Take a seat
In 2023, design consultant Emma Elizabeth worked with Powerhouse to commission a series of bespoke furniture for the collaboration space in the new Building J at Castle Hill. The project showcases the works of eight innovative Australian designers: Adam Goodrum, Alexander Lotersztain, Daniel Emma, Dowel Jones, Ka-ra, Oku Space, Patryk Koca and Softer Studios.
Elizabeth tasked each designer to reinterpret one of their past creations for the new space and its surroundings – using spotted gum as a primary material. Andrew Yee spoke with Elizabeth and the designers about their approaches to the project.
Stay tuned as we release a new chair each week.
Ka Ra Studio
Ka Ra Studio is a Melbourne-based design studio renowned for creating practical products such as Penny, Buddy and Cinema Vase that are visually appealing and offer flexibility of use. Founder Katrina Ramm established the studio in 2019 with ‘home’ at the core of her design philosophy and a focus on making products that are affordable and compact to cater to the limitations of small footprint living. Ka Ra Studio has received widespread industry recognition including the VIVID Emerging Designer Awards, Design Fringe and a collaboration with sustainable timber social enterprise CERES Fair Wood for Melbourne Design Week 2023.
In 2023, Emma Elizabeth worked with Powerhouse to commission Ka Ra Studio for a reinterpretation of the Penny Chair using spotted gum for the collaboration space in Building J at Castle Hill.
Andrew Yee spoke with Ramm about designing for restrictive living spaces and how design can influence a positive mindset.
AY What were your initial thoughts when presented with the opportunity to design a chair for the new building at Powerhouse Castle Hill?
KR I was incredibly flattered and excited to have my work considered as part of a project that celebrates and highlights Australian timber. I’m very passionate about local Australian timbers, particularly the many varieties of eucalypts we have, so it was great to have the opportunity to bring my chairs to life in an Australian timber native to the Castle Hill area.
AY What drew you to creating flexible furniture and creating pieces for smaller spaces? Did this change when considering the collaboration space in Building J at Powerhouse Castle Hill?
KR My interest in creating pieces for small footprint living stemmed from my own experiences living in tiny inner-city apartments. I found myself needing furniture that could be flexible and compact, yet still retain individuality and personality. I often find that unique, well-designed furniture is made for grand homes that have the space for large statement pieces, however options can be limited when it comes to high quality, original design that’s more compact. With so many young people living in small apartments due to the housing affordability crisis, I feel this is an important demographic for designers to focus on and a topic I’m passionate about exploring in my own work.
AY A vital project element was incorporating spotted gum, which is endemic to the Castle Hill area. What was using this material like and did it present any challenges?
KR Although it’s a eucalypt like the shining gum the Penny chair is usually made from, spotted gum is quite a different timber in both appearance and makeup, so I’ve really enjoyed getting to know this timber more! Being such a dense timber with interlocked mixed grain, all the rounded edges and circular seat bases in the design had a higher chance of chipping out when shaping. I work with the very skilled Vivienne Wong, who produces many of my designs including the Penny Chair, so they turned out fantastic, but they did require much more time for careful shaping of the timber to get a clean finish. The rigid and heavy density of the timber also meant that thinner veneers had to be used for the bending of the curved seat back, and because of the natural oiliness of spotted gum, a different type of glue had to be used to make sure there was a really good bond between the layers. Shining gum timber has a very pale straw colour, so it was great seeing the chairs come to life in spotted gum with its deeper, rich chocolatey tones. I was blown away by how much it changed the whole feel and character of the chair!
AY Why do joy and a sense of homeliness play such a significant role in the visual language of your works?
KR The importance of joy and homeliness in the visual language of my work is influenced by my strong belief that our spaces have a profound impact on our mood and mindset. I’m quite a homebody, and like many others, I find comfort and contentment in the spaces surrounding me. I believe these cosy feelings are heavily influenced by the furniture and objects we choose to make our spaces feel special. There are so many uncontrollable forces that can negatively affect how we feel, so I like the idea of creating little pockets of happiness in the places we spend the most time. I also try to keep things light-hearted by creating playful pieces that feel approachable, while still offering the same quality benefits as more traditional high-end furniture.
AY What does it mean to you as an Australian designer to have work commissioned by Powerhouse?
KR As I'm still in the early stages of my career, it's incredibly rewarding to see one of my designs featured in the new Powerhouse building among other esteemed Australian designers and makers whom I admire. Being included within such an incredible cultural institution feels truly special!
AY Do you have any upcoming projects, plans and works you'd like to share?
KR Creating the Penny Chair in spotted gum has inspired me to release the design in a range of other timbers as well as an upholstered version. I’ve been specifically looking at recycled textiles and plant-based leather alternatives, such as cactus and apple skins, which I hope to have available in the coming months.
Dowel Jones
Dowel Jones is a furniture company dedicated to creating objects that are anything but ordinary. Founded in 2013 by designers Dale Hardiman and Adam Lynch in 2013, the brand has been widely acknowledged locally and internationally for its playful and experimental designs. Dowel Jones’ minimalist philosophy aims to perfectly balance functionality and a wondrous childlike spirit, which is evident in recent works such as an item titled ‘This is not a coffee table book, this is a piece of wood’ and the Flower Foldy Table. In recent years, the studio has collaborated with artists and designers such as Claire Mueller of ACID FLWRS and Ethiopian-Norwegian artist Olana Janfa.
In 2023, Emma Elizabeth collaborated with Powerhouse to commission Dowel Jones for a reinterpretation of the company’s Simon Says Chair using spotted gum.
Andrew Yee spoke with Hardiman and Lynch about incorporating play into the design process and the importance of working with local businesses.
Andrew Yee What were your initial thoughts when presented with the opportunity to design a chair for the new building at Powerhouse Castle Hill?
Dowel Jones To rethink a pre-existing piece in a site-specific timber was an amazing opportunity, along with joining other Australian designers within the collection.
AY There is an element of play in all your works. How do you introduce experimentation into the design and production process?
DJ I think because we founded the brand on play and experimentation it’s always been a part of what we do, even after nine years. As we know the Australian-made manufacturing processes, we understand what we can do throughout the design and production processes. We can rapidly iterate variations of products and understand how they’ll be made. We didn’t really work for other furniture brands prior to founding Dowel Jones, so the only process we know is the one we lead now.
AY A vital project element was incorporating the spotted gum, which is endemic to the Caste Hill area. What was it like to use this material and did it present any challenges?
DJ As we work on custom projects frequently, working with spotted gum felt natural. We’ve always produced our timber products in house, so the timber team has a huge wealth of knowledge.
AY Why is it essential for you to source production locally in Geelong?
DJ We founded Dowel Jones with the intention to produce contemporary Australian-made pieces and after nine years this is still our aim. We believe it’s possible to still produce Australian-made products so long as you’re working within the constraints of what's feasible. We work with manufacturers like they are collaborators rather than suppliers.
AY What does it mean to you as Australian designers to have work commissioned by Powerhouse?
DJ It’s meaningful to us that we produced a chair for this project alongside many other Australian designers we respect and admire. We’ve long worked with galleries and institutions in Melbourne, so it’s wonderful to be included in the collection at Powerhouse Museum!
AY Do you have any upcoming projects, plans and works you'd like to share?
DJ In July we’ll celebrate our 10-year anniversary with a five-month-long exhibition at the Geelong Wool Museum. For the exhibition we’ve produced 12 new projects exploring previous and new collaborations in a space we’ve designed that we’re calling Dowel Jones House. Instead of presenting 10 years of the commercial production work we do, we’ll present 12 new experimental works.
Daniel Emma
DANIEL EMMA is a design studio that celebrates our everyday rituals. Founded by Daniel To and Emma Aiston in 2008 with the aim to create a sense of childlike play in often overlooked objects. As To and Aiston aptly put it, their designs aimed to be 'just nice'.
As self-proclaimed enthusiasts of 'stuff' and 'things', To and Aiston have little interest in reinventing products. Instead, their hearts lie in creating joy in our day-to-day experiences by marrying their love of industrial design with their vibrant sense of self-expression. Recent designs include a hanging clock with a spiral of colourful stripes, a neon light that throws shapes like a toddler’s squiggle and a lit-up heart signs pointing to defibrillator units.
In 2023 DANIEL EMMA received two much celebrated commissions, the first from the NGV in Melbourne titled 'Up Down And All Around', the second from Emma Elizabeth collaborating with Powerhouse Museum for a reinterpretation of the studio’s Sit Chair, using the spotted gum tree native to Powerhouse Castle Hill.
Andrew Yee spoke with DANIEL EMMA about designs that are ‘just nice’ and versatile.
Andrew Yee What were your initial thoughts when presented with the opportunity to design chair for the new building at Powerhouse Castle Hill?
DANIEL EMMA It was a nice surprise!
AY What does it mean for you to produce designs that are ‘just nice’?
DE This concept embodies everything we design and make: it is about creating approachable, fun and simple pieces that are void of pomp! If our work can make others smile and elevate their daily experience, then we have done our job.
AY A vital project element was incorporating the spotted gum, which is endemic to the Castle Hill area. How do you feel it changed the visual identity of the Sit Chair?
DE The Sit Chair is a versatile piece – it was purposely designed this way. The framework is utilitarian and basic, with a few unexpected details, enabling whatever is used for the seat to shine, whether it is upholstered, painted or solid timber.
AY The Sit Chair was originally created as part of JamFactory’s jam collection. What is the key to maintaining the creative identity of DANIEL EMMA when you enter collaborations for large-scale client work?
DE Working with other like-minded companies has always been a big part of our studio practice. For us it’s paramount the collaboration creates a product that is a unique combination of both brands’ values.
AY What does it mean to you as Australian designers to have work commissioned by Powerhouse?
DE To have our work included in such an iconic location is a huge honour!
AY Do you have any upcoming projects, plans and works you'd like to share?
DE After a busy 18 months of big external projects, this year we are concentrating more on our self-produced pieces and hope to release several new products later in the year.
Alexander Lotersztain
Alexander Lotersztain is a designer and director of Derlot, a contemporary furniture brand based in Brisbane. He is renowned for his human-centric design approach, which prioritises functionality and form. So, despite an ultra-modern aesthetic, Lotersztain aims to avoid alienating users by encouraging interactivity over spectatorship. He is involved in various design pursuits, including architecture, furniture, interiors, objects, marketing and branding, and has been invited to participate in internationally recognised design panels.
In 2023, Emma Elizabeth worked with Powerhouse to commission Lotersztain to create outdoor seating known as BRUT-AL, comprising five horizontally placed stainless steel monoliths located in the north courtyard of Powerhouse Castle Hill.
Andrew Yee What were your initial thoughts when presented with the opportunity to design furniture for Powerhouse Castle Hill?
Alexander Lotersztain Who wouldn’t want to be part of such an amazing project, incredible architecture and curation!
AY How did the environment influence the choice of stainless steel as a material and the scale of the pieces?
AL We had a footprint to work with and we wanted to make the most out of the space. Creating spaces within spaces with functional artwork allows for multiple uses and experiences: work, play and rest. The randomly placed stainless steel custom BRUT-AL benches give a playful compliment to the building's architectural skin.
AY What does taking a human-centric approach to design mean to you? How did it influence the creation of BRUT-AL?
AL Human-centric design for me considers the entire user experience, including factors such as usability, aesthetics, accessibility and emotional impact. With BRUT-AL what I was trying to achieve was a striking installation playing in the realm of sculptural art and design that is not only functional but also enjoyable and meaningful for users.
AY Part of your practice is to consider the role design plays in an ever-evolving world. Why is this important to you?
AL Design possesses the remarkable ability to inspire, inviting individuals to cultivate fresh perspectives about their surroundings. When executed effectively, good design serves as a catalyst for positive change, as it engages participants in a collaborative experience.
AY What does it mean to you as an Australian designer to have work commissioned by Powerhouse ?
AL Being commissioned by Powerhouse holds significant meaning for me as an Australian designer. It's not only a recognition of my craft and creativity but also an opportunity to contribute to the cultural heritage of our nation. Design is a powerful medium through which stories are told, histories are preserved and ideas are shared. Having my work showcased at Powerhouse Castle Hill allows me to connect with a broader audience, shaping perceptions, sparking conversations and leaving a lasting impact on our collective understanding of design and its role in society. It's a privilege and responsibility I deeply value.
AY Do you have any upcoming projects, plans and works you'd like to share?
AL We are working on a number of projects, from interiors to new furniture collection for Derlot, and probably the most exciting is our work on a new sustainable bioplastic material specially formulated for roto moulding in collaboration with the University of Queensland. This will be a world-first fully biodegradable roto-mouldable material. After almost three and a half years in the making, we are now on the final stage of real size prototype testing. I can’t wait to share this with the world, hopefully very soon.
Adam Goodrum
Adam Goodrum is an industrial designer from Australia who specialises in creating furniture, lighting and other functional objects. Goodrum became passionate about maths and art from an early age, leading him to study Industrial Design at the University of Technology Sydney. He continues to combine these two passions in his designs, allowing geometry to give form and art to dictate expression.
Rising to prominence in 1997, when he was named Sydney Morning Herald Young Designer of the Year, Goodrum quickly gained accolades locally and internationally. In 2004 he won the Bombay Sapphire Design Discovery Award with his Eve chair and in 2008 he collaborated with Guilio Cappellini, owner of Italian furniture house Capellini, who put his now-iconic Stitch chair into production. His recent collaborations include Boab vases, the Carousel Table by Paris Gallery Gossere and a Volley outdoor furniture range made by Australian manufacturer Tait. His works appear in galleries and museums around the world, including the London Design Museum, Design Museum Gent (Belgium), National Gallery of Victoria, Art Gallery of Western Australia, National Gallery of Australia and Powerhouse.
Emma Elizabeth assigned Goodrum the task of reinterpreting his Don chair in a new spotted gum design for the collaboration space in Building J at Powerhouse Castle Hill.
Andrew Yee What were your initial thoughts when presented with the opportunity to design new works for Powerhouse Castle Hill?
Adam Goodrum It’s always such a huge honour to be approached to have work in a significant institution. I have my Chameleon tables in the work areas, and Don chairs made from spotted gum in the collaborative areas. The chair was originally designed for American Hardwoods to promote Tulip and Cherry wood, it then went into production with NAU.
AY A vital project element was incorporating wood from the spotted gum tree, which is endemic to the Caste Hill area. What was using this material like and did it present any challenges?
AG Local woodworker Jack Standard of Iluka Studio made the chairs. He has good experience working with spotted gum and its challenges, as it has a lot of variation in the grain, which can result in spitting. It also has an oily make up which can make gluing difficult. One has to be careful with timber selections. With the Don chair I like to express joints with different colours. The spotted gum works well because of its diversity in colours.
AY What does it mean for a product to justify its existence?
AG As a designer it is fundamental that we practise in an ethical and sustainable manner. I firmly believe any design outcome must be rigorously examined and interrogated before it is physically realised. Whether I'm creating art-driven or functional objects, my primary criterion is that the design must provide something meaningful and unique.
Design is about creating environments and objects that are not only beautiful but also highly functional. Beauty and functionality should go hand in hand in design. Innovation, on the other hand, is the ability to challenge conventional design paradigms and introduce new, more efficient and intriguing ways of achieving form and function. As human beings we naturally gravitate toward beautiful and functional environments. Design should, therefore, strive to create spaces and objects that enhance our lives in aesthetic and practical ways.
AY In the past you've professed to work on several projects simultaneously. Why is this vital to your thought processes?
AG I enjoy the variation in briefs that comes with working with different brands or products because there is an inherent challenge in the creative agility needed. This requires curiosity in the creative process which I value. I find inspiration in a lifetime of experiences rather than specific objects or designers. For example, I love art and mathematics and feel this finds form in my designs that celebrate colour and geometry. I try to constantly look for inspiration outside the realm of furniture design – whether that be a clever mechanical connection, or in seeing something unique in the way two people converse. For me this is a continual process that may spark a thought or stimulate the growth of an idea.
AY What does it mean to you as an Australian designer to have work commissioned by Powerhouse?
AG When I moved from Perth to Sydney to study Industrial Design at UTS, I would constantly visit Powerhouse Ultimo for inspiration. I have heard many amazing people speak and attended numerous incredible exhibitions.
I feel very honoured to have been included in a number of exhibitions at Powerhouse such as Out of Hand, New Australian Design and recently 1001 Remarkable Objects. I also have a number of pieces in the museum's permanent collection. It is a huge honour to have a relationship with this incredible institution.
AY Do you have any upcoming projects, plans and works you'd like to share?
AG I am working on some Swiss-made luxury mechanical watches, a number of furniture collections that will be released throughout the year, and a piece for Adam and Arthur that will be presented at Tolarno Galleries for Melbourne Design week. It will be our most ambitious design to date.
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Tom Fereday
Tom Fereday created three furniture designs for Powerhouse Castle Hill including the ottoman at the entrance of Building J, developed in collaboration with Evostyle.
ReadPowerhouse Castle Hill
Located on Dharug land. A storehouse for the Powerhouse Collection supporting research and conservation, presenting exhibitions and programs.Learn more