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Expo Mark 2 Sound Chair by Grant Featherston for Aristoc. Available in original condition for $17,800.
The Expo Mark II sound chair is an enduring legacy of Australia’s contribution to the 1967 world exhibition in Montreal, Canada.
The Australian pavilion at Expo 67 included 240 sound chairs from Melbourne-based contemporary furniture designers Grant and Mary Featherston.
The chairs were commissioned by Robin Boyd, who designed the Australian pavilion’s interior and displays at Expo 67. Boyd commissioned the Featherstons to develop a ‘talking chair’ to deliver information about Australia to visitors in seated comfort.
The Mark II sound chair acquired by the National Museum in 2007 was produced between 1967 and 1970. It was adapted for the domestic market from the original Expo chair design by Aristoc Industries.
The sound chair was made by moulding the shell in expanded rigid polystyrene, which was then upholstered in polyurethane foam and wool. The headrest, back and base were constructed in one continuous circular form, with a winged back. A circular seat of polyurethane was set into the base of the frame and two speakers were fitted to the internal shell in the head bolster.
Height. 1145 mm. Width. 735 mm. Depth. 820 mm
Brand & Designer
Featherston
Color
Blue
Style
Vintage
Material
Other Fabric and Textiles
Condition
Good
Dimensions (cm)
74.0W x 82.0D x 115.0H
Design Story
Beginning his career in Melbourne during the 1940s, Featherston initially worked in commercial art and illustration before moving into furniture design. At a time when Australia still relied heavily on traditional European styles, his work introduced softer organic forms inspired by modernism and postwar experimentation.
His breakthrough came with the release of the Contour Chair series, which used molded plywood techniques to create flowing, human centered shapes that felt both futuristic and comfortable. Unlike many rigid modernist designs of the era, Featherston’s furniture had warmth and personality, helping define a more approachable version of mid century design.
Over the following decades, Featherston collaborated with manufacturers across Australia and became especially influential in educational and public seating. His designs balanced functionality with visual lightness, often using minimal materials to create strong sculptural identities.
Today, original Featherston pieces are highly collectible and remain deeply associated with Australian design history. Whether in vintage homes, galleries, or contemporary interiors, his work continues to represent a uniquely Australian interpretation of modernism: refined, innovative, and effortlessly relaxed.
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