Powerline Winter 2005

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POWERLINE+the magazine of the powerhouse museum winter 05

morris & co


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As our 125th anniversary

celebrations draw to a close, I

am proud to say this important

milestone seems to have

succeeded in drawing

considerable attention to the

Powerhouse Museums

contribution to the cultural life

of NSW, and provided a

chance to reflect on both the

historical and future roles of

the Museum.

While the Powerhouse is one

of Australias largest museums,

it is also very much a museum

for its local community. The

Museum has been located on

the Pyrmont Ultimo peninsula

for all but 13 of its 125 years,

and throughout its life has

provided a place for the local

community to reflect on thechanging world around them.

Today our neighbourhood is a

highly developed urban hub, a

far cry from the sandstone

quarries, woolstores and power

station that once occupied the

O2 From the di rector

03 P ower pi cks

06 New exhibition: Sydney designers unplugged

07 Sydney Des ign 05

08 New exhibition: Morris & Co

10 New acquisitions: Smoky Dawson memorabilia

1 1 M embers n ews

12 Members calendar

1 4 M embers sc en e

15 Obituary: Jack Willis

16 Powerhouse Wizard

17 Travelling exhibition: Balarinji in Japan

18 The Strasburg Clock restored

20 The Castle Hil l storage space

22 Observatory news

23 Corporate partners

24 Exhibitions at a glance

area. This story has been

commemorated in the

exhibition Paradise, Purgatory

and Hellhole: a history of

Pyrmont and Ultimo, launched

in March by the Lord Mayor of

Sydney, Cr Clover Moore MP.

In April I had the honour, along

with the Museums Board of

Trustees, of attending a

reception hosted by the Lord

Mayor of Sydney

congratulating the Museum on

its anniversary and

commending its contribution to

Sydneys cultural life. In her

speech the Lord Mayor

remarked on the ongoing vital

relationship between the

Museum and its surrounding

community.

Another legacy of our 125th

anniversary is the new book,

Yesterdays tomorrows: the

Powerhouse Museum and its

precursors 18802005, edited

by eminent historian and

author Graeme Davison and

TRUSTEES

Dr Nicholas G Pappas,

President

Dr Anne Summers AO,

Deputy President

Mr Mark Bouris

Ms Trisha Dixon

Mr Andrew Denton

Ms Susan Gray

Ms Margaret Seale

Mr Anthony Sukari

Ms Judith Wheeldon

SENIOR MANAGEMENT

Dr Kevin Fewster AM, Director

Jennifer Sanders, Deputy Director,

Collections and Exhibitions

Mark Goggin, Associate Director,

Programs and Commercial Services

Michael Landsbergen, Associate

Director, Corporate Services

Kevin Sumption, Associate Director,

Knowledge and Information

Management

Powerhouse senior curator

Kimberley Webber. The book

was launched by our Premier

and Arts Minister, the Hon Bob

Carr MP, when he came to the

Museum in early May to

welcome delegates to the

2005 Museums Australia

conference, held at the

Powerhouse.

I was given the challenging

task of writing the final chapter

for Yesterdays tomorrows

postulating on the Museums

future. One point I make in my

chapter is the changing

demographic of the area as

people are moving back to the

city. The Museum looks

forward to sustaining its dual

role as custodian of a large

state collection and a localmuseum where people can

drop by to participate in our

ever changing range of

programs and exhibitions.

Dr Kevin Fewster AM,

Director

ontentsssue 78

rom thedirector

our placein Beijing

PeterJacksonsflying visit

When world-famous film

director Peter Jackson

generously agreed to visit the

Powerhouse during our staging

of The Lord of the RingsMotion

Picture Trilogy The Exhibition

he unveiled a secret passion

outside the hectic world of big

budget movie making. For Mr

Jackson the chance to get a

personal tour of the Museums

Castle Hill storage space, in

particular our collection of

World War I aircraft and aviation

engines, was an opportunity too

good to miss.

Mr Jackson was clearly

impressed by the enormous

size and scope of the facility

and by the collection, which is

recognised as one of the finest

in the world. Highlights of the

tour included the German aero

engines and the English RAF

1A, which he has a particular

interest in.

It was a great pleasure to have

Mr Jackson as our guest for a

day during The Lord of the

Ringsexhibition, which closed

on 3 April after a blockbuster

season at the Museum.

For more on Mr Jacksons visit,

see page 11. For more on the

Castle Hill facility, which is due

to open to the public next year,

see page 20.

Our place: Indigenous Australia

now, which showcases the

work of contemporary

Indigenous artists and

communities, opened in the

National Museum of China,

Beijing on 5 April. The

exhibition, jointly curated by

the Powerhouse Museum and

Museum Victoria, was first

mounted in Athens last year for

the 2004 Olympic Games. It

was then dismantled andshipped to Beijing for the

opening in Tiananmen Square,

the heart of Beijing.

James Wilson-Miller, Curator,

Indigenous History and

Culture, writes of the exhibition

in Beijing: Our place

represents our many Creation

stories, traditional land and

water practices, our contact

histories from invasion times,

the out of control frontiers,

segregation, separation and

the institutionalisation of our

people to the more positive

outcomes that many

Indigenous people are

experiencing today, all told

through the art of many of

Australias most talented

Indigenous artists. All speakers

at the opening spoke with

overwhelming passion about

the significance of cultural

exchange between our two

countries. The Indigenous

performers sponsored by the

Aboriginal Arts Board ignited

the most positive atmosphereand it was electrifying to see

this happen. Exhibitions like

Our placecan only bridge the

many cultural differences

between Australia and the rest

of the world.

Our place: Indigenous Australia

nowwill be on display in

Beijing until 16 June 2005.

Principal supporters: NSW Government andVictorian Government. Supported by theAustralian Government through the AustraliaCouncil and the Department of ForeignAffairs and Trade. Sponsored by WesTracChina. Offical logistics provider: SchenkerStinnes Logistics.

powerpicks+

THE POWERHOUSE FORGES NEW LINKS IN CHINAAND WELCOMES A SPECIAL GUEST TO CASTLE HILL.

RONT COVER: FROM THE MORRISCOEXHIBITION,TRELLIS (1864),ORRISS FIRST WALLPAPER, AOLLABORATIVE DESIGN WITHHILIP WEBB WHO DESIGNED THEIRDS, COLOUR WOODCUT ONAPER, 107 X 56.7 CM. ELLENHRISTENSEN BEQUEST FUND002, ART GALLERY OF SOUTHUSTRALIA.

PETER JACKSON ADMIRES THECOLLECTION OF MODEL PLANESAT CASTLE HILL. PHOTO BY JEAN-FRANCOIS LANZARONE.

Powerline is produced by the Print Media Department

of the Powerhouse Museum

PO Box K346, Haymarket NSW 1238

Editor: Tracy Goulding

Editorial coordinator: Deborah Renaud

Design: Trigger

Photography: Powerhouse Museum unless otherwise stated.

Every effort has been made to locate owners of copyright for the images inthis publication. Any inquiries should be directed to the Rights and

Permissions Officer, Powerhouse Museum.

ISSN 1030-5750 Trustees of the Museum of Applied Arts and Sciences

+

Where to find us

Powerhouse Museum, 500 Harris Street, Darling Harbour, Sydney

Opening hours 10.00 am 5.00 pm every day (except Christmas

Day). School holiday opening hours 9.30 am 5.00 pm

Contact details

Postal address: PO Box K346, Haymarket NSW 1238

Telephone (02) 9217 0111

Infoline (02) 9217 0444, Education (02) 9217 0222

The Powerhouse Museum, part of the Museum of Applied Arts and Sciencesalso incorporating Sydney Observatory, is a NSW government cultural institution.

www.powerhousemuseum.com

E JULY AUGUST 2005

A ribbon cutting ceremony marks theopening of Our placein Beijing.

a

t

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LEFT TO RIGHT: MR TERRYGARWOOD, MUSEUMS VICTORIA; MSJENNIFER SANDERS, DEPUTYDIRECTOR POWERHOUSE MUSEUM;THE HON CHRIS ELLISON,AUSTRALIAN MINISTER FOR JUSTICEAND CUSTOMS; MR PAN ZHENZHOU,DIRECTOR GENERAL, NATIONALMUSEUM OF CHINA; MR JIANGFENGYI, EXECUTIVE SECRETARY OFTHE CCP AND DEPUTY DIRECTOR,NATIONAL MUSEUM OF CHINA.BELOW: CLARENCE SLOCKEE, ONEOF THE PERFORMERS. AT THEOPENING. PHOTOS BY JAMESLAURENDET.

DR KEVIN FEWSTER WITH THE LORDMAYOR OF SYDNEY, CR CLOVERMOORE MP, AT THE 125THANNIVERSARY RECEPTION IN APRIL.PHOTO BY MARINCO KOJDANOVSKI.


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gettingconnected

A cocktail viewing of The Lord

of the Rings Motion PictureTrilogy The Exhibition,

hosted by trustees Margie

Seale and Susan Gray, proved

to be another successful

Powerhouse Foundation event,

raising over $8000. The

Foundation was launched in

September last year with the

goal of raising $5 million in four

years to continue to build and

conserve our extraordinary

collection.

In February recently retired

headmistress of Abbotsleigh,

Judith Wheeldon, was

appointed to the Foundation

Advisory Committee, joining a

high profile group of

ambassadors including Robyn

Williams from the ABCs The

science show, Jack Ritch,Chairperson, AMP Capital

Investors, and Angela Belgiorno-

Zegna, to name just a few.

It is only with the support of

our ambassadors and friends

of the Museum that the

Foundation will reach its $5

million target. If you would like

to become a Foundation

supporter, please contact

Melissa Smith, Foundation

coordinator, on

(02) 9217 0564 or via email

[email protected]. For

more information about the

Foundation visit

www.powerhouse

museum.com/foundation.

VECTORLAB EDUCATOR MIKEJONES (RIGHT) SHOWSPOWERHOUSE DIRECTOR DR KEVINFEWSTER AND PROFESSOR ROSSGIBSON, UTS, THE LATEST INDIGITAL MEDIA; THE VECTORLABLOGO. PHOTO BY MARINCOKOJDANOVSKI.

When the Powerhouse

launched an unusual new

website in February this year,

we werent sure what the

reaction would be. The rags:

the paraphernalia of

menstruationexplores a

subject that is rarely

encountered in museums. It

showcases our small but

significant collection of

sanitary towels and tampons,

along with medicines forrelieving the discomforts of the

monthly period and booklets

for adolescents and their

parents about growing up.

There are also womens

magazine advertisements for

menstrual products dating

from as early as the 1880s.

We decided to create the

website because of the

number of enquiries every year

from tertiary students

researching womens history.

We suspected the general

public would be interested in

the subject as well after all,

menstruation is a defining

occurrence in womens lives,

but something of a mystery to

many men. After several

months of research and

development the site was

ready to launch.

The response has been

overwhelmingly positive. In its

first three weeks The ragswas

visited by over 3200 people

and we received many emails.

People said they particularly

liked the personal anecdotes

that are included alongside the

factual notes. Some women

responded by relating their

own memories. Other people

gave us new information or

offered objects for the

Museums collection and

library. Museum curators from

around the world told us about

similar objects in their

collections, and website

managers asked if they could

link to our site.

We hope Members will take

the time to look at the site and

let us know what you think. You

can find The ragsat www.

powerhousemuseum.com/rags.

xplosion of digital media

communications in the

ecade has given us the

powerful tools for sharing

mation and ideas we have

had. But for many of us

echnology is still

thing of a mystery.

VectorLab, the

rhouse Museums new

prehensive education and

ng studio for screen-

d media. Launched inh this year, VectorLab

s a range of short

ses, workshops, seminars

public programs covering

ge of digital media

production, digital

Where can you hear the

symphonies of Mozart and

Beethoven in the same

concert as the Simpsons TV

theme tune and a rendition of

Twinkle Twinkle? On the

Yamaha Disklavier and Stuart

grand pianos at the

Powerhouse Museum of

course! But instead of Elton

John or David Helfgott tinkling

the ivories, youll find an

amazing group of young

performers, some as young as

five years old.Young performers come to the

Museum through dedicated

teachers from the Australian

Institute of Music, Suzuki Talent

Education Association of

Australia (NSW) Inc and the

United Music Teachers

Association, which produces

the popular Young Musicians

at Work concerts at the

Powerhouse.

According to Elizabeth

Thomas, organiser of the

concerts, Its important that

young performers have the

opportunity to play in public as

it boosts their confidence and

develops their performance

skills. The Yamaha is an

excellent instrument for this

purpose. Being able to have

the performance played back

not only motivates the

students, but also helps them

develop critical listening skills.

Ten-year-old Alex Glendenningagrees: Playing on such a big

fancy piano is a lot of fun. It

gives you the feeling that

youre performing on a stage

and all kids should give it a go

he said after a recent

performance.

The Yamaha Disklavier is part

of the Museums vast music

collection and is demonstrated

daily on level 2.

For a weekend in March this

year thousands of Museum

visitors were spellbound by

glassmaking demonstrations

courtesy of the Hot Glass

Roadshow. The Roadshow is a

fully equipped portable

glassmaking studio set up in

2001 by the Corning Museum

of Glass, New York, to take

glassmaking to the people.

This is the first time the show

has been outside the US and

the Powerhouse was the first

stop on a road trip across the

country.

Fascinated Powerhouse

audiences witnessed glass

vases, bowls and artworks take

shape before their eyes,

complete with a fiery furnace,

sparks, multicoloured twirling

and glass blowing. Working

with the experienced team

from the Corning Museum,

headed by Steve Gibbs, were

prominent local glass artists

Brian Hirst, Andrew Lavery, Ben

Edols, Keith Rowe, Robert

Wynne and Tom Rowney,

assisted by Miki Kubo, Yuri

Yanai, Eliot Brand, Alex

Chambers, Scott Coleman,

Jack Rowe and an enthusiastic

group of students from Sydney

College of the Arts.

With the theme everything

connects, the Powerhouse

Museum and Sydney

Observatory Teachers Guide

moved online this year.

Supported by an eye-popping

poster and booklet, the online

resource has already proved

popular with the education

community.

A feature of the online guide is

an interactive visit planner,

which allows teachers to enter

their class level and subjectarea to bring up a list of

recommended exhibitions,

programs and resources. You

can find the online guide at

www.powerhousemuseum/

teachersguide.

The Museums annual

Engineering excellence

exhibition, featuring the six

winning projects of the 2004

Engineering Excellence

Awards, provides a fascinating

insight into the role

engineering plays in our lives.

A highlight of the exhibition is

the Sydney CBD Electricity

Augmentation Project, which

was named winner of the

Bradfield Award for Best

Project. In 1998 TransGrid and

Energy Australia identified the

need to expand the supply

and distribution network

serving a million Sydneysiders.

This project has ensured the

city will have a safe, reliable

power supply that will meet

energy needs well into the

second century of electricity.

Another winning project is the

Bond complex in Millers Point,

Australias first commercial

building to achieve worlds

best practice standards in

environmental, social and

commercial sustainability. The

display focuses on the use of

chilled beams, a roof-top

garden, lighting technologies,

and the large sandstone rock

wall that has been

incorporated in the buildings

design.

Other winners include the

Load restraint guide, a

compact book explaining how

to safely restrain loads on

vehicles; the Lednium solid

state lighting device; and the

Athens 2004 Olympic torch

manufactured by Australian

firm G A & L Harrington.

Finally, a drawcard for students

is a display exploring the

opportunities and challenges

set for Australian high school

students in Years 710, to

design, model, test and

evaluate their vision of a

Formula 1 racing car.

These projects are on display

until December 2005. an unusualwebsite

hot glass hitsthe road

music atthe museum

excellentengineering

Young playersmake animpression inthe Musicalinstrumentsmade and

played

exhibition.

VectorLab:echnology

creativity

imaging and photography, 3-D

graphics and animation.

Catering for all levels of ability

and experience, VectorLab

programs provide hands-on

opportunities for school and

tertiary students, adult

learners, young people,

teachers, professionals and

amateurs anyone with an

interest in learning more

about using creative digital

tools. Special members onlycourses are also on offer for

Powerhouse Members.

To find out more about

VectorLab courses go to

www.soundbyte.org.

foundationnews

E PROMOTIONAL POSTER FOR THENLINE TEACHERS GUIDE.

THE ATHENS 2004 OLYMPIC TORCH.PHOTO COURTESY IOC, GETTY IMAGES.

MARJORIE MAY'S TWELFTHBIRTHDAY, PRODUCED BY JOHNSON& JOHNSON IN THE 1930S, PROVIDEDINFORMATION ABOUT MENSTRUATIONFOR GIRLS AND THEIR MOTHERS,WHILE PROMOTING KOTEX SANITARYNAPKINS.

ALEX GLENDENNING GIVES A STARPERFORMANCE ON THE YAMAHADISKLAVIER.PHOTO BY MARINCOKOJDANOVSKI.

LOCAL GLASSMAKERS YURI YANAIAND ROBERT WYNNE DEMONSTRATETHE ANCIENT ART OFGLASSMAKING.PHOTO BY JEAN-FRANCOIS LANZARONE.

MUSEUM TRUSTEE MARGIE SEALEHOSTS ANOTHER SUCCESSFULFOUNDATION FUNCTION. PHOTO BYMARINCO KOJDANOVSKI.

P

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POWERHOUSESHOP

Toogoodtomiss!Powerhouse

Membersreceive10%

offselectedmerchandise.

The Powerhouse Museum is a

long-standing supporter of

Australian design, displaying

an annual selection from the

Australian Design Awards

since 1992 and as a key player

in Sydneys annual design

festival. In 2005 we delve even

deeper into the design

process of local product

designers. The exhibition

Sydney designers unplugged:

people, process, product,

which opens in August as a

highlight of Sydney Design 05,

showcases the work of seven

leading product design

studios in Sydney, revealing

the inspirations and

challenges involved.

Designers featured include the

consulting groups Nielsen

Design Associates, BlueSky

Creative, Design Resource,

Design+Industry and theinhouse design teams for

Breville, Sunbeam and

Electrolux. Chances are you

own or have used something

that these people have

designed.

Many months or even years

can go into designing mass-

produced products. Interviews

with the designers reveal the

challenges involved in creating

everything from a rugged and

reliable torch to a sleek and

shiny toaster. Who would have

thought that it could take over

20 different prototypes to

determine the right shape for

the juicing cone on the Breville

citrus press? (The shape had

to be just right to ensure it

would juice all sizes of citrus

fruit, from limes to grapefruit.)

Or that a designer too can

experience the terror of a

critical computer file crashing

just days before production is

due to begin? These are just

some of the stories of blood,

sweat and tears experienced

behind the scenes in the

creative process.

The exhibition includes familiar

classics of Australian design

the Caf-Bar, the Victa

lawnmower and the Dolphin

torch plus some that have

experienced a recent revamp.

A highlight is the Sunbeam

mixmaster, which has been

redesigned to reflect theoriginal 1940s styling. Many of

the products featured have

already received Australian

Design Awards. These include

the Clark sink plug designed

by Nielsen Design Associates

and the Sydney 2000 Olympic

Torch designed by BlueSky

Creative. For something

entirely new, there are

Electrolux concept products

that are not yet available on

the market. This design group

uses future visioning to

imagine new ways we might

live and work in the future.

These local product designers

all have a global outlook.

Approximately half the work

done by the four consulting

groups is for international

clients. Sunbeam and Breville

are Australian-owned

companies whose products

are sold into international

markets. And the Electrolux

designers are part of a global

company with a focus on

designing products for the

Asia-Pacific region.

Sydney designers unplugged

has provided an opportunity to

increase the presence of local

product design in the

Museums collection and build

on the work done for our

popular Australian designers

at workwebsite. Most

importantly the exhibition

offers our visitors an insight

into the people and processesinvolved in the creation of the

everyday items that make our

lives just that little bit easier.

Sydney designers unplugged:

people, process, product

opens on 6 August. The

Museums annual selection

from the Australian Design

Awards will be on display from

4 July.

Angelique Hutchison,

Curator, Product Design

shapedin Sydney

THE POWERHOUSE DELVES DEEPER INTO DESIGN WITHA NEW EXHIBITION LOOKING AT THE DESIGN PROCESS.

SUNBEAM MIXMASTER PROFESSIONAL, DESIGNED BY SUNBEAM AUSTRALIA, 2003.PHOTO COURTESY SUNBEAM AUSTRALIA.

Every August for the last few

years weve seriously stretched

semantics celebrating a ten-day

design festival known as Sydney

Design Week. In 2005 the

design event of the year is even

bigger and better and now at 16

days long has well and truly

outgrown its name to become

simply Sydney Design 05.

But how did it all begin? In fact

it started back in early 1997

when the then editor of The

Sydney Morning HeraldsDomain section, Ross Muller,

asked if the Museum would be

interested in exhibiting the

winners of the second SMH

Young Designer of the Year

Award. It was also at this time

that the Museums then senior

curator of Australian

decorative arts and design,

Judith OCallaghan, was

planning the first exhibition for

the newly launched Design

Gallery. So, together with other

Museum representatives, the

Design Institute of Australia,

the Royal Australian Institute of

Architects (RAIA), UTS and the

University of NSW, these two

early protagonists met and

worked out our first year

program.

In the years that followed the

players changed but the basic

elements of Sydney Design

Week had been established:

guest designers, master

classes, design competitions

and prizes along with

compelling Powerhouse

exhibitions such as Caroline

Casey; Mod to memphis:

design in colour 1960s80s;Marc Newson: design works;

and Great expectations: new

British design. Speakers and

masterclass participants have

included Ron Arad, Carl

Pickering, Harry Seidler, Paul

Priestman, Marc Newson,

Shigeru Ban, William Sawaya

and Tom Kovac.

Last year Sydney Design Week

evolved yet again with an

extensive program that

included many more events

throughout the CBD and

beyond (including Parramatta).

This established SDW firmly in

the publics mind as a cultural

event not to be missed, aided

by regular email bulletins, a

fluoro pink brochure, and the

quirky egg (and sometimes

chicken and egg) logo.

As the program has expanded,

the festival has also become a

sought after design market.

Tourism Sydney is taking on

Sydney Design 05 as its key

event for August and design

writers from overseas will be

dropping in to check out

design Sydney style. With

highlights ranging from theMorris & Coand Sydney

designers unplugged

exhibitions at the Museum,

workshoppedin the city, the

Parramatta Design Excellence

Awards, specialist architecture

tours by the RAIA, and

lectures, demonstrations,

tours, student events and

another d factory design

evening at the Powerhouse,

Sydney Design 05 will be the

name on everybodys lips from

August 6 to 21 this year.

For more information go to

www.sydneydesign.com.au.

Robert Swieca, Coordinator,

Sydney Design 05

Sydney

Design 05

SYDNEY DESIGN WEEK COMES

OF AGE WITH A NEW NAME

AND A 16-DAY PROGRAM.

e Powerhouse Shops a superb selectiondesigner vases, bags,

mpshades andrtains perfect forfts or a treat forurself.

e Powerhouse Shop is open

00 am 5.00 pm, 7 days a week.

selection service, free gift

apping and deliveries available.

more information phone

) 9217 0331 or

ail [email protected].

Boontje garland light shade $132.95n vase $139.95rative carry bag $79.95

CLOCKWISE: SCENES FROM THE POWERHOUSE MUSEUMSLAUNCH OF SYDNEY DESIGN WEEK 2004; THE 2004 YOUNGDESIGNER OF THE YEAR AWARD DISPLAY; INTERNATIONALGUEST SPEAKER WILLIAM SAWAYA WITH YOUNG DESIGNER OFTHE YEAR AWARD RUNNER-UP ALANA DI GIACOMO. PHOTOS BYMARINCO KOJDANOVSKI.


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powerline winter 05

m Morris the man behind the firm Morris &

which bore his name for 80 years remains a

rkable figure more than a century after his

h. Many of his ideas, concepts and activities still

m relevant and modern at the beginning of the

century. The popularity of his work endures and

mains an influential figure with young designers

y.

s found gothic and medieval art to be of great

ty compared to the machine-made goods of

9th century Britain. His design sources are

d, but what is interesting about his best designs

e mixture of representational and patterned

es. William Morriss greatest skill as a designer

his ability to create repeating patterns, a

nique he taught to others, who then e xecuted the

Directly related to this is Morriss socialist

est in the role of the artist/craftsperson and the

onship between society and the objects it

uced. He firmly established within his own

pany a philosophy based on handmade quality

a return to the practice of individual workers

pleting all stages of an objects production.

aide and the Art Gallery of South Australia have a

association with the work of M orris & Co. Fromuntil 1929 the wealthy Adelaide couple Robert

Joanna Barr Smith and their family were major

ts of Morriss London shop, furnishing many of

South Australian houses almost exclusively from

rm. As early as 1899 the gallerys honorary

or, Harry P Gill, discussed his wish to purchase

Morris designs in letters to the Barr Smiths and the

president of the gallerys board, Sir S amuel Way.

However it was not until 1917 that the gallery made its

first and finest purchase of a Morris & Co tapestry,

The adoration of the Magifrom South Australian

businessman George Brookman.

In 1982 the first Morris & Co furnishings belonging to

the Barr Smith family were donated to the gallery, and

in 1989 Christopher Menz, then Curator of European

and Australian Decorative Arts, was given a brief to

collect and preserve as much of the familys Morris &

Co work as possible. The gallery also acquired

material from London to build the largest collection o f

Morris & Co furnishings outside Britain. In 2002

Christopher Menz curated the impressive Morris & Co

exhibition showcasing the gallerys vast collection of

the companys textiles, furniture, carpets, wallpaper,

drawings and pamphlets.

Morris & Cois now an Art Gallery of South Australia

travelling exhibition and will open at the Powerhouse

Museum in August as a highlight of Sydney Design

05. Included in the exhibition is the magnificent

Adoration of the Magitapestry designed by Edward

Burne-Jones and produced in the workshop of Mo rris

& Co in about 1900. Hanging, designed in the 1890sby May Morris, William Morriss daughter, is another

beautiful work in richly embroidered silks on a green

silk ground. Wallpapers include Trellis, Morriss first

wallpaper design, and the magnificent Acanthus, one

of the companys most expensive papers. This piece

was rescued from one of the Barr Smiths houses in

1982 as it was being demolished.

Of particular interest is a rare and significant drawing

in Morriss own hand for the wallpaper Wreath. Highly

worked in colour and in its resolution of the design

elements, the drawing provides a fascinating glimpse

into Morriss creative process. Freely drawn flowers

and acanthus leaves are developed into a vigorous

diaper (diamond) construction of curves and scrolls

in pencil. Base areas of green and blue are then

added, after which Morris narrows his focus to small

detailed sections in gouache showing the subtle

tonal variations he required of his wallpapers.

Morris created Wreathas the master working drawing

for his printers Jeffrey & Co, including extensive

annotation, which largely discusses the shading of

the acanthus leaves. Jeffrey & Co would have then

traced and multiplied the repeat pattern so that a

series of wood blocks could be cut for printing the

wallpaper. Colour tests would then have been carried

out, and in this case the written comments, which

were sent back to Morris, remain attached to the

drawing.

Morris & Cois accompanied by a lavishly illustrated

full-colour catalogue by Christopher Menz, now

Director of the Art Gallery of South Australia.

Christopher will give a public lecture on Morriss workon 20 August at the Powerhouse and is guest

speaker at the Annual Members Dinner on the same

day.

abulous furnishings

ORRIS & CO, AN ART GALLERY OF SOUTH AUSTRALIARAVELLING EXHIBITION, IS A HIGHLIGHT OF SYDNEY DESIGN 05.ry_ROBERT REASON, CURATOR, ART GALLERY OF SOUTH AUSTRALIA

WREATH,DESIGNED BY WILLAIM MORRIS, ABOUT 1876, MORRIS & CO, GOUACHE, PENCIL ON PAPER, 75 X 50.8 CM. MORGAN THOMAS AND MARY OVERTONEQUEST FUNDS AND THE ART GALLERY OF SOUTH AUSTRALIA FOUNDATION 2003.


6/14

powerline winter 05 + 11 powerlinewinter 05

once in alifetime

from themembersteam

Filmmaker Peter Jackson is

well known for avoiding the

spotlight. But in the case of

the Powerhouse and its

staging of The Lord of the

Rings Motion Picture Trilogy

The Exhibitionhe made a rare

exception to be guest of

honour at our special event An

Evening with Peter Jackson on

Sunday 12 March.

For the two thousand strong

audience in the packed

auditorium of the State

Theatre, there was truly magic

in the air. Interviewed by David

Stratton, one of Australias

most respected film critics,

Mr Jackson gave a very

personal insight into the

creation of the trilogy as well

as his own journey as a

filmmaker, from humble

beginnings in New Zealand to

world-famous director. Along

the way he treated the

packed house to never-

before-seen out-takes from

the making of the films

footage which may never be

seen again. For all those

lucky enough to be there, the

night gave new meaning to

the expression a once in a

lifetime experience!

The first few months in the

Museum this year were a

fabulous mixture of hobbits

and elves, as the Powerhouse

hosted our most successful

exhibition ever, The Lord of the

Rings Motion Picture Trilogy

The Exhibition. We hope you

had the chance to come along

to some of the special

members events including

after hours viewings, prosthetic

makeup application displays,

and a lecture by Richard

Taylor, director of New

Zealands WETA Workshop. Of

course, capping off this

exclusive suite of events was

An Evening with Peter

Jackson at the State Theatre.

See the members scene page

for some great photos of the

WETA Workshop at work.

But now something to look

forward to in these colder

months! Why not indulge in a

night of fantastic company,

food and entertainment at our

Annual Members Dinner? The

dinner will once again take

place during Sydneys design

festival in August, with special

guest this year, Christopher

Menz, curator of the Morris &

Coexhibition and now Director

of the Art Gallery of South

Australia. So book early as this

event is always popular with

members and their guests.

Remember, the Members team

is available seven days a week

via email, phone or in the

Members Lounge, so feel free

to drop in and meet us next

time you are in the Museum.

The Members team

mem

bers+

OUR ANNUAL MEMBERS DINNER IS ONCE AGAINA HIGHLIGHT OF SYDNEYS DESIGN FESTIVAL

+ news and photos

+ prizes to be won

+ exclusive events

+ family activities

+ special offers

PETER JACKSON (LEFT) ENJOYS A TALK WITH DAVID STRATTON ATTHE STATE THEATRE. PHOTO BY JEAN-FRANCOIS LANZARONE.

+

A TABLE SETTING FROM THE ANNUAL MEMBERS DINNER.

`

Smoky Dawson has lived a long life entertaining

audiences as a singer, songwriter, scriptwriter, radio

presenter and all round performer (including knife

and double-headed axe thrower and sharp shooter).

A pioneer of Australian country music, he was our first

cowboy entertainer. Through his radio serials, comic

books and songs he created the persona of a happy-

go-lucky singing cowboy.

Born in 1913 in Melbourne, Herbert Dawson was raised

in Warrnambool. After the death of his mother and

brother, he spent three years in an orphanage and

has recalled that, even at that early age, music

soothed him. By the age of eight or nine he was

making up songs. He began his musical career in1934 when he formed a country and western group

and began doing live radio broadcasts on Melbourne

radio station 3UZ. While working in radio he met his

future wife Dot (Florence Cheers) who presented a

childrens program. The couple were married in 1944.

Smoky served in World War II with the First Australian

Army Entertainment Unit, performing for troops on the

frontlines of New Guinea. He recorded locally for EMI

in the 1940s with his group the Rocky Canyon Boys,

releasing singles such as Im a Happy-Go-Lucky

Cowhand (1941), Just a Sprig of Golden Wattle (1945)

and The Lights of Cobb & Co (1948).

In 1950 Smoky and Dot travelled to the USA where he

worked in radio, appeared in Broadway productions,

recorded songs and performed at Nashvilles Grand

Ole Opry. When they returned to Australia, they were

greeted by a crowd of well-wishers at Sydney Airpor t

to welcome them home. In 1952 they began the

Smoky Dawson radio show, which stayed on air for

ten years and featured both Smoky and Dot.

Including Smoky Dawsons dramatic adventure serials

(The adventures of Jindawarrabelland The

adventures of Smoky Dawson), the program was

syndicated nationally to 69 radio stations and

broadcast in prime time on 2GB. His character

became Australias favourite cowboy, with his horse

Flash, his faithful sidekick Jingles and their young

friend Billy, fighting the evil outlaw Grogan while

adhering to Smokys code of the west. Sometimes

they would pause to explain the moral of the story,

sing a song or enjoy a bowl of cornflakes, thanks tothe programs sponsor Kelloggs. This persona

became the hero of the Smoky Dawson comic books.

Smoky had a long and distinguished recording and

performing career. When he wasnt working he used

his skills in whip cracking, story telling, sharp

shooting and trick riding to raise money for charities

and community projects. He was inducted into the

Australasian Country Music Roll of Renown in 1978,

received an MBE in 1983 for services to country music

and was awarded the Order of Australia in 1999. He

and Dot still present the Australian country music

showcaseon community radio station 2NSB-FM.

Peter Cox

Curator, Australian History and Society

Members e-newsletter

If you would like to receive the regular Members

e-newsletter with updates on all members events

please call (02) 9217 0600 or email

[email protected] with your membership

number and e-newsletter in the subject line.

Australias favourite cowboy

EN SMOKY DAWSON RECENTLY DONATED SOME MEMORABILIA FROM HIS LONG CAREER,MADE A WELCOME ADDITION TO THE MUSEUMS PERFORMING ARTS COLLECTION.

MOKY DAWSONS COWBOY HAT WAS MADE BY THEAMOUS JOHN B STETSON COMPANY OF SCOTTSDALE,RIZONA. HIS COMIC BOOKS HAD A DISTINCTLYUSTRALIAN FLAVOUR, AS DID HIS COMPOSITION RIDIN ITH A SMILE AND A SONG, THE SMOKY DAWSON THEME

ONG. GIFT OF SMOKY DAWSON, 2004. PHOTO BY JEAN-RANCOIS LANZARONE.


7/14

une

++ 13 powerlinewinter 05

uly

ugust

Saturday 25 June

SoundHouse

digital music workshop for teenagers

In this workshop the Museums SoundHouse and

VectorLab will become your own production house

as the Museums digital media experts work with

you to devise, write, project manage, and produce

your own digital music projects. Hot winter special:

bring a friend and you will both save 25% on your

course fees! Call the members hotline for more

details.

1.005.00 pm

Cost: members $60; guests $90 (includes $30 student membership)

Saturday 18 June

Members discount shopping day

Warm up this winter at the Powerhouse shop! We

invite all members to a special shopping day, where

you can choose from our range of simple, stylish

goods for fabulous gifts or a treat for yourself. Just

show your membership card to enjoy a special 20%

discount on most items with free gift wrapping.

10.00 am 5.00 pm

Cost: free

Thursday 11 August

Tea and textiles: teaching young girls to sew

Join senior curator Kimberley Webber for an

entertaining and informative talk on the Museums

collection of samplers and childrens needlework.

Following the talk, we invite you to enjoy a cup of

tea and light refreshments in the Members Lounge.

11.00 am 12.30 pm

Cost: members $5; guests $10

Monday 4 July

Exhibition walkthrough

Animal, vegetable and mineral: the weird andwonderful world of the Powerhouse Museum 18801939

Not to be missed! Animal, vegetable and mineral

tells the fascinating story of the early days of the

Museum when it collected the weird and the

wonderful and its role was to educate working men

and women about life in a changing world. Senior

curator Kimberley Webber will take you on an in-

depth tour of the exhibition, followed by light

refreshments in the Members Lounge.

11.00 am 12.30 pm


Saturday 20 August

Annual Members Dinner

Sydneys annual design festival is once again the focus

of our Annual Members Dinner. Enjoy a gourmet meal

and fine wine in a wonderful location, followed by a

fascinating after dinner talk by Christopher Menz,

curator of the Morris & Coexhibition and Director of

the Art Gallery of South Australia. This is your chance

to experience the highlight of the Members calendar.

Places are limited so book early!

From 7.00 pm, Grand Foyer, Powerhouse Museum.

Cost: members $135; guests $160; table of ten $1150

Saturday 27 August

SoundHouse digital video course for teenagers

Create your own video in this workshop which

combines digital imaging and sound production

skills. Youll learn how to use video editing soft ware

Sony Vegas, which turns your computer into a virtual

television studio. This hands-on workshop includes

time for project development let our digital media

experts expand your skills using your own digital

video camera. Hot winter special: bring a friend and

you will both save 25% on your course fees!

1.005.00 pmCost: members $60; guests $90 (includes $30 student membership)

Friday 17 and Saturday 18 June

Sydney Observatory

Festival of astronomy

Take a torchlight tour of the signal station, view

Jupiter, the constellation Centaurus and the gibbous

moon through telescopes, hear 15 minute astronomy

talks, purchase the latest astronomy paraphernalia

at our night fair and generally have an

astronomically entertaining time. There will be a

coffee cart and sausage sizzle on site. A mini-bus

departs from Circular Quay every 20 minutes from

5.30 pm.

6.0010.00 pm

Cost: members $12 adults / $10 conc / $8 children / $32 family; guests $15adults / $12 conc / $10 children / $40 family, For details phone 9217 0485.

winter 05

+

+

Due to limited places, bookings are essential for every

event. Please ring the Members hotline o n (02) 9217

0600 to make your booking before you send in

payment. For events at Sydney Observatory, please

ring (02) 9217 0485. Please leave a message quoting

your membership number, what event you are booking

for and the number of members and guests. We will

confirm your booking.

Saturday 9 and Sunday 10 July

Sydney Observatory

Einstein extravaganza weekend

Students, families and friends are invited to a

weekend of science activity and fun. Enjoy the

keynote lectures each day at 2.00 pm; meet our

special guests Albert Einstein, Sir Isaac Newton,

Marie Curie and Valentina Tereshkova, the first

woman in space; join the space race by launching a

rocket with our famous rocket designers Sergei

Korolev (Russia) and Wernher von Braun (USA); see a

special 3-D theatre program; view the skies through

telescopes; and hear our wandering minstrels.

10.30 am 4.00 pm

Cost: members $6 adults / $4 conc / $4 child. For details phone 9217 0485.

Saturday 16 July

VectorLab: digital video editing

The home studio movie maker

The video editor has never before had such powerful

or flexible creative tools. This course covers all the

principal areas of video editing and working with

video images including editing and sequencing,

effects and filters, text titles, file types, formats and

output options for TV, DVD CDrom and the Web. Bring

your own digital video camera.

10.00 am 3.30 pm


Book now for a night of fine food and fun at the eventof the year, the Powerhouse Annual Members Dinner.

+

powerline winter 05

We accept: credit card payments by phone, fax or

mail; cheques; money orders; or cash at the level 4

entrance to the Museum. We pay for all events once

bookings are confirmed, so if you are unable to attend

your event, please let us know ASAP or we will charge

you to cover costs.

All events are held at the Powerhouse Museum unless otherwise stated. Alldates, times and venues are correct at time of publication.

how to book fo r members even ts payment fo r members even ts

embers calendar

Saturday 16 July

Harry Potter excursion: Gleewarts Express

Powerhouse Members are invited to take a magicaljourney on a real 38 class steam train to celebrate

the launch of the new book Harry Potter and the

half-blood prince. No muggles will be allowed as you

travel in style to Hogsmeade and receive your copy

of the new book. Wear your H ogwarts uniform and

make sure you pack your wand!

Seats are strictly limited. Early bookings are essential

by return owl on 0422 272 521 (8.00 am 8.00 pm) or

0418 976 899 (8.00 pm midnight) or by email

[email protected]. Presented by

Gleebooks.

5.45 am 12.45 pm

Cost: $90 (price includes a copy of the new book at 9.01 am, two meals anda donation to the Fred Hollows Foundation)

Saturday 30 July

SoundHouse

digital photography workshop for teenagers

Take your digital photography skills to the next level in

this workshop. Whether you are new to the field of

digital photography or want skills and tips to improve

your work, this course is the one for you. Bring your

own digital camera and work with our team of digital

media experts. Hot winter special: bring a friend and

you will both save 25% on your course fees!

1.005.00 pm

Cost: members $60; guests $90 (includes $30 student membership)

Books, toys, designer vases, bags, lampshades and wallhangings.Shop til you drop on our members discount shopping day!

+

Discover everything you need to know about Einstein, spacetravel and the skies above us at Sydney Observatory in July.

+

FROM THE EXHIBITION MORRIS & CO,THE ADORATION OF THE MAGI(DETAIL), DESIGNED BY EDWARDBURNE-JONES AND J H DEARLE(FLORAL GROUND) 1887, MORRIS &CO, 190002, WOOL, SILK, 251.2 X372.5 CM. MORGAN THOMASBEQUEST FUND 1917, ART GALLERY OFSOUTH AUSTRALIA.

CHEF STEFANO MANFREDI WORKSHIS CULINARY MAGIC AT LASTYEARS ANNUAL MEMBERS DINNER.


8/14


moremembers

rizes

memberscene

erhouse members wereng the fascinatedence at the WETAshop prosthetic makeupay held at the Museum inuary this year.

OS BY MARINCO KOJDANOVSKIJONES.

We are very happy to

announce that Ms J Wagner of

Wallerawang was the winner of

the family holiday to New

Zealand, courtesy of Air New

Zealand and Powerhouse

Members. We trust that Ms

Wagner and family will enjoy

the trip.

And now a special offer from

Powerhouse Publishing to

celebrate the opening of

Greek treasures: from the

Benaki Museum in Athens. For

your chance to win a copy of

the beautifully illustrated

exhibition book, featuring over

160 colour plates and in-depth

information on the Benaki

collection, simply phone the

Powerhouse Members hotline

(02) 9217 0600 after 10.00 am

on Friday 10 June 2005. The

first three members to call will

receive this fantastic

publication. If you arent lucky

enough to win, you can

purchase your copy at the

Powerhouse Shop when

visiting the exhibition or

contact Powerhouse Publishing

(see the mailorder form with

this issue).

NO HOBBITS HERE! ACTOR JED BROPHYPROWLS THE AUDITORIUM IN FULLMAKEUP AND COSTUME.

Born in Sydney in 1918 and

educated at North Sydney

Boys High School and the

University of Sydney, Jack

Willis worked as a chemist in

the paint industry and on

essential oils before being

appointed botanical research

officer at the Museum in 1948.

Together with the other

research officers he engaged

in extensive fieldwork and

published a range of articles

on essential oils culminating in

the publication of The

eucalypts: botany, cultivation,

chemistry and utilization(co-

authored with former Museum

director, Arthur Penfold).

When Penfold retired in 1955

he had hoped that Willis would

succeed him. However, Williss

youth and the long service of

Penfolds deputy, Frank

Morrison, counted against him.

It was another five years

before he was made director

and then he was unabashed in

his enthusiasm. Writing to

Penfold who was then

overseas he declared, So

there it is, after all the

struggles, the reports and

recommendations, the verbal

battles and discussions, the

ups and downs, the hopes and

fears, I have made it at last I

only hope I can prove equal to

the task and carry on the work

which you so ably began way

back in the thirties

(15 March 1960).

Willis developed the research

program, modernised exhibits,

valeJack Willis

FORMER MUSEUM DIRECTOR JACKWILLIS DIED IN NOVEMBER 2004. HEJOINED THE MUSEUM IN 1948 ANDWAS DIRECTOR FROM 1960 TO 1978.

appointed the Museums first

designer and extended the

education programs. Most

importantly for todays

Powerhouse, he continued to

lobby government about the

desperate need for a new site

and a new building. In his time

as director over 30 sites were

considered, ranging from the

Queen Victoria Building and

The Rocks to a site adjacent

to Macquarie University at

Ryde.

The one site that he did not

consider seriously was the

former Ultimo Power House.

As he somewhat ruefully

admitted in a later interview,

he inspected the site with the

deputy director, Howard

McKern, and found a

complete mess [there was]

a huge hole in the ground full

of greasy green water and all

the panes were out of the

windows. I made the classic

remark nobody would make

a museum out of this lot!

Willis retired in 1978 but

retained a keen interest in the

Powerhouse, spending his first

years of retirement writing its

history, From palace to

Powerhouse, a work that has

been an invaluable resource

for the current history. In 2001

he was awarded the

Powerhouse Museum

Distinguished Service Award in

recognition of his contribution.

Kimberley Webber,

Senior Curator, Australian

History and Society

JACK WILLISS GREAT PASSION WAS RESEARCH. THIS PHOTOGRAPH TAKEN IN THE1950S SHOWS HIM INSPECTING THE EUCALYPTS HE HAD PLANTED AT CASTLE HILL TOINVESTIGATE WHICH VARIETIES HAD THE MOST COMMERCIAL POTENTIAL. ALTHOUGHHE ACCEPTED ITS INEVITABILITY, WILLIS ALWAYS REGRETTED THE CLOSURE OF THEMUSEUMS RESEARCH LABORATORIES.

RICHARD TAYLOR, DIRECTOR OFWETA WORKSHOP, APPLIES THEMAKEUP BASE.

THE TOP PART OF THE MASK ISFITTED FIRST, THEN THE NOSEAND CHIN ARE ADDED.

YOUNG VISITOR BRYANT STRONGHAS A CLOSE ENCOUNTER WITH ANORC.

FROM MAN TO MONSTER: THETEETH COMPLETE THE EFFECT.


9/14


Since they were established almost 20 years ago, Dai

Nippon Printings Duo Dojima (ddd) gallery in Osaka

and the Ginza Graphic Gallery (ggg) in Ginza, Tokyo,

have collaborated with a number of major cultural

institutions to hold exhibitions of international and

Japanese graphic design. The result has been an

impressive record of thematic design exhibitions and

dozens of exhibitions dedicated to individual graphic

designers from all over the world.

The Powerhouse Museum and the ddd and ggg

galleries first made contact (through former Museum

trustee Gene Sherman) when we were attempting to

put together an exhibition on the work of designer

Ikko Tanaka. Unfortunately that project did not goahead when Mr Tanaka died suddenly in 2002, but a

connection had been made. Some time later, ddd

gallery approached the Powerhouse with an invitation

to help identify, and possibly help d evelop, a suitable

exhibition of Australian graphic design. After much

discussion, ddd gallery chose to to ur the Museums

Balarinji: ancient culture, contemporary design

exhibition, which had been displayed in our

Indigenous gallery from June 2003.

Ros and John Moriarty of Balarinji and Iwere invited

to refine the content of the exhibition with an

emphasis on graphic design. Globally oriented

graphics such as Balarinjis designs for Qantas planes

and the logo for the Australian Pavilion at World Expo

2005 in Aiichi, Japan, were selected, along with

posters for regional events such as the Moree Croc

Fests and the Walk for Reconciliation march across

Sydney Harbour Bridge in 2000.

Working with experienced staff at ddd and ggg

galleries and their curatorial consultant, Ms Chikako

Tatsuuma, meant that eveything progressed well and

the exhibitions opened to an enthusiastic and

responsive audience, first in Osaka in November 2004

then Tokyo in February this year. At the opening

ceremonies John and Ros Moriarty spoke about their

approach to design and the history of the company,

including the significance of Johns Yanuwa heritage. In

Osaka I presented a paper on Indigenous Australian

graphic design from 1930 to today, co-presenting the

same paper in Tokyo with Fabri Blacklock, the

Museums assistant curator of Koori history and culture.

To the delight of all involved, the reaction to theexhibition and talks was overwhelmingly positive: I

am impressed by Balarinji's use of colours. Their

works are so powerful and very contemporary, one

young student wrote in the visitors book. I want to

know more about Australian Indigenous people and

culture. What Balarinji is doing and their activities and

return to the Australian Indigenous community. I think

it is wonderful, wrote another.

In Japan we were overwhelmed by the hospitality

offered and (to borrow John Moriartys words) made

to feel very safe and comfortable. The whole

experience, involving such generous gestures of

goodwill, cultural exchange and professional

collaboration, not to mention the opportunity to

display such globally significant examples of

Australian graphic design, will make it a highlight of

my career for many years to come.

Anne Marie Van de Ven

Curator, Decorative Arts and Design

The face of the world is

changing. As we enter the

new millennium, industries are

beginning to acknowledge

that sustainability is an

important part of their bottom

line. This transformation

represents a shift in focus

towards acknowledging the

entire lifecycle of the products

we produce, operating more

efficiently and using

sustainability as a driver for

innovation. Companies and

individuals have found that

working with a sociallyconscious vision has many

advantages, from improved

productivity and company

image to reductions in

wastage and employee

attrition.

I believe that the next wave of

innovation will focus largely on

resources, from natural

resources to human and

information resources. This

wave will be driven by

achieving better eco-

effectiveness of production

and design, by taking the load

off the environment and

sustainably utilising

complementary ecosystem

services. Essentially,

sustainable development will

be driving the next wave of

innovation.

In the future we will know

more and more about the

planet, where to find water

and how to protect our vital

ecosystems. Technologies

such as spatial information

allow us to understand how to

manage our resources more

effectively and where to focus

our efforts. And tools such as

whole-of-lifecycle design allow

us to build products for the

long-term.

I strongly believe that this

vision for the future presents

Australia with an incredible

opportunity. We have some of

the most precious natural

resources and some of the

most innovative people.

Sustainability provides

Australia with the prospects to

develop new technologies

which will continue to

challenge our values and

practices in the future.

Dr James Bradfield Moody

Powerhouse Wizard 2004

ptember last year Dr James Bradfield Mood y,

known panellist on televisions The new inventors,

made the first Powerhouse Museum Wizard. This

d, sponsored by Wizard Home Loans, recognises

ging leaders in Australian innovation and

evement.

es believes passionately in the role young

lly conscious business people can play in

ety. In the last five years he worked with the

d Nations as co-facilitator and Australian

esentative of the Youth Advisory Council to the

nvironment Program (UNEP), as founder and co-

of the Space Generation Advisory Council in

ort of the UN Program on Space Applications, asber of the Science and Technology delegation to

N World Summit on S ustainable Development

2), and executive secretary of the taskforce on

nce and Technology for the Millennium

lopment Goals. He has attended the World

omic Forum as a Global Leader of Tomorrow

3), was chief systems engineer for FedSat, the

Australian Satellite to be launched in 30 years,

n 2000 was named Young Professional Engineer

e Year promoting socially conscious

neering. James is also founding president of the

national Young Professionals Foundation and

g Engineers Australia, and a member of the

al governments National Environmental

ation Council. He was recently appointed

Director, Divisional Business Strategy, CSIRO Land

and Water, the largest water research and

development organisation in Australia.

The list is exhausting but James energy and passion

havent waned during his term as Powerhouse Wizard.

He plans a range of activities with the Museum,

including hosting the student program for Sydney

Design 05 in August and participating in the Sydney

Design 05 Hypothetical. In this forum a team of

panellists will interpret the future of urban planning

using modelling technology to map an array of

unfolding outcomes and alternative scenarios.

The Museum is now calling for nominations for

Powerhouse Wizard 2005, spanning the areas of

design and decorative arts, Australian history, and

science and technology. Like James, the new Wizard

will receive $5000 to assist their career development

and will also have the opportunity to promote their

work and achievements through public programs at

the Powerhouse Museum.

Nominations close on 30 July. See the nomination

form in this issue of Powerline or go to

powerhousemuseum.com/wizard. The 2nd

Powerhouse Wizard will be announced at the

Museum's Life Fellows Dinner on 22 September 2005.

Rita Bila, Corporate Development Officer

E MUSEUM IS NOW CALLING FOR NOMINATIONS FOR POWERHOUSEZARD 2005. SO WHAT DOES IT TAKE TO BE A WIZARD?

wizards work

a wizards wish

A POWERHOUSE EXHIBITION CELEBRATING THE WORK OF THE AWARD-WINNING INDIGENOUSDESIGN STUDIO BALARINJI WAS A RECENT HIT IN TWO PRESTIGIOUS JAPANESE GALLERIES.

Balarinji in Japan

INTERIOR AND EXTERIOR VIEWS OF THE BALARINJIEXHIBITION ATTHE GGG GALLERY, TOKYO; INTERPRETER MS YUMI AODA (LEFT)WITH FABRI BLACKLOCK AND ANNE-MARIE VAN DE VEN AT THEEXHIBITION OPENING IN TOKYO. PHOTOS COURTESY GGG GALLERY,TOKYO, AND DAI NIPPON PRINTING CO.

OWERHOUSE WIZARD DR JAMES BRADFIELD MOODY AT THEUSEUM IN 2005. PHOTO BY MARINCO KOJDANOVSKI.


10/14


The model of the Strasburg

Clock, which was to become

one of the Museums most

popular exhibits, was built in

188789 by RichardBartholomew Smith, a Sydney

watch and clockmaker (with

assistance from local

woodcarver James

Cunningham). When the

Museums first curator, Joseph

Maiden, saw the clock he

decided he must have it for

the collection and wrote to

Smith in November 1889

asking if the model was for

sale. Despite initial resistance

from Smith, the clock was

purchased by the Museum in

1890 for 700. For the next 50

years Smith maintained that

the price was too low, though

he was prepared to overlook

this for an opportunity to have

his model on public exhibition,

in an educational

establishment where people

could learn something about

timekeeping, religion,

astronomy and old clocks.

Richard Smith was only 25

years old when he started

work on his model and had

never been to Strasbourg to

see the famous clock on

which it was based. So why

and how did he build it? Weknow for sure that he was

influenced by the work of

Scottish clock and instrument

maker James Ferguson

(171076) as Smith engraved

an acknowledgment to him on

the back of the clock. Recent

investigations have also

revealed another possible

solution to the puzzle. In

December 1886, The Sydney

Morning Heraldcarried an

advertisement for the display

of the only perfect model of

the Great Astronomical,

Mechanical and Apostolic

Clock of Strasburg ever

constructed. The clock was

days tomorrows: the

house Museum and its

rsors 18802005

ME DAVISON AND KIMBERLEYER (EDS)

rating 125 years! Edited by

nt historian and author Graemeon and Powerhouse senior curator

rley Webber, this richly illustrated

ngaging book looks at theums fascinating history. For 125

the Powerhouse Museum and itsrsors have been the place where

e have come to reflect on thend see the future. Yesterdays

rowsinvites you to reflect on then which technology and design

hanged, and are still changing,orld.

AGES, WITH OVER 275 IMAGES,

55.00 SPECIAL PRICE FROMOWERHOUSE SHOP AND

ORDER $49.95 / MEMBERS $44.95

hed in association with University

WPress.

house books are availablehe Powerhouse Shop, good

tores and by mailorder.ore information or to order,

ct Powerhouse Publishing) 9217 0129

ail [email protected]/publications

treasures: from the Benaki

ums in Athens

nating insight into the life andy of the Greek world and its

ssion of colonies and empires

ing eight millennia. Beautifullyted with ceramics, gold jewellery,

extiles, Byzantine painted icons,

ware, ornate weaponry and oilngs.

AGES WITH OVER 160 IMAGES,

45.00 SPECIAL PRICE FROMOWERHOUSE SHOP AND

ORDER $39.95 / MEMBERS $35.95

e the mailorderert in this issue.

a monumental clock

RESTORATION WORK ON THE MUSEUMS MUCH LOVEDSTRASBURG CLOCK MODEL IS DUE TO BE COMPLETED INSEPTEMBER THIS YEAR WHEN IT WILL TAKE PRIDE OFPLACE IN THE GALLERIA.

on display for 32 weeks in

Sydney, and the exhibition,

which was extended twice,

included lectures and a 24

page booklet. It seems highlylikely that Smith saw the clock

during this time and was

inspired to make one of his

own.

Smiths clock was on display

when the Museum opened in

its new premises in Harris St,

Ultimo, in 1893 and quickly

became a favourite with

visitors. It also became the

focus of a long and often

difficult relationship between

the Museum and the model

maker who was by all

accounts a genuine eccentric.

Smith continued to carry out

maintenance work on the

clock until 1939, and also gave

lectures and demonstrations,

which were popular in spite of

the rather erratic nature of his

presentation. He was at

various times banned from

working on the clock following

outbursts and arguments with

Museum staff but it seems not

even the reputedly tough

Arthur Penfold, director of the

Museum from 192955, had

the heart to enforce the ban

permanently.

In July 2002, after being on

display almost constantly for

115 years, the clock was

removed for extensive

restoration. Since then

conservator Keith Potter has

been kept busy cleaning and

lubricating the entire

mechanism and returning to

working order some features

that have not operated for

many years. These include two

cherubs that stand beside the

clock face: one which strikes

a gong on the quarter hour,

the other a sand glass. A

crowing cock that

accompanies St Peters denial

of Christ during the apostolic

procession at the top of the

clock is another welcome

return.

Various original working parts

that have been replaced for

conservation reasons will also

be displayed alongside the

clock. Of particular interest will

be the notes that Smith

engraved on these devices

over the years, which act as a

diary of his work. In one

engraving Smith writes: This

piece of mechanism has

become [unworkable] after

being in the hands of a

plumber named Rumsey for

about 16 years who

completely destroyed many

parts of this mechanism.

(Obviously written after a

period when Smith was

persona non gratawith staff at

the Museum.) On another we

see a plaque that Smith

installed acknowledging his

debt to various gentlemen

who had assisted with

restoration work on the clock.

Some of the names were

subsequently scratched out

by Smith, apparently after

disputes regarding the

working of the clock.

Smith died in 1942, a colourful

character who left animportant legacy to the

people of Sydney and beyond.

The clock, which is described

affectionately by Keith Potter

as more logical horror than

horological, is without doubt

one of the Museums most

loved treasures. Visitors will be

able to see it restored to its

original glory from September

this year on level 4.

Des Barrett, Curator,

Engineering and Design, with

additional information by

Keith Potter, Engineering

Conservator.

FROM TOP LEFT: THIS PHOTO OFRICHARD SMITH APPEARED WITH ANARTICLE BY HIM IN A 1900S EDITIONOF SCIENTIFIC AMERICA. SMITHANNOTATED HIS COPY OF THEARTICLE WITH NOTES ABOUT THEMAKING OF THE CLOCK; THESTRASBURG CLOCK; THE FIGURE OFTHE CHILD, THE FIRST OF THE FOURSTAGES OF MAN, WHICH APPEAR INROTATION EVERY QUARTER HOUR;CONSERVATOR KEITH POTTER ATWORK ON THE CLOCK. PHOTOS BYMARINCO KOJDANOVSKI.

NEWR

ELEASESFROM

POWERHOUSEPUBLISHING

Remember!Membersreceive10%

discountonalltitlesfromt

hePowerhouseShopandmailorder.


11/14


d 2004 the Powerhouse Museum began one of

rgest museum storage relocation and

olidation projects ever undertaken in Australia.

wn as the PATH project (Powerhouse at the Hills), it

ved moving about 20 000 objects comprising

of our collection, in terms of bulk rather than

r numbers from rented premises in the city to

purpose-built storage facilities at Castle Hill. Cars,

e-drawn vehicles, buses, fire engines and model

g ships were among the objects being moved

g the project.

ew state-of-the-art stores at Castle Hill join five

s already on the site and mean that, for the first

since the 1940s, the Museums entire collection

e housed in premises that are owned and

ated by the Museum.

about 5% of the Museums vast collection

t 350 000 objects is on display at any one

Until work began on the PATH project, objects not

splay were stored in three separate locations

ss Sydney in a variety of specialised museum

s and warehouses totalling 15 000 square metres.

st from its inception the Museum has grappled

he problem of inadequate storage. The

nological, Industrial and Sanitary Museum grew

f the 1879 International Exhibition at the Garden

ce in Sydneys Botanical Gardens, which burnt to

the ground in 1882. The fledgling Museum was

subsequently housed in the Agricultural Hall little

more than a tin shed in the Domain. Within two

years the Museum had outgrown the shed and by 1888

attendance was declining because the building was

too cramped to put many of the objects on display.

Relief came in 1893, when the Museum was renamed

the Technological Museum and moved to new

premises in Harris Street, Ultimo. With space once

again, the Museum collected objects both familiar and

exotic. Chinese musical instruments, Australian

decorative arts, Japanese swords, model locomotives,

reproductions of the 'treasures' of Europe and the

latest in technology these were the drawcards that

kept visitors flowing in.

By 1945, when the Museum became the Museum of

Applied Arts and Sciences, the collection had grown to

such an extent that exhibition and storage areas were

again becoming overcrowded. Several off-site

warehouses were used to house the rapidly expanding

collection.

The situation was critical by the time the NSW state

government announced in 1979 that the Museum would

move to the disused Ultimo power station and tram

shed site just up the road from its Harris Street

building. At this time the collection was stored in the

top floor attic of the old building in Harris Street and in

three off-site stores at Redfern, Alexandria and

Arncliffe. The Redfern store was part of a modern

building and was clean and air-conditioned. This store

was used to house many of the small and fragile

objects. The Alexandria store was a converted wool

shed and the Arncliffe store was a disused factory.

Both these stores were far from what could be

considered ideal storage conditions for Museum

objects.

The refurbishment of the old tram shed in the early

1980s included new facilities for more appropriate

object storage. This combined with newly leased

premises in Jones Street, Ultimo, and the construction

of stores at Castle Hill allowed the Museum to

consolidate its storage in three locations. The

Museums Castle Hill property had previously served

as a eucalypt plantation and scientific research centre

until the 1970s.

Broadly speaking, the collection falls into three distinct

areas: decorative arts and design, social history, and

science and technology. The decorative arts

collections tend to be the smaller and more fragile

parts of the collection and these objects are mostly

stored in the on-site store at the Museum. The science

and technology parts of the collection tend to be the

bulkier items and mainly reside in off-site stores. The

social history collections are shared equally between

on and off-site stores.

he path to Castle Hill

HE PATH PROJECT HAS CREATED STATE-OF-THE-ART STORAGEACILITIES FOR THE MUSEUM. IT WILL OPEN TO THE PUBLIC IN006 AND DISPLAY A RANGE OF STRANGE AND MAGNIFICENTBJECTS, SOME NOT SEEN FOR HALF A CENTURY OR MORE.

The lease on Jones Street was due to expire in late

2005, so in early 2002 the Museum began to look

again at various storage options. Expanding facilities at

the 2.8 hectare Castle Hill site, which already housed

some of the largest objects in the collection, was the

preferred option. The NSW state government

subsequently allocated 12 million dollars to construct

two new state-of-the-art object stores, to supplement

the existing five stores on site. Construction of the new

stores began in June 2003 and was completed ahead

of schedule in June 2004.

During the construction stage, planning for the

relocation of the collection from Jones Street to Castle

Hill began. This involved a total survey of the storedcollection at both Jones Street and Castle Hill to

determine the criteria for how the collection would be

stored. We needed to know the volume, method of

storage and which collection areas the objects fell into.

For the first time in its history, the Museum has had

the opportunity to rationalise its approach to storage

and create a more logical arrangement of objects.

Previously objects in off-site stores tended to be

stored where they would fit. This project enables us

to store the objects by collection type, which

inevitably makes the collection more accessible to

Museum staff, researchers and the public.

Many of the objects located at Jones Street and

Castle Hill have not been seen for many years as they

have been stored in old packing crates. The PATH

project is using this opportunity to unpack crates and

identify the contents. In the process many strange and

amazing things have come to light. These include an

old model of Christopher Columbus ship the Santa

Maria that is actually a valve radio with part of the

rigging forming the aerial. The dilemma about this

object is whether it should be stored with the other

ship models or with the radios! Other remarkable

objects found were a very old timber model of

Pyrmont Bridge and a sectioned full-size rocket with

transparent panels so that you can see how it works.Televisions that were stored on pallets high in the

racking of G store have been photographed and

many will find their way into the upcoming exhibition

celebrating 50 years of television. Approximately 60

vehicles have been moved to Castle Hill including

cars, horse drawn vehicles and a solar car. Steam

traction engines, buses, Harrys Caf de Wheels and

a fire engine have also been moved into the new

display store.

In late 2003, the Museums new collection information

database program (EMu) came online and we saw the

PATH project as an ideal opportunity to check and

update a large number of object records and add

digital images of objects to the electronic database.

With current advances in technology, we have also

introduced portable computing into the stores using

personal data assistants. These PDAs are connected to

a wireless link allowing the PATH team to relocate

objects from the floor live using barcodes on the

object and the location. This has made object

movement and tracking more accurate as well as

increasing efficiency.

Two small enthusiastic teams including registrars,

conservators and project officers, many of whom are

new employees to the Museum, are carrying out the

relocation. One team is based at the Jones Street

store and is responsible for the processing, packingand preparation for transport of the objects to Castle

Hill. The second and smaller team is based at Castle

Hill and is responsible for putting the objects into their

final locations as well as the movement of objects

between stores at Castle Hill.

The PATH project will conclude by the end of June

2005 and from July the store will become fully

operational as the Museums Collection Access and

Support Centre, the focus for documentation and

preservation of the Museums extensive collection. It is

anticipated that the display store will be open to the

public from mid 2006 and will present new and

exciting challenges for the future.

SING A FORKLIFT, PATH PROJECT OFFICERARAH MILGATE REMOVES A SURF REELONATED BY SOUTH CURL CURL LIFE SAVINGLUB FROM RACKING AT THE JONES ST STORE.

THE SURF REEL IS TAGGED AND PHOTOGRAPHEDPRIOR TO BEING LOADED ONTO THE TRUCK FORTHE TRIP TO CASTLE HILL.

THE SURF REEL IS UNLOADED AT THE DOCK OFCASTLE HILLS NEW H STORE.

PATH PROJECT OFFICER SKYE MITCHELL USES ABARCODE SCANNING POCKET PC TO ENTERLOCATION DETAILS FOR THE SURF REEL IN ITSNEW HOME ON LEVEL 2 OF H STORE.

A BIRDS EYE VIEW OF LEVEL 2 OF H STORE ATCASTLE HILL. THESE SHELVES WILL BE FILLEDWITH RARELY SEEN OBJECTS FROM THECOLLECTION WHEN THE PATH PROJECT ISCOMPLETED.


12/14

powerline winter 05 + 23 powerlinewinter 05

bservingoyalty

Junesplanetaryhuddle

A handsome prince, a beautifulprincess ... and a happy ending

nwich and Paris

ervatories may be used to

ving kings and queens

or Sydney Observatory it

a very new experience

n on Monday 7 March

n Prince Frederick and

alian-born Princess Mary

enmark visited to unveil a

of Hans Christian

rsen as part of his 200th

birthday celebration.

l Fort Street primaryol students greeted the

couple with drawings of

ale characters, the Army

played anthems, and the

abarra Indigenous dance

p performed a ceremonial

e. Over 250 VIP guests

an estimated audience of

ncluding office workers

nch break, royal watchers

ocal residents, enjoyed

erfect weather and views,

of the romantic couple

he harbour.

City of Sydney Lord Mayor,

Clover Moore, welcomed the

royal visitors and suggested

that the journey to the of ficial

unveiling of the Hans Christian

Andersen bust, the original of

which was stolen in 1984, was

not unlike one of Andersens

fairytales: It has a handsome

prince, a beautiful princess

a mysterious disappearance, a

search far and wide and a

happy ending.

The royal couple enjoyed a

tour of the Observatory and

then lunched with guests,

including Powerhouse director

Dr Kevin Fewster and

Australian Hans Christian

Andersen ambassadors

children's author Mem Fox, TV

personality and Powerhouse

trustee Andrew Denton, author

Bryce Courtenay and actor

Geoffrey Rush.

Toner Stevenson,

Manager, Sydney Observatory

In late June three bright

planets engage each other ina complex celestial dance as

they bunch together low in the

western sky. These close

approaches, or conjunctions,

of Mercury, Venus and Saturn

on the 26th and 27th of the

month will be one of the

highlights of this years

celestial calendar.

In the middle of June the

elusive innermost planet

Mercury appears just above

the north-west horizon. Each

night after it first appears,

Mercury moves closer to

Venus, which in turn climbs

higher towards Saturn. On 26

June the climbing duo will

pass by the ringed planet at a

separation of less than three

moon-widths. By the nextevening they are a little further

from Saturn, but Mercury will

be so close to Venus that you

may not be able to sep arate

the two planets without a

telescope.

The last time these planets

could be seen from Australia

less than two moon-widths

apart was over 150 years ago.

Such groupings of the planets

can provide a spectacular

sight, however to see them

close together you will need to

find a spot with a view towards

the north-west horizon not

blocked by shrubs, trees or

houses.

Nick Lomb,

Curator of Astronomy

ob

serve+

N MARCH THIS YEAR THE OBSERVATORYWELCOMED A STELLAR COUPLE.

A SOLAR SYSTEM MONTAGEFEATURING THE RINGED PLANET,SATURN. NASA.

THE POWERHOUSE MUSEUM GRATEFULLY ACKNOWLEDGESTHE SUPPORT OF THE FOLLOWING ORGANISATIONS

BOMBAY SAPPHIRE

SYDNEY DESIGN 05

ENGINEERS AUSTRALIA, SYDNEY DIVISION

ENGINEERING EXCELLENCE 2004

INDESIGN MAGAZINE

D FACTORY

MINCOM LIMITED

LIFE FELLOWS DINNER 2004

NIKON

SYDNEY OBSERVATORY

RAILCORP

LOCOMOTIVE NO 1

SBS RADIO

GREEK TREASURES: FROMTHE BENAKI MUSEUM IN ATHENS

SOUNDHOUSE MUSIC ALLIANCE

SOUNDHOUSE MUSIC & MULTIMEDIALABORATORY

TRANSGRID

PACIFIC SOLAR PROJECT

WESTRAC

OUR PLACE: INDIGENOUSAUSTRALIA NOW

YAMAHA MUSIC AUSTRALIA

YAMAHA DISKLAVIER GRAND PIANO

ARAB BANK AUSTRALIA

THE CURIOUS ECONOMIST:WILLIAM STANLEY JEVONS IN SYDNEY

NOVOTEL SYDNEY ON DARLING HARBOUR

OFFICIAL SYDNEY HOTEL

NSW TREASURY


RESERVE BANK OF AUSTRALIA


SYDNEYS CHILD

TOYS: SCIENCE AT PLAY

THE POWERHOUSE MUSEUM IS ASTATUTORY AUTHORITY OF, ANDPRINCIPALLY FUNDED BY,THE NSW STATE GOVERNMENT.

CASINO COMMUNITY BENEFIT FUND NSW

AUSTRALIA COUNCIL FOR THE ARTS

AUSTRALIAN RESEARCH COUNCIL

DEPARTMENT OF ENVIRONMENT ANDHERITAGE

DEPARTMENT OF FOREIGN AFFAIRSAND TRADE

BOEING AUSTRALIA

PDC CREATIVE

SPORT: MORE THAN HEROES & LEGENDS THE LORD OF THE RINGS MOTIONPICTURE TRILOGY THE EXHIBITION

DICK SMITH AUSTRALIAN EXPLORER BELL206B JETRANGER III HELICOPTER

INTEL YOUNG SCIENTIST 2004,SOUNDHOUSE AND ONLINE PROJECTS

COLES THEATRE, TARGET THEATRE,GRACE BROS COURTYARD, K MARTSTUDIOS

ECOLOGIC: CREATING A SUSTAINABLEFUTURE

STEAM LOCOMOTIVE 3830STEAM LOCOMOTIVE 3265

POWE RHOUS E W IZ ARD GREE K T REAS URES : FROM T HEBENAKI MUSEUM IN ATHENS

OUR PLACE: INDIGENOUS AUSTRALIA NOW

+principal partners

+senior partners

+partners +supporters

+platinum corporate members +gold corporate members +silver corporate members

+ state government partners

DICK SMITH

+australiangovernment partners

FOR MORE INFORMATION ON SPONSORSHIP OPPORTUNITIES AND GIVI NG TO THE POWERHOUSE MUSEUM PLEASE CONTACT MIRANDA PURNELL ON (02) 9217 0577.

THE LORD OF THE RINGS MOTIONPICTURE TRILOGY THE EXHIBITION


SYDNEY DESIGN 05


GREEK TREASURES: FROMTHE BENAKI MUSEUM IN ATHENS

POWERHOUSE MUSEUM @ CASTLE HILL

2DESIGN

ARAB BANK AUSTRALIA

CAPITAL TECHNIC GROUP

DUNLOP FLOORING AUSTRALIA

MACQUARIE BANK FOUNDATION

NSW DEPARTMENT OF LANDS

PETTARAS PRESS

STREET VISION

TAFE NSW: SYDNEY INSTITUTE

THE RACI INC, NSW BRANCH

THOMSON TELECOM AUSTRALIA

WEIR WARMAN LTD

BRUCE AND JOY REID FOUNDATION

GORDON DARLING FOUNDATION

SUNTORY FOUNDATION

VINCENT FAIRFAX FAMILY FOUNDATION

EBSWORTH AND EBSWORTH

INTEL AUSTRALIA

MASSMEDIA STUDIOS

MULTIPLEX

NHK TECHNICAL SERVICES

ANNE & ALAN SLADE

ANONYMOUS

MR W L CHAPMAN

DR K FEWSTER AM & C SCOTT

THE GREATOREX FOUNDATION

JEWELLERS & METALSMITHS GROUPOF AUSTRALIA, NSW INC

JANET MCDONALD A0

P MILNE

MISS SUSAN NICHOLSON

RICHARD POTTER & SARAH LANCE

WILLIAM SAWAYA

MARGIE SEALE & DAVID HARDY

TRUST CO OF AUSTRALIA LTD

DR K M WEBBER

B J WILLOUGHBY

KYLIE WINKWORTH

+the powerhouse foundation

+foundations

CROWN PRINCE FREDERICK AND PRINCESS MARY GET A ROYAL WELCOMEAT SYDNEY OBSERVATORY. PHOTOS BY MARINCO KOJDANOVSKI.


13/14

Give a gift membership

treasures: from the Benaki

m in Athens

4, UNTIL 4 SEPTEMBER 2005

one of the w orlds most renownedtions, this exhibition features

ks and artefacts spanning 8000of Greek history including

ics, gold jewellery, Byzantined icons, metalware and oil

ngs.

& Co

4, FROM 18 AUGUST 2005

he collection of the Art Gallery of

Austraila, furniture, tapestries,ideries, curtains, fabrics, carpets,

s and wallpapers designed andn the workshop of William Morris

y designers unplugged: people,

ss, produc

Documents

Powerline Winter 2005