Textiles Part 1 Government House NSW

Student: Isobelle Pover Textiles: Senses and Spaces Lecturer: Dr.Bruce Carnie September 2009

Government House Historic Houses Trust of New South Wales

Government House, NSW Google Maps Entry Ticket for Guided Tour House plan exterior walls.

INTRODUCTION N

The Heritage Houses Trust is the guardian of the Government House of NSW, open house for public activities and tours now since 1998. No longer the family home but working offices for the State Governor and ceremonies such as the swearing in of our new Premiers. Its gardens host concerts, dinners, charity events and guided tours.

The building site was relocated from Philips to Macquarie Street, with the Royal Botanic Garden to flank it’s Eastern side later with the Sydney Opera House at Circular Quay. Designed in the 1830‘s by Edward Blore and Mortimer Lewis, the architecture is reminiscent of Castilian Gothic structures seen in Europe.

Small and Large Sitting Rooms Ball Room

BACKGROUND: INTERIOR DECOR and its DEVELOPMENT The interior decor style was influenced by the succession of governors reflected in the layout of rooms, fixtures, fittings and furnishings. These reflect an ongoing collection with many examples of Arts and Crafts that mark developments in technologies, styles and genres. It is an eclectic collection that requires upkeep, preservation, refurbishment, additions and replacements of the household effects and its interiors.

It has been reshaped, rebuilt, extended and redecorated, it is an ongoing representation of Australian history. The Victorian era styled the house with a theatrical ambiance using dramatic swathes of cloth, use of high colour such as Crimson.

Textures are abundant as in Silks, Velvets, Damasks and large scale woven textiles of carpet and lace. The design themes of dense and complex botany and geometry. This owes it’s influence from the English Aesthetic Movement, 1868 to 1901. Its philosophy followed ‘beauty’ as an ideal, aesthetic values over moral and social themes. The proximity to the Royal Botanic Gardens plays a major theme in the arts and crafts.

PROJECT ‘TO FURNISH A FUTURE’ The challenge is working with the established historic style to preserve some of the most significant and beautiful decor such as the painted ceiling, of 1879 by the Sydney firm of Lyon & Cottier Co., and to introduce new artists and designers, new materials, technology and contemporary design of the 21st century.

Anne Foy, the Government House Curator, is responsible for the refurbishment of the State Rooms and the successful blending of old with the modern that reflects the new style and technologies. A project is in progress; ‘To Furnish a Future’, 2009, that reestablishes Government House as a showcase for the best contemporary Australian art, craft and design. The decor of the house has established a tradition since the mid 1840s to use local materials and craftspeople. The project’s brief is to represent innovative and creative interior design and art in Australia.

DESIGNERS AND DECOR: STATEMENT On entering the Staterooms the impact of the visual splendor creates the effect of grandeur. The household furnishings with their strong curvaceous, ornate qualities, heavy and the rich colour schemes, padded upholstery, intense detail and expressive opulence can provide the counterbalance for the direction for the new design themes.

The mixing of a historic arts and crafts collection with contemporary design presents a challenge of visual blending to create a revived aesthetic style and manner. The ambiance of this regal domain requires seamless blending with the sleek, glamour and novel use of materials and technologies of today. An example of this is Caroline Casey’s glass coffee table design using laser technology, with 50 triangular highly mirrored surfaces that reflect the decorative ceiling. A bright contrast with the soft furnishings around it.

The opulent ambiance of the dining area reveals to an intimate area of rich fabrication in a small lounge opening to a larger public lounge. These are unified with a carpet designed by Valerie Kirk. The striking design reflects the rich Crimson hues of the Victorian palette. New computer technology was used to map the colours and the pattern was inspired seen in the exteriors sandstone formations. Australian and New Zealand wools compose the woven, hand tufted textile, produced in Thailand. This design pushes the furnishings into the foreground and links both lounges.

Contemporary purple, velvet armchairs and the sofa of brownish-pink cotton weave were designed by Charles Wilson with scattered cushions in series of abstract and geometric fabrics. This is paired with a pair of Yellow Jacquard upholstered chairs fabric designed by Liz Williamson creating an intimate seating arrangement around the mirrored coffee table.

right Government House Gardens Kerry & Co (Photograph) 1884-1917 Black and White Glass Negative Full Plate http://www.powerhousemuseum.com

Between the white Meissen porcelain figurines and the contemporary glassware in ruby and amber colours, named ‘Bud’ and Seed’ from a local Brookvale firm, is an unusual transition of decor.

left Government House Front View, showing the entry and Port Cochere Photograph: Bruce Carnie 2009

AMBIANCE The interior ambiance of this richly decorated property serves the people of a contemporary Australia without appearing as a museum. This brings a sense of splendor and respect to a place of regal and legal authority The level of comfort and interest can be introduced by a blend of the new with the old to enhance the existing decor, without the sense of being out of place, nervous and awkward about using antiquities and high quality objects of beauty.

Ballroom Walls - Colour Palette

Soft Furnishing Palette

COMPOSITION of TEXTURES: satin, silk, velvet, wool, damask, lace, fur, felt, wood, porcelain, gold, brass, silver, sandstone, matt, shiny, soft, hard, sensuous, opulent, regal.

REPORT: BALLROOM ASSOCIATIONS of COLOUR Combinations change the mood, meaning and ambiance in a room

Ruby red, rich, blood, claret, cherries, food, drink, ring, strong, regal, deep, power Blue royal, clear, bright, fresh, sea, water, crystal, sky, expansive, heaven Green life, environment, fresh, leafy, spring, natural, clear, soothing, calming, natural Yellow bright, happy, creative, morning, flowers, light, warmth, intellectual, soft, joyous Purple, regal, royal, rich, ecclesiastical, luxurious, sensuous, wealthy, special, ceremonial Pink ‘rosey’, pretty, soft, feminine, flowery, romantic, charming.

Ball Room Carpet - Colour Palette

Wooden Floor

Ballroom Walls - Colour Palette

Soft Furnishing Palette

PROPOSED 1 Artist: Edie Holmes Akemarr Untitled Medium:Acrylic on Linen Dimension: 123 x 122cm www.aboriginalartcoop.com.au Proposed scale:1:10

The Ballroom carpet is a major element of design for the large expanse of floor. The design and composition qualities sets the ambiance in the room. A woven textile will contribute to reduce impact and reverberation noise in this high traffic area.

Weaving is the most durable where quality and luxury are the criteria. The Axminster loom weaves the yarn with the weft. A maximum of twelve weave colours of wool can be dyed to precise colour matches with computer technology. The pile is cut to a specific length and can have variety of lengths that will add to the texture and possibly desirable in a border.

The botanical theme in this painting, with its strong sense of pattern is a uniting feature in a large room. The nine colours are sympathetic with wall palette. This type of textural pattern may require a number of framed borders to give it a formal appearance.

The ‘grounding’ of this imagery is symbolic in recognition of the land of the indigenous peoples and an influence of the future of the Australians.

Ball Room Carpet - Colour Palette NEW

Ball Room Carpet - Colour Palette Existing

Wooden Floor Australian Cedar

left Armchair owned by Governor Lachlan Macquarie, 1822, for Government House. Governor of NSW January 1810 to December 1821 Makers John Webster 'carver and gilder' and William Temple a 'carpenter and joiner' convicts.

Upholstery: Wallaby Fur Australian Rose Mahogany Carved Gothic style

Proposed 2 Ceremonial Chair Cushions top left Du Barry Velvet ‘Trellis of Ogees’ 43% Linen 2%Cotton Upholstery weight 48” width Osborne and Little, UK rtop ight Textile: Hand Tufted, 100% Australian Wool Rug Based on a painting by Artist Minnie Pwerle Adelaide Aboriginal Art Medium: Acrylic on canvas Dimensions: 151” x 92” lright Sketch of Government House ‘Throne Chair’ used for the Governor’s Oath of Office ceremony, with two small cushions; one soft for the back and one slim structured oblong for the seat, Dusty Pink plain cotton. Australian Rose Mahogany, carved with British Coat of Arms on back section. bottom right middle, detail Artist: Ronnie Tjampitjinpa Title; Fire dreaming medium: Acrylic on Belgian Canvas Dimensions: 350 x 203 cm Molloy Gallery

Ball Room Carpet - Colour Palette Existing

This ceremonial chair is dwarfed by the scale of this room, its focus is the position on the stage area. Placing this on a defined textile area it will enjoy the significance the ceremonial aspect, it deserves.

Both cushions to include in part two materials; Wallaby Fur and a combination of contemporary Aboriginal textile design and British design. The red suggests, royal and the linear trellis reflects the frame of the chair. Wallaby Fur has been used by Aborigines for decoration and adornment. Animal skins have been used to signify leaders and aristocracy for centuries throughout the world. The first Australian Governor had a pair of Ceremonial chairs made, see above right.

The hand tufted rug will be custom made and the dyes carefully matched to the artists specifications. This piece will add physical texture and will contrast to the formal European style on the walls. The rug will be placed in the stage area, on the Cedar boarded floor, the ceremonial chair placed on top. Colour scheme: to work with the existing walls, Cedar Wood floor, and Rug.

Proposed 3 Rug Textile: Hand Tufted Wool for Ceremonial Chair A Floor textile to provide an Aboriginal ground to signify and represent the indigenous peoples of this location.

A contemporary design Hand Tufted, Australian Sheep’s Wool, cut to multi-level.

The size and shape to be determined by the designer, a unique ovular shape to give the chair a visual platform. Colour scheme: Walls, Cedar Wood floor, and Ceremonial chair, cushions.

Wooden Floor Australian Cedar

detail below Artist: Gloria Petyarre Title: Mountain Devil Lizard Medium: Acrylic on Canvas Dimension: 180 x 80cm www.molloygallery.com

Proposed 4 Ballroom Benches There are several long benches of differing lengths to accommodate resting dancers or spectators, these line the walls and positioned in the bay windows, leaving the central area for activity for rows of seating a gathering for an auditorium or mobile activity of dancing or partying.

The seating is mobile and needs to be functional in its durability and robustness.

These pieces can also offset the delicate palette of colours used in the repainted walls.

As a historic feature of the house the walls of this room have been renovated to reveal, under layers of white paint, the original wall design, stenciled by hand in a unique colour combination. To refer to this in subsequent new refurbishment would give it great historical significance. Over 6000 stencils have been applied to achieve the overall effect.

The benches are upholstered with padded and studded with covered buttons.

The textile is joined with seams to several parts, these could be a selection of three materials; a seat of leather for longevity and two patterns of woven cloth to the other sections. The colours and designs bring a vibrancy and energy, representative of the social gatherings, concerts and celebrations.

The leather to be embossed in a simplified pattern taking its lead from the other more detailed pattern, an Aboriginal graphic is envisaged. The emboss will give a relief texture to the leather. Leather is also perceived as luxurious much the same way as leather interior seating in a vehicle.

This piece represents the vibrancy and energy of many Aboriginal artists’ work that has semiotic and narrative themes. This work gives a political positioning to the house and reflects the wealth of Australia’s history. The richness of the colours will be reflected in the Jacquard weaving.

Textile fabrics designs taken from the two paintings seen right.

Jacquard woven in USA 54%!polyester 41%!worsted wool 5%!nylon acrylic latex backed width 54" 13 1/4 ounces/linear yard Recommended usage: heavy duty upholstery

detail above Artist: Nancy Carnegie Title: Tjakura, 2008 Medium: Acrylic on Canvas Dimension: 60” x 40” left leather, hard wearing and supplied in many colours, this material can be embossed and high gloss, this is a Crocodile skin emboss. A design could reflect the linear design of Nancy Carnegie’s line-work. Enhanced full grain, aniline leather. Weight 3.25oz +/- 0.25oz per sq.ft.!

PINBOARD of IMAGERY This collection is all Australian Aboriginal artworks, painting, batik. It is not hard to imagine how this work can be transformed by the technique of dying natural fibers for weaving and tapestry work to produce vibrant and stunning textiles.

Artist: Freda Yimunya Lane Title: The Seben sisters Medium : acrylic on canvas

above Artist: Minnie Pwerl Untitled Adelaide Aboriginal Art Medium: Acrylic on canvas Dimensions: 151 x 92 right middle Title: Puti Textile: Cotton Design: Nyuwara Baker and Nyuwara Tapaya 1989/90 Screen print: Marie Warren 1995 Powerhouse Museum

detail above Artist: Nancy Carnegie Title: Tjakura, 2008 Medium: Acrylic on Canvas Dimension: 60” x 40” Molloy Gallery

detail above Artist: Gloria Petyarre Title: Mountain Devil Lizard Medium: Acrylic on Canvas Dimension: 180 x 80cm Molloy Gallery

right bottom Artist: Ronnie Tjampitjinpa Title; Fire dreaming medium: Acrylic on Belgian Canvas Dimensions: 350 x 203 cm Molloy Gallery

above Designer: Donna Abbots Design: Bush Banana www.mstextiles.com/gallery

ACKNOWLEDGEMENTS Powerhouse Museum http://www.powerhousemuseum.com ‘Stateline’ ABC TV http://www.abc.net.au/stateline/nsw/content/2006/s1978515.htm Frederick Litchfield, Illustrated History of Furniture From the Earliest to the Present Time 2004 [EBook #12254]

http://www.carpetinstitute.com.au/environment/index.htm http://www.hht.net.au/discover/highlights/guidebooks/government_house_guidebook http://www.axminster-carpets.co.uk/ www.mstextiles.com

Australian Dictionary of Biography http://adbonline.anu.edu.au/biogs/A100179b.htm

NGA Tactility: Two Centuries of Indigenous Objects, textiles and fibre

Anibou http://www.anibou.com.au/casey.html

www.nyinkkanyunyu.com.au

Dr.Bruce Carnie, Textiles Senses and Spaces: Lecture 5, COFA 2009 Document online.

www.tandanya.com.au

A.Foy, A Twenty-first Century Refurbishment for Government House Sydney, Fig.12 Computer rendering of Kirk’s design for the Drawing Room carpet. Photo:Whitecliffe Imports)

www.gainsborough.co.uk

Olga Gutierrez de la Rosa, An Eye for Colour, Collins Design, New York, 2007 Sarah E. Braddock Clarke and Marie Mahony, Techno Textiles, Thames & Hudson Sue Walker, Modern Australian Tapestries from the Victorian Tapestry Workshop, The Beagle Press Mary-Lou Nugent, Putting in the Colour - contemporary Aboriginal Textiles T.M Cleland, A Practical Description of the Munsell Colour System and Suggestions for its Use 1937 Dr D.R.Hay, The Laws of Harmonious Colouring

http://www.bartbrugman.com www.molloygallery.com www.aboriginalartstore.com.au www.lelievre.eu www.pollackassociates.com http://en.wikipedia.org/wiki/Aestheticism http://www.tiscali.co.uk/reference/encyclopaedia/hutchinson/m0002788.html http://www.hht.net.au/discover/highlights/insites/the_red_drawing_room http://www.carpetinstitute.com.au/environment/index.htm www.garrettleather.com