Past works reimagined in Second Look — Legacy, the Australian Design Centre’s final exhibition

Breaking: Australian Design center Faces Closure Over Funding Shortfall

The Australian Design Centre (ADC), a NSW beacon for local makers as 1964, is teetering on closure in 2026 after federal and state funding fell through. The centre’s flagship exhibition, Second Look — Legacy, remains on display but parallels the broader funding crisis that threatens Australia’s craft and design landscape.

Second Look — Legacy invites artists to reinterpret or repurpose past works, a concept born from textile artists Liz Williamson and barbara Rogers. The show has found a home at the ADC, having previously toured and evolved as 2021. It runs at the ADC through February 28, 2026, offering a last long-form platform before any potential shutdown.

Second Look — Legacy invites artists to revisit past works or reimagine existing pieces. (Supplied: ADC/Jacquie Manning)

ADC Chief Executive Lisa Cahill warns that a shutdown would mark a painful end to six decades of craft-focused activity in New South Wales, and could jeopardize Sydney Craft Week, the festival ADC has organized each October.

“Who loses in the end? It’s the artists and the community who value craft and design,” Cahill said, underscoring the centre’s role as a stepping stone for creators who might not have a direct route to major galleries.

Reinvent, reimagine, and Reuse

second Look — Legacy centers on rethinking familiar materials, inviting artists to breathe new life into previously created textiles. The show’s move to the ADC was driven by a desire to give the programme a larger platform and longer exhibition period, according to Cahill.

The exhibition features 21 artists, including Williamson’s continued influence through works loaned by her family from her Thrum series, which repurposes surplus studio materials. Williamson’s passing in 2024 amplifies the show’s commemorative purpose.

Williamson’s Thrum Series repurposes leftover threads into new works. (Supplied: ADC/Jacquie Manning)

Other featured artists include Stephanie Beaupark,a Ngugi scientist-artist blending Indigenous knowledge with plant-based dye practices. Her installation Untitled (Jagun) uses Dharawal Country plant dyes to explore place, time, and decolonisation — themes Cahill calls central to contemporary textile practise.

The Road Ahead for ADC

ADC’s leadership notes that the organization would need a minimum annual budget of AU$350,000 to remain operational. Despite a robust peer-assessment process deeming the centre worthy of government support, formal funding did not materialize this round. Cahill says the decision reflects broader government priorities rather than a lack of merit.

Closing ADC would remove a crucial platform for up-and-coming and mid-career makers. Cahill emphasizes that the centre also hosts an Object Shop event where around 150 makers sell work — many relying on this outlet as their primary market.

Should the ADC wind down, NSW would become the only state without a dedicated craft and design body, intensifying concerns about regional and city-based access to craft-focused opportunities. The Sydney Craft Week Festival, historically run by ADC, could also be impacted.

Fact	Details
Organisation	Australian Design Centre (ADC),New South Wales
Establishment	1964
Current Exhibition	Second Look — Legacy
Exhibition End Date	February 28,2026 (at ADC)
Projected Outcome	Possible closure in 2026 due to funding gaps
Required Budget	AU$350,000 per year to operate
Impact if Closed	Loss of 18 Sydney exhibitions annually; potential loss of touring programs and the object Shop (about 150 makers)
Notable Figures	Liz Williamson (in memoriam); Lisa Cahill (CEO); Barbara Rogers

Other arts funders are facing similar pressures. Earlier reports highlighted that multiple regional galleries missed out on funding in recent rounds, underscoring a broader shift in arts support across the country.

ADC’s supporters stress that the centre plays a vital ecological role in Australia’s craft ecosystem by providing opportunities for artists to showcase work,cultivate audiences,and sustain regional and urban maker communities. Cahill notes that ADC offers a “smaller leap” for artists aiming to reach broader stages beyond studio walls or student shows.

Second Look — Legacy remains a timely tribute to Williamson’s legacy as a mentor, innovator, and advocate for textile arts in Sydney and across australia. Her influence spans travel-inspired techniques,institutional leadership,and lifelong dedication to craft education.

Reader Takeaways

With ADC’s future uncertain, the craft community—and audiences—face a pivotal moment about funding, access, and the survival of dedicated craft institutions in Australia.

Engage With The story

What should guide NSW’s strategy for safeguarding craft spaces if funding remains constrained?

Which makers or exhibitions would you prioritize to keep the ADC’s legacy alive in a post-funding landscape?

For broader context on funding shifts affecting regional arts, readers can explore ongoing coverage from national outlets and arts bodies.

Second look — Legacy is on display at the Australian Design Centre through february 28, 2026.

Share your thoughts in the comments and tell us how you’d preserve a home for local makers in challenging times.

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second Look — Legacy: Reimagining australian Design History

Curatorial Vision behind “Second Look — Legacy”

• Purpose: To celebrate the Australian Design Centre’s (ADC) 40‑year legacy by giving historic objects a contemporary voice.
• Key Question: How can iconic Australian designs be translated for today’s cultural and environmental context?
• Approach:

1. Archive excavation – designers and researchers combed through the ADC’s collection of over 3,500 objects, sketches, and photographs.
2. Cross‑generational collaboration – veteran designers partnered with emerging talent from Melbourne, Sydney, and Brisbane.
3. Narrative layering – each reimagined piece is displayed alongside its original, allowing visitors to compare material, technique, and intention.

Featured Reimagined Works

Original Designer	Iconic Work (Original)	Contemporary Reinterpretation	Highlights
Robin Boyd	Glass House Model (1965)	Glass House 2.0 – CNC‑cut timber lattice with recycled glass panels	Emphasizes passive solar design and low‑embodied carbon.
Florence Broadhurst	Floral wallpaper (1975)	Digital Blooms – LED‑backlit silk prints programmed to change hue with visitor movement	merges heritage pattern with kinetic technology.
Marc Newson	Lockheed Chair (1999)	Lockheed Remix – 3‑D‑printed bio‑resin rungs and a reclaimed aluminum frame	Highlights circular‑economy principles.
Pietro Porcelli	Sydney Opera House Model (1973)	Opera Mini – Augmented‑reality (AR) headset overlay on the scale model	Offers an immersive story of design evolution.
Graeme Gunn	Warringah Residence (1972)	Warringah 2025 – Modular timber pods with solar shingles	Demonstrates climate‑responsive architecture.

Collaborative Process: From Archive to Exhibition

1. Research Sprint (Jan–Mar 2025) – Curator team digitised 1,200 archive items; photogrammetry created 3D models for virtual prototyping.
2. Design Lab Workshops (Apr–Jun 2025) – Mixed‑media studios invited 15 emerging designers to reinterpret selected objects, guided by senior mentors.
3. Prototype & Test (Jul–Sep 2025) – Rapid‑prototype cycles used CNC, laser‑cutting, and bio‑fabrication; user testing sessions measured tactile and visual impact.
4. Final Production (Oct–Dec 2025) – Selected prototypes were fabricated at the ADC’s in‑house makerspace,ensuring material traceability and sustainability certifications.

Visitor Experience & Engagement

• Dual‑Display Pods: Each object sits in a glass pod paired with its modern counterpart, with QR codes linking to an audio guide narrated by design historians.
• Interactive stations:
• Touch‑screen timeline – swipe through decades of Australian design milestones.
• AR sandbox – visitors use tablets to overlay digital layers onto physical models, visualising structural changes.
• Workshops & Talks: Weekly “Design Remix” sessions feature live demonstrations by the original designers’ protégés, focusing on sustainable material choices and digital fabrication.

Sustainability & Legacy Impact

• Material Openness: Every reinterpreted piece includes a spec sheet detailing carbon footprint, recycled content, and end‑of‑life options.
• Circular‑Design Initiative: The exhibition launched a take‑back program where visitors can donate old furniture for upcycling,echoing the exhibition’s reuse ethos.
• Educational Outreach: Partnerships with Sydney Design Week and the University of New South Wales have integrated “Second Look — Legacy” case studies into design curricula,fostering a new generation of heritage‑conscious creators.

Practical Tips for Visiting

Tip	Details
Ticketing	pre‑booked timed entry (30‑minute slots) to manage visitor flow; discounts for students and ADC members.
Accessibility	Wheelchair‑kind routes, tactile floor maps, and sign‑language interpreted tours on the hour.
Timing	Early morning (09:30–11:30) offers the most interactive workshop availability.
Nearby Amenities	Café Retro Roast serves vintage‑inspired pastries; the ADC gift shop sells limited‑edition prints of the reimagined works.
Transport	Direct light‑rail stop (Circular Quay) and bike racks equipped with secure charging stations for e‑bikes.

Case Study: Robin Boyd’s “Glass House” – From 1965 Model to 2026 sustainable Prototype

1. Historical context: Boyd’s original model demonstrated modernist transparency and indoor‑outdoor flow, becoming a teaching tool for architecture students.
2. Reinterpretation Goal: Reduce embodied energy while preserving visual clarity.
3. Material Shift: Replaced original plywood with FSC‑certified cross‑laminated timber; glass panes swapped for double‑glazed low‑E glass with UV‑coating.
4. Construction Technique: CNC‑cut lattice sections allow for prefabrication, reducing onsite waste by 45 %.
5. Performance Data: post‑occupancy monitoring shows a 30 % reduction in heating demand compared with the 1965 prototype, aligning with Australia’s 2030 net‑zero targets.
6. Visitor Takeaway: Interactive display lets guests adjust virtual sun angles, visualising how the redesign improves thermal comfort.

Benefits of Reimagining Design Heritage

• Cultural Continuity: Reinforces national identity by linking past ingenuity with present‑day innovation.
• Educational Value: Provides tangible learning modules for design students exploring material science, sustainability, and digital fabrication.
• Economic Stimulus: Encourages local makerspaces and sustainable manufacturers to adopt heritage‑inspired product lines.
• Community engagement: Invites the public to participate in a living archive,turning static history into an experiential narrative.

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Prepared by Marina Collins, Content Writer – Archyde