Art Gallery of New South Wales Sydney Modern Masterplan … · 2017. 12. 7. · 3D Volumes -...

44ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK

Summary

The Art Gallery of New South Wales has developed a building with unique heritage values.

Many of the difficulties the Gallery currently faces are a legacy of staged, incremental development. In most instances each phase has been initiated in order to accommodate the expanding needs of the Gallery’s audiences.

The existing heritage fabric of the Gallery limits direct access for people with a disability and families with prams, and maintains a singular small and closed, yet attractive, facade to the entrance.

5 Heritage

45JOHNSON PILTON WALKER

5 Heritage


5 Heritage

History

Brief history of the Art Gallery of New South Wales

The Art Gallery of New South Wales traces its origins to a public meeting on April 24, 1871, which established an “Academy of Art” for ‘the purpose of promoting the fine arts through lecture, art classed and regular exhibitions.’

The physical realisation of this ambition however, first begins with the assembly of a collection in the Art Annex at the International Exhibition of 1879. Since 1885, the collection has been housed and displayed at its current location in the Domain, adjacent to the eastern entrance to the Royal Botanic Gardens.

Over its life-time there have been a number of radical changes in the form and development of the Gallery with each stage being over seen by eminent architects of their respective eras.

Since its inception the Gallery has been know under an number of names. The ‘Fine Art Annex’ which served as a part of the International Exhibition was opened as ‘The Art Gallery of New South Wales’ in 1880. This was changed to ‘The National Art Gallery of New South Wales’ in 1883. It was not until the establishment of the Art Gallery of New South Wales Act 1958, that the name reverted to the 1880 version.

Today, various display galleries have been named in honour of major benefactors. These include:

> Rudy Komon Gallery, Upper Level;

> The James Agapitos Analysis Room, Conservation Studio – Microscope Room, Upper Level;

> Dorothy Street Twentieth Century Australian Galleries, Ground Floor;

> The Nelson Meers Foundation Sidney Nolan Room, Ground Floor;

> The Lowy Gonski Gallery, Ground Floor;

> The James Fairfax Galleries, Ground Floor;

> The John Schaeffar Galleries, Ground Floor;

> The Margaret Olley Function Space, Ground Floor;

> The Margaret Olley Twentieth Century European Galleries, Lower Level 2;

> Franco & Amina Belgiorno-Nettis & Family Contemporary Galleries, Lower Level 2; and the

> John Kaldor Family Collection Gallery, Lower Level 2.

The

Cad

igal

peo

ple

of t

he E

ora

natio

n ar

e cu

stod

ians

of

the

land

on

whi

ch t

he G

alle

ry is

cur

rent

ly s

ited

1871

Mee

ting

esta

blis

hes

an ‘A

cade

my

of A

rt’

John Hornbury Hunt, ArchitectPhoto: Freeman Brothers (1899)From original glass plateMitchell Library, SLNSW

Walter Liberty Vernon, ArchitectUnknown photographerwww.wikipedia

Edmund Capon, Director1978 to presentPhoto: The Australian (2007)www.theaustralian.news.com.au

Hal Missingham, DirectorPhoto: Max Dupain OBE (1947)Gelatin silver photograph NPG Collection: 2003.69

Portrait of Sir William Ashton, DirectorUnknown photographer (1940s)Gelatin silver photograph; 15.4 x 8.9 cmPictures Collection nla.pic-an11852731

1875

The

Gal

lery

’s c

olle

ctio

n is

firs

t ho

used

at

Cla

rke’

s A

ssem

bly

Hal

l in

Eliz

abet

h S

tree

t

1879

A t

imbe

r ‘F

ine

Art

s A

nnex

’ is

built

for

Sydn

ey’s

In

tern

atio

nal E

xhib

ition

.

1885

The

colle

ctio

n of

‘The

Nat

iona

l Art

Gal

lery

of

New

Sou

th

Wal

es’ i

s m

oved

to

a bu

ildin

g de

sign

ed b

y Jo

hn H

ornb

ury

Hun

t at

the

pre

sent

site

in t

he D

omai

n

John Hornbury Hunt’s vision for the Gallery

Walter Liberty Vernon’s design

Hunt’s Annex interior

1892

Elie

zer

Mon

tiefo

re is

app

oint

ed t

he G

alle

ry’s

firs

t D

irect

or

1896-1909

Gov

ernm

ent A

rchi

tect

Wal

ter

Libe

rty

Vern

on d

esig

ns a

nd

build

s th

e co

urts

and

gal

lerie

s as

an

exte

nsio

n to

the

an

nex

and

whi

ch r

emai

ns e

ssen

tially

unc

hang

ed u

ntil

1969

Vernon’s completed galleries and vestibule

1905

Got

her V

icto

r Fy

ers

Man

n is

app

oint

ed ‘D

irect

or a

nd

Sec

reta

ry’

1929

Jam

es S

tuar

t M

acD

onal

d is

app

oint

ed D

irect

or a

nd

Sec

reta

ry

1937

John

Will

iam

Ash

ton

is a

ppoi

nted

Dire

ctor

and

Sec

reta

ry

1945

Hal

Mis

sing

ham

is a

ppoi

nted

Dire

ctor

and

Sec

reta

ry

The

Cap

tain

Coo

k W

ing

(by

Gov

ernm

ent A

rchi

tect

s D

epar

tmen

t an

d A

ndre

w A

nder

sons

) is

built

and

ope

ned

to t

he p

ublic

North elevation of Cook wing

1978

Edm

und

Cap

on is

app

oint

ed D

irect

or

Brit

ish

colo

ny is

est

ablis

hed

in S

ydne

y C

ove

1788 1971

Pete

r P

hilli

p La

vert

y is

app

oint

ed D

irect

or

1980

Art

Gal

lery

of

New

Sou

th W

ales

Act

198

0 is

pas

sed

1988

The

Bic

ente

nnia

l ext

ensi

on (b

y A

ndre

w A

nder

sons

of

PTW

) ar

e co

mpl

eted

- th

is d

oubl

es t

he s

ize

of t

he G

alle

ry

2003 2011

The

Asi

an g

alle

ries

exte

nsio

n (b

y R

icha

rd J

ohns

on a

nd

JPW

) are

com

plet

ed

The

new

con

tem

pora

ry g

alle

ries

feat

urin

g th

e Jo

hn K

aldo

r Fa

mily

Gal

lery

(by

PTW

) are

com

plet

ed

1969-1970

Bicentennial sculpture court

The Asian Wing

The Belgiorno-Nettis FamilyImage: AGNSW

Dorothy and Fred StreetImage: AGNSW

David Gonski and Frank LowyImage: AGNSW

Margaret OlleyImage: AGNSW

John KaldorImage: AGNSW

James FairfaxImage: AGNSW

John SchaefferImage: AGNSW

Major Benefactors

Major Milestones


5 Heritage

Significance & Potential

Lower Level 3 Lower Level 2 Lower Level 1 Ground Level Upper Level Roof Level

Fabric of High Heritage Significance

Fabric of Heritage Significance

3D Volumes - Heritage Significance - View from NortheastNot to scale @ A3

3D Volumes - Heritage Significance - View from SouthWestNot to scale @ A3

Introduction

The building and site of the Gallery have significant heritage opportunities. Many of these are recognised by heritage listings and some are maintained by virtue of their inclusion in the AGNSW Conservation Management Plan (CMP), completed in 2008.

Heritage Significance - Current Listings

The Gallery is currently listed on the following registers due its deemed heritage significance:

Register of the National Estate> Listed on 21 March 1978 with place ID 2349;

NSW State Heritage Register> The building is listed (Local Government listing,

Database number 2423945);

> The site is listed as an Archaeological item (Local Government listing, Database number 2424840);

City of Sydney Council> Listed in Sydney City Heritage Study (2002), Item 3012;

National Trust Register> Listed as Classified;

RAIA, NSW Register of Significant Buildings> Listed for Walter Liberty Vernon works 1897-1909;

> Listed for NSW Government Architect Work 1972 and 1988.

Conservation Management Plan, 2008

While the CMP has been activated primarily to assist the management of exhibitions while conserving the significant fabric of the building, it is also serves to facilitate the growth of the Gallery.

The CMP acknowledges that the Gallery will have to expand in line with increasing audience and collection demands.

Note: The constraints and opportunities in line with heritage listings identified above are outlined in CMP Section 6, while the conservation policies are dealt with in Section 7.


1909 - End of Phase 2The north-western courts 5 & 6 and the board room are completed.

All elements of Vernon’s Gallery are in place.

1901 - Phase 2The south elevation of the Gallery is completed with galleries 11, 12 & 13 adjacent to the completed courts.

1905-1906 - Phase 2Central Court floor and roof is raised to meet the level of the Vernon galleries.

The new entrance and entry court is opened to the public in 1906.

1904 - Phase 2The vestibule and portico are completed in the anticipation that they are to be established as the main entrance to the Gallery.

5 Heritage

Evolution of the AGNSW Site

The Art Gallery of New South Wales has occupied its site in the outer domain since 1885.

Over this period, the Gallery has grown through the six significant phases (each with their own staging). There has also been significant modifications to its surrounds during this period.

The building is the major service delivery asset owned by the Gallery and it contains a number of built elements and architectural stages unified into a single purpose built structure:

1 Subterranean remnants of John Horbury Hunt circa 1885 - foundations/footing for original National Art Gallery building on the site;

2 1896 Art Gallery designed by the NSW government Architect Walter Liberty Vernon and subsequent additions in the classical revival style;

3 1972 Captain Cook wing designed by the NSW government Architect’s office, Andrew Andersons’ chief designer, in a style described as late 20th century international;

4 1988 Bicentennial additions designed by the NSW government Architect, Andrew Andersons in the late 20th century international style;

5 2003 Asian galleries extension and associated works designed by Richard Johnson of Johnson Pilton Walker adding a white glass and steel pavilion that has been likened, when lit a night, to a softly glowing paper lantern; and

6 2011 Contemporary art galleries designed by PTW to house the John Kaldor Family collection.

The stages of growth are shown in the diagrams to the right, and are grouped into the 6 principal phases of development.

Many of the difficulties the Gallery is currently faced with are a legacy of the staged, incremental development.

In most instances each phase has been initiated in order to accommodate the expanding needs of the Gallery’s audiences.

Evolution

1885 - Phase 1The National Art Gallery of New South Wales, consisting of six galleries, is built on a site in the ‘Outer Domain’ to John Hornbury Hunt’s plans.

An ancillary structure is located to the east.

1897 - Beginning of Phase 2Courts 7 & 8 are added to the Hornbury Hunt galleries as the first phase of plans by Government Architect Walter Liberty Vernon.

The eastern ancillary structure is removed.

1899 - Phase 2Vernon’s Courts 9 & 10 are completed.

PHASE 1

PHASE 2


5 Heritage

Evolution

1920sPlacement of equestrian groups to the west of the entrance is decided upon by Sir John Sulman.

A care-takers residence is constructed on the east facade of the Gallery.

1930sConservation Department is built to east of the care-takers residence and a garage is built for the director on the north-east most corner.

Fig Tree Avenue is widened to a dual carriage way.

1960sThe Cahill expressway Outer Domain cutting and Art Gallery Road Bridge are completed to the north of the Gallery.

1972 - Phase 3The Captain Cook Wing designed by the Government Architect’s Office is completed.

Hunt’s original galleries are largely demolished and the ancillary buildings to the east are removed.

1988 - Phase 4The Bicentennial Wing is completed.

1999The Eastern Distributor replaces the Cahill Expressway cutting.

The Land-bridge is built to the north of the Gallery connecting the north and south edges of the Cahill Expressway cutting.

2003 - Phase 5The Asian Wing and associated works are completed.

2011 - Phase 6Contemporary art galleries and associated works are completed.

PHASE 3 PHASE 4 PHASE 5 PHASE 6


5 Heritage

Existing Fabric

The heritage significance of the building, and particularly the Vernon Wing, presents the Gallery with a range of assets that unique, but which also present a range of operational and curatorial challenges.

The significance of the fabric is a legacy of the contextual and cultural circumstances which lead to the Gallery’s construction, but also extends to the use of materials, methods and architecture styles.

Classical vaulted ceiling and lead-light sky-light, Vestibule, GFImage: AGNSW

Classical vaulted ceiling, The Lowy Gonski Gallery, Vernon Wing, GFImage: AGNSW

The interface between the vestibule sandstone entrance arches and the Rudy Komon Gallery, Upper LevelImage: AGNSW

The Classical vaulting in Maroubra sandstone with Kempsey Marble used for the columns, Vestibule, Ground FloorImage: AGNSW

The south-west stairs from Gallery 13 to the Library in ornamental stone work with Borenore Marble treads, Vernon Wing, Ground FloorImage: JPW

Mosaic floor, Vestibule, GFImage: AGNSW

The James Fairfax Galleries, Vernon Wing, Ground FloorImage: JPW

The south-west stairs from Gallery 13 to the Library, Vernon Wing, Ground FloorImage: AGNSW

Mosaic floor detail, Vestibule, GFImage: AGNSW

The entry doors limit the size of the only public entrance, Vestibule, GFImage: AGNSW

Clerestory windows of lead-light sky-lights, Vestibule, Roof LevelImage: JPW


5 Heritage

Existing Fabric

The Bicentennial Wing received the RAIA Sulman Award for Architectural Merit in 1989 - Commemorative Plaque, Grand Court, GFImage: JPW

The parquetry flooring (Silky Oak and Queensland Maple), Vernon Wing, Ground FloorImage: AGNSW

The Design and Multi-media offices, Vernon Wing, Upper Level. This space was once occupied by the library, but is now overcrowded and cluttered with servicesImage: JPW

Workshops, Vernon Wing, LL1. The cast-iron columns are remains from the Walter Liberty Vernon design.Composite Image: JPW

Court 9, Vernon Wing, Ground FloorImage: JPW

The approach via Art Gallery Road to the Vernon Wing PorticoImage: JPW

Sculptures, Court 11, Vernon Wing, Ground FloorImage: AGNSW

The interface of three stages of the Gallery’s historical development: the sandstone of the Vernon Wing (left); the transparent glazing of the Captain Cook Wing (middle); and the reflective glazing of the Asian galleries (right). Image: JPW

Vernon Gallery Lanterns, Vernon Wing, Roof Level. These lanterns originally provided natural light to the gallery space, but this has ceased due to conservation considerations. The lantern now house the artificial lighting necessary for the Vernon Galleries.Composite Image: JPW


Over the past 10 years, other major Australian galleries and museums have undergone significant projects to either establish or revitalise their services, facilities and culture.

If the AGNSW desires to excel on a global stage while increasing visitor numbers, an increase in the amenity of public facilities as well more exhibition and gallery display space is necessary to bring it into line with the best institutions of the world.

The current relationships between functional spaces are fragmented, complex and inefficient.

The scale of galleries is comparable to a ‘suite of rooms’ which limits the Gallery’s ability to manage large crowds, exhibit large works or present large exhibitions.

There are a number of planning instruments which will affect, but not necessarily restrict, the Gallery’s development.

There are a number of projects and Masterplanning Strategies being implemented by the Gallery’s neighbours. Each of these will need to be given careful consideration by the Gallery.

The ratio of gallery and exhibition space to GFA within the Gallery appears to be in line with other galleries of a similar type, but what must be highlighted is that the majority of collection and exhibition galleries serve as multipurpose areas and circulation zones.

In its present state, the Gallery’s public area constitutes less than 25% of the total GFA. Ideally, this figure needs to be doubled.

The serviceability and flexibility of the existing galleries and exhibition space is limited as more than two thirds of this space has a ceiling height of only 3.6 to 4.4 metres.

Summary

6 Analysis


6 Analysis

When compared to all other international galleries and museums, the AGNSW placed 28th in terms total museum attendance for 2007, fell to 34th in 2009, and has continued to decline in 2010 to 48th in total attendances, 6 places behind Queensland’s GoMA and 13 places behind the Melbourne Museum.The Art Newspaper,No. 189, March 2008; No. 212, April 2010; No. 223, April 2010


6 Analysis

Precinct Planning

Development Controls

Any development of the Gallery is affected by state and local legislation concerning the land use planning and heritage management. This is primarily through the Environment Planning and Assessment Act, 1979.

Local Government

The Gallery is geographically situated in the City of Sydney Local Government Area (LGA), making the City of Sydney Council or the Central Sydney Planning Committee the consent authority under the EP&A Act.

The LGA planning instrument that affects the Gallery is the Sydney LEP 2012.

Not only do the current planning instruments recognise the significance of the site and building, but they also offer some clues as to how the Gallery might approach any future expansion.

Sydney LEP 2012 Heritage Map (Sheet 14)

The AGNSW is identified as Item I1665 in the LEP’s Heritage Map.

The significance of the building and site need to be maintained. Any proposed development would also need to consider the potential for archaeology.

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Locality and Site Identification Map

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Locality and Site Identification MapForeshore Building Line Map- Sheet CL1_014

Foreshore Building Line MapForeshore Area

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Projection: GDA 1994Zone 56

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Ash

Stre

et


Cross City

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el

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r eet

Bulletin Place

Gresham

Street

Circular Quay West

Albert Street

Underwood Street

Bridge Lane

Argyle

Lane

Spring Street

Jenk

ins

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Abercrombie Lane

York S

treet

Shakespeare Place

Sir Joh

n Youn

g Cresc

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Market Street

College

Street

Geo

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Alfred Street

Bond Street

Lance Lane

Jamison Street

Napoleon Street

Slip Street

Lang Stre

et

Reiby Place

Pitt

Stre

et

Erskine Street

Kent Street

Lime Street

St James Road

Clarence

St reet

York Lane

Cahill Expressway

St Marys Road

Phillip Lane

High

Lane

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Upper Fort Street

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Art Gallery Road

Hospital Road

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Map identification number: 7200_COM_HER_

HeritageConservation Area - General

Item - General



_005_20120926014

011

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Heritage Map - Sheet HER_014


Ü Scale: 1:5,000 @ A3

0 200 m

Sydney Cove

Darling Harbour

Darling Harbour

FarmCove

RE1

B8

RE1

RE1

RE1

B4

B4

B4

RE1

B8

B8

B8

B8

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SP2Boating Facilities

SP2Boating Facilities SP2

Boating Facilities



SP2Railways

RE1

RE1RE1

RE1

RE1

RE1

RE1

RE1 RE1

B8 B8

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SP2Railways

RE1

RE1

RE1

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MD

MD

DH

SCRA

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RE1RE1

SHC

SP2Classified Road

B8

B8

SP2Classified Road

RE1

RE1

RE1

RE1

SP2Railways

B4

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SP2Classified Road

SP2Classified Road

SP2Classified Road

SHC

SP2Classified Road

CITY

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RA

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High Street

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Macqu

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Bent Street

Grosvenor Street

Council Place

Lance Lane

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berla

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treet

Custom House Lane

Argyle Street

Barrack Street

Prince Albert Road

Longs Lane

Mac

quar

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treet

Wynyard Street

Curtin Place

Margaret Street

Littl

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unte

r Stre

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Loftus Lane

Dalley Street

High Lane

Skittle Lane

Sussex Street

Mar

gare

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ilton

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tern

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tribu

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Angel Place

Gas Lane

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Farrer Place

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wn

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King Street

Eliz

abet

h St

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Hunter Street

Bridge Street

Cuthbert Street

George S

treet

Lees

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rt

Jamison Street

Hosking Place

Ash

Stre

et


Cross

City

Tunn

el

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uces

ter S

treet

Bulletin PlaceG

resham S

treet

Circular Quay West

Albert Street

Spring

Street

Jenk

ins

Stre

et

Abercrombie Lane

York Street

Shakespeare Place

Sir Joh

n You

ng C

resc

ent

Market Street

Alfred Street

Bond Street

Napoleon Stre et

Lang

Stre

et

Reiby Place

Pitt

Stre

et

Erskine Street

St James Road

Clarence S

treet

York Lane

St Marys Road

Phillip Lane

Cas

tlere

agh

Stre

et

Blig

h S

treet

Car

ringt

on S

treet

Wyn

yard

Lan

e

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treet

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Stre

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Kent Street

Bra

dfie

ld H

ighw

ay

Shelley Street

Art G

alle

ry Ro

ad

Hickson R

oad

Cahi ll Expressway

Rowe Street

Conservat ori um Road

Western D

istributor

De Mestre Place

Cahill Expressway

Loftu

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reet

Underwood Street

Argyle Lane

Col

lege

Stre

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Slip StreetLime Street

Upp

er Fo

rt St

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Hos

pita

l Roa

d

Bridge Lane

011

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Map identification number: 7200_COM_LZN_

Ü


_005_20120926014

ZoneNeighbourhood Centre

Local Centre

Commercial Core

Mixed Use

Business Development

Enterprise Corridor

Business Park

Metropolitan Centre

General Industrial

Light Industrial

General Residential

Low Density Residential

Public Recreation

Special Activities

Infrastructure

SREP 26 City West

Darling Harbour Development Plan No.1

Sydney LEP (Glebe Affordable Housing Project) 2011

South Sydney LEP 1998 and City of Sydney Planning Scheme OrdinanceSouth Sydney LEP 1998 and South Sydney LEP 114

Sydney LEP (Harold Park) 2011

SEPP Major Development 2005

SEPP 47 Moore Park Showground

Sydney Cove Redevelopment Authority Scheme

SREP Sydney Harbour Catchment 2005

Sydney LEP 2005

South Sydney LEP 1998

SREP 16 Walsh Bay

Unzoned Land


Land Zoning Map - Sheet LZN_014

Scale: 1:5,000 @ A3

0 200 m

B2

B3

B4

B5

B1

B6

IN1

B7

IN2

R1

R2

RE1

SP1

SP2

DH

CW

GS1

MD

MPS

GS2

SCRA

SHC

SLEP

UL

WB

B8

SS

GAHP

HP

Sydney LEP 2012 Coverage Map (Sheet 14)

The Gallery is located within the City of Sydney Council, Sydney LEP zone.

Sydney LEP 2012 Zoning Map (Sheet 14)

The AGNSW is identified as B8 Zoning - Metropolitan Centre.

Development of the Gallery would need to be based on a premise of cultural and community benefit.

Sydney Cove

Darling Harbour

Darling Harbour

FarmCove

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 2

Area 2

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

Area 3Area 3

Area 3

Area 3

Area 3

Area 3

Area 3

J

JJ

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Area 1

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Area 1

Area 3

P

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CIR

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LWAY

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treet

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Stre

am W

ay

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Stre

et

Macqu

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Pitt

Stre

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Grosvenor Street

Council Place

Cum

berla

nd S

treet

Custom House Lane

Argyle Street

Lance Lane

Barrack Street

Prince Albert Road

Longs LaneM

acqu

arie

Stre

et

Wynyard Street

Curtin Place

Margaret Street

Littl

e H

unte

r Stre

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Loftus Lane

Dalley Street

High Lane

Skit tle

Lane

Sussex Street

Mar

gare

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Dis

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treet

Palm

er S

treet

Farrer Place

Essex Street

Crow

n Street

King Street

Eliz

abet

h St

reet

Hunter Street

Bridge Street

Cuthbert Street

Lees

Cou

rt

Jamison Street

Clarence

Street

Hosking Place

Ash

Stre

et


Cross

City

Tunn

el

Cas

tlere

agh

Stre

et

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uces

ter S

treet

Bulletin PlaceG

resham S

treet

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Albert Street

King Street

Spring

Street

Jenk

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et

Abercrombie Lane

York

Stre

et

Sir Joh

n You

ng C

resc

ent

Market Street

Geo

rge

Stre

et

Alfred Street

Bond Street

Lang

Stre

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Stre

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Erskine Street

St James Road

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treet

York Lane

St Marys Road

Phill

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ane

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Stre

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treet

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yard

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e

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ell S

treet

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St re et

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Brad

field

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hway

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d

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oad

Cahill Expressway

Cahill Expressway

Rowe Street

Conservatorium Road

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istributor

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Loftu

s St

reet

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Argyle Lane

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lege

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treet

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pita

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Map identification number: 7200_COM_HOB_


_005_20120926014

011

006 013 020

007 014 021

001 008 015 022

002 009 016 023

003 010 017 024

004 018

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Height of Buildings Map- Sheet HOB_014

Maximum Building Height (m)3

6

7.5

8

9

11

12

15

18

22

24

25

27

28

29

30

33

35

40

42

45

50

55

60

65

70

80

85

110

130

150

235

Area 1

Area 2

Area 3

Area 4



Ü 0 200 m

Scale: 1:5,000 @ A3

Heights shown on map in RL (m)

10

28.6

42

46

46.7

60

71

98

Maximum Building Height (m)

W 1

W 2

Y

A H

X

Z

A A 1

A A 3

A A 2

A B 2

A C

A D

A E

A B 1

A

E

I

J

L

M

R

O

P

S

T 1

T 2

T 3

T 4

U 1

V

U 2

H

Sydney LEP 2012 Height of Buildings Map (Sheet 14)

There may be the opportunity to increase the height of the Gallery as the LEP does not refer to a specific height limit. Careful consideration would need to be given though to the protection of sun access to the Royal Botanic Gardens and Domain though.


A New CBD Rail Station

Currently, the access routes to the Gallery via the rail transport are the Martin Place and St. James stations.

The eastern edge of the city contains a significant proportion of the CBD work force while the residential population of the CBD and Woolloomooloo areas are growing.

While no specific project refers to a new station adjacent to the Gallery on the eastern rail line, if one were created it would link directly to the domain while providing major transport, safety and environmental benefits for large public events.

An alternative would be a new rail station on the city circle line adjacent to the State Library of NSW.

6 Analysis

Royal Botanic Gardens

General Map of LawnsMasterplan

An initiative of the RBG, 2001

Precinct Planning

Existing Masterplans, New Project and Possibilities

There are a number of Masterplanning documents and long term strategies outlining the future of the precinct around the Gallery.

Included in this report are four of these items.

Future Domain

Future Domain builds on the Domain Masterplan, and proposes a series of projects (two of which are included overleaf) to improve the amenity for users of the Domain and to complement broader Sydney and metropolitan planning objectives.

In October 2006, the RGB&D Trust undertook a broad public consultation process to assess the community’s views on the proposals. (Further information can be found on the RBG’s web-site).

Of note however was comment in relation to Domain Parking Station ‘refurbishment’ project, using the Domain Parking Station as a bus lay-over depot (instead of Mrs. Macquarie’s Road) and the creation of a formal entry to the Domain at the junction of St. Mary’s Road and Art Gallery Road.

Sydney 2030 Strategy - JPW

In 2008 as part of the CoS’s Sydney 2030 initiative, JPW was engaged to review the Eastern Cultural Precinct.

The finalised strategy intends to:

> Provide a focus and improved connectivity to all cultural institutions in the eastern precinct as well as the green open space from the Opera House to the ANZAC war memorial;

> Re-establish Fig Tree Avenue in the Domain;

> Remake Shakespeare Place as an major entry to the Eastern Cultural Precinct;

> Define the precinct as a main entrance to the Mitchell Library, Botanic Gardens and the Domain;

> Create a public event space for the State Library;

> Anticipate a future new train station on the City Circle line for Domain events; and

Create an Gallery Forecourt:

> As an entry and public event space for the AGNSW;

> With Basement support space for Domain events; and

> As a node connecting pedestrian and bicycle paths with the new Woolloomooloo train station.

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Copyright 2005 City of Sydney & Land and Property Information

Drawn by: D.H.RobinsonPlanning officer: K.CusackCouncil File No: SO 16796Department File No:

Certified in accordance withthe Environmental Planningand Assessment Act 1979and Regulations as amended.

General Manager / /

Approved

Minister

0 Metres400 500 NORTH

SydneyLocal Environmental Plan2005Environmental Planning andAssessmentAct 1979

100 200 300

Rai

l Cor

rido

r M

ap

LegendCity of Sydney LGA boundary

Sydney LEP 2005 boundary

Railway Corridor Referral Area

Rail Corridor Map

Note:Areas identified outside the SydneyLEP 2005 boundary area are forinformation purposes only. Referral ofdevelopment in these areas isrecommended, however not requiredunder this plan.

(See Clause 81)

Martin Place

Town Hall

Circular Quay

Wynyard

Extract from Sydney LEP 2005, Environmental Planning and

Assessment Act 1979

Rail Corridor Map, Sydney LEP 2005 boundaryNot to scale @ A3

© 2005 City of Sydney & Land and Property Information

Royal Botanic Gardens, Domain Masterplan

In 2001, the Botanic Gardens and Domain Trust released the Domain Masterplan to address short to medium term management and planning issues confronting the Royal Botanic Gardens and Domain, specifically focusing on opportunities to substantially improve the quality and significance of the Sydney Domain.

The document suggests improving the amenity through the implementation of projects such as:

> A bus and coach lay-over space provided within the Domain Parking Station

> The development of a major out-door performance space above the existing Domain Parking Station; and

> The Sydney Sculpture Walk initiative.

St. James

Royal Botanic Gardens

General Map of LawnsFuture Domain

An initiative of the RBG, 2006

Summary

There are potential synergies that can benefit both the Royal Botanic Gardens and the Gallery.

Eastern Cultural Precinct

Linking the InstitutionsSydney 2030 Strategies - JPW

An initiative of the City of Sydney 2008

Summary

The recreation of Fig Tree Avenue has potential to provide a corridor to the Gallery’s forecourt even when events are held in the Domain.

Summary

There are two projects outlined in Future Domain which will affect/provide opportunities for the Gallery - these are outlined in detail overleaf.

Summary

The Gallery would benefit from a new ‘metro’ station on the Eastern Suburbs rail line.

PotentialNew station

PotentialNew station

Shakespeare Place

Fig Tree Avenue


Domain Parking StationArtists ImpressionDA Number D/2008/1118, City of Sydney

© 2008 HASSELL

Domain Parking StationPlan (Extract)DA Number D/2008/1118, City of Sydney

© 2008 HASSELL, Not to Scale @ A3

6 Analysis

Precinct Projects

Domain Parking Station Project

In 2008, a 25 year lease for the management of the Domain Parking Station was awarded to Challenger on the basis that over the next four years, only cosmetic changes were made, but with the opportunity to add two extra floors to the top of the carpark in the following 21 years.A DA was lodged in July 2008 which captures the proposed cosmetic changes and an extract of the application is included below:

Integrated Development ProposalReference Number D/2008/1118Site: 2 Prince Albert Road , Sydney, NSW 2000Applicant: Challenger Diversified P/LDetailed Description:Refurbishment of the Domain Car Park. Internal works include the installation of 2 lifts; new ramps and associated car park re-configuration; and new toilet facilities. External works include replacement of existing pedestrian entrance building, construction of new pedestrian entrance at northern corner and new balustrade at roof level; refurbishment of travelator; signage; landscape works and new pathways.

SummaryConsideration needs to be given to how the Gallery might benefit from or key into the refurbished Domain Parking Station in terms of parking for their patrons, signage and access.The Gallery needs to be mindful of, and place itself to be actively engaged with, the inclusion to two extra floors on top of the existing carpark (which is likely to occur in the next 25 years).

Sir John Young Crescent frontage for the Domain CarparkComposite Image: JPW

Domain Carpark travelatorImage: JPW


6 Analysis

Precinct Projects

Disused Royal Australian Navy Fuel Tanks

RBG’s Future Domain identifies the disused fuel tanks as an item within the Domain which needs to be rejuvenated.

The following is an extract from Future Domain:

The top of the disused naval oil tanks in the Woolloomooloo Precinct could be made more aesthetically appealing as well as better utilised. Suggested developments include providing new or enhanced sports facilities or developing the area into a venue for small events. These suggestions would take pressure off the Phillip Precinct. Any such project would consider the impact on local residents.

The tanks themselves could be used to store recycled or reclaimed water. This would help the Trust to meet its 2016 objective of using no Sydney drinking water for irrigation purposes across the Royal Botanic Gardens and Domain estates. Such a development would also include appropriate landscaping to reduce impact on green space.

SummaryConsideration needs to be given to how the Gallery might use the land occupied by the fuel tanks in any future expansion.Key factors will be land ownership, site restrictions, site re-mediation and conversion of the space for the Gallery’s use.

Interior View of the Disused Fuel TanksImage: Source Unknown

Interior View of the Disused Fuel TanksImage: http://www.uer.ca/locations/show.asp?locid=21910

Aerial Photo of AGNSW and Fuel Tanks, circa 2006Not to Scale @ A3

Aerial Photo of AGNSW and Fuel Tanks, circa 1943Not to Scale @ A3


6 Analysis

Siting Strategies

New Building, Prominent LocationMaintain AGNSW Domain Location (no work) and new gallery building

Maintain AGNSW Domain Location (no work) New Building, Prominent Location & Re-plan ExistingRe-plan AGNSW Domain Location (new works) and new gallery building

Option A1.1Existing Option A1.2 Option B1

New South West WingAGNSW Domain Location new gallery wing to the south west

NEW BUILDING IN REMOTE LOCATIONEXISTING: NO LIFE AND SLOW DEATH NEW WING

Advantages> Landmark location in the city> Green-field site

Disadvantages> Access to public transport and parking is difficult> Likely to diminish the role and status of existing AGNSW> Difficult to maintain identity of single institution

operating across 2 major sites> Will do little to address current pressing issues inherent

on the AGNSW’s Domain site> Increased security operations> Duplication of services, operational systems and public

programming costs> Significant capital cost in new facility> Difficult to maintain sense of staff cohesion and

collaborative effort across 2 major sites> Major operational and curatorial challenges in existing

AGNSW not addressed

Advantages> Landmark location in the city> Green-field site

Disadvantages> Access to public transport and parking is difficult

> Likely to diminish the role and status of existing AGNSW> Difficult to maintain identity of single institution

operating across 2 major sites> Increased security operations> Duplication of services, operational systems and public

programming costs> Significant capital cost in new facility and replanning of

existing Domain site> Difficult to maintain sense of staff cohesion and

collaborative effort across 2 major sites

Summary of Maintaining Operations without ChangeNo growth = No life and slow death

Advantages > A new wing will provide an opportunity to resolve current

problems and provide space and facilities for the future> Close to the Domain Carpark

Disadvantages > Limited opportunities for a landmark building

> Location remote and not prominent> Heritage issues associated with building on parkland> Conflict with public activities> Very difficult to connect to existing AGNSW at more than

one level and only at one location between the Vernon and Asian wings

> Confused public circulation> Duplicates costs and operations across two sites> Complex construction over existing railway corridor> May impact existing Police Memorial Wall> Vehicle access to existing dock limits connectivity

between buildings


Option B2 Option B3 OPTION C1 (A1 + B3)

New North West WingAGNSW Domain Location new gallery wing to the north west

New North East WingAGNSW Domain Location new gallery wing to the north east

New North East Wing and Presence in the CityReorganise existing AGNSW Domain Location and link to new gallery wing to the north east

NEW WING COMBINED OPTION

RECOMMENDED OPTION

Advantages> Prominent location> Visible from the city

> A new wing will provide an opportunity to resolve current problems and provide space and facilities for the future

Disadvantages> Difficult construction> Heritage tree issues> Complex siting close to existing RBG buildings and

major entry to Gardens may limit opportunities> Difficult connection to new wing> Loss of parkland> Duplicated entry> Art Gallery Road will always divide the two buildings

Advantages > A new wing will provide an opportunity to resolve current

problems and provide space and facilities for the future > Ability to create iconic building

> Strengthens identity of AGNSW within the city> Strong connections to city and harbour, which can be

unique Sydney experience and reinforce Gallery identity> Opportunity to create international quality contemporary

exhibition spaces and visitor services which complement spaces and services in existing building

> Significantly improves accommodation standards, security and workplace amenity

> Activation of site improves pedestrian connectivity and activation

> Utilises relatively under-utilised open space

Disadvantages> More complex construction approach> More prominent when viewed from eastern approaches

Advantages> Landmark location in the city> Green-field site> A new wing will provide an opportunity to resolve

current problems

Disadvantages> Access to public transport and parking is difficult> Likely to diminish the role and status of existing AGNSW> Increased operating costs> Significantly larger capital investment required> Duplication of services, operational systems and public

programming> More complex construction approach than other options> Complex security arrangements between buildings

The siting options identified in the previous section have been tested against a range of key criteria to determine the most appropriate option for further development:

1 Cultural Asset Value

2 Precinct Value

3 Masterplan

4 Consultation

5 Operations

6 Implementation

The options have been evaluated in two ways:

> Weighting the benefits and negative impacts on a sub-category (more detailed or specific) level. Options with the highest beneficial score and lowest negative impact score represent the preferred option; and

> On the primary category levels each option is ranked against the others, with the option with the lowest score here representing the preferred option.

Evaluation Criteria


ASSESSMENT CRITERIA EXISTING OPTION A1.1 OPTION A1.2 OPTION B1 OPTION B2 OPTION B3 OPTION C1

CULTURAL ASSET VALUE

Image / Identity / Landmark Quality

Connection to City / Harbour

Synergy with other Sydney Cultural Institutions

Contemporary Relevance

Ability to meet vision, purpose and mission of AGNSW

Ability to maintain and improve local and international comparisons

PRECINCT

Access from city

Public transport / Parking

Relationship with landscape

Impact of Domain events

Forecourt - Identity and Function

Vistas to and from the Institution

Heritage considerations

MASTERPLAN

Quality and flexibility of galleries

Range of temporary exhibition spaces

Clarity of public circulation

Flexibility of spaces for public programs

Public amenities

Group arrival / entry

Universal access

Security

BOH Circulation

Loading docks compared to international standards

Adequate storage

BCA compliance

Heritage considerations

Staff workspaces and amenities

Functional relationships

SUB TOTAL

MINOR BENEFIT MEDIUM BENEFIT SIGNIFICANT BENEFIT NEGATIVE IMPACT MEDIUM NEGATIVE IMPACT SIGNIFICANT NEGATIVE IMPACT

47 5 27 16 11 26 16 34 2 46 2 50 7 41

6 Analysis

Siting Evaluation

RECOMMENDED OPTION


ASSESSMENT CRITERIA EXISTING OPTION A1.1 OPTION A1.2 OPTION B1 OPTION B2 OPTION B3 OPTION C1

CONSULTATION

Heritage

Urban Design

Adjoining uses

Key Stakeholders

OPERATIONS

Ability to increase visitor numbers

Ability to increase public programs

Efficiency of operations

Ability to attract sponsorship and benefaction

Ability to attract significant international exhibitions and loans

Ability to grow revenue from events. Shop, catering, etc.

IMPLEMENTATION

Buildability NA

Maintain operations NA

SUB TOTAL

TOTAL

CRITERIA RANKING

CULTURAL ASSET VALUE NA 3 3 6 2 1 3

PRECINCT NA 4 4 6 1 1 3

MASTERPLAN NA 6 5 4 2 1 3

CONSULTATION NA 1 2 3 6 4 3

OPERATIONS NA 5 1 1 1 1 6

IMPLEMENTATION NA 1 5 2 3 3 6

OVERALL POINTS NA 20 20 22 15 11 24

OVERALL RANK 3 4 5 2 1 6

MINOR BENEFIT MEDIUM BENEFIT SIGNIFICANT BENEFIT NEGATIVE IMPACT MEDIUM NEGATIVE IMPACT SIGNIFICANT NEGATIVE IMPACT

12 3 5 10 6 7 8 7 7 8 7 8 13 7

59 8 32 26 17 33 23 42 9 54 9 58 20 48

RECOMMENDED OPTION


Museum of SydneySydney, Australia

Walsall Art GalleryWalsall, UK

Rosenthal Centre forContemporary Arts

Cincinnati, USA

Wallace CollectionLondon, UK

Crawford Art GalleryCork, Ireland

Morgan LibraryNew York, USA

Yale Centre for British ArtConnecticut, USA

Dulwich Picture GalleryLondon, UK

BeyelerBasel, Switzerland

NGV, Ian Potter GalleryMelbourne, Australia

Ashmolean MuseumOxford, UK

Kimbell Art MuseumFort Worth, USA

National Portrait Gallery Canberra, Australia

Museum of Contemporary ArtSydney, Australia

Natural History MuseumParis, France

Naturalis MuseumLeiden, Netherlands

Gallery of Modern ArtBrisbane, Australia

National Gallery of AustraliaCanberra, Australia

Musee du Quai BranlyParis, France

Tasmanian Museum and Art GalleryHobart, Australia

Art Gallery of New South WalesSydney, Australia

National Maritime MuseumSydney, Australia

Australian MuseumSydney, Australia

De Young MuseumSan Francisco, USA

21 st Century MuseumKanazawa, Japan

PowerhouseSydney, Australia

Tjibaou Cultural CentreNoumea, New Caledonia

Louisiana Museum of Modern ArtHumlebæk, Denmark

City Arts MuseumManchester, UK

6 Analysis

The following diagrams at right indicate the relative size of the Art Gallery of New South Wales to other Australian and International Art Galleries and Museums.

The Gallery, when compared to other prominent Australian and International institutions on the basis of scale, can be considered to be of a small to medium size.

If the Gallery intends to compete with both Australian and International landmark institutions, there is a necessity for growth.

Precendent Comparisons

Numbers of Visitors per m2 of Gallery Space

INSTITUTION Visitors 2010* GFA Annual Visitors / m2

Museum of Modern Art (MoMA), New York, USA 5,216,488 58,500 89.17

British Museum, London, UK 5,842,138 75,000 77.90

De Young Museum, San Francisco, USA 2,043,854 27,221 75.08

Victoria and Albert Museum, London, UK 2,629,065 45,000 58.42

NGV Ian Potter Gallery, Federation Square, Melbourne 717,676 16,000 44.85

Art Gallery of New South Wales, Sydney 1,004,404 23,227 43.24

GoMA and QAG, Brisbane (Combined figures) 1,379,583 43,635 31.62

Museo National Centro De Art Reina Sofia, Madrid, Spain 2,313,532 84,000 27.54

National Gallery of Australia, Canberra 973,348 41,248 23.60

NGV International, Melbourne 820,632 35,500 23.12

Louvre, Paris, France 8,500,000 400,000 21.25

Museum of Applied Arts & Sciences (Powerhouse), Sydney 673,913 35,000 19.25

Melbourne Museum, Melbourne 1,164,139 90,000 12.93* 2010, or latest available figures - approximate only

This table illustrates that the AGNSW has more than twice the number of visitors, per square metre of GFA, than the Louvre.

It also shows that the AGNSW is one of the most intensively used cultural institutions in Australia, with most others having a “density of visitors” only about half that of the Gallery.


Field MuseumChicago, USA

Museo National Centro De Art Reina SofiaMadrid, Spain

Natural History MuseumLondon, UK

NGV, InternationalMelbourne, Australia

American Natural History MuseumNew York, USA

Melbourne Museum, MOVMelbourne, Australia

British MuseumLondon, UK

National Museum of AustraliaCanberra, Australia

Royal Ontario MuseumToronto, Canada

Centre PompidouParis, France

Siza Expo 98Lisbon, Portugal

Smithsonian National Portrait GalleryWashington, USA

Museum of Modern ArtNew York, USA

Louvre MuseumParis, France

Victoria & Albert MuseumLondon, UK

Getty CentreLos Angeles, USA


There are three general options open to the Gallery which might be adopted to deal with the issues identified in Strategic Options Volume 1: Status Quo 2008-2011.

These are:

> Redevelopment within the existing footprint;

> Building a New Wing; or

> Building a New Gallery

Which strategy is adopted is dependant upon which one is seen as being most appropriate for the Gallery.

The examples shown here are instances where other large international museums and cultural institutions have responded to similar issues to those presently faced by the Art Gallery of NSW.

6 Analysis

British MuseumLondon, UK

The British Museum clarified and simplified its public space and circulation system by limiting the number of floors that were publicly accessible and creating a central orientation space within the existing footprint of the Museum.

The Great Court, within the historically significant confines of the Museum, thus became a powerful orientation device and the central space that connects all circulation paths, both physically and visually.

Victoria & Albert MuseumLondon, UK

Faced with circulation issues and a need to respond to the contemporary demands of a internationally regarded and historically significant cultural institution, the V&A initiated ‘Future Plan’ to rejuvenate the Museum:

FuturePlan developments will provide enhanced welcome and orientation facilities as well as a significantly extended education programme. It will also revamp the collections with a clearer layout and more imaginative and informative displays. The British Galleries have already shown how the V&A’s rich collections can be displayed. Under V&A FuturePlan, displays of the collections will be radically recast to evoke the cultures from which the objects come. State-of-the-art information technology and labelling will engage visitors with the works on many levels.

The qualities of the original building will be emphasised to reveal the Museum’s remarkable architecture, and previously hidden spaces will be opened up. The scheme will result in a truly 21st-century museum of art and design that will be an invaluable resource for students, educators, the creative industries and general visitors alike.

EXTRACTS SOURCED FROM: V&A Museum websitehttp://www.vam.ac.uk/futureplan/index.html

Kelvingrove Art Gallery and MuseumGlasgow, UK

CONSTRUCTION COST > (GBP) £28M

This project was initiated and completed with the intention of modernising:

...the most popular museum in the UK outside London which involved sensitive reinstatement and extension of a Grade A-listed [heritage] building.

[The] lower-ground stores and staff accommodation [were relocated], creating space for a new restaurant, education suite and environmentally controlled exhibition space, while a new north entrance provided Kelvingrove’s first barrier-free access and...rationalised parking area freed up space for recreation.

Vertical circulation for visitors was enhanced by relocating lifts and two new public staircases which link the new exhibition space to an impressive central hall.

EXTRACTS SOURCED FROM: BDP websitehttp://www.bdp.com/Projects/By-Name/F-L/Kelvingrove-Art-Gallery-and-Museum/

Redevelopment Models

Kelvingrove Art Gallery and Museum interior galleryImage: David Babour, BDP web-site, http://www.bdp.com/

Kelvingrove Art Gallery and Museum central hallImage: David Babour, BDP web-site, http://www.bdp.com/

V&A Museum, Cromwell Road FacadeImage: http://www.vandaimages.com

Sculpture Gallery, V&A MuseumImage: http://www.vandaimages.com

Great Court, British MuseumImage: wikimedia web-site, http://www.wikimedia.org

Section through entrance axis and Great Court, British MuseumNTS @ A3

Morris Room, V&A MuseumImage: http://www.vandaimages.com


National Gallery of Art, East WingWashington, USA

The new wing of the NGA, Washington sits adjacent to the original Neoclassical wing and is connected above ground via a piazza and also below ground via passageways for visitors and artefacts.

A larger section of the new wing accommodates new exhibition space located off a large atrium space which serves as an entrance and orientation space for the wing. Within a smaller eight-storey building adjacent to the atrium the administrative functions and a study centre for the visual arts are housed.

Royal Ontario Museum, Michael Lee-Chin CrystalToronto, Canada

CONSTRUCTION COST (CAD) $270M

The new wing of the Royal Ontario Museum (ROM) stitches a contemporary building into the heritage fabric of the existing galleries and provides new public facilities, new gallery and a new contemporary presence on a busy Toronto street.

Museum of Fine ArtsBoston, USA

CONSTRUCTION COST > (USD) $500M

The Museum of Fine Arts, Boston is internationally recognised for the scope and quality of its collections. It stages an increasingly dynamic programme of exhibitions, lectures, films and educational events and is visited by more than one million people every year. However, in common with many such institutions that have grown incrementally over the years, the sheer scale of this audience places a great strain on the Museum’s facilities. This masterplan presents a clear strategic framework within which the Museum’s current accommodation will eventually be doubled to provide new galleries, a study centre, and temporary exhibition and education spaces. In the process, the visitor experience will be transformed.

..the rejunvination project establishes a creative dialogue between the old and the new, and strengthening links with the local community by making the building more open and accessible. At the core of the scheme is the restoration of the symmetry and logic of the Museum’s original Beaux-Arts plan, devised in 1907 by the American architect Guy Lowell. Following Lowell’s intentions, the central axis of the main building on Huntington Avenue is reasserted with the reintroduction of the main entrance to the south and the reopening of the north entrance, which is currently closed to visitors. At the heart of this axis is a new information centre, from where all visitors will begin their tour of the galleries. A glazed structure – ‘a crystal spine’ – provides new accommodation and partly encloses the two grand courtyards at the centre of the Museum in a glass ‘jewel box’, creating valuable new space for visitor orientation, cafés, sculpture and special events.

EXTRACT SOURCED FROM: Foster and Partners web-sitehttp://www.fosterandpartners.com/Projects/1049/Default.aspx

De Young MuseumSan Francisco, USA

The purpose built Museum for the collection of the Fine Arts Museums of San Francisco was designed by Herzog & de Meuron, opening in 2005.

The new landmark museum which integrates art, architecture and the cultivated landscape of an urban park, replaces the old facility which formally occupied the same site but was severely damaged by an earthquake in 1989.

New Wing New Gallery

MFA Masterplan (new works outlined in red)Image: Foster + Partners web-site, http://www.fosterandpartners.com

MFA interior galleryImage: Foster + Partners web-site, http://www.fosterandpartners.com

ROM interface between old and new workImage: ROM web-site, http://www.rom.on.ca/crystal/index.php

ROM, street frontageImage: ROM web-site, http://www.rom.on.ca/crystal/index.php

NGA East Wing atriumImage: Richard Johnson, JPW

NGA West Wing entranceImage: Richard Johnson, JPW

Plan of ROM with new wing highlightedNTS @ A3

Plan of NGA with new wing and connecting forecourt highlightedNTS @ A3

NGA West Wing entranceImage: Richard Johnson, JPW

Plan of De Young Museum - the whole of the Museum was newly built in 2005NTS @ A3

RECOMMENDED STRATEGY

ABOVE AND BELOW GROUND CONNECTIONS


6 Analysis

Redevelopment Options

Total GFA = 25,000 m²



50% PUBLIC SPACE50% NON-PUBLIC SPACE

OPTION B3.1 This option involves a new institution of similar size, which would be constructed adjacent to the current Art Gallery of New South Wales. The new building would not be physically connected to the original building and would have a separate function, however the two buildings would run in coordination with each other. The existing heritage fronted building would keep its current entrance and foyer, and the new building would have a fully accessible main entrance and foyer space.

OPTION B3.2 This option involves a new wing of similar size, which would be constructed adjacent to the current Art Gallery of New South Wales. A corridor of public space would connect the new building with the current building. A new entrance a foyer would be included within the new building. The existing building would retain its current entrance and foyer.

OPTION B3.3 This option involves a new wing of similar size, which would be constructed adjacent to the current Art Gallery of New South Wales. A corridor of public space would connect the new building with the current building. A new Main Entrance would be located along this corridor between the two buildings, serving access to both institutions. The entrance to the existing building would become a ceremonial entrance.

LAND BRIDGE

LAND BRIDGE

LAND BRIDGE

SUBSTATION

SUBSTATION

SUBSTATION


Schematic Perspective of Option B3Not to scale @ A3

Gallery Typology

Gallery Typology and Functional Relationships

The Gallery, in its current configuration, has a complex arrangement of functional relationships between galleries, public spaces and back of house.

The ideal arrangement of functional relationships would lead to greater efficiencies in the functioning of the Gallery, a better visitor experience and better security for BOH areas

The relationships of functional space within the existing building are fragmented, complex and confusing.

IDEAL FUNCTIONAL RELATIONSHIPS

BACK OF HOUSE

PUBLIC / FRONT OF HOUSE

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STO

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CURA

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AD

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GA

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Y SP

ACE

GA

LLER

Y SP

ACE

GA

LLER

Y SP

ACE

GA

LLER

Y SP

ACE

GA

LLER

Y SP

ACE

GA

LLER

Y SP

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GA

LLER

Y SP

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GA

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Y SP

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ION

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SPA

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AGNSW FORECOURT

REST

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(CLOAKING/VISITOR SERVICE/TICKETING)

MA

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> A legible and flexible circulation system that connects all zones effectively is crucial to any art gallery;

> Any circulation system must establish connections that naturally lead visitors through the foyer to the exhibition spaces and other facilities, and provide opportunities for physical and conceptual orientation, and appropriate positions for rest and group assembly across the site;

> Back of House circulation routes for staff and collections need to be efficient, and some functional spaces must be co-located to meet operational objectives; and

> A clear security hierarchy for each section is very desirable.

GALLERIES

EXISTING RELATIONSHIPS

GALLERIES

VESTIBULE

GRAND COURT&

CENTRALCIRCULATION

CAFE

SHOP

GALLERIES

TICKETING

GALLERIES

EDUCATION&

RESOURCECENTRE

TEMPORARYEXHIBITIONS

GROUPS

TEMP. EX. SHOP

GOODS & ARTEFACTLOADING

BACK OF HOUSE

FORECOURT

EXHIBITIONGALLERIES

RESTAURANT &FUNCTIONS

STAFFENTRY

LOADING DOCK

THEATRE

CLOAKS

BACK OF HOUSE

THEATRE

CLOAKS

GALLERIES


AGS

BOH


BOH

EXHIBITIONGALLERIES

INFORMATION DESK

> The scale of the entrance, including external spaces, is inadequate to deal with visitor numbers and particularly school groups;

> The entrance is not accessible for those with mobility disabilities;

> The existing relationships within the building is unclear with disparate functional relationships;

> The same circulation system is used by public patrons, staff and also for goods and artefacts which complicates security and general day to day operations;

> There is no clear physical or conceptual orientation system in place for exhibitions, collections and other public spaces;

> Key public spaces are scattered through the building;

> Functions and events often occupy exhibition and circulation spaces which presents a number of operational and security challenges; and

> Back of house areas are separated from each other which presents problems for staff.


IDEAL TYPOLOGY

EXHIBITIONGALLERIES

THEATRE

INITIALORIENTATION

EXHIBITIONGALLERY

ORIENTATION&

CENTRALCIRCULATION

CAFE

SHOP

EXHIBITIONGALLERIES

TICKETING

EXHIBITIONGALLERIES

EDUCATION&

RESOURCECENTRE


GROUPS TEMP. EX. SHOPCLOAKS

ARTEFACT LOADING

GOODSLOADING

BACK OF HOUSE

FORECOURT

EXHIBITIONGALLERIES

EXHIBITIONGALLERIES

RESTAURANT & FUNCTIONS

EXHIBITIONCOURTYARD

STAFFENTRY

LOADING DOCK

MEMBERS SERVICES

SECURITY LINE

Rationalising the functional relationships would:

> Give greater legibility to physical and conceptual orientation for the Gallery;

> Give greater prominence to public and group spaces such as an educational and research centre; and

> Allow for greater efficiencies in the day-to-day functioning of the Gallery.


Indicative Planning Schematic - Option B3Not to scale @ A3

Domain Parking Station

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ENABLE THE GALLERY TO BE A 21st CENTURY CULTURAL INSTITUTION WORTHY OF A GLOBAL CITYFaced with space and operational restrictions for exhibitions, collections, staff, storage, public facilities and public programs the Gallery must expand and improve its facilities which are the cause of many problems.

WELCOMING AND CLEAR IDENTITYThe Gallery should maintain a singular identity rather than splitting and compromising its status as the State’s preeminent cultural institution. While the frontage to Art Gallery Road is impressive, it does not project a contemporary image, and the existing entrance does not provide an accessible entry for all.A contemporary image should define the entry and showcase the relevance, accessibility and diverse appeal of the Gallery’s facilities and services.This expression must also complement the Gallery’s important heritage assets and unique setting.

CLARIFY ENTRY & IMPROVE EXTERIOR PUBLIC SPACE ForecourtRationalise the forecourt road system and provide coach pick-up/drop-off points and accessible parking.Enable forecourt to accommodate large scale art installations and use as a performance space.Provide seamless connection between new and old assets.

Main EntryCreate a suitably sized new main entry for regular patrons and groups that is accessible for all.Provide a strong visual connection into the Gallery’s pubic facilities from the forecourt.Maintain the historic, ceremonial entry to the Vernon Wing.

Group EntryProvide group entry from the forecourt with suitable group entry services and multiple coach drop-off/pick-up areas.

Sculpture CourtCreate a major new sculpture court on the land bridge to the east of the new wing.

Pedestrian Through AccessCreate a secure pedestrian route through/under the new foyer to improve pedestrian permeability and create a unique interaction between the gallery and the city.

Signage and AccessImprove precinct signage and connections to the Gallery from the Domain Parking Station, The Domain, Botanic Gardens and Woolloomooloo.

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2

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4 GALLERY CIRCULATION Foyer

Strengthen connections to a revitalised forecourt and with a new foyer serving both general entry and group entry. Provide appropriate cloaking and visitor sevices at the entry.

CirculationImprove circulation and orientation to existing gallery display spaces while stitching the new wing’s circulation into an integrated holistic system.

Connect the circulation system to the harbour and parklands to create a unique gallery and Sydney experience.

PUBLIC SPACESLearning Centre, Research Library & Archive

Decant existing Research Library and Archive from current location in the Vernon Wing and provide a Learning Centre with state-of-the-art IT capabilities and access to all Gallery archival and resource material within the new wing.Locate this important public facility in an easy to access, prominent location.

Gallery & Exhibition SpaceCreate major new gallery spaces that complement the existing display spaces in the current buildings.Create major new exhibition spaces that are suitable for major travelling exhibitions and blockbusters.Support major new display spaces with 21st century technology hubs.

Groups Entry, Cloak, Shop & Information DeskNew groups entry, shop and information desk located adjacent to new entry and foyer.

Visitor Services Create major new functions and restaurant spaces that

capitalise on the unique setting and harbour views.

STAFF SPACEThe majority of staff spaces are to be decanted from the existing building and consolidated within the new wing.

SERVICES & LOADING DOCKArtefacts Loading DockAt a minimum, the following should be considered for a new loading dock:

> A new dedicated loading and handling area for art, that can be separated from other loading dock and back of house areas, and including vehicle docks, unpacking and preparation areas, and associated management spaces;

> The loading dock should be large enough to accommodate a variety of service vehicles, including articulated container lorries (up to 19 m in length, including cabin), and have adequate height for unloading large or irregularly shaped objects;

> Direct access to primary vertical circulation system from all loading dock areas;

> Security control point to the loading and service areas at the entrance, with additional security zones/points within the loading dock to be control access to circulation systems; and

> Anticipate spaces and functions that require direct access and relate to exhibition preparation.

Goods Loading DockThe existing loading dock should be converted into a dedicated general goods and maintenance loading bays independent from the artefact loading area.

TRANSPORT Carparking

On-site carparking under the new wing of the Gallery.

Bus and CoachCoach drop-off and pick-up points for groups and separate bus stop for state transit routes.

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Indicative Site Planning

7 Recommendations


GALLERY

GALLERY

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GALLERY

GALLERY

KITCHEN

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COLLECTIONGALLERIES

CEREMONIAL ENTRANCE

VERTICAL CIRCULATION

TERRACE &SCULPTURE

COURT

BOH (under)>Admin.>AGS>Workshops>Stores

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ICA

L C

IRC

ULA

TIO

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GALLERY

GALLERY PIAZZABOH (under)

> Catering > Security > Stores

3EXHIBITION

RESTAURANT & FUNCTIONS ROOM

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ICA

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IRC

ULA

TIO

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CLO

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CLO

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INFO

24 HOUR THROUGH ACCESS

SHOP CAFE

FOYER ENTRY AND

ORIENTATION

GALLERY

GALLERY

GALLERY EXHIBITION

ART GALLERY ROAD

LINCOLN CRESCENT

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COACHES

BUS-STOPS

RESEARCH LIBRARY AND ARCHIVE

ARTEFACTS

LOADIN

G DOCK

& BOH

© This document is the copyright of Johnson Pilton Walker Pty Ltd Pty Ltd.It is not to be copied in any form without the written permission of the AGNSW or JPW.

Art Gallery of NSW in city context

Image: AGNSW

Johnson Pilton Walker Pty LtdACN 095 778 886Level 10 Plaza Building, Australia Square95 Pitt Street Sydney NSW 2000 AustraliaRichard Johnson, DirectorGraeme Dix, Director

T +61 2 9259 5900F +61 2 9259 5999E [email protected] www.jpw.com.au

Art Gallery of New South WalesArt Gallery Road, The DomainSydney NSW 2000 Australia

Anne Flanagan, Deputy Director

T +61 2 9225 1799F +61 2 9225 1701E [email protected] www.ag.nsw.gov.au

Art Gallery of New South Wales Sydney Modern Masterplan … · 2017. 12. 7. · 3D Volumes -...

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