Engaging in community events has the potential to inspire and teach us about the past, present and future. Sydney Living Museums has put together a program of talks that do all of these, focused on Iconic Houses – how to live in, design, make and protect them. This last topic brings together Professor Philip Goad, who lives in a 1929 Eric Nicholls home (full story in Habitus 20); Ian Innes, Assistant Director of Heritage & Portfolios at Sydney Living Museums; and Annalisa Capurro, designer, design educator, speaker and writer. The talk will explore the “Difficulty of houses from 1950s and 60s in terms of their inherent fragility,” Philip describes. “Now many houses are not in terrific state,” he continues. “It requires enlightened patronage to keep and furnish, but not over-sanitise." Annalisa is one such enlightened patron. The owner of the Sulman Award-winning Jack House, she feels a “Huge responsibility, less as an owner, more as a protector of an extraordinary house for future generations”. “Australians have the biggest houses in the world,” she continues. “It’s important to educate the community that bigger is not always better.” That’s not the only reason to engage in these kinds of discussion. “In architecture we see the aspirations and ambitions of a society and culture expressed through built form,” says Ian. “Looking at and trying to understand buildings from the past, whether 500 years old or 25 years old helps us to appreciate peoples’ interests, motivations and ways of life, enriching our appreciation of our own lives and place in history.” The talk includes viewing of the Iconic Australian Houses exhibition, refreshments and book signing. “It’s far more engaging to see different points of view, spontaneous response among experts,” says Philip. And if you’re lucky, perhaps even some healthy disagreement and debate. Follow us on social media to win a double pass to the talks! General $35 Concession/Member $30 Iconic Houses Talks Series        abc

Enter our SFF giveaway to win a double pass to the Eames On Eames film screening and launch of the Herman Miller Collection Lounge on the 6th June and a DVD of Eames' films. Just tell us what your favourite piece in the collection is and why in 25 words or less! Email editor@habitusliving.com by 5pm on Thursday 5th June.  From 4 to 15 June, the VIP Lounge at Lower Town Hall will exhibit the largest and most comprehensive display of pieces from The Herman Miller Collection in Australia. Nelson™ Marshmallow Sofa, designed by George Nelson, 1956   The association with Australia’s leading film event is a perfect fit for The Herman Miller Collection due to the pioneering American furniture maker’s long association with filmmaking. An enduring favourite among film directors and production teams, you will find Herman Miller pieces scattered throughout popular film and TV series from ‘Mad Men’ to ‘The Hunger Games’ franchise. Wireframe™ Sofa Group, designed by Sam Hecht and Kim Colin, 2012   But Herman Miller’s association with film really has its roots in the company’s long relationship with Charles and Ray Eames. During their prolific career, Charles and Ray produced over 125 films including groundbreaking works such as ‘Powers of Ten’ and ‘Glimpses of the U.S.A.’ Eames® Walnut Stool, designed by Charles and Ray Eames, 1960   The first Eames Lounge and Ottoman – one of the most celebrated pieces among The Herman Miller Collection – was actually made by the duo as a gift for Billy Wilder, the director of film classics ‘Sunset Boulevard’ (1950) and ‘Some Like It Hot’(1959) with Marilyn Monroe. Eames® Lounge Chair and Ottoman, designed by Charles and Ray Eames, 1956   In more recent times, the Eames family’s devotion to film has been continued by Eames Demetrios – Charles and Rays’ grandson and the director of the Eames Office. Eames Demetrios is a noted filmmaker in his own right, having produced over 70 films, from short documentaries through to fiction features and animations. Eames Demetrios will visit Sydney for the opening of the Sydney Film Festival and The Herman Miller Collection Lounge by Living Edge. Tuxedo Component Lounge™, designed by BassamFellows for Geiger, 2011 Recently revived, The Herman Miller Collection represents a comprehensive portfolio of freestanding furniture that enables stylish, comfortable and accessible environments in myriad settings—from the boardroom, to the bistro, to the backyard. Drawing on the moniker and underlying principals first defined in the company’s 1948 catalogue by George Nelson, each piece combines beautifully to suit its context, building, “the continuing creation of a permanent collection designed to meet fully the requirements for modern living.” Nelson™ Miniature Chest, designed by George Nelson, 1946 The Herman Miller Collection Lounge will be presented by Living Edge, national retailer for Herman Miller and leading Australian supplier of premium international furniture ranges to home and office design enthusiasts and the architect and design community. Scissor™ Chair, designed by Ward Bennett for Geiger, 1968 Visitors to The Herman Miller Collection Lounge can experience and order famous designs like the Eames Lounge and Ottoman alongside some of the newest additions to the range, including the Eames Shell Chair in newly formulated sustainable fibreglass, and the Wireframe Sofa by Sam Hecht and Kim Collin. Eames® Compact Sofa, designed by Charles and Ray Eames, 1954 Other key pieces available to see and order via Living Edge include the Eames Compact Sofa, Tuxedo Component Lounge, Noguchi Rudder Table, Eames Rectangular Coffee Table, Nelson X-Leg Table, Scissor Chair, Eames Moulded Plywood Chairs and Coffee Table. Eames® Rectangular Coffee Table, designed by Charles and Ray Eames, 1946 The Herman Miller Collection Lounge presented by Living Edge is at the Sydney Film Festival Hub at Lower Town Hall, 483 George Street, Druitt St Entrance (Opp Queen Victoria Building), 4 to 15 June 2014. Sydney Film Festival sff.org.au Living Edge livingedge.com.au Herman Miller hermanmiller.com.auabc

Above: Andrews Pair of Rondo chairs (1956) The innovation pervading the Australian design scene between the late 1940s and 1970s was no accident. The period marked a rebirth of creativity compared to the years preceding World War Two and the Great Depression, and quickly became defined by new, modern standards. “By the end of the 1940’s no ‘contemporary’ house was regarded as complete…without a pair of Featherston chairs before its bagged bricked fireplace,” explains designer Neil Clerehan. Right: Featherston Aluminium shell chair (1954) Left: Featherston Stem dining chair (1969) In line with changing social morals and a new emphasis on pop culture, mid-century furniture design turned its back on the overstuffed and ornate examples of previous decades and, in doing so, revolutionised the contemporary Australian interior. Featherton Dining setting at Hotel Federal exhibition (1953) From Grant Featherston’s plywood Contour range and Clement Meadmore’s welded steel corded chairs, distinctive of the 1950s, to Gordon Andrews’ elegant 1960s designs for home and office, Mid-Century Modern is a progressive reflection of the epoch’s cosmopolitan mode of living. Featherston Contour chaise longue (1953) As well as showcasing more than one hundred iconic pieces by these significant figures along with other key designers such as Douglas Snelling, Fred Lowen and Schulim Krimper, the exhibition includes present recreated interior vignettes including a full-scale living room based on the 1955 Age Dream Home. Age Dream Home, Union Road, Balwyn (1955) Alongside these seminal modern furniture pieces, Mid-Century Modern will encompass designs by visual artists such as Robert Klippel and Janet Dawson who occasionally adapted their creative skills to the production of furniture, and examples of Fred Ward’s post-war do-it-yourself Patterncraft furniture. “[The exhibition explores how] designers moved away from traditional, conservative pre-war styles and forged a new language of design that was innovative in its use of materials, functional and often imbued with a good dose of style,” explains Tony Ellwood, Victoria’s National Director. Meadmore Dining suite (1952) Contextual material including working drawings, textiles of the period and photographs of contemporary architecture will also be included, building a rich picture of this relatively little known aspect of Australia’s design history. Mid-Century Modern: Australian Furniture Design Exhibition Date start: 2014-05-30 Date End: 2014-09-19 Location: The Ian Potter Centre: NGV Australiaabc

Attending the theatre or opera is like a mini adventure, a psychological escape that feels quite real when character, prop and set come together in perfect harmony. In the case of La Traviata, which runs in Melbourne until 29 May, reality becomes illusion – and vice versa – thanks to its seemingly simple yet extremely intelligent set design. This interplay between space, prop and people creates a delicate tension that instantly transports us (even if only for 2 hours) to the story’s time, place and mood, while also plunging us into the emotional and psychological states of its characters. “Think of it this way,” says Melbourne-based set designer Adam Gardnir. “The audience buys 1 ticket. That ticket encompasses the story, performers, set design… everything. When we design a show, we’re creating something that is a much bigger machination than [simple set design].” Adam is a set designer for Victorian Opera and a fervent admirer of the Josef Svoboda, the set designer behind this particular production of La Traviata. Svoboda, who passed away some years ago, is perhaps best known for pioneering a new-think approach to set design back in the 1960s. Even today, his concepts are still considered revolutionary. “In architecture,” says Adam, “you’re designing spaces where many people will come in and do unknown things. In our world you know exactly who is walking into every space, what they’re going to say, the props they will bring. Our job is to communicate those stories to the audience immediately.” “Svoboda,” says Adam, “is like the Renzo Piano of [set design]. He was doing massive scale and non-naturalistic work back in the 1960s when set design was about [literally] painting a picture.” Playing with scale and mixing illusion with reality are just 2 examples of Svoboda’s psychological approach to set design. His famed mirrored wall for La Traviata is a perfect example of this. Svoboda’s psychological landscape is created through a clever play on ‘photographic’ scenery. A mirrored wall, suspended at an angle over the stage floor-space offers audiences a double-view, straight on and bird-like from above. Instead of using the traditional four walls and ceiling, Svoboda engages the floor, using a series of painted cloths to outline different locations throughout the operatic story. “He’s playing with illusion and the classics of painted scenery,” comments Adam. The effect is simple yet powerful, utilising floor-scapes, props and people to create that interplay between reality, illusion and reflection. “Set design is so much about expression and story telling,” says Adam. “Svoboda was in the first set of designers [to prove that] you don’t need to recreate a photographic scene, you can lead the show with a psychological landscape. Viewers will work out where you’re setting it.” La Traviata runs at Her Majesty’s Theatre until 29 May. Victorian Opera victorianopera.com.auabc