7 Carter, Nanette BLUEPRINT TO PATTERNCRAFT DIY

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y the mid 1950s. Since the worst shortages oftimber were largely overcome by early 1954, itappears the continued popularity of furniture kitswas related to their affordability and thepopularity of DIY activity. Furniture packs wereoften marketed with the use of the term ‘pre-fab’,indicating popular understanding of the success ofpre-fabrication in helping solve Australia’s housingcrisis.

family and friends, and not necessarily employedin the recommended manner to be glued to thetimber and used only once.As Thorpe explains, design activism ismore than good design that ‘constitutes generalimprovements to daily life gained throughprivate consumption, accessed according to theconsumer’s ability to pay’ (Thorpe 2011).Frederick Ward’s response to the specific socialand economic context of post-war shortages andthe failure of existing manufacturers to adjust tothe needs of post-war society, can be understoodas design activism however, even if typicallyFig 5. Blueprint patterns replaced Patterncrafttowards the end of the period of post-warshortages. While they were more modern indesign they were equally simple to make.design activism typically ‘distances itself fromcommercial or mainstream public isseny.org/congres/).While Ward’s designs were commerciallyConclusionFrederick Ward’s designs for Patterncraft,successful on a modest scale, this ensured thatthey continued to reach a mass audience—Blueprint and Timber-pack became extremelybecause they provided a financial return for thepopular, evidenced by the life of the patternHerald and Weekly Times, publisher of Australianservices, advertisements for Timber-pack and theHome Beautiful. Although flat-pack furnitureperennial appearance of Patterncraft furniture intoday is often associated with multi-nationalvintage furniture stores today. Anne Purvesconglomerates, rapid obsolescence andrecalled that an Australian Home Beautifulquestionable environmental practices,photographer told her that he came acrossPatterncraft, Blueprint and Timber-pack arePatterncraft furniture throughout Australia, noexamples of design for DIY production that metmatter how far he went from Melbourne wherethe practical needs and economic constraints ofthey originated (Purves C 2008). It is likely, sinceusers at a time of shortage rather than excess.xpaper dress patterns were frequently sharedThey gave users of a confidence in their capacityamong women within families, and easily mailedto make the things they needed and facilitated aover vast distances, that Patterncraft andDIY future that often included building andBlueprint patterns were copied and shared amongrenovating, and at the least, making essential

pieces of furniture at a moderate cost thatAustralian Artists: Australian Galleries 1956 toenabled working and lower middle class people to1996, unpublished manuscript, State Library ofconsolidate their finances and avoid debt.Victoria, Melbourne, PA00/700, Box 11.Purves, Caroline (2008) personal interview,REFERENCE:Australian Home Beautiful (1947a), ‘HomeBeautiful Patterncraft Furniture’, 26, (10): 30.Australian Home Beautiful (1947b), ‘You Can Makethis Furniture From Paper Patterns’, 26 (10): 26.Carter, Nanette (2007) Savage Luxury: ModernistDesign in Melbourne 1930-1939, Bulleen Victoria:Heide MOMA.Dingle, Tony (2000) ‘Necessity the Mother ofInvention, or Do-It-Yourself’ in P. Troy, A History ofEuropean Housing in Australia, Oakleigh, Victoria:Collingwood, 17/8/2008.Thorpe, Ann (2011) ‘Defining Design as Activism’,http://designactivism.net/, last accessed10/8/2011.Thorpe, Ann (2008) ‘Design as Activism: AConceptual Tool’, in Changing the Change, DesignVisions, Proposals and Tools, Changing the ChangeConference, Turin, Italy.Ward, Elinor (1947) ‘Elinor Ward Suggests: LoungeFurniture For the Times’, Australian HomeBeautiful, 26, (10): 18-19.Cambridge University Press: 57-76.Ward, Elinor (nd.) Puss’s Journal, (unpublishedFuad-Luke, Alastair (2009) Design Activism:manuscript), collection Dr Martin Ward, Canberra.Beautiful Strangeness for a Sustainable World,London: Earthscan.Woodburn Bettina and Woodburn Bill (2010),personal interview, Williamstown, / lastviewed 23/9/2011.Holland, Graham (1988) Emoh Ruo: OwnerBuilding in Sydney, Sydney: Hale and Iremonger.Margolin, Victor (2003)‘ The Designer as Producer:ACKNOWLEDGMENTSProfessor Kate Darian-SmithCaroline PurvesDr Martin WardWorking Outside Mainstream Manufacturing’, inSteven Heller and Veronique Vienne (Eds.), CitizenBettina and Bill WoodburnDesigner: Perspectives on Design Responsibility,Pacific Magazines for permission to publishNew York: Allworth Press: 159-164.illustrations from Australian Home Beautiful.Purves, Anne (with Felicity St John Moore) (nd.)Sprinters and Stayers: Forty Years of Handling10

iCalled Swedish-craft, these were produced in Sydney 1953-60.More than four million children were born in Australian between 1946 and 1961, a substantial increasegiven Australia’s immediate post war population of just under seven and a half million people.iiiThe immediate post war legislation imposed a maximum size of 125 square feet, which was maintaineduntil 1952, when it was altered by each state according to its specific housing shortage and the ideology of itsgoverning party.ivThe first courses in industrial design weren’t established in Australia until after World War II.v‘Unit furniture’ was the British term for what has come to be referred to as modular furniture.viFred Ward Archive, Powerhouse Museum, Sydney, 95/109/1-3/1viiFred Ward Archive, Powerhouse Museum, Sydney, 95/109/1-3/1viiiFred Ward Archive, Powerhouse Museum, Sydney, 95/109/1-3/2:4.ixIn the post war period Frederick Ward worked for the professionalization of design for industry in Australia.He was a founding member of the Society of Designers for Industry, and the Industrial Design Council ofAustralia. He also contributed to the development of national standards in design education.xAlso, when people are involved in making the things they need in their daily lives; they frequentlyexperience a greater degree of attachment to them, compared to things that are purchased, resulting in aslowing of the commodity cycle.ii

BLUEPRINT TO PATTERNCRAFT: DIY FURNITURE PATTERNS AND PACKS IN POST-WAR AUSTRALIA NANETTE CARTER FACULTY OF DESIGN, SWINBURNE UNIVERSITY NCARTER@SWIN.EDU.AU . including a successful design for an egg-incubator called the Empress, before returning to Myer and furniture producti

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