Page 66 - Australian Wood Review №103 2019
P. 66
DESIGN
Right: Many different
versions have been made
of the original Frank’s Table.
This one is made from
Eucalyptus regnans
and measures 3200 x
1680 x 720mm.
Photo: Peter Howard
Below: Laura McCusker’s
LXN round table in oxidised
eucalypt 1400 dia x 720mm.
Photo: Peter Whyte
if you like them, but they’re not
essential. The marks of daily use tell
a story and stories are important.
The Mingei philosophy applies to objects
that are representative of the place in
which they were produced. Globalisation
and homogenisation of design has meant
Everyone should be able to have there’s been a loss of the vernacular.
beautiful functional objects for use;
egalitarian rather than exclusive. Pieces I live in the real world, a world of
that wear well and look better after Instagram and sometimes almost too
years of use. Finishes and materials that much visual stimulation and inspiration.
pillar is ‘hand-crafted art of ordinary age ensure longevity. Increase rather I tackle this by using local materials
people’ and it’s about recognising than decrease value. Like favourite old (where possible) for local people (mostly).
the beauty in everyday ordinary and jeans, worn-in and loved leather boots,
utilitarian objects created by nameless timber with the patina of time. In conclusion, I’ve tried to give you an
and unknown craftsmen. insight into some of the tools that I
Things should be repairable – this use when designing, for me it’s mostly
There are some caveats here. There’s means by me or someone else. The about authenticity and differentiation.
anonymous and anonymous – clearly emotional attachment needs to be There needs to be a point of difference.
I’m not hiding in a cave on some established first but repairs and The piece needs to do its job well, age
remote mountain. And there’s quantity maintenance needs to be considered with grace and be respectful of the
and quantity. I’m talking quantity on at initial fabrication design stage. It’s materials it’s made from.
the human scale: muscle memory and important to me that I don’t make
In issue 101 we presented an abridged
production process refinement. something that can’t be opened up,
version of Melbourne architect and
pulled apart and put back together.
woodworker Adam Markowitz’s talk at
In terms of everyday there’s
AWR L!VE in Sydney, August 2018.
inexpensive and inexpensive. Too This is also why I use simple, old
cheap and the object/materials aren’t fashioned hand applied finishes.
respected – to many people perceived They’re not as high gloss or bomb Laura McCusker was profiled
in AWR#92. She lives and
value is inextricably linked to cost. proof as some other finishes but, as I
works as a furniture designer
There should be a fair price for the mentioned, that’s not what I’m after,
maker in Hobart, Tasmania.
work and materials, but the client but nor should people be afraid to Learn more about Laura at
shouldn’t have pay for your excesses. use my pieces everyday. Use coasters www.lauramccusker.com
66 Australian Wood Review
