This booklet contains the outlines of two series of talks

ink, paper

ink, paper

Letter from Lecki Ord to Joan Kirner

ink, paper

Barber House, Carlton was designed by Edmond & Corrigan and built in 1980. The drawing was commissioned by Edmond and Corrigan. This image was published in Transition magazine, No.27/28 1989.

This drawing of Barber house by Robert Pearce, who was best known as a fashion designer, broke the mould of how architecture could be represented. Suddenly it was understood as a part of contemporary culture.

Illustration of Edmond & Corrian's Barber House, Carlton

Stamped in black ink, bottom left: 'Robert Pearce'

architecture, domestic architecture, illustration, design

Set of three letters regarding job applications and references

ink, paper

Architecture as Idea was curated by recent RMIT graduates Dale Jones-Evans, Randall Marsh and Roger Wood who had founded Built Moderne in 1983. The exhibition challenged the way architectural exhibitions could be. Rather than exhibiting representations of architecture (drawings, models, photographs) the curators invited their 26 exhibitors (25 men and 1 woman, Jennifer Hocking) to build an object expressive of their idea of architecture.

Exhibition poster

architecture, design

The Hardware Club was established in the 1980s in Hardware House, Hardware Lane Melbourne by Andrew Maine, Jules Taylor and Paul Jackson, who all worked together at 3RRR. Artists, fashion designers, and musicians all flocked to the Club in the 1980s. It was the place to experiment with fashion and dance to dawn at a time when may venues closed early. Hardware Houses rooms were perfectly suited for the purpose, its polished wooden floorboards ideal for a dance floor,mezzanine floor for spectators, and crucially the Club had two bars and a 24 hour licence. Initially the trio from 3RRR took over the club on Friday nights only , and then other nights followed. In 1983 graphic Designer Robert Pearce was commissioned to design this poster for The Hardware Club. According to Jules Taylor it was inspired by "subways of New York with a touch of Berlin and Film Noir ..." Ann Carew

design, graphic design, australian fashion

Dyed yellow linen and cotton yarn attached to cardboard tag

Inscribed in blue ink, top centre; '1% Chlorantine/ Yellow 2GLL'; centre centre: '.025% Chlorantine/ Red 6BLL'; bottom centre: '.025% Chlorantine/ Blue 3GLL'

dye, linen, cotton, ink, cardboard

Dyed yellow linen and cotton yarn attached to cardboard tag

Inscribed in blue ink, top centre; '1% Chlorantine/ Yellow 2GLL'; centre centre: '.03% Chlorantine/ Red 6BLL'; bottom centre: '.02% Chlorantine/ Blue 3GLL'

dye, linen, cotton, ink, cardboard

Dyed green linen and cotton yarn attached to cardboard tag

Inscribed in black ink, top centre: '5g Sample/ 1% Yellow RS/ 3.4 ON 2RS/ 1% Blue 3RI/ 500 mgs Alkali'

linen, dye, cotton, ink, cardboard

Dyed green linen and cotton yarn attached to cardboard tag

Inscribed in blue ink, top centre: '1% Chlorantine/ Yellow 2GLL'; centre centre: '.5% Chlorantine/ Blue 3GLL'; bottom centre: '.06% Chlorantine/ Red 6BLL'

dye, linen, cotton, ink, cardboard

Dyed green linen and cotton yarn attached to cardboard tag

Inscribed in blue ink, top centre: '1% Chlorantine/ Yellow 2GLL'; centre centre: '.5% Chlorantine/ Blue 3GLL'; bottom centre: '.06% Chlorantine/ Red 6BLL'

dye, linen, cotton, ink, cardboard

Desigend for A.R.C Engineering Pty. Ltd

ink, paper

The Axis Kettle was developed through the EcoRedesign project funded by the Federal Government and based at RMIT in the 1980s and 1990s. The project involved the expertise of significant Victorian designers such as Paul Taylor, Gerry Mussett, Liam Fennessy and Michael Grima, as well as prominent sustainability experts such as academics John Gertsakis, Chris Ryan and Alan Pears. Axis changed the way kettles were used, guiding users to save resources through their behaviour. It is regarded globally by academics from prominent design institutions such as Loughborough and Delft as one of the first successful eco-design projects. The drawing is part of the Centre for Design collection, RMIT University. Simon Lockrey, 2017

The drawing is historically significant as an early eco-design project.

Design drawing of KambrookKettle by Paul Taylor for Form Australia as part of the Centre for Design at RMIT University, featuring electric kettle drawn in black pen + ink with blue ink where kettle lid is. Written design descriptions appear along side the image and title below.

LID / SANHOPRENE / GRIP / RECYCLED SKIN / ELECTRIC KETTLE. c 12TH FEB. '93

household appliances, industrial design, sustainability, rmit university

Detailled Area plan of the Urban Renewal Project in North Fitzroy. Features the longitudinal section at Rowe St.

ink, acetate

Wooden promotional portfolio for 'All Australian Graffiti'. Carved wooden container with hinged lid and carrying handle. Owned by Mimmo Cozzolino, and used as a promotional portfolio for All Australian Graffiti.

ink, paper, cardboard, wood, metal

Robin Cocks (1941- ) and Peter Carmichael (1942 - ) formed their partnership in 1967, and designed some of Australia's most innovative project houses in the late 1960s and early 1970s. The award winning Civic Growth House (1974) was designed for Civic Construction. It provided clients with a modular grid and a range of components that allowed choice in location and spatial variation. The houses were designed to be expanded as families grew or as finance became available. The one-level Civic X2 was constructed in full-brick, included a pergola and deck, and a private courtyard off the main bedroom, This drawing includes floor plan, elevation and section.

architecture, domestic architecture, project homes

Floor plan and S.W perspective watercolour of proposed house for Mr. and Mrs. R. Hellier.

ink, paper

ink, acetate

Designed for Toyota Australia

Drawing featuring Toyota car body side view

ink, paper

Designed for Toyota Australia

Drawing featuring Toyota car body side view

ink, paper

Designed for Toyota Australia

Drawing featuring Toyota car body side view

ink, paper

ink, paper

This light woollen evening dress is made from Peppinella, a new fabric Norma Tullo introduced into her range in 1973. The fabric was used exclusively by Tullo, and came from the wool of Peppin Merino (first introduced into Australia in 1858 by the Peppin brothers). According to the papers of the day Tullo’s 1973 winter collection featured ‘St. Trinian’s styles to garments dripping lace, in bold plain colours to floral prints.” Shirley Lyle designed the floral fabric. Norma Tullo (1935-2019) was one of the leading fashion designers of her time, establishing her label in 1956. After establishing a business the Old Metropole Arcade in Melbourne in 1956, with three sewing machines, Tullo's ready to wear fashions for young women became sought after, and her business flourished. In 1966 the Japanese department store chain Isetan Co Ltd began to mass-produce her garments for their stores across Japan. Tullo closed her label in 1977, and later worked for Fletcher Jones. Ann Carew, 2020

The dress is historically significant as a dress designed by Norma Tullo, a leading fashion designer of the 1960s and 1970s. During this period the Australian Wool Industry strove to promote wool, and to develop light woollen fabrics to compete with new synthetic fibres such as rayon. The garment is historically significant for the use of a merino wool showcasing its versatility for dress fabrics.

Full length woman's dress with full skirt and long sleeves, collared with open neck and pleat work on bodice. Material is predominately red with a repeated pattern featuring posie of blue and mauve flowers.

Inscribed, black label on back neck left of zip, 'TULLO/IN/PEPPINELLA/AUSTRALIA MERINO WOOL'; Inscribed, white satin label on back neck right of zip, 'DRY CLEAN ONLY'; Inscribed, white satin label underneath above label, 'SIZE 12/To Fit Bust 34"/To Fit Waist

wool, rmit design archives, rmit university, woman's dress, textile design, australian fashion

Designed for Repco

pencil, acetate

Sketch featuring bedhead for Lipshut house

pencil, paper, cardboard

ink, paper

ink, paper

David Lancashire's Christmas promotion 'Hallelujah', designed for KW Doggett Fine Paper in 2009, is an example of one of the many innovations that Lancashire has contributed to the Australian paper industry. Considering the celestial aspects of Christmas and a favourite song - Leonard Cohen's 'Hallelujah' - Lancashire recalled a Wayang Kulit shadow puppet collected in Bali because of the way it interacted with light. Made from hide, the puppet was peppered with hand-punched holes to add intricate decorations to projected shadows. He adapted this concept to laser-etched paper and translated the fringed skirt of the puppet to die cut angel feathers. Jenny Grigg, 2017

Greeting card and envelope

christmas, paper industry, design, graphic design, bali, puppets

This is an exemplary model of what is possible in design for print. Only 20mm across, this magnification reveals nine separate print passes that each differently affect the paper's surface. Printed on a cheque commissioned by Avon Graphics Security, designed by David Lancashire and detailed by Geoff Fawcett in the 1990s, the design represents an important aspect of graphic design history: the creation of labour intensive marks that are impossible to forge. Jenny Grigg, 2017

foil, graphic design, embossing, printing industry, design