Report : Comfort

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The Australian National University Institute of the Arts

Canberra School of Art

M A S T E R O F A R T S ( V I S U A L A R T S )

1994

Ian John Gulhridge

RFPORT

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ABSTRACT

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ACKNOWLEDGEMENTS:

Gordon Bull George Ingham David McNeill

supervisors Nigel Lendon

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From its most prosaic origins within a remote past furniture has been replete with manifold concerns- both profane and sacred. The forms that it has assumed and the roles that it played as both artifact and object through its long history reveals many things about social life to which it provided amenity. Even from its most elementary forms furniture has made life a little easier and more secure from the brutish existence that humans would be otherwise constrained to endure. The development of these forms over a period of some eight thousand years resplendently reflect not only the manipulation of materials and processes to meet simple practical needs but also how as objects they were extended and transformed becoming enmeshed with the symbolic. In many ways furniture became a sustainer of conventional values -a symbol of st-ability, security -and soci-al st-atus.

Adolf Loos maintained that furniture is essentially a conservative force until it is used as an art form and then it becomes subversive. Out of milieu of avante- garde practice with its search for the new; furniture often transcends its normative association with the profane. The tendency is to destroy and disperse not only the concept of utility on which the everyday purpose of furniture is indexed but also there is an ambivalent attitude which rejects the certitude of the hearth and family. Devoid of both its costituency and role the distinction is more one of conceptual or critical type which employs furniture as an metaphor laden with oblique references. While many works of a r t conform to the outward appearance of furniture and are dressed with clever titles the association is bogus and has nothing of the reality to which furniture properly belongs. Bad furniture may make good a r t but at the final stage of analysis it is "useless" as furniture. The arbitrariness of artistic consciousness drives its metaphors to pictorial and sculptural forms that are often remote and abstract that at best are simply curiosities.

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tables is primarily object based and as such characterized by strong interaction with the user.

Furniture can be seen as part of a complex process of distantiation from the biological limits of the human body. As with other objects of fiuman ingenuity furniture has purpose and value in that it provides amenity to human activity. Even at the most crudest processes and technology have been applied to surpass the animal condition of the body. Objects have not only enhanced existence they also have tended to enhance status both in terms of tools and possession. What is salient is that they are valued for their convenience, and their evolution as objects centres on the experiential reduction of trouble, risk, time and most importantly effort.

While furniture can carry images, symbols and meanings unlike art its reality is predicated on a nation of utility and the absence of this is a denial of the elementary values from which furniture stems. Central to any meaning of furniture is the notion of comfort. Not only does furniture physically complement the anatomy the human body in respect to scale and access it also needs to fit mentally as there is a psychological and social need for comfort. To have real identity there be convival contact otherwize the situation is likely to be highly tendentious as in many ways comfort is the sine qua non of furniture its purposes and value to the everyday.

THE PROPOSAL

In broad terms the intention of the study was

to examine the notions of comfort as it pertains to furniture. Of what makes it potent in providing furniture with a content that is acceptable domestically.

to develop an aesthetic which is none subversive, which disposes Its user to security and well-being; one which is a synthesis of decorative sense and functional efficiency.

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COMFORT:

Comfort by definition is

relief in affliction, consolation cause of satisfaction

conscious well-being obviate hardships

save trouble and promote content at ease free of hardship, pain or trouble tranquil with easy conscience

possession of well-being

Comfort is irrevocably part of the world that human strive to form. As a species we have a propensity for well-being and as such an inordinate amount of effort has its circumstance in an attendant quality to our existence. As an idea comfort is a cultural phenomena its nature and content is appropriately complex as it is an ideal derived from a myriad of needs and desires.

The history of comfort has been, in part, the history of the labouring body. Work is distinguished not only a physical presence but implies a physical depletion as effort required often painful forms of exertion. From this point comfort can be seen as the demarcation from toil, distress and fatigue. The desire to decease the pain of labour is inscribe into the very structure of comfort and is in a sense is the condition in which discomfort avoided. The use of technology in effect redefines the effort that formerly was imposed on the body: the use of tools not only extends production it also has the potential to diminish direct physical discomfort.

The systematic analysis of the function performance of each movement and the manner of its performance of work processes has left a veritable wealth of information about the external factors affecting physical discomfort.

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and in most cases importance is placed upon parameters that relate to productivity alone. Solutions that are established

in accordance with objective standards of procedure and result do not give a clear understanding of feeling good or the

experience of satisfaction that is symptomatic erf comfort. As a condition it is created by numerous means which are

interdependent and interconnected.

Comfort has both a physiological and psychological dimension. If one is discriminated for at the expense of other

discomfort is more likely to follow. While at the most basic level furniture as an article of convenience it needs to

cfialitatively fit the purposes intended in that it conforms to the phrj^ical characteristics of the human body and adapt to

the manner that it wilt be used. The inherent visual and tactile quality can evoke and affect response and feeling, the

practical need for furniture is extended by imagination and symbol.

Most people have turned artifacts into objects of beauty as a way to give material expression to inner feeling, to

amply wrark was not enough as the problem was aesthetic and symbolic. The projection of subjective values on to objects

is both universal and eternal and indicates a larger history. Peter Fuller argues that aesthetic pursuit is not only in many

of first but also in the greatest achievements of humanity. The possessions that we surround ourselves carry a range of

meaning that amount to a language which Fuller terms as -

a shared symbolic order,

tte presentation of which through a

visual rrarrative can reflect the aspirations and the fears of an age as well as of a people. Technical d^nitions of comfort

which ignore cultural ideas are lacking essential dialogire.

The relationship between practical neecfe and those that arise from aesttetic needs is inherently complicated. One

is founded on the rational and laws of causality the other is manifestly irrational and abstract Conflict is almost inevitable

through the opposing principles, if one is compromised for the other the wider eff«:t is difficult to escape. Hence the

tfreoretical concerns of the study.

The functionalist emphasis of modernist design produced a prejudicial interpretation of t^ie role of

"decoration" and allied terms. In the case of furniture design" comfort tended to be viewed exclusively in

terms of ergonomic or physiological criteria. The bench-mark against which this priority was tested tended to

be 8 "platonic" or ideal body which , arguably, bore little relation to historical reality.

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Type-neeth

Type-forms

Objet-Types

Typenmobe!

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MODERNISM HEVERED:

At its most specific modernist design attained a purity which sacrifice all that was deemed to superfluous: its aesthetic was reductivist and non-referentia) and under this guise it stripped everything which masked the absolute form cf its products. In cate^rical terms it transposed an industrial based ideology with its a concern for the generic onto a neoplatonic aesthetic,

Diversity and variety were displaced by the rationale cjf sameness. Highly standardized and reproducible - modernist objects were based on the realization that new methods of production, materials and social trends necessitated a new approach. Metaphorically the imagery was allied to the agencies of mechanization. Good form determined by working order. The underlying logic determined by rationality, calculation and functionaiism.

Euotution of a culture marches with the elimination of ornament from useful objects.

Adolf Loos

aims to derive the form of every object from its natural functions and limitations, by means of systematic ej^rimentation - formal, technical and economic - in theory and practice... An object is determined by its essence. In order to design it in a way that wrill function adequately - whether it be a container, a chair, a house - we must first research into it essence...The result of this reseach is that when all modern production methods, constructions and materials are taken into consideration, unconventional forms are created, which often appear unusual and surprising.

Walter Gropius

Where the eighteenth century defined the fundamental principles of reason, the nineteenth century, by a magnificent effort, gave itself up to analysis and experiment, and created an equipment which was entirely naw, formidable, revolutionary and destined to revolutionise society...

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Modernism eschewed the accumulation of the past. The eclectic use of style was disowned on aesthico-moral grounds, ornamentation and historical association were absolute anathema in modernist t e r m s as it masked the structural integnty of the object and was synonymous with a lie. Following from this there was a widespread rejection of the subjectivism of "art for a r t sake" - a r t was the product of the strict rule of mathematical equation.

This modern sentiment Is a spirit of geometry, a spirit of construction and synthesis In place of

individualism and its fevered products, we prefer the commonplace, the everyday, the rule to the exception. The everyday, the rule, the common rule seem to us now the strategic base for the journey towards progress and

the beautiful. A general beauty draws us in, and the heroically beautiful seems merely theatrical. W e prefer Bach to Wagner...

Le Corbusier The formal vocabulary that the modernist aesthetic proffers is that of forthright geometric forms, unadorned surfaces and exposure structure. Colour was deemed as inessential. Abstraction became the key concept advanced within the aesthetic insofar as it provided conclusive anonymity which ruptured past traditions, simultaneously it was timeless, universal and depersonalized in its nature. Neitherless, the coherency that abstraction could bring was emotionally detached and remote from the specificity of symbol and language to cultural expression. To often modernist asceticism was an expression of productive activity which negated traditional forms of social behaviour. The pieces existed as tools and are concerned with temporary convenience rather than the display of possession.

W e introduce the furniture of the new age, of modern man, who does not clutter up his surroundings with unnecessary junk, but moves freely and with a clear mind in sunny rooms. Our material is tubular steel. W e create furniture in the simplest way, with the simplest of materials, to suit the requirements of cultured modern man. Our furniture satisfies the sense of beauty of modern man, who is firmly rooted in the tempo of the 2 0 t h century in everything he thinks and does.

Standard Mobel W i t h its functionality, cleanliness, lightness and simplicity of form, - metal furniture can be regarded as the

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Style Paquebot - Style dinque • Affrerux Nudisme

Metal furniture, often in ugly and unimaginative forms, soon established itself for use outside the home, particularly in offices, the lack of emotional associations which enthusiasts for the modern saw as one of its chief virtues prevented it from being use where it might otherwize have been welcome. Few people found it sympathetic in the domestic context,at least outside the kitchen.

Edward Lucie-Smith ....great controversy when in addition to chairs, metal was used in tables and cupboards; its detractors claimed it was noisy, uncomfortable and fit only for the surgical wards of hospitals, while its admirers maintained that in an age when the machine was becoming more and more part of daily life metal furniture was an appropriate symbol of the times.

Martin Battersby The designer may devise an interior in which chairs of shining aluminium are an essential part of the

composition; but in such schemes human beings appear intrusive; there is no sympathy between them and the setting.

Metal is cold and brutally hard, and it gives no comfort to the eye.

John Gloag

To construct a bed accoording to the same aesthetic as a suspension bridge, or to construct a house like a factory, to design a dining room as chilly as a laboratory, shows a total lack of psychology.

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Robert Venton

(omiatory con/mm/tK hit/cf)

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MODERNISM REVILED:

Postmodern theory emerged as a specific reaction against the objective purism of modernist doctrine, Platonic

truths ceased to have relevance as the dynamics of consumer needs and tastes changed. Objectivity and universality was

replaced by expendability. The modernist axtoms of, form follows functbn; the integrity of suttee; trvth to materials;

became contradictory in the shift towards an age of electronics and synthetic materials. Shape and appearance bore no

relationship to the mechanism inside the products of the new technology.

We live in a throwaway economy, a culture in which the most fundamental classification of our ideas and

worldly possessions is in terms of their relative expendability.

Reyner Banham

It followed that post- modernist concern was reactionary to the symbolic and expressive poverty established by the

modernist creed of unadorned simplicity. Post- modernism reopened the dialogue between the present and the past

accepting the vocabulary of signs and symbols from all of culture in general. Unashamedly eclectic it promoted a return

to variety, in reviving the expressive and associational potential of popular, vernacular and historical sources. The notion

that design was an artistic endeavour was elevated betraying the systematic rational procedures of the modernist

tradition.

While postr modernist methodology open the approaches to design and shifted the emphasis to an objects

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a relationship to design as a china pig painted with flowers has to do with cattle breeding, t h a t these works....always have to be accompanied by a written key, that is by wordy commentaries, which make them sound significant. Often, one gets the impression that these texts are the main course rather than a side dish...

Dimitri Tchelkunov a short t e r m diversion, like a r t nouveau perhaps,rather than a long t e r m affair.

• e y a n Sudjic They are at best curiosities in an age that is so rapid ceasing to be curious about anything that the effort is largely wasted.

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THE SYNTHESIS:

The intolerable tension betxueen culture and technology.

Reyner Banham

A schematic account of the approach taken in developing the intended synthesis places culture on a axis to technology. Culture is explicitly retrospective and historically referential, whereas technology is introspective and anti-historicizing.Comfort as a phenomena manifest itself on the transverse of the

axis as there is a shift in meaning from the subjective to the objective comfort moves f r o m its approximation with a propensity for luxury and idleness to that of efficiency.

The difference between the iconographic and the formal qualities of items of furniture are symptomatic of the shift to either opposite pole.

comfort -CULTURE referential historlcizing LUXURY irrational TECHNOLOGY non-referential anti-historicizing EFFICIENCY rational

Robert Vsnturi refers to the phenomenon of "both -and" as opposed to the clarity characterized by the orthodoxy of "either or." in both context and content the work completed parallels Venturi's "both - and".... importance is placed on both physiological and psychological fulfilment of comfort, one is not suppressed at the cost of the other.

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APPLYING THE PRINCIPLES:

IN CONCEPT - IN PRACTICE

The sixteen works completed over the four years of part-time study takes as their starting point an extrapolation of Their vocabulary is referential and tends to be mosaic taking up themes and formal characteristics from the distinct and quite opposite poles of the binary. The pieces draw on classicism, art deco, modernism as well as its contemporary overtone, so called minimalist design. This backward glance attempts to provide associational or symbolic echoes of various formal principles so to provide the ordering of the design more complicated depths. There is a purposeful perpetuation of the furniture types common to the tradition, which is specifically against the orthodox modernist belief of discarding preconception with regards to formulating possible solutions. Consequently, there is no radical rethinking or reworking of the repertoire, this was not to serve the anonymity of tradition but serves as a point of reference which can constantly revised and refined.

The pieces are non-subversive, and are determined by the view that furniture is essentially profane and has its constituency within the everyday - that they serve practical need rather than nascent metaphor. Most of the work can be seen as positive practical proposals, ostensibly utilitarian items where integrity of purpose is taken as the point. This is not because of any preponderance upon narrow functionalist concern, the purpose of delineating ideas of usability is a qualitative issue and is implicit to a notion of furniture being sympathetic to situations of contact. Tables have

predominated, their morphology and the parameters of proportion and division of areas that relate to use being of specific interest. On the occasions that sitting furniture has been executed it has been with the idea of the chair as a provider of maximum comfort for the human body in direct contrast to the idea of the chair as a sculptural sitting object.

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Divergence in concern is clearly discernible in that the piece attempt to modulate the severity of the minimalist form through a sense of materiality and changes in productive processes. Just as the value of utility is affirmed in the piece, so, too is the notion of the hand-wrought object. This is important to the works character ideologically.

Aesthetically, the pieces carry the exclusive aspect of handicraft method and an assumption of quality - the use of fine material whose intrinsic qualities are enhanced the virtues of good workmanship assert concepts of reliability, integrity and reassurance.

Like the e^en/ste/vis tradition employed by the deco makers of the 1 9 2 0 s (Ruhlmann, Dunannd, Legrain, Gray) the work is characterized by a commitment to materials - exotic timbers are exploited for their expressive potential as is the metal sheen of metal although in some pieces surface patina is more important because of oblique reference to age. The constituent elements of the various pieces retain its own discreet identity, the relationship being of assonance not contrast of material and colour. This being an attempt to simulate... t/ie general quiet

Objects are beautiful when there are two materials, at least two materials; two poles which produce electricity

Ettore Sottsass Decorative elements reflect a similar interest in applied finishes as the eAen/ster/etradition, while their deployment gives stylistic reference to that past it also is used in the pieces to unity the work and afford them individual character -gilding, fuming, black japan,incised detail and sand blasting are some of the techniques utilized. Stylistically there was a change in the subtlety and wilful understatement that was originally intended in the decorative elements. Where the early works use decorative patterns such as geometric repeats on underside surfaces as part of a discovered narrative, the narrative in some of the later works are nuances within the actual structure and often is of an illusionary nature.

The works are conceived as pieces unique and in this context share some of the assumptions and concern imputed by an art object they potentially have a broader application in respect to serial production. While the disciplined

manipulation and exploitation of fine materials is essentially elitist in context to the world of mass production and mass consumption the pieces do represent a high level of resource based value adding - essentially they are prototypes.

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In planning the content of various pieces the details of the design were drafted out in drawings over anthropometric information to arrive at the final scale - occasionally this was refined because of its transpersonal aspect. Drawing was highly informative - it enabled size, angle, space and volume to be related to the final format.

In respect to the constructional stage the body of work deployed the two principle traditions of making used by the deco makers - ebenisterie/menuiseria While solid timber construction was used throughout the pieces veneers were preferred for major surfaces not only because of inherent decorative potential, but, also to extend the use of a valuable and diminishing resource.

bestowing upon the more common woods, a bark of a higher price."

Pliny. While veneering was the basis of deco cabinet-making and the most skilled of the decorative processes used with the piece there is no preponderance on its method or technique - it is solely used to gain an ends than using it for its own sake or any overt display of skill. Similarly, were the accurate jointing of structural woodwork the most exacting of the joiner - joinery in the piece is either not exposed or not strongly stated. In many cases it is transposed to metal.

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Veneered Wenge (milletia laurentil) MDF top, Black Bean (casanospemum astrale) underside detail, Wenge and patinated brass leg construction. Oiled finish.

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Veneered Wenge (milletia laurentil) MDF top, Black Bean (casanospemum astrale) underside detail, Wenge and patlnated brass leg construction. Polyuathane finish.

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Ked Cedar (toona australis) veneered MDF top, lam ,sand blasted compound leg construction, patinated underframe. Oiled finish.

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Veneered Wenge (milletia laurentii) MDF top, Wenge laminated rails, stainless steel pins, resin inlay underside detail. Oiled finish.

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Fumed Blackwood (acacia melanoxylon) MDF veneered top, Blackwood, patinated brass and stainless steel underframe. Nitrocellulose finish.

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Veneered Wenge (milletia laurentii) MDF top, Laminated underframe. Patiated brass and stainless steel rails. Polyurathane finish.

L130W45 H76

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Veneered Wenge (milletia laurentii), MDF carcase- sand blasted, Wenge underframe, stainless steel brace, 24ct gold leaf detail. Oiled finish.

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Veneered birdseye American Hardrock Maple (acer

saccharum),MDFtop. Wenge (nrrilletia laurentii) and patinated brass leg construction , Ebony (diospyros spp.) Inlay, gold and silver leaf detailing underside. Polyurathane finish.

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PCNcn PDqsj

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Brushbox (tristania conferta) segmentec construction legs, stainless steel undei

top and compound ame. Sikkens 077 finish.

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Veneered Ebony (diospyros spp.) MDF top. Wenge (milletia laurentii) veneered underside,rail, lanninated edge. Miva

Mahogany (dysoxylum muelleri) legs. Stainless steel underframe. Resin inlay. Polyurethane and oil finish.

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Veneered Beefwood (stenocarpus salignus) MDF top, enbonised Jarrah (eucalyptus marginata) underside, laminated edges and legs. Stainless steel underfranne. Resin inlay detail. Black Japan finish.

Di91 H45

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Laminated Miva Mahogany (dysoxylum muelleri) frame, Ebony (diospyros spp.) backrest, upholstered seat. Polyurethane and oil finish.

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Veneered Ebony (diospyros spp.) MDF top. Miva Mahogany (dysoxylUm muell^) und§tside veneers, laminated legs. Patlnated brass, slalnless Steel rails. Resin inlay detail. Polyurethane and oil finish.

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CONCLUSION;

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ADDBMDA

The Approved Study Program:

An overview of the concerns of the proposed study.

it is the view that comfort is the indspensable coniStion: the purpose and value of furniture to the everyday.

In broad terms the intention Is;

to exannne the notion of comfort as it p l a i n s to furniture, its design and use. Of vuhat mal(es h; pot«it in providing fiawture with a content that is acceptable domestically.

to develop an aesthetic vuhich is nonsubversive, one «rtiich disposes its user to security ^ d vrail-faeing; one which is a syntiiesis of decorative sense and functional efficiency.

to deai^ and make items of furniture which correspond to this aesthetic

COMFORT

Terms of reference:

Comfort is irrevocably part of the work) that humans strive to form. Cften it is an ideal, but. as a reality it has at least two parts - each of equal importance, there is physical comfort and there is our wrelHjeing, our psychological comfort

As with other objects of our invention.fumiture has p u ^ s e in rtat it gtres amenfcy to our activfcy. this is not simply to meet praaical need but involves the satisfying of aesthetic need. It is important to state that these two aspects are not opposed in my argument. That both are interconneOBd and interdependentand each ie in itself "functionaf.

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STUDIO PRACTICE:

Proposed proportion -80%

It is envisaged that at least eight major pieces of furniture will be completed during the perbd of study. In terms of content, form and technique each will represent an investigation into the theoretical constraints of the proposed study.

Form

will be based upon archetypes which are commonplace to the traditton rather than establish new forms which are threatening or too demanding in respect to the user. What is of specific interest is the elegance of the attenuated structures which are typical of various 20th century designers - Mackingtosh, Wagner. Gray Wegner. Starke, Kinsman.

Decoration

as part of the visual content this will be of importance, but, will be played down The intention is to prime nuance, rather, than create dissonant mayhem in which the elegance of form is lost. The idea is to seek a subtlety which exploits subliminal recognition and invites greater intimacy with the piece. Both visual and tactile elements will be layed so as to cause investigation. In some cases they will be relegated to secondary surfaces - concealing them so that they are not immediate to the eye. Decoration will be achieved through the deft use of applied finishes and contrasts of materials and ss such these will be referential to the techniques employed by the Deco makers of the 1920s - Rulhmann, Dunard, Legrein, Gray.

Technique

the use of fine materials whose qualities are enhanced by the virtues of workmanship can contribute to the notion of comfort through the assurance of quality implied. Material will be chosen specifically for their qualities of colour and texture as these will form an important part of the overall design, associated with this there will be consideration relating to Che efficiency of the final structure. Solid timber construttion will not be necessarily be use as occasidi i wl component will be used-both for contrast and inherent strength. For this one will need to access forming, castinq and fabricating facilities.

QISSEFITATIQN:

Proposed proportion - 20%

The functionalist emphasis of modernist design produced a prejudicial inten"vtation of the role of decoration and allied terms. In the case of furniture design comfort tended to be viewed exclusively in terms of ergonuDiu or physiological criteria. The bench-markagainst which this priority was tested tended to be a platonic or ideal body, which, arguably bore little relationship to historical reality.

The early theorists of postmodernism -Venturi, Hughes-Statton, attempted to enrich this restrictive conception of comfort by arguing the need for variety and psychological, social and aesthetic dimensions.

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IflNJOHNQyTHRlbQC

C U R R I C U L U M V I T A E BtOGflAPHY

1950 Bom S^eyWSWAJstralia H3UCATI0N

19e&94 Master of Arts audsetWajoli-Wciod. Australian Notional UnlVBrsitv. fristitute of the Arts, School of Art. 19B3a7 BachBl•^ofA^ts(VlsLlI)I^W•od,Conber^aSchoalofA^t 1978-79 Victorian Cdlega of Arts.

1971-77 Dploma of Art ASTC (Soiptursl EXPERIOICE

199&ga AssociatB LBCturar [fracttonat) Wood Workshop Tsofmioal AEsietant, Wood Workshop Australian National University, Insititute of the Arts, School of Art. 199081 Leotursr tpart^jmB], Wood Workshop

Technical Aeaistant. Wood Workshop Canberra Institute of the Arts, School of Art. 1 s a a a s tacturBr [parbtima). Foundation Sudies

Technical Assietant, Foundation StudiBs Canberra School of Art.

1986 Laoturer [part^amej. Design and D-awing, Tasmanian Inditute of Teohnoiogy. Lsunceston. 19B5 TedricBl Assistant, Baas Work^iop

Canberra School of Art. SOLO EXHIOTIONS

1991 Beneath the Sur^fMJt^imon Boom,

Drill Holt OallBni, Canberra ACT.

1994 Tha fndispansBblB Condition, Mastsr of Arts Bdiibition, Cartjerra School of Art eallery, Canberra. ACT.

GROUP EXHIBITIONS [Select] 1993 1992 1991 1990 1989 1989 1986 1935 1984

Contemporaiy Outdoor Rmitire Eihibition 93, Cuppacumbalong Craft Centre, Tharvra. ACT.

FuriiturB of tha Boudoir. Canberra F«sti»ai, Canberra. ACT.

Hands On, S t ^ Uhrary of NSW, Sydna*. NSW.

THrtaenArti^in PreBOmanfforei Cartjerra School of Art GaUery, Canberra, ACT.

ANU Bdibitton floom. Drill Hall Baltery, Cariierra. ACT

FurmtLTB Facets, Meat Market, Spoleto 89. Mslhourne, VIC Staff Show, Canberra School of Art Gallery, Canberra, ACT Craft Council Qallery, Watson, ACT.

FVB yfesrsOi Crafts Council Gallary, Sydney, NEW. Tasmanian Furniture £XF08& Launcaston. TAS o r e House, Martin Flace, Sydney, NSW. Beaver Gatleries, Canberra, ACT. awMMSSONS

1993 Australian National UrivBrsity, Canberra, ACT. 1985 Australian National OallBry. Canberra, ACT

Various private commissions PUBUCATIONS

AWARDS 1993

Crafts Arts 19 Jdy/September 90 Crafts Arts 16 August/October 39 Crafts Art® 5 February/April 86

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Ludo-Smtth.E, Furniture: A Concise History. Thames and Hudson, London, 1979.

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