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Ecoply Structural Plywood became part of Kaldor Public Art Project 30: Marina Abramović In Residence by doing practical work as well as visual work. At Pier 2/3, Walsh Bay, Sydney, from 24 June to 5 July 2015, architect Harry Seidler + Associates used the material for Energy Platforms, back-to-back chairs and table tops that supported Abramović’s participatory exercises. Carter Holt Harvey Woodproducts Australia’s September 2015 case study says the plywood was selected to lighten the appearance of the dark heritage interior, prefabricated off-site to meet a one-week construction window, and repurposed after the event.
The project in brief
Marina Abramović In Residence was the 30th Kaldor Public Art Project, staged inside Pier 2/3 at Walsh Bay, Sydney. The artist was Marina Abramović; the client was Kaldor Public Art Project; and Harry Seidler + Associates provided the architectural work. Greg Holman is identified as the project’s principal architect. The exhibition ran for twelve days, from 24 June through 5 July 2015.
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The installation asked visitors to take part in a series of exercises rather than simply look at finished objects. That distinction explains why the plywood had to be more than a decorative surface. It became the immediate physical setting for stillness, eye contact and concentration: visitors stood on Energy Platforms, sat in pairs for the Mutual Gaze exercise and worked at tables while carrying out Counting Rice.
Carter Holt Harvey Woodproducts Australia reported that nearly 32,000 people visited during the twelve-day run. That is the attendance figure given in the manufacturer’s case study, not an independently verified count. The same case study says the Ecoply was repurposed after the project, but it does not identify the later use.
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Where Ecoply appeared in the installation
| Performance element | How Ecoply was used | What the element enabled |
|---|---|---|
| Energy Platforms | Plywood platforms for visitors undertaking a meditative standing exercise. | A defined, durable place for a participant to stand still during the activity. |
| Mutual Gaze | Back-to-back chairs made with Ecoply. | Paired seating for the exercise in which participants sat back-to-back and engaged with the work’s prescribed encounter. |
| Counting Rice | Table tops made from Ecoply. | A working surface for the repetitive counting exercise. |
These uses show a material moving through several scales. A platform acts as a small piece of architecture; a chair directly controls posture and proximity; a table top receives repeated hand contact and the objects placed on it. The case study does not publish dimensions, thicknesses, fixing details or load calculations for any of these pieces, so those technical particulars cannot be inferred from the project account.
Why the architect chose plywood for Pier 2/3
A deliberate contrast with the heritage interior
The design challenge, as described by the case study, was to make an inviting interior that contrasted with Pier 2/3’s dark heritage character while still working with the existing space. Holman said: “We wanted to create an environment different to the space that also worked with the dark timbers at Pier 2/3 and Ecoply has a beautiful, natural, light character which contrasted well.” The comment is a project-specific design explanation, not a claim that every Ecoply installation will produce the same visual effect.
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The lighter appearance helped the temporary intervention read as a distinct environment inside the wharf building. Instead of hiding the material under an opaque finish, the project allowed its surface to contribute to the visual language of the rooms. That approach matters in performance art because visitors encounter the setting at close range while deciding whether and how to participate.
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The case study identifies the grain of CD Grade plywood as a source of texture. Holman said: “The natural grain of the Ecoply created textural interest and the robust nature of the plywood meant it could stand up to traffic and wear for the duration of the event.” The observation links appearance and use: the visible grain supplied character, while the project team regarded the material as capable of handling the contact expected during the run.
No quantified abrasion, impact or foot-traffic test is supplied. “Robust” therefore describes the architect’s experience of this installation, under its particular design, construction and operating conditions; it should not be read as a current performance rating or a guarantee for another venue.
Strength and versatility in a temporary build
Holman also contrasted Ecoply with plasterboard in the case study: “Many architects fall back on plasterboard for installations,” he said, “but the Ecoply delivered greater strength and versatility. It is strong enough to be a support structure or a standalone structure and it is light enough to be used for a spanning element such as floating screening panels.”
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This comparison is limited to the qualities the project team discussed: visual contrast and texture, reported strength and versatility, suitability for prefabrication, and what happened to the material after the event. The account gives no numerical comparison of weight, structural capacity, fire performance, acoustic behavior, cost or carbon impact. It also does not establish that plywood is generally preferable to plasterboard; it records why this team considered Ecoply useful for this installation.
How the one-week construction schedule shaped the design
The project allowed only one week for construction. That constraint made the route from workshop to venue part of the architectural strategy. The case study says the design enabled off-site prefabrication, after which the components could be transported to Pier 2/3 and assembled there.
- Design for the available window. The team developed pieces that could be made away from the venue rather than relying on all fabrication inside the wharf.
- Prefabricate off-site. Energy Platforms, chair components, table tops and other installation elements were prepared before the on-site week.
- Transport to Walsh Bay. Finished or partly finished components were moved to Pier 2/3 for the installation phase.
- Assemble within seven days. The prefabricated approach reduced the amount of cutting and fabrication required in the heritage interior.
- Operate for twelve days. The completed pieces supported public participation throughout the exhibition’s run.
The account does not provide a drawing set, assembly sequence, crew size, transport dimensions or a list of site restrictions. Its useful lesson is narrower and more concrete: when a temporary exhibition has a short build period, choosing sheet material that can be fabricated away from the venue can reduce on-site work and make the schedule achievable.
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Why the material mattered to a participatory artwork
In a conventional gallery display, a surface can be judged mainly by how it looks. In Abramović’s project, visitors occupied the work. They stood, sat, faced one another and handled objects while following exercises. That made the contact surfaces part of the audience’s experience, not merely background scenery.
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The visible grain also helped keep the temporary construction legible. Rather than presenting a neutral, hidden substrate, the installation exposed a material with a recognizable texture. That decision connected the practical pieces to the larger ambition of making a new interior within the old wharf.
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Ecoply and plasterboard: the comparison the case study actually makes
| Comparison point | What is reported about Ecoply in this project | What is not established |
|---|---|---|
| Appearance | A light, natural character that contrasted with dark timbers at Pier 2/3. | No measured color values, lighting study or claim that the effect applies in every interior. |
| Surface quality | CD Grade grain supplied textural interest. | No quantified finish specification or maintenance schedule. |
| Strength and versatility | The architect described it as suitable for support structures, standalone structures and spanning elements. | No engineering calculations, load ratings or test results for the installation. |
| Construction | The design allowed off-site prefabrication for a one-week build. | No comparative labor hours, cost or productivity data against plasterboard. |
| After the exhibition | The case study says the plywood was repurposed. | The later application, condition and chain of custody are not described. |
The fair conclusion is therefore contextual: the project team considered Ecoply more useful than plasterboard for the combination of appearance, handling and reuse they needed. It is not a universal materials verdict.
What happened after the performance project
According to Carter Holt Harvey Woodproducts Australia’s case study, the Ecoply was repurposed after the exhibition. That detail is significant because temporary installations often contain large quantities of material designed for a short public run. Reuse can preserve value beyond the closing date and avoid treating the build as disposable.
The available account stops there. It does not say whether the sheets became furniture, another installation, building components or something else, and it does not report quantities, costs or environmental savings. Any stronger claim about the project’s lifecycle would go beyond the documented evidence.
What this 2015 case can—and cannot—tell a new project team
Useful design principles
- Choose a material whose visual character supports the intended contrast with an existing room.
- Expose texture when the audience will experience the work at close range and by touch.
- Design repetitive public-contact elements—platforms, seating and work surfaces—as a coordinated family.
- When the site period is short, develop components for off-site prefabrication and transport.
- Consider disassembly and a second use before temporary elements are fabricated.
Checks that still belong to a current project
- Confirm the current product grade, thickness, span, fixing method and structural design with the manufacturer and a qualified designer or engineer.
- Assess fire, slip, splinter, edge and accessibility requirements for the venue and the expected audience.
- Plan protection, cleaning and inspection for the actual traffic level and event duration.
- Verify transport routes, maximum component sizes, lifting arrangements and the time available for installation.
- Document how sheets will be dismantled, stored and reused after the event.
The 2015 case study itself cautions that effectiveness depends on location, circumstances, design, construction practices and environment. It advises installation in accordance with manufacturer recommendations, accepted industry guidelines and good building practice. Current specifications, safety information, stock and pricing must be checked separately for any new commission.
The lasting significance of the Ecoply choice
Ecoply’s contribution to Marina Abramović In Residence was not a separate artwork placed beside the performances. It was the material infrastructure that made several exercises possible while helping transform a dark wharf interior into an inviting temporary environment. The platforms, chairs and table tops gave visitors defined ways to stand, sit and work; the grain made the construction visually present; and prefabrication helped the team meet a compressed build schedule.
Read with its limits in mind, the case offers a precise example of architecture serving performance art: one material was asked to carry visual contrast, tactile interest, public wear and logistical efficiency at the same time. The documented reuse after the twelve-day exhibition adds a final chapter, even though the later destination of the plywood remains unspecified.
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