Trochoidal motion model…

Researched by Marcel, Collections Research Volunteer, this remarkable model was created by Lawrence Hargrave in New South Wales, Australia, in 1882. An experimental trochoidal motion snake model, it reflects Hargrave’s deep curiosity about movement in the natural world and his methodical approach to understanding how motion could be translated into mechanical and, ultimately, aerial design.

The model consists of seven hinged metal segments, allowing it to move in a fluid, snake-like manner. Its head contains a clockwork mechanism, including a coil, ratchet cog, and two wheels mounted underneath, while the body is made up of several vertical metal segments. At the tail end, two mounted wheels support and guide its motion. Together, these elements demonstrate a two-part trochoidal motion, simulating the undulating movement of a snake.

Object No. 94/23/1-7/2 – Photographic print of Lawrence Hargrave trochoided plane model. Powerhouse Collection

Lawrence Hargrave (1850–1915) was an Australian inventor and aviation pioneer whose work played a crucial role in the development of human flight. Drawing inspiration from the movements of waves, snakes, fish, and birds, Hargrave developed theories that informed his concept of the “trochoided plane.” His contributions to early aviation include pioneering the three-cylinder rotary engine and being among the first to demonstrate that human flight was possible using a box kite.

Lawrence Hargrave and his kites at Stanwell Park, south of Sydney

Hargrave’s first successful manned flight took place at Stanwell Park, New South Wales, on 12 November 1894. His experimental designs and findings were later incorporated by other innovators, most notably influencing the Wright Brothers, who achieved powered flight with a pilot on board in December 1903.

This particular model (Object No. B1423-3) was acquired by the Powerhouse Museum on 23 January 1961 and continues to offer valuable insight into Hargrave’s experimental process and his fascination with translating natural motion into mechanical form.

Thank you to Marcel for this thoughtful research and for contributing to our understanding of this important object in the Powerhouse collection.

Research and story by volunteer Marcel. Blogpost by Karen Griffiths, (Volunteers Program Officer)

The ‘Tabi’ Boot…

Isabella, a Collections Research Volunteer, recently researched Object No: 96/385/1, a pair of women’s white leather ankle ‘Tabi’ boots designed by Martin Margiela in 1995, from the Powerhouse collection.

These distinctive boots feature Margiela’s signature split-toe design, separating the big toe from the others to create a striking hoof-like silhouette. Crafted by hand with cemented construction, they include a seamed centre front and back, a round stacked and painted heel, and metal hook fastenings at the rear. The Margiela Tabi boot first appeared on the runway in 1988 for the designer’s debut Spring/Summer 1989 show in Paris, where models famously dipped the soles of their tabi boots in bright red paint before walking the runway, leaving the shoe’s uncanny footprints upon its surface.

The Margiela Tabi boot debuted on the Spring/Summer 1989 Paris runway, where models left striking red footprints by dipping their soles in paint.

The boots design draws inspiration from traditional Japanese tabi socks, worn from the 15th century with zori and geta sandals, and later adapted into rubber-soled jika-tabi shoes for workers in the 1920s. Since its debut, the Tabi boot has become a defining symbol of Margiela’s work, achieving cult status and inspiring numerous reinterpretations in fashion.

Belgian designer Martin Margiela, founder of Maison Martin Margiela in 1988, is celebrated for his avant-garde yet minimalistic approach, subverting fashion norms through deconstruction, anonymity, and innovative reuse of materials. The Tabi boot exemplifies this ethos, remaining a provocative and enduring icon within contemporary fashion.

A big thank you to Isabella for her meticulous research and dedication in uncovering the story behind this remarkable object from the Powerhouse collection!

Research and story by volunteer Isabella. Blogpost by Karen Griffiths, (Volunteers Program Officer)

Drawing of Cierva C.30A Autogiro…

Collections Research volunteer Marcel researched the Drawing of Cierva C.30A Autogiro, 1934 (Object No. B2361-2) from the Powerhouse Collection, uncovering the story behind this remarkable aviation object.

Created by A.V. Roe & Co. in Manchester, England, the illustration is made from paper and cardboard and was designed to demonstrate the controls and constructional details of the aircraft. It features side and frontal profiles of the autogiro, along with two detailed close-up views of the rotor blade system – highlighting the innovative engineering that defined this early rotary-wing aircraft.

The autogyro of Juan de la Cierva. On 18 September 1928, it flew from London to Paris thus becoming the first rotating wing aircraft to cross the English Channel.

The autogiro (also spelled autogyro) was a forerunner to the modern helicopter and was pioneered in 1923 by Spanish aeronautical engineer Juan de la Cierva. His Cierva-type aircraft was revolutionary, using a unique rotor blade system capable of overcoming complex aerodynamic and centrifugal forces – an achievement that significantly advanced aviation design.

The A V Roe & Co Ltd factory. One of the world’s first aircraft manufacturers. Pictured are Avro Lancaster bombers nearing completion, 1943, Manchester, England.

The illustration was produced by A.V. Roe & Company, founded in 1910 by Edwin Alliott Verdon-Roe. As one of the world’s first aircraft manufacturers, A.V. Roe & Co. played a major role in aviation history, producing large numbers of aircraft during both World War I and World War II. The success of the autogiro ultimately paved the way for modern helicopters and transformed the development of rotor blade systems.

This graphic illustration forms part of a broader group of objects at the Powerhouse Museum, which also includes the Autogiro VH-USR owned by Andrew Thyne Reid, 1934, a full-scale example similar to the aircraft depicted in the illustration. The illustration itself was acquired by the Powerhouse Museum on 24 July 1980.

Thank you, Marcel, for your dedicated research and valuable contribution to understanding this important object and its place in aviation history.

Research and story by volunteer Marcel. Blogpost by Karen Griffiths, (Volunteers Program Officer)

Weekend Volunteers at Castle Hill: Summer 26

Across the summer holidays, weekend volunteers are helping make Powerhouse Castle Hill a place for conversation, curiosity and connection.

Each weekend, volunteers are activating spaces across the Stores and Presentation areas, supporting activities linked to the Powerhouse Collection and the Andy Griffiths: The Treehouse materials exhibition. From hands-on making to object-based discovery, they are creating moments that invite visitors to slow down, try something new and engage with the stories behind the objects.

In the Presentation space, volunteers are supporting self-guided poster-making and puppet-making activities inspired by the Andy Griffiths exhibition. Families are spending time together cutting, colouring and experimenting, with volunteers on hand to explain the activity, answer questions and share in the process. These spaces often fill with conversation, as visitors talk about favourite books, characters and ideas from the Treehouse series.

At the back of Store 3, volunteers are running a discovery station featuring typewriters and optical objects. Visitors of all ages stop to try the machines, ask questions and share memories. Older visitors often talk about learning to type or using similar objects at work, while younger visitors encounter them for the first time.

It’s not unusual to see different generations gathered around the same object — one person testing the keys, another sharing a memory — with a volunteer helping link those moments back to the collection.

What makes these interactions work is the volunteers themselves. They bring a wide range of backgrounds and perspectives, along with a genuine interest in people. Many enjoy listening to visitors’ stories as much as sharing knowledge about the objects, and this exchange is central to what’s happening on the floor each weekend.

Alongside public activities, we’re also trialling on-floor learning sessions during weekend shifts. These afternoon sessions create space to talk about different roles and departments across the museum, how teams work together, and what’s involved in caring for and activating the collection.

As the holidays continue, volunteers are helping activate Castle Hill in ways that feel open and welcoming. Their presence turns objects into starting points for conversation.

We are grateful for the time, and energy our weekend volunteers continue to bring to Powerhouse Castle Hill.

Supported by the Volunteer Programs team, with assistance from Castle Hill Hosts

Mr Devil…

Dinah, a Collections Research volunteer, recently researched Mr Devil (Object No. A5121) from the Powerhouse Collection, a striking wooden hall figure attributed to Francesco Toso and dating from around 1875–1890.

Object No. A5122 & Object A5121. ‘Mrs Devil’ & ‘Mr Devil’ hall figure attributed to Francesco Toso, 1875-1890. Powerhouse Collection

Mephistopheles and Margaretta from Goethe’s Faust

Mr Devil is one of a pair, together with Mrs Devil (Object No. A5122). These dramatic carvings reflect the late 19th century’s fascination with horror and theatrical symbolism and are thought to have been inspired by Mephistopheles and Marguerite from Goethe’s Faust. Similar figures attributed to Toso appear in European auctions today, sometimes achieving very high prices.

Francesco Toso was born into a Murano family of glass manufacturers but pursued his own creative path, producing furniture, mirrors, and sculptural wood carvings. His devil figures were particularly admired. Many surviving works are listed as “attributed to Toso” or “Successori Toso,” indicating production by Toso or his workshop. He died suddenly in Chicago in 1893 while installing works for the World’s Fair.

Both Mr and Mrs Devil, were purchased in London in 1908 by David Hart, a successful Australian businessman and company director. After his death in 1927, the figures likely passed to his daughter and her husband, Sir Samuel Sydney Cohen, a prominent civic and business figure in Sydney. The devils were installed in the family home in Woollahra.

Sir Samuel Sydney Cohen’s Rosemont residence in Woollahra where Mr and Mrs Devil were installed.

They were later donated to the museum by the Cohens’ younger son, Paul Cullen, who served with distinction in World War II, rising to the rank of Major General and dedicating much of his later life to civic service, particularly refugee resettlement.

Mr Devil is a remarkable example of 19th-century European carving!

Thanks to Dinah, for her valuable research into this object from the Powerhouse Collection.

Research and story by volunteer Dinah. Blogpost by Karen Griffiths, (Volunteers Program Officer)

The ‘Carlton’ room divider…

The ‘Carlton’ room divider (Object No. 86/1015), researched by Collections Research volunteer Jade from the Powerhouse collection, was designed in 1981 by Ettore Sottsass for the Memphis Group and quickly became one of the most recognisable icons of postmodern design. Made from MDF and finished in brightly coloured laminate, its inverted triangles, distorted pentagons and ten vivid colours create a playful architectural presence, complete with a small figure – like form perched at the top.

A collection of objects by the Memphis Group

Although Sottsass disliked how swiftly the Carlton became the symbol of Memphis, it was soon collected by major museums worldwide. Its longevity reflects his belief that design should shape atmosphere and emotion, rather than pursue perfection. Memphis’ launch in 1981 ushered in a joyful and rebellious design sensibility that rippled across interiors, graphics and fashion.

Italian architect and designer Ettore Sottsass. Photo: Vittoriano Rastelli/Corbis via Getty Images.

Ettore Sottsass’ path to Memphis was shaped by decades of experimentation. After the Second World War he worked as an architect and, from 1947, ran his own Milan studio creating ceramics, furniture, interiors and more. His international experiences – including work with George Nelson in New York (aka Herman Miller) – broadened his design language. By the late 1950s he had become a leading designer for Olivetti, where he helped bring colour and style to office equipment and created influential works such as the Compasso d’Oro-winning Elea 9003 computer and the now – iconic 1969 Valentine typewriter.

Valentine typewriter for Olivetti by designers Italian Ettore Sottsass and British Perry A King, 1969. Object No. 2003/13/1, Powerhouse Collection

When Sottsass founded the Memphis Group in 1981, he channelled this lifelong curiosity into an entirely new design movement. Memphis challenged the idea that furniture must be purely functional, instead embracing bold colours, clashing patterns and playful forms. Although controversial at the time, Memphis has since become globally influential.

Thank you to Jade for her thoughtful research into this iconic object.

Blogpost by Karen Griffiths, Volunteers Program Officer

International Volunteers Day

Celebrating Powerhouse Volunteers on International Volunteer Day

On International Volunteer Day, we celebrate the extraordinary Powerhouse volunteers whose passion, generosity and commitment enrich every part of our museums. With more than 160 active volunteers contributing across Ultimo, Castle Hill and Parramatta, the Powerhouse Volunteer Program continues to thrive as a vibrant, diverse community dedicated to sharing knowledge, creativity and cultural heritage.

Our volunteers support work that spans storytelling, research, conservation, events, digital content, public programming and community engagement and their impact is felt every single day.

Sharing Stories Through Collection Conversations

Our Collection Conversations volunteers bring the museum to life through weekly storytelling sessions, offering visitors rich insights and personal perspectives on collection objects. Their deep research and warm delivery create memorable experiences for people of all ages, connecting audiences to the history, design and innovation woven throughout the Powerhouse Collection.

Research Volunteers: Uncovering Hidden Histories

Our research volunteers play a crucial role in sharing stories of the Collection. This year, teams have explored:

Parramatta objects and the stories that help illuminate the cultural and social history of the region
Flora and fauna narratives, uncovering environmental and ecological connections in our natural history holdings

Their contributions help strengthen collection records, build better public interpretation and inform future exhibitions.

Interactive Volunteers: Hands-On Engagement

Our interactive volunteers support hands-on learning across public programs. By guiding activities, demonstrations and exploratory moments, they spark curiosity in families, students and lifelong learners, helping visitors actively connect with ideas, objects and themes.

Archive Volunteers: Preserving Documentary Heritage

From recipes to institutional records, our archives hold decades of irreplaceable history. Archive volunteers provide essential support in processing, organising and caring for these materials, ensuring that the stories embedded in our documentary heritage remain accessible for future generations.

Admin Volunteers: Supporting Documentation and Daily Operations

Behind the scenes, admin volunteers keep things moving by assisting with documentation, data entry and essential operational tasks. Their attention to detail ensures that both the Volunteer Program and wider museum teams can function smoothly and effectively.

Conservation Volunteers: Bringing Steam Alive

At Castle Hill, our steam conservation volunteers maintain and operate historic industrial machinery, preserving the engineering legacy of the Powerhouse Collection. Their expertise allows visitors to experience the wonder of steam technology first-hand — a rare and beloved part of our public offerings.

Digital Story Volunteers: Creating the Next Generation of Museum Content

This year, volunteers also contributed to digital storytelling, working alongside staff and students to produce short videos, object stories and online content.
Through research, script development and narration, these volunteers help translate collection knowledge into engaging digital experiences that reach audiences well beyond the museum walls.

Their work ensures that the stories of the Powerhouse are shared in fresh, accessible and innovative ways.

Event Volunteers: From Sydney Science Festival to Major Programs

Our event volunteers played a pivotal role in delivering major public programs, including the Sydney Science Festival and Powerhouse Food Program. By greeting visitors, assisting with program logistics and creating a welcoming, informed presence across festival spaces, they helped ensure a smooth and memorable experience for thousands of attendees.

Their enthusiasm and adaptability shine at every event — large or small — across all Powerhouse locations.

Thank you

Across every team and every site, Powerhouse volunteers bring heart, creativity and expertise that strengthen our museum in countless ways. They support staff, uplift visitors and help deliver the ambitious programs that define the Powerhouse.

On this International Volunteer Day, we extend our deepest thanks to every volunteer who contributes their time, knowledge and passion to our community. The Powerhouse simply wouldn’t be the same without you.

The Anatomical Eye Model…

The new exhibition Powerhouse Materials: Paper, guest curated by Andy Griffiths, features a remarkable object from the Powerhouse Collection now on display: an intricately crafted 19th-century anatomical model of the human eye (Object No. H1708). Made in Germany between 1850 and 1894, this papier-mâché model is more than a teaching aid, it’s a physical expression of the scientific curiosity and anatomical understanding developing during a period of rapid discovery.

Object No. H1708, Anatomical model of a human eye, 1850-1894. Powerhouse Collection

At first glance, the model showcases the structure of the human eye with impressive accuracy. Yet its significance goes deeper. During the mid-1800s, scientists were intensely investigating how the eye functions, its ability to adjust focus, regulate light, and correct distortions such as spherical and chromatic aberration. Even Charles Darwin, writing in the 1850s, explored how such a complex organ could evolve, drawing comparisons between the biological mechanisms of the eye and precision instruments like the microscope. This model sits squarely within that era of questioning, experimentation, and explanation.

Brochure promoting The Sydney Technology Museum (Now the Powerhouse). Image: Museums of History NSW.

Archival poster advertising museum display from Jubilee Week, 1930. Image: Museums of History NSW.

The Powerhouse acquired many papier-mâché anatomical models in its early years, and this eye model – described as a “large model of eye with separate cornea” – was obtained from the German company F. Rammé in 1894. These models weren’t passive display pieces; they were used actively for education. For decades, they played a central role in teaching anatomy. A 1949 Guide to the Museum of Technology and Applied Science (as the Powerhouse was then called) notes that teachers brought their students to learn from these models firsthand, with cases opened so the students could handle and explore them.

The museum’s educational displays stretched to include human bones and anatomical models – to be regularly consulted by both students of anatomy and teachers of physiology. Image: Museums of History NSW, 1906

Students interacting with the ‘Electronic Brain’, Technological Museum, Ultimo, 1950s

Visitors can experience the anatomical model of the human eye- and many other extraordinary paper objects – at Powerhouse Castle Hill now.

Blogpost by Karen Griffiths, Volunteers Program Officer

Opening of Powerhouse Materials x Andy Griffiths

The launch of Powerhouse Materials: Paper with beloved children’s author Andy Griffiths – the mastermind behind the best-selling Just! books and the Treehouse series – was a truly unforgettable day. Visitors were treated to Andy’s personal selection of Powerhouse Collection objects, as well as a lively talk and Q&A. Andy promised to answer every question truthfully… though with the warning that if he didn’t know the answer, he’d happily make something up!

At the heart of this vibrant event were our ten fantastic volunteers, whose energy and enthusiasm shaped the success of the day.

From the moment the doors opened, our volunteers supported a wide range of activities with warmth and big smiles. The Discovery Station, featuring an old typewriter and a model eyeball, was a huge hit – especially with children who had never seen a typewriter before. Volunteers loved showing them how it worked and watching their amazement as keys clacked and letters appeared on the page.

Volunteer Millie assisting with crowd flow during Andy’s book signing

Volunteer Jacob assisting with crowd flow during Andy’s book signing

During Andy’s book signing, volunteers expertly assisted with crowd flow to ensure families had a smooth and enjoyable experience. They also helped children post their handwritten notes to Andy into the delightful Treehouse Post Box, a commissioned creation made entirely from paper and cardboard. It quickly became a favourite activity for kids and adults alike.

Volunteer Nicola helping a young visitor post a letter to Andy in the Treehouse Post Box

Throughout the day, volunteers supported children working through the self-guided activity book and supported curators in managing the flow of the behind-the-scenes tours of the Powerhouse paper collection.

Volunteers helping with the self-guided activity book station

We had an amazing time, and a huge thank you goes to our incredible volunteers who brought such energy and enthusiasm to every part of the day. We couldn’t have done it without you!

Blogpost by Karen Griffiths, (Volunteers Program Officer)

The Ventriloquist’s doll ‘Nellie’…

Powerhouse Materials: Paper is the new exhibition now open at Powerhouse Castle Hill, curated by renowned children’s author Andy Griffiths. Among its many fascinating objects, one instantly captures attention: Object No. 2015/34/1, the Ventriloquist’s doll ‘Nellie’.

A separate home-made dress of mauve, white and blue floral curtain material, with a petticoat attached, and a green hairnet that was used when transporting the doll. Powerhouse Collection. Object No. 2015/34/1. Ventriloquist’s doll ‘Nellie’, 1940 – 1969

Nellie is a charming papier-mâché doll made and performed by Australian ventriloquist Royston MacGregor. She featured in his popular triple-voiced act alongside the boy doll Skeeter and Royston himself. Royston grew up in Mortdale, attending Mortdale Public School and Hurstville Technical School, and was already practising mimicry and voice-throwing as a child. A meeting with travelling ventriloquist Charles L. Sloggart in 1920 convinced him to pursue the craft, and his father’s gift of a ventriloquist’s doll that Christmas set his future in motion.

Charles Sloggett (1889-1962) performed across Australia from 1911 into the 1950s with a 2 1/2 hour magic review.

Royston performed his first paid show in 1922 and continued building his skills throughout the Depression, running one-man shows, busking on the country circuit and presenting Punch and Judy performances. His big break came in 1939 when he won a 2KY talent quest, leading to radio work, touring in New Zealand and a growing national profile.

Across five decades he performed in tent shows, vaudeville theatres and clubs, and entertained troops while serving with the RAAF during World War II. His quick wit, mimicry and spirited ad-libbing made his characters long-time audience favourites.

Used between the 1940s and 1960s, Nellie—light, expressive and crafted from paper—now sits proudly in the exhibition, a delightful reminder of Australia’s variety-show heritage and the performer who brought her to life.

Blogpost by Karen Griffiths, Volunteers Program Officer