The architectural model of the Sydney Opera House is one of my top 5 favourite objects in the Powerhouse Museum.
The designer of the Opera House mention about how “the design of the roof is obviously quite a problem and has only just been touched on”. So the wind tunnel test model is a notable artefact that reflects the collaboration between Jørn Utzon and the structural engineers from Ove Arup and Partners throughout the Sydney Opera House project.
As an architecture student, it is worth knowing the wind tunnel model holds significant importance as it represents the early roof design of the Sydney Opera House. Therefore, it is incredibly fascinating to see the prototype and understanding the engineering difficulties of the iconic of Sydney.
2. Doll’s house. Frans and Christina Bosdyk (1997-2006)
The first time I saw the Bosdyk doll house at the 1001 exhibition, I was truly amazed by how delicate this house was. This doll house is a remarkable example of the craft of miniatures. It is a masterpiece of diminutive design, transcends the ordinary.
Frans and Christina Bosdyk spent decades for this lovely house to make twenty rooms set up on five levels. So very detailed, from its beautiful exterior to its tiny furniture, showcasing the artisans’ dedication to perfection, is extraordinary.
It is also great to have their Dutch traditional culture and skills brought to Australia.
The Japanese house model also showcases the profound craftsmanship of artisans. The entire model is hand crafted from split, polished, seasoned bamboo. I’m surprised they even equipped the model with functional sliding windows and doors located throughout. This shows the complexity of traditional artistry and the attention to detail while the woven bamboo mats are visible on the interior flooring. On the other hand. The choice and use of bamboo as a consistent material makes it aesthetic. It evokes the peaceful spirit of Japanese architecture, embody the Zen principles of balance and simplicity. It’s a harmonious fusion of nature and human creativity.
My fourth favourite object is the electric car produced in 1917. It really came as a delightful surprise to me, challenging my preconceived notion that electric cars were a recent development in the 21st century. It’s incredible to think that a century ago, this electric car was already on the roads, defying the dominance of gasoline-powered vehicles. It makes me wonder how they charged electric cars in the early 20th century – is it the same way as how we charge them today?
This discovery has deepened my appreciation of the history of electric vehicles and how they’ve been around for longer than I had initially thought. I think it’s also pretty cool to learn about the enduring quest to create eco-friendly transportation options.
While walking in the 1001 exhibition, it is hard not to mention the USA Chandelier.
Even when you stand outside the display room, you can still see this chandelier has an eerie beauty that transcends its form.
However, this eerie chandelier is crafted with a profound purpose. It was created in response to the 2011 Fukushima Daiichi nuclear disaster. This artistic masterpiece serves as a poignant reminder of the enduring impact of that catastrophic event. It symbolises the resilience of art in the face of tragedy, a beacon of remembrance that pays homage to the past while shedding light on a brighter, more hopeful future.
The secret lies in the ultraviolet light tubes, which interact with the uranium within the glass, its hauntingly fluorescent green aura in the darkness truly comes to life, radiating an ethereal glow, evoking the reminiscent presence of radiation.
Stanley Wang
Sydney Design Week Intern 2023
