Dick de Fegley who was on the University of Ballarat Council was highly involved with the development of Gum San Museum. University of Ballarat is a predecessor of Federation University.A3 document containing plans and information pertaining to the development of Gum San Chinese Heritage Museumdick de fegely, gum san chinese heritage museum, challis design, ararat chinese heritage society

The concept design for the new Nunawading Community Hub built on the former Nunawading Primary School site will be on display at an upcoming community information day.nunawading community hub, nunawading primary school no. 4190

Presentation featuring 'Billi' water dispenser design conceptsink, paper

Panel from the exhibition held to celebrate the College's 70th anniversary in 2012. Architectural concept design for Early Learning Centre - Ron Unger Architects. Please contact [email protected] to request access to this record.elc, kindergarten, drummond street carlton, shakespeare grove, wantirna, history, 2000s

Beginning as sketchbook drawings at the park, this artwork is based upon a series of site drawings that map the landscape around Yambla Pavilion. Views from around the walking tracks and ovals are sketched from a range of perspectives. The drawings capture a mix of viewpoints across the site, coming together to form a shared landscape. It celebrates the ways the community collectively uses the park, the pavilion, the oval, the seating and shared facilities, highlighting how these spaces foster connection and bring people together. The fabrication process involved taking elements away from sheets of aluminium, revealing the drawing as the metal was removed. This process is a nod to the previous use of the site as a quarry, where materials were taken away to then create something new. Small off-cuts from the fabrication process are installed around the pavilion, adding to the space and extending the interplay of positive and negative form. The colours in the artwork are two-toned: the background a deep forest green to tie the artwork into the surrounding environment, with a dusty pink powder coating, a soft welcoming colour that aims to promote inclusion and create a public artwork that feels inviting to all.‘View Point’ is an integrated artwork that meaningfully engages with the Yambla Pavilion site and reflects the diverse communities that utilise its facilities. Its conceptual and artistic delivery is strongly aligned with the commission objectives outlined in the Yambla Concept Design Brief. ‘View Point’ (2026) was commissioned by Yarra City Council (Council) as part of the Yambla Pavilion redevelopment project, in accordance with Council’s Public Art Policy 2015-2020 Percent for Art scheme. The artwork consists of 1000mm high laser-cut aluminium panels that depict sightlines observed and sketched by the artist on site at Quarries Park, March 2026. It features floral, landscape and architectural motifs in a dusty pink hue against a forest green background. N/Aanimals, flora, cities, park

This drawing was done by Andy Freer, founding member and Artistic Director of Snuff Puppets. It forms part of the creative process to develop a new show, 'Forest in the Night', exploring themes of evolution, chaos theory, Darwinism and the survival of the fittest. More than 25 puppets were created and transformed into new strange creatures. This drawing was submitted as part of a pitch to the 1995 Melbourne International Festival of the Arts program, where it was performed as a large outdoor spectacle in the round. Please visit http://www.snuffpuppets.com/shows/Forest_in_the_Night for more information.The significance of this drawing is that it is a rare, original demonstration of the creative development processes of Snuff Puppets' unique puppet creation and building.A black ink drawing on A5 paper detailing the creative concepts for puppet design and development for a new production entitled 'Forest in the Night'art, environment, ink drawing, snuff puppets, puppetry, theatre, creative, puppet, performance, imaginery

Electronic, visual arts, research publication around "hearing loss and deafness", interactive CD Rom. Blue paper sleeve housed in yellow plastic case. CD printed black and blue.non-fictionElectronic, visual arts, research publication around "hearing loss and deafness", interactive CD Rom.university of ballarat, federation university, graphic design, drawing, research, hdr, mt helen, school of arts, hearing loss, deafness, loris button, ross morgan, amanda george

2 sest of Concept Plans for the design of a Pruning Garden in the Field Station. (1) Pencil drawing on tracing paper, "Pruning Garden Field Station." (2) On tracing paper, "Concept Plan Pruning Garden Field Station VCAH Burnley 25.03.1995 by "JK". (3) 3 copies of (2) on paper. (4) 4 reduced size copies with some annotation. (5) Typed list, "Plants for Pruning Garden." (6) Tracing paper copy, Pruning Garden VCAH Burnley, Aug 1985. Scale 1: (7) Hard copy of (6).pruning, field station, vcah, burnley, gardens, jill kellow, experimental work on fruit trees

Their polished wood finish appears to be original to their date of manufacture during the 1960s‐70s. They were located in the head keeper’s and assistant keepers’ quarters, where their use for office purposes also may have crossed over to a domestic function. In the post‐war years the Commonwealth Lighthouse Service (CLS) introduced modern, low‐cost furnishings to lightstations. Most notably, it commissioned a number of light, compact and functional items in bulk from émigré designer, Steven Kalmar (1909‐ 1989), who played a significant role in popularising modernist design concepts in Australia and drew his ideas from Scandinavian and American design trends. Born in Hungary, he trained as an architect and his contemporary affordable furnishings were especially suitable for the open‐plan houses being built in Australia’s new post‐war suburbs. It is not known whether the bookcases bear the Kalmar label, but the design, particularly the legs and bar bracing, is a signature style that is associated with his Sydney‐based firm, Kalmar Interiors. The CLS supplied the same bookshelves to a number of other lightstations, including Point Hicks, Cape Otway and Gabo Island, as well as other types of furnishings such as tables and cabinets. The bookcases have first level contributory significance as examples of the modernist furnishings that the Sydney‐based firm, Kalmar Interiors supplied to the Commonwealth Lighthouse Service in the post‐war years.The bookcases stand at about bench level and are almost square in dimension. They have two adjustable shelves as well as the base shelf and stand on legs supported by a single stretcher with a polished wood finish.

Merle Hall Collection: Rosalind Park Creative Village Bendigo Project Book. August 1995 Book contains a description, aims of the programme and a linking plan. 35 Pages: Cover Introduction, The Design Team, Acknowledgement Project Brief Map of Linked Park The Linking Plan described Linking plan graphic Golden Beacon Design Concept Bridge Beacon Entrance to Linear Park Gasworks Café Pavillion Gasworks layout plan Golden Beacons Concept Botanical Gardens Café Botanical Gardens layout plan Victoria Hill Interpretation Centre Victoria Hill layout Victoria Hill plan Victoria Hill continued Victoria Hill continued Rosalind Park Lookout Method 3D Road Map 3D Road Map Continued Implementation Community Participation Opportunities, Mosaic Works Appropriate sites Appropriate sites continued Consultation Summary and Issues Ideas Areas for further consideration Graphic The Design Team - Grant Fink, Jane Marriott, Laszo Biro, James Brearley Graphic Layoutbook, bendigo creative village

The two identical bookcases probably date to the 1960s-70s period and retain their original light wood finish. They contain two adjustable shelves as well as the base shelf and stand on four legs braced by a stretcher extending across the front and around the sides. The bracing and the angled slightly curved front legs, which do not align with corners of the cabinet, produce the appearance of a box resting on a separate frame. These modern style bookshelves are examples of the low-cost furnishings that the Commonwealth Lighthouse Service (CLS) introduced to Australian lightstations in the post-war years. Most notably, it commissioned a number of light, compact and functional items in bulk from émigré designer, Steven Kalmar (1909-1989), who played a significant role in popularising modernist design concepts in Australia and drew his ideas from Scandinavian and American design trends. Born in Hungary, he trained as an architect and his contemporary affordable furnishings were especially suitable for the open-plan houses being built in Australia’s new post-war suburbs. It is not known whether the bookcases bear the Kalmar label, but the design, particularly the legs and bar bracing, is a signature style of his Sydney-based firm, Kalmar Interiors. The CLS supplied the same bookshelves to a number of other lightstations, including Cape Nelson (3 examples), Cape Otway and Gabo Island (2 examples), as well as other types of furnishings such as tables and nests of coffee tables, cabinets, drawers, bedside tables. The Point Hicks bookcases original function was more likely office-related rather than domestic. The bookcases have first level contributory significance for their provenance and historic value as examples of the modernist furnishings that the Sydney-based firm, Kalmar Interiors supplied to the Commonwealth Lighthouse Service in the post-war years.Two bookcases in the Scandinavian style. Each have 3 internal shelves and four legs, light coloured wood.

Commonwealth government issue. This nest of tables are currently in use by the lighthouse staff.The set of three tables of descending size are designed in the same distinctive style as the bookcases and share the same wood type and finish (GILS 0012.2). Information on the underside of the tables indicates they were purchased by the Commonwealth through the Department of Transport for the CLS. The design bears the stylistic marks of the easily recognisable furnishings produced by the Kalmar firm, Sydney. Steven Kalmar (1909-1989), who migrated to Australia in 1939 and opened his own interiors business in 1949, played a significant role in popularising modernist design concepts in Australia drawing his ideas from Scandinavian and American trends. Born in Hungary, he trained as an architect and his contemporary affordable furnishings were especially suitable for the open-plan houses built in Australia’s new post-war suburbs. He closed the retail side of this in 1957 and concentrated on commissions, some for large-scale orders. One of these bulk orders came from the Commonwealth Government sometime between 1957 and the early 1970s, with several examples of light, compact and functional domestic furnishings supplied to lightstations in Victoria. Because the order was placed by the CLS, it is possible that Kalmar furnishings were also provided to lightstations in other states. Additional examples at Gabo Island include three bedside tables (GILS 0042.2 & 0076.10), chest of drawers (GILS 0077) and two bookcases (GILS 0012.2), with the backs of at least two of the furnishings bearing the Kalmar label. Kalmar furnishings in the other Victorian lightstations investigated by this study include bookcases at Cape Otway, Cape Nelson (3 examples) and Point Hicks (2 examples); two bedside tables at Cape Otway, and a long coffee table at Wilsons Promontory. The set of tables has first level contributory significance for their clear provenance, completeness and association with Steven Kalmar whose functional designs introduced modern, low cost furnishings to a number of Australia’s lightstations.Nest of three Scandinavian style tables, solid wood. Curved U shaped legs, one bar at base of table.Underside of GILS007.3:"C of A / D.O.T 1444248" (Commonwealth of Australia, Department of Transport.) •All tables have "16" on underside.

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

Promoting the Graphic Design/Multimedia program being offered by the University of Ballarat at the Mt Helen Campus. Promoted course as "one of the smallest and arguably the best three year programs of its kind in Australia and the South Pacific region." The brochure lists student awards received including Platinum and Gold in the AGFA International Young Designer Contest, 1999; two meritorious awards in The Art Directors Club Student Awards, New York, USA 1999; Graphis New Talent 1999; two Gold in Souther Cross Packaging Awards, 1998. At time of publication, the School of Arts, Visual Arts reportedly had 210 students with majors in Graphic Design/Multimedia, Ceramics/3D, Painting, Drawing, and Multidiscipline. Minors studies included Printmaking, Photography, 3D, 2D, and Graphic Communication. ___ Course aimed to train "independent, flexible thinkers". The course promised to "Promote creativity, originality and imaginative thinking; Develop self-directed learners, displaying initiative in the formation of ideas and the confidence to construct personal responses; Develop appropriate conceptual, technical and professional skills; Develop the student's critical process: ability to undertake research, and to make informed decisions; Clarify thinking, concepts and understanding and deep knowledge, attitudes and skills enabling the designer to respond to community needs." Studio and working environment described as "one open space with working facilities for approximately 75 students across 3 year levels. The area is divided up into work stations where 1st, 2nd and 3rd year students intermix, allowing a natural interaction. These workstations are configurations of six, consisting of two students from each year level. This reinforces the area's ongoing development with an open ethos and cross-level delivery and learning. This maximises the use of information in order for it to be applied throughout all levels of the learning process, whilst allowing a natural mentor arrangment to be developed for all first year students, " "The open ethos approach also encourages students and staff to freely express their opinions in relation to design via cross-level critiques, whilst allowing for a liberal arts approach and structure to the development of the creative process." "Emphasis is placed on experimentation, innovation, expression and the development of the individual's design philosophies, concepts and style." Also notes the 24 hour access Macintosh laboratory, with 34 Power Macintosh computers, ratio of one for every 2.5 students. Each with a Fujitsu Dyna Magneto Optical drive for file storage and transport. Two Sharp scanners, Phaser Dye-Sublimation Extra Tabloid colour printer and Ricoh A3 colour printer. Two large format printers. Digital and video cameras. Software: Adobe Photoshop, Illustrator, Acrobat; QuarkXpress; Macromedia Freehand; Pagemaker; Premier; Director; 3D Extreme; Sound Eidt, Shockwave, Infinite 3D and After Effects. Approx 4.5 staff, "all of whom are practicing designers. They have a full understanding of industry requirements and trends which assists in the development of industrial contacts when specialists are required." Prospective students interviewed in late Nov/ early Dec, face to face. Present a "comprehensive folio of work", academic records, references. "Selection is determined by the perceived potential of the student, their motivation and reason for study within the field as well as their previous experience in the Visual Arts. Folio work should be representative of the individual's ideas and abilities. Qualities of importance are: originality, innovation, imagination, experimentation and a competent display of the basic skills associated with visual arts [evidence of drawing skills should be included]." Demonstration of GD/MM computer skills an advantage. Students also asked to bring sketch books. Promotional brochure for prospective students. 8pp Double fold brochureuniversity of ballarat, federation university, graphic design, multimedia, bachelor, degree