To celebrate Pin-up’s future, twenty of Melbourne’s leading
creative studios reflected on their work - past and present
- to encapsulate a ‘Design Moment’ or ‘Big Idea’ that
continues to underpin their practice today. The result was
a diverse and dynamic set of responses that communicated
a deep exploration of the influences, preoccupations and
commitments that underpin a collective body of work. Reacting
to a simple catalyst - in the form of a set of cardboard archive
boxes - each exhibitor transcended this ubiquitous object
to communicate their intent and, in turn, provided a rich and
revealing insight into the design process.
Anthea van Kopplen
E.F Schumacher once said materialism does not fit into this
world because it contains in itself no limiting principle, while
the world, or earth, within which it is placed, is strictly limited.
This exhibit uses materials provided by Pin-up to demonstrate
the principles of my practice, in response to Schumacher’s
observation. This piece is a mid-phase in the design process
exploring the principles of “no waste”, “longevity” and “single
The “box”, a vessel, transforms into a series of conceptual
prototypes. Three of which are presented here in the form of a
dress, a satchel and an evening bag. The patterns connected by
a common thread, singular and defined.
...ask yourself, if all you had was a cardboard box and your life
depended on it (like many homeless people) how would you
wear it?
Büro North
From two, to three and back to two point five.
Büro North has faced many challenges that have prompted
evolution, growth and new approaches to creativity. The
project that has defined our process in the most significant
way is the way finding signage for Falls Creek Village, a project
that commenced in 2007 and was completed mid 2010.
A defining characteristic of our design process is our relentless
pursuit of simplicity between both two and three dimensions.
Often our design and documentation process will combine
both dimensions to achieve an exceptional outcome, with the
relationship between the two being the critical element. As
such our concept for the Pin-up exhibition is to construct a
3D representation – of the 2D documentation that was used
to build the Falls Creek way finding signage – and suspend it
within a 3D perspective…kind of 2.5D.
Dhiren Bhagwandas
dhirenbhagwandas .com
Objects and spaces carry personal stories that reflect our
individual experience. The objects presented here form a
reference point for the work of Dhiren Bhagwandas, both
formally and as representations of places, cultures and
moments in time that have influenced a line of thinking.
Each object has been interpreted into a contemporary iteration
of the archetype. This process communicates Bhagwandas’
belief that the human is central to the design process, both in
terms of the individuals who produce an object and those who
experience it through use. This continual investigation has
informed his understanding of the role of design as a vehicle
through which industrial production, consumption and social
attitudes can change, which culminated in the development of
a furniture collection for Australian company Native.
Elenberg Fraser
In the experience of art, a peculiar exchange takes place;
I lend my emotions and associations to the space and the
space lends me its aura, which entices and emancipates
my perceptions and thoughts. An architectural work is not
experienced as a series of isolated retinal pictures, but in its
fully integrated material, embodied and spiritual essence.
It offers pleasurable shapes and surfaces moulded for the
touch of the eye and other senses, but it also incorporates
and integrates physical and mental structures, giving our
existential experience a strengthened coherence and
Pallasmaa, Juhani, The Eyes of the Skin: Architecture and the
Senses, Wiley, West Sussex England 2005 p.12.
Studio Hacienda
General Assembly
Sharing a passion for making and a commitment to
contemporary jewellery practice, Blanche Tilden and
Phoebe Porter founded Studio Hacienda in 2005. Their first
collaborative project, General Assembly Melbourne, invites the
public to select from pre-fabricated parts to create their own
souvenir brooch – so far over 250 people have participated in
this award-winning project.
“General Assembly exemplifies Porter and Tilden’s common
ground: working in multiples, exploring the individual impulse
to select, combine and adorn, alertness to the ubiquitous street
styles that pulse through a city. It is a project that involves
people in a lively, intelligent conversation though the object.
That’s Studio Haçienda.” - Merryn Gates, Courtesy Powerhouse
Museum, 2007
Blanche Tilden and Phoebe Porter from Studio Hacienda invite
you to make a General Assembly Brooch on Saturday 30 April
2011. You can select from pre-fabricated parts to create your
own souvenir Brooch. Prices range from sixty to three hundred
and fifty dollars and include all parts. Register your interest.
General Assembly Melbourne brooches, image by Johannes
Kuhnen Brochure Design, Ty Bukewitsch, Envelope Group
Herbert & Mason
approach process making resource scale
The studio of Herbert & Mason has responded to ‘The First
Show’ as a question about how we practice. Using the
cardboard archive box as a tool to demonstrate process,
making and scale – it begins to represent our work.
The ‘process’ forms the starting point of the investigation. The
method involves ‘making’ a series of scaled elements through
the study of the box itself. From repetition of one process and
the ‘resourcefulness’ of using the constraint of a given material
we were able to generate and compose new potential. This
speaks of a key aspect of our practice. Departing from the
‘process’: The consideration and composition of a collection of
objects and their ‘scale’ also forms a significant part of how we
approach our work.
5 x boxes - 5 x scales – 1 x composition. The collection aims to
describe a critical and holistic understanding of the importance
of the relationship between the scales/parts and the overall
Harrison and White (HAW)
Dog Model, Dog Kennel
The Foyn-Johanson house – started in 2008 – was the first
domestic project completed by Harrison and White (HAW). It
built on work undertaken with the same client and builder years
earlier, as well as the result of research undertaken at an urban
design level into parametric solar access to external space.
In this house, the garden space was defined as needing good
year-round sunlight and the subtracted form of the house
is a result of a process of reverse shadow casting. The form
subtracted from is the maximum planning envelope allowed
under the former Rescode provisions; these are accepted and
thus the house extension did not require a planning permit.
The 1:10 cardboard model for this exhibition is the new external
envelope; an enlargement of a 1:50 working model made
and issued on site to the builder. The working ‘dog’ model
bridges between studio and site. It now takes onboard the
characteristics of a dog kennel, a small building type that rescales the domestic.
The dominant strand of design research that can be traced
back to the formation of Kokkugia is the development of a
behavioral design methodology. This inherently organizational
approach to form has emerged from an understanding of
swarm intelligence and operates through the self-organization
of multi-agent systems. Design intent operates within this
methodology through the interaction of local behaviors rather
than the explicit description or parametric manipulation of form
and organization.
This strategy has been developed through a series of projects
varying in scale, from urban to tectonic. The interest in this
non-linear approach ranges from the resolution of complex
problems, such as structure or program, through to the
generation of non-hierarchical tectonics.
John Wardle Architects
johnwardlearchitects .com
A maquette captures a moment within the design process,
a temporary pause before the next iteration. This maquette
-– modelled after construction – simply reminds us that
the building itself is situated within an ongoing trajectory
of exploration. A cross section through JWA would reveal
many overlapping ideas. The extrusion of function to meet a
mannered cut or ragged end makes a building explanatory. A
sequence of picturesque events is curated to frame a narrative
– civic place making. The precious bits of history embed within
the work. A thick surface, scribed and layered, clothes and
contains activity. All taped and glued together.
Maquette 1 of the Balnarring House (Building Construction
Completed 1997) Maquette 2 of The Exercise Science and Sport
Precinct and Learning Commons Project for Victoria University,
Footscray (Building Construction Completed 2010)
Leah Heiss
‘proem’ charts the development of my practice from the
‘first’ project, Empathy Vest, developed in 2004. This early
experiment, working with wearable light sources, laid the
foundations for a sustained inquiry into the use of next
generation technologies to invite emotional engagement
(wonder, surprise, connection, introspection, empathy etc.)
Proem creates five expansive interiors within the shells of
unassuming archive boxes. The box interiors are partially
clad with mirror, which amplifies a piercing line of blue light
connecting the spaces. This spatial drawing is simple to start
with but becomes increasingly more complex as the viewer
moves from box to box.
Using magnification, reflection, and amplification, proem
embodies the conceptual journey of my practice over the past
7 years. Materials: Electroluminescent cable, mirrored acrylic,
archive boxes
March Studio
Upon reflection
There is no one precise moment that has altered the direction
of March Studio practice since its inception 4 years ago.
Instead, a steady accumulation of work, thoughts, tests, and
projects, influenced by a broad range of people entering and
exiting our office doors has resulted in 101,651 images (roughly)
and over 60 short films. Whilst the images tell a complete and
overwhelming story, the films have been chosen for Pin-up as
a denser cross-section of the years past. By viewing our work
through the filter of an AVI, March Studio’s interdisciplinary
and undisciplined thread emerges - ideas of density,
repetition, materiality and community; of making, movement,
and patterning. The films have been amplified through the
kaleidoscopic viewing device because in the world of March
Studio, seeing more is often seeing better.
Pen Plan Paris & Pen Plan China: photography by Tanja Kimme
Milbourne. All other images by March studio.
March Studio would especially like to acknowledge CBD
Contracting Pty Ltd for their support for the fabrication and
installation of this work.
Muir Mendes
the daddy mendes apprenticeship
1 x metal fabricator referred to as daddy mendes (not a builder)
2 x practicing architects (not builders)
1 x owner builder licence
1 x site 20.6 x 4.5m = 93m2
1 x dilapidated 1 bedroom workman’s cottage riddled with
termites site access limited to the front door
182 weekends
41m3 of soil removed
11m3 of concrete
8.21 tonnes of steel
918 lineal meters of metal studs
660m2 plasterboard
25.25m2 of double glazed glass
110m2 yellow tongue flooring
140m2 timber floorboards
75 litres of paint
283 cut pieces of joinery
320 tiles
25 x (2.4x1.2x12mm) eco panels 784 insulation batts
36m2 timber decking
27.9 lineal meters of lights
9 lineal meters of hydronic heating panels
156 x nando’s chickens (lemon and herb)
2184 litres of water
360 litres of coke cola
1092 bottles of beer
archive box 01, 2
Urban Design and Landscape Architecture
Could you lay down and rest on the footpath? Do you hack
phlegm? What does ‘It just goes to show’ actually mean? Are
you kind? If not, do you look upon kindness with sympathy
or disgust? Do the ratepayers of Balmain deserve better than
asphalt? Do you use the word ‘aggregation’? Is this a two-hour
spot? Do you use a business card? Does this rug really hold
the room together? Do you have access to a Holden Premiere?
Would you support efforts to build a wall around Zone 1? Have
you ever made out on street furniture?
TAKE ONE (Loyalty Square 1997) 200 Potted plants, 112 painted
disks, 5 cardboard boxes. Dimensions: 3,500 x 1,750 x 200mm
Peter Atkins & Dana Harris
‘The Meadmore Project’
Artists Dana Harris and Peter Atkins are both interested in
the appropriation and re-interpretation of readymade forms.
What both of these artists are attempting with their work
is an investigation into familiar, often incidental elements
of our day-to-day lives, re-presented back to the viewer as
something new and unexpected. This is evident as seen in
recent projects exhibited in Melbourne. Dana Harris’ recent
residency at the Australian Tapestry Workshop in Melbourne
saw her develop a new series of works, which involve the
deconstruction, thread by thread of her fathers tie collection.
Left behind are exquisitely delicate, feathery echoes – skeletal
reminders of their former structure. Peter Atkins’ most recent
exhibition titled ‘Hume Highway Project’ at Tolarno Galleries
involved the documentation over a five-year period and
subsequent series of abstract paintings of roadside signage
along the Hume Highway between Melbourne and Sydney.
PHOOEY Architects
The Port Philip EcoCentre was our first project where we
started asking...
How can we to aim to create zero waste? How do we revalue the things we throw away? How will we engage in the
cultural identities of our sustainable future? How can we be
entertained by the sobriety of global warming?
We wonder whether this installation including past & present
work is able to catalogue the development of these original
Cutting up and re-configuring tailored garments has been the
practice of S!X since 1994. This piece represents the way this
methodology continues to inform our design practice today:
garments are turned inside out to reveal the inner workings of
tailoring and then cut away to recreate a new tailored form.
Tailored details re-appear as prints on the surface of the
garment. This process continues to challenge us with endless
possibilities and configurations for design.
Simone LeAmon
Compressed cardboard bale, Corian, nylon and gold leaf, 924H x
850W x 700Lmm
A Work made specifically for The First Show not-yet-junk
incorporates the archive boxes supplied by Something Together
with cardboard waste retrieved from the South Melbourne
produce market. The mechanism of compressing cardboard is
practiced in the waste management and recycling industry;
bales of cardboard are typically equal to 3-4 hours of trade.
not-yet-junk is an experimental Work that implores us to
consider the stock of matter accumulating on Earth and our
processing of it.
Simone LeAmon’s practice is characterised by products, limited
edition artifacts and designs that tell a story through process
and material. not-yet-junk alludes to the artist-designer’s
desire to obtain cultural significance and status for their Work,
acceptance into the cultural economy predicated on criticism
and the evaluation of ideas.
The concept for not-yet-junk can be found in Dr Zeynep
Mennan’s paper The Great Virtual Library: Notes for a Theory
of Junk Economy (2005). A professor in the Department of
Architecture at Middle East Technical University, Ancora,
Turkey, Mennan’s paper charts an argument for a theory on
the subject of ‘junk’. Embracing junk as both matter and
non-matter Mennan discusses the process by which matter
and ideas are ‘junked’ and/or stored to defer junk status.
not-yet-junk is explained as a condition whereby matter
and ideas are saved the status of junk, this postponement is
a form of preservation/storage by virtue of assigning value
through strategies of re-thinking, re-positioning, processing,
re-circulating, re-analysing, re-conceptualising, re-naming and
re-experiencing to name a few.
Simone would like to thank Cleanevent Australia and Classic
Solid Surfaces for their assistance on not-yet-junk.
Tom Kovac
Alessi Superstar
The Alessi Superstar project commenced ten years ago as an
architectural investigation into variable geometry and spatial
organizations. The project breaks with the standardisation
of normative spatial production by promoting alterative,
organisational processes with variable perceptual interests.
These propose forging new processes for development of
complex spatial formal components. It involves a process of
forming spatial conditions between form, structure, movement
and containment. The Alessi Superstar aims to materialise a
customised environment, formed by six curved environments
and surfaces that have been explored and treat the object as a
scaless form that translates industrial to architecture scale.
Project Team: Jerome Frumar, Luke Waldron, Farzin Lotfi Jam,
Michael Duan Mei
Engineering: ARUP
Prototype Production: Alessi SpA
Prototype Development: Jerome Frumar, Luke Waldron
Image Production: Luke Waldron
Media Design: Michael Duan Mei
Universal Design Studio
Universal Design Studio’s first Melbourne project was the
temporary pop-up store for menswear designer James Cameron.
At the outset of this project, a single cardboard archive box
was given to the client as a receptacle in which to collate
ideas, materials and influences. A vertical matrix of over 400
of these boxes eventually created the anchor wall for the
store. The application was informed by the simple graphic form,
signature hue and functional simplicity of the box.
This project encapsulated a continuing interest in the creation
of textured surfaces, geometric patterns and sculptural
volumes through repeated use of a single form. The process
of distillation, analysis and experimentation through physical
models is one which continues to underpin the studio.