropriatereferencetoaspectsofthedesignprocessincluding,clientneeds,purpose,constraintsandrefinementofideasevaluatedagainstthebrief.Studentsareencouragedtouseappropriateterminology,presentclearandsuccinctinformationandprovideappropriatevisualaidstosupportthepresentation.

Studentswilldrawonthefollowingtosupportthepreparationofthepitch:• Aspectsofhowthedesignprocesshasbeenaddressedincludingclientneeds,research,

developmentofconceptsandresolution.• ExplanationofthethinkingbehindthedesignoftheExpochair.• Presentappropriatevisualmaterialtosupportthepresentation.

ExpoChairBriefRequirements:• Achairforfoot-wearyvisitorstorelax.• Achairwithinbuiltspeakers.• AchairtoinformvisitorsaboutAustralia.


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HeideEducationPrograms Studentprograms Heideoffersarangeofeducationprogramsthatdrawonitsuniquemixofexhibitions,architectureandsurroundinglandscapetoprovidearichlearningexperiencethatextendsbeyondtheclassroom.AvisittoHeide:

• providesastimulatingenvironmentwhichpromotesanunderstandingandappreciationofourrich,culturalheritage

• encouragesmotivation,curiosityandanintrinsicfascinationforartbyfirst-handexperience

• supportsstudentstomakecross-curricularlinks• greatlybenefitsstudentswholearnbestthroughkinaestheticactivities• nurturescreativityandenablessociallearning• provideslearningthroughexperienceandinteractionwhichencouragesstudentstobuild

onpriorexpectationstocreatenewrealities• isaculturalexperienceforallstudentstoenjoy

Lookingatoriginalworksofartwithasuitablytrainededucatorencouragesthedevelopmentofthefollowingskills:

• literacy:byencouragingdiscussionandextendingvocabulary• observation:bylearningtonoticevisualdetailandbecomingawareofvisualconventions• criticalthinking:byencouragingquestions,analysisandinformedconclusions• reflection:byconsideringnewmodesofthinking

AlleducationprogrammingandresourcesatHeidealignwiththeAustralianCurriculum,AusVELScurriculumframeworksandVCEStudyDesigns. BookingsBookingsareessentialforallprograms.Formoreinformationorabookingformvisithttps://www.heide.com.au/education/bookings-enquiries:(03)98501500

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TeacherProfessionalDevelopmentHeideoffersarangeofprofessionaldevelopmentprogramsforteachersofallyearlevels,includinglectures,guidedtoursandworkshops.ProgramsaredesignedtomeettheVITStandardsofProfessionalPracticeandPrinciplesforEffectiveProfessionalLearning.

Documents

FINAL Featherston VCE VisualCommunicationDesign3 · Best known for his Contour series of bent plywood chairs produced in the early 1950s, Grant Featherston was a highly successful