Hugh Lennon began making ploughs in Carlton from 1960 and within 10yrs the patented steel plough ,suitable to Australian conditions was outselling all imported cast iron mouldboard ploughs. This general purpose mouldboard plough was used to form the streets in Yarrawonga during the 1880's........from James A. Irwin of Oaklands [formerly Lake Rowan] "This plough was used by William Christians and John Holmes [Jim Irwin's father -in-law]when they worked on the formation of Belmore St, Yarrawonga" circa 1880- 1890'sThe early settlers [1870] used this type of plough pulled by one horse.to prepare their ground for wheat sowing. From the early 1880's the double -furrow plough came into general use, pulled by 2 horses. Being a wheeled machine, it allowed the ploughman to sit on the plough and save miles of walking during ploughing operations. Over the years ploughs became bigger, and needed more horses to pull them.

Jacket, tie, belt, cap and gloves. Shirt, spare tie and trousers.Badge - RM Carlton

Sent home from Egypt to Melbourne in 1916Card envelopeSouvenir of Cairo. On active service. Addressed to Mrs J Willis, c/- Mrs Mitchell, 475 Station Street, North Carlton. Australian post office stamped 31/1/1916

Students and teachers in the garden of Bialik Hebrew Kindergarten in Carlton North, c. 1940s. The students are wearing crowns and it could possibly be a Purim celebration. Please contact [email protected] to request access to this record. drummond street, elc

Possibly staff or Council members at a special occasion with the school's Rabbi in Carlton, c. 1940s. Please contact [email protected] to request access to this record.kindergarten, hebrew, drummond street

Students sitting on the front steps of the main building holding the school banner, on the day of the opening of the Shakespeare Grove campus, 17 February 1963. The students are dressed in full school uniform including Bialik logo caps for the boys and Bialik logo berets for the girls. Please contact [email protected] to request access to this record.This photograph is culturally significant because it is the first professionally commissioned photographs of the school during its opening day at the Shakespeare Grove, Hawthorn school site. This is significant as the school officially opened an early learning centre (kindergarten) and primary school on this day 17 February 1963 after recently closing the Drummond street, Carlton campus. This is one of the first photographs taken at Bialik College's second school site where considerable investment was made by the community to build a larger school on a new campus with modern education facilities and more classrooms for the first time at 6 Shakespeare Grove Hawthorn.events, 1960s

The young lady in the photograph is Sophia Alice Victoria Benzley who was born on 16th December 1974 at he Gap and died in Carlton 0n 12 December 1956 at Sandringham. At the age of twenty five she married Norman henry Hallo in 1897 at Carlton. The couple had eight children. They were Hilda b. 1899, Norman 1901 - 1979, Olive 1903 - 1958, Howard b.1905, Thelma b. 1907, Leonard b. 1911, Beryl b. 1913 and Constance b. 1916. The Benzley family acquired land and settled in Sunbury in the mid 1800s. Later generations of the family lived at 7 Barkly Street opposite the former Sunbury State School and had a little shop. The Benzley family were farmers and business people who settled in Sunbury from the 1850s onwards.A sepia studio photograph with a cream border of a young lady taken in the late years of the 19th century.benzley family, sophia alice victoria benzley

The Fashion Design Council (FDC) was founded by Robert Buckingham, Kate Durham and Robert Pearce in 1983. This issue of the Fashion Design Council of Australia Newsletter describes the role, purpose and motivation of the FDC. It also lists the programme of events for November 1984 - September 1985 and includes minutes of the General Meeting held 16th June 1984. The newsletter was designed by graphic designer, Robert Pearce. The FDC ceased operation in 1983, and its archive of some 1,500 artefacts is held at the RMIT Design Archives.The Fashion Design Council of Australia Newsletter. It describes the role, purpose and motivation of the Fashion Design Council. It also lists the programme of events for November 1984 - September 1985 and incudes minutes of the General Meeting held 16th June 1984.fashion design, australian fashion, graphic design

The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives

Cash's first began manufacturing name tags, woven badges and woven labels in Australia in 1913, and since then countless Cash's labels have been sewn onto school and club jumpers. The Boy Scouts commissioned this point paper design featuring a boy, puma and snake. It is inspired by imagery from Kipling’s Jungle Book.Point paper design featuring boy, puma and snake. Corresponding clothing label attachedtextile design, design

Cash's first began manufacturing name tags, woven badges and woven labels in Australia in 1913, and since then countless Cash's labels have been sewn onto school and club jumpers. Point paper design featuring map and flag. Corresponding clothing label attachedtextile design, rmit design archives

In 1969 RMIT lecturer Gerard Herbst arranged an exhibition the work of his Industrial Design students at the NGV’s Design Centre. In ‘Design with Paper' the students explored the characteristics of a sheet of paper, an exercise based on similar ones set by Josef Albers at the Bauhaus, Germany and Black Mountain College, USA. The exhibition attracted press attention, Bulletin critic Brian Hoad noting You are told that in the tradition of Gropius and his Bauhaus experiments of the ‘twenties they are attempting to bridge the gulf between the fine arts and the technical crafts to produce one day from among their numbers a new type of creative thinker. Photograph featuring students in 'Designs Performing' exhibit. Students are from the RMIT Industrial Design course.design, rmit university, bauhaus, industrial design

Gouache on paper illustration of a woman from Pátzcuaro region, Michoacán, Mexico, by Mexican fashion illustrator Alfredo González Bouret (1926-2018). Likely created in 1953, prior to being exhibited in Mexico and Paris in 1954. From the Patzcuaro region of Michoacán state, Mexico, this woman wears a wide-brimmed 'sombrero' on top of her 'rebozo' - a long rectangular shawl made of wool or cotton with an intricate hand-knotted pattern, popular throughout Mexico. Her hair is held away from her face, likely in long plaits down her back in the traditional style of the region. Her ears and neck are decorated with long earrings and strings of beads, while her plain white blouse is tucked in to a bright red 'refajo' skirt, gathered at the waist by a textile belt with geometric designs. In her hands she holds long-stemmed lilies. While resembling other illustrations of fashion from the Patzcuaro region, this costume stands out for the bright colour of the skirt, and the lack of embroidered decoration on the blouse. Rebecca Lloyd, 2019.Mounted painting of a woman in traditional regional dress from the Patzcuaro region of Michoacán, Mexico. Gouache on paper, c.1953.Signed in green paint, bottom right, 'AG Bouret'.mexico, 1953, fashion design, painting, illustration, mexican, fashion illustration, dress

The Shine Dome is one of seven projects that the Royal Australian Institute of Architects has nominated to the World Register of Significant Twentieth Century Architecture. In 1956 six architects were invited to submit plans for the Academy of Science's new building in Canberra and the Academy's building design committee selected Grounds Romberg and Boyd's proposal designed by Roy Grounds. It features a shallow arcaded concrete dome, sheeted in copper and was one of a number of domed buildings that appeared around this time internationally, expressing the optimism of the post-war years. It perfectly reflected the Academy's ambition to champion excellence in Australian science and promote international scientific engagement. Paul Wallace, a well-known Melbourne renderer, drew this perspective of the proposed design, possibly for the competition submission, in 1956.Coloured perspective of the Academy of Science buiding in Canberra.Printed text on attached sticker, 'ACADEMY OF SCIENCE, CANBERRA / 1958 / Grounds, Romberg and Boyd, / Architects'. Printed centre on verso, 'ACADEMY OF SCIENCE CANBERRA GROUND, ROMBERG AND BOYD ARCHITECTS 340 ALBERT STE., MELBOURNE C2'.science, canberra, architecture, rmit design archives, design

Robin Boyd’s unbuilt scheme for two residential towers for Carnich Pty Ltd in East Melbourne is one of his most striking late projects – remarkable for its daring scale, its indebtedness to the megastructural polemics of Paul Rudolph and Japanese Metabolism, and its prescience – a high-rise apartment building now sits on the same site. The drawing is spectacular: trays of space are held aloft on angled concrete props that branch off trunk-like vertical slabs. With balconies and spandrels highlighted in white, the scheme’s dynamism echoes El Lissitzky’s mad Wolkenbugel (‘Skyhooks’) while also signalling a tragic last hurrah before Boyd’s 1971 death. Philip GoadIncludes sketch of two structures and surrounding flora.Inscribed upper left of recto, "ROBIN BOYD'S SKETCH FOR / COMBINED PROJECT 60-64 / CLARENDON ST. + CORNER SITE"architecture, mid-century modern, emigre, rmit design archives

This plan of Lum Road Estate includes layout of roads, gardens, building and carparks. From 1970 until August 1971 Robin Boyd and his practice Romberg & Boyd Architects worked on designs for housing on the Lum Road Estate, Wheelers Hill. Berenice Harris, Linley Vellacott and Karl Fender drew many of the sketch plans for the project homes, while Robin Boyd drew the perspectives. This colour plan of the estate was drawn by Robin Boyd, but not signed. Frederick Romberg later annotated the drawing with details of its authorship. Colour plan of Lum road estate. Includes layout of roads, gardens, buildings and flora.Inscribed lower right on recto in black ink, 'Robin Boyd original / 12/6/86 F.R' ; Inscriber upper left on recto, grey pencil, '3400'.architecture, design, rmit design archives, domestic architecture

architecture, domestic architecture

architecture

Site plan drawing of the Shepparton Aboriginal Arts Council building, now known as the Bangerang Cultural Centre. The building is located in the Parkside Gardens, formerly the Shepparton International Village, and is the first Aboriginal cultural museum developed and managed by the Aboriginal community. The building is part of the Victorian Heritage Register. Romberg designed the building in conjunction with project instigator and Bangerang Elder, John Sandy Atkinson, OAM. At the request of Romberg, Atkinson created some concept sketches for the building from which Romberg designed the finished structure.Site PlanInitialed in grey pencil, bottom right: 'F.R'architecture, museum

Eric Thake had a unique way of looking at the world, uniting a singular vision that found the extraordinary in the everyday, with a whimsical sense of humour and refined modernist aesthetic. One of his lesser-known commissions was a mural for the Victorian Manager’s office at the ETA Factory in Braybrook designed by Frederick Romberg in 1957. Photographed here by Kenneth Ross, the mural depicted a stylised map of Australia, with Indonesia above and New Zealand to the south, and showed the peanuts and other raw materials that ETA used in the production of various foodstuffs against a striking and entirely gilded wall. Kirsty Grant, 2017 Black and white photograph of a mural by Eric Thake in the manager's office at the ETA Factory, Melbourne.Typed lower center, 'ETA FACTORY 1961/ MURAL BY ERIC THAKE/ IN MANAGER'S OFFICE'eta, mural, braybrook, manufacturing, architecture, artist

The GE12 Electric Kettle was designed by Barry Hudson for General Electric and in 1978 won the Australian Design and the Prince Philip Prize awards for Australian Design. The kettle was innovative in many ways; it was an early example of an all plastic electric kettle with a single-handed opening-spout. According to design historian Ian Wong ‘The use of an integral hinge for the spout opening mechanism utilised the unique live hinge property of polypropylene, now common but at the time a novel use and very efficient to manufacture.’ The kettle was available in Carpentaria Orange, Blaze Yellow and Lime Green with a contrasting base. Barry Hudson (1935-2008) studied Mechanical Engineering at the Melbourne Technical College (MTC). In the 1970s he was Research and Development Manager at General Electric, and he also worked with the industrial design practice Rosenfeldt, Gherardin and Associates. He established Barry Hudson Industrial Design in the 1980s and began a teaching career at the former MTC, now known as RMIT University. Ann Carew, 2020 1978 the Kettle won an Australian Design Award and the Prince Philip Prize for Australian Design.Orange and brown electric kettlekettle, industrial design, rmit university, domestic appliances

Michael O’Connell (1898-1976) arrived in Melbourne in 1920 with no professional training apart from that of a soldier on the Western Front. During the 1920s however he discovered a talent for design and, returning from a visit home to England via France and Italy in 1929, focussed on textile design with his wife Ella. This fragment of a wall hanging shows clear indebtedness to the School of Paris, Matisse in particular, and other designs from the early 1930s indicate that O’Connell was familiar with the work of Raoul Dufy who had created some successful and popular fabric designs for Paul Poiret.Textile piece featuring women and geometric patterntextile design, rmit design archives, mid-century modern

A 10 piece set of calico pattern pieces for a dolman sleeved cocktail dress, unpicked after being sewn together and fitted. Notes along the hemline guide the maker in alterations that can be made, turning the cocktail dress into a full-length evening gown. With this toile, only one side of the garment has been made.ink, cotton

Emigre Frederick Sterne set up a four-year Interior Design program for the Melbourne Technical College c. 1948. It was the first program of its kind in Australia, On the cover the hand-written words ‘Interior Design’ have a sense of pride in their hand and the drawing of an interior – probably Sterne’s – emerging from the drawing board illuminated by artificial light that projects a future. Suzie Attiwell, 2017interior design, rmit university

The Gown of the Year Program was a gala event in Melbourne's cultural calendar. Australia's supermodels of the day, such as Diane Masters (pictured), Bambi Shmith, and Betty Jackson modelled clothes by Melbourne's leading designers, Hall Ludlow, Le Louvre, and others. Diane Masters has played a seminal role in contributing to the Design Archives through her personal and professional fashion archive, her role in the Hall Ludlow collection and archive, the Laurie Carew collection, and her generosity in gifting items from the Frederick Romberg archive to the RMIT Design Archives. She has been and remains a key figure in Melbourne and Australian fashion. Suzanne Davies, 2017Black and white photograph features fashion designer Hall Ludlow (right), holding his trophies for winning the 1959 Gown of the Year at the Menzies Hotel, Melbourne. Model Diane Masters (right) is wearing the winning gown: a pale full length gown with short sleeves, scoop neck, and ruffled skirt. The matching coat also features small ruffled down its length.Verso: Stamped in black ink, bottom right: 'Photographed by/ ATHOL SHMITH/ F.R.P.S . . F.R.S.A/ 125 COLLINS STREET, MELBOURNE/ TELEPHONE MF 5[illegible]4australian fashion, fashion design, mid-century modern

Drawing of styling proposal for HJ Monaro coupeSigned lower right, 'ZMOOD'automotive, design

The name of this chair, Lepidoptera, refers to the insect species of moths and butterflies as LeAmon drew upon the anatomy of a butterfly to develop the concept of the chair?s structure, colour and pattern. Another key feature of the design was the use of textile remnants from automotive textile manufacturer Autofab,recalling LeAmon's redeployment of leather offcuts from the manufacture of cricket balls to make her 'Bowling Arm' series of bangles.industrial design, furniture

Abyss Studio was one of a number of fashion labels established by Sara Thorn and Bruce Slorach in the 1980s and 1990s. From 1986 to 1992 the pair also operated the Galaxy Emporium where they stocked their own designs as well as those of fellow Fashion Design Council members. Abyss was a street wear label and, like many independent designers at the time, was concerned with creating culture through clothing.T-shirt featuring 'Daisy Bone' and mouse printaustralian fashion, fashion design

graphic design