HERITAGE INTERPRETATION PLAN
Transcript of HERITAGE INTERPRETATION PLAN
HERITAGE INTERPRETATION PLAN 2-60 Cumberland Street, The Rocks, Sirius Building
Prepared for
SIRIUS DEVELOPMENTS PTY LTD 6 October 2021
URBIS STAFF RESPONSIBLE FOR THIS REPORT WERE:
Director Stephen Davies Stephen Davies, B Arts, DipEd, Dip T&CP, Dip Cons Studies, M. ICOMOS
Associate Director Fiona Binns, B Arts, M Arts (Curatorial Studies), M ICOMOS
Consultant Cecelia Heazlewood, B Arts, M Museum & Heritage Studies
Project Code P0014663
Report Number #1 – Draft Issue 15/06/2021 – Consultation
#2 – Final issue for Submission to DPIE 12 August 2021
#3 – Final Issue for Submission 2 September 2021
#4 – Final Issue for Submission 6 October 2021
Urbis acknowledges the important contribution that Aboriginal and Torres Strait Islander people make in creating a strong and vibrant Australian society. We acknowledge, in each of our offices, the Traditional Owners on whose land we stand.
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CONTENTS
1. Executive Summary .......................................................................................................................... 1
2. Introduction ....................................................................................................................................... 3 2.1. Background .......................................................................................................................... 3 2.2. Site Location ........................................................................................................................ 5 2.3. Heritage Listing and Heritage Significance .......................................................................... 5
2.3.1. Existing Heritage Listings Applying to the Subject Site ........................................ 5 2.3.2. History of the Proposed Heritage Listing of Sirius ................................................ 6 2.3.3. Statement of Significance ..................................................................................... 7 2.3.4. Vicinity Heritage Items .......................................................................................... 7
2.4. The Aims of this Interpretation Plan ...................................................................................10 2.5. Methodology ......................................................................................................................10
2.5.1. Heritage Guidelines and the Burra Charter ........................................................10 2.5.2. Interpretation Principles for Sirius ......................................................................11 2.5.3. Public Art Strategy ..............................................................................................12 2.5.4. The Rocks Heritage Management Plan, SHFA, 2010 ........................................12 2.5.5. The Rocks Interpretation Strategy, GML, 2006 ..................................................13 2.5.6. Telling The Rocks Stories: Interpreting the Place and the People, SHFA,
2006 ....................................................................................................................15 2.6. Author Identification ...........................................................................................................15 2.7. Resources ..........................................................................................................................15
3. Site Description and Submitted Development .............................................................................17 3.1. Site Description ..................................................................................................................17
3.1.1. The Rocks ..........................................................................................................17 3.1.2. The Sirius Building ..............................................................................................17 3.1.3. Heritage Landmarks in the Area .........................................................................20
3.2. Submitted Development.....................................................................................................21
4. Historical Overview .........................................................................................................................23 4.1. Pre-European Settlement ..................................................................................................23 4.2. Historical Overview of The Rocks ......................................................................................24 4.3. Gloucester Walk Precinct ..................................................................................................28 4.4. Subject Site History ............................................................................................................30 4.5. Date of Construction ..........................................................................................................34
5. Archaeological Assessment and Potential ..................................................................................35 5.1. Aboriginal CultUral Heritage Assessment..........................................................................35 5.2. Historical ArchaeOlogical Assessment ..............................................................................35
6. Heritage Interpretation Plan ...........................................................................................................37 6.1. Stakeholder Engagement Program ...................................................................................37
6.1.1. Place Management NSW ...................................................................................38 6.1.2. City of Sydney Council .......................................................................................39 6.1.3. Registered Community Groups ..........................................................................40 6.1.4. Registered Aboriginal Parties .............................................................................41 6.1.5. Summary of Stakeholder Feedback ...................................................................42
6.2. Audience Analysis ..............................................................................................................48 6.3. Resources for Interpretation ..............................................................................................48 6.4. Existing Interpretive Media ................................................................................................49 6.5. Themes and Narratives......................................................................................................52
6.5.1. Heritage Council of NSW Themes and Narratives .............................................52 6.5.2. The Rocks Interpretation Strategy (GML 2006), Historical Themes ..................56 6.5.3. Urbis Summary of Historical Themes .................................................................61 6.5.3.1. The Social History of Sirius ................................................................................61 6.5.3.2. Indigenous History ..............................................................................................63 6.5.3.3. Architectural and Landscaping Significance: Sirius as a Brutalist Icon. .............63
6.5.3.4. The Rocks Specific Themes ...............................................................................64
7. Interpretation Media ........................................................................................................................65 7.1. Public Art ............................................................................................................................65 7.2. Built forms ..........................................................................................................................68
7.2.1. Building Envelope ...............................................................................................68 7.2.2. Conservation ......................................................................................................69 7.2.3. Reinterpretation of the Phillip Room ...................................................................70 7.2.4. Landscaping .......................................................................................................74 7.2.5. Lighting ...............................................................................................................76
7.3. Interpretation Signage........................................................................................................76 7.4. Education and Community Programs ................................................................................81 7.5. Published Media ................................................................................................................82 7.6. Temporary Interpretation ...................................................................................................82 7.7. Maintenance of Interpretation Elements ............................................................................82
8. Implementation Plan .......................................................................................................................84
9. Conclusion .......................................................................................................................................87
10. Bibliography and References ........................................................................................................88 10.1. Bibliography .......................................................................................................................88 10.2. References .........................................................................................................................88
11. Disclaimer ........................................................................................................................................89
Appendix A 92
Appendix B 93
FIGURES
Figure 1 – Locality plan showing the subject site outlined in red. ..................................................................... 5
Figure 2 – Extract of The Rocks Conservation Area map showing the subject site outlined in red. ................. 6
Figure 3 – Extract of the NSW heritage map showing state and local heritage items and the subject site outlined in yellow. ........................................................................................................................................ 9
Figure 4 – Sydney Regional Environmental Plan (Sydney Harbour Catchment) 2005 Sydney Opera House Buffer Zone Map (Amendment 2016), subject site outlined in yellow. ................................................... 9
Figure 5 – View north-west of the Sirius building with Bradfield highway between Sirius and Millers Point ................................................................................................................................................................. 17
Figure 6 – View east of The Rocks from the Sirius building ............................................................................ 17
Figure 7 – typical floor plan of the Sirius building ............................................................................................ 18
Figure 8 – The Sirius building, from Cumberland Walk. View northeast. ........................................................ 19
Figure 9 – Panelling on the roof of the foyer inside the building. .................................................................... 19
Figure 10 – The Heritage Room southern wall. ............................................................................................... 19
Figure 11 – Example of laminated timber animals in the foyer. ...................................................................... 19
Figure 12 – Example of a kitchen/sitting room within a unit, with bedrooms to the left of the frame. ............. 20
Figure 13 – stepping down of the roof of Sirius to the north............................................................................ 20
Figure 14 – The Sydney Opera House (to the right of frame) from level 11 of the Sirius building.................. 20
Figure 15 – The Sydney Harbour Bridge from level 11 of the Sirius building. ................................................ 20
Figure 16 – Extract of proposed plan – view north (Cumberland Street). ....................................................... 21
Figure 17 – Extract of proposed plan – view north from Gloucester Walk ...................................................... 22
Figure 18 – Extract of proposed plan – levels 3-5 floor plan ........................................................................... 22
Figure 19 – Francis Fowkes Sketch of Sydney Cove Port Jackson, 16th April 1788 ...................................... 25
Figure 20 – C. A. Lesueur ‘Plan De La Ville Sydney, 1802 ............................................................................. 26
Figure 21 – Plan showing The Rocks resumption, 1901. ................................................................................ 27
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Figure 22 – Photo of north Gloucester Street during The Rocks Resumption photographic survey, 1901. ................................................................................................................................................................ 27
Figure 23 – Rear of terraces on Gloucester and Cumberland Streets, The Rocks Resumption Photographic Survey, 1901. ............................................................................................................................ 27
Figure 24 – Sheilds Map of Sydney, 1845....................................................................................................... 28
Figure 25 – William Andrews watercolour, Cumberland Street, Sydney. ........................................................ 29
Figure 26 – Doves Plan of Sydney, 1880. ....................................................................................................... 29
Figure 27 – Parish of St Philip Parish Map, 831 (approximate location of the subject site outlined in red) ................................................................................................................................................................... 30
Figure 28 – Doves Plan of Sydney, 1880 showing the approximate location of the subject site outlined in red. ............................................................................................................................................................... 31
Figure 29 – Map of the subject site, undated. ................................................................................................. 31
Figure 30 – Plan for The Rocks in the 1960s which resulted in the Green Bans. ........................................... 32
Figure 31 – Original designs of the Sirius building. ......................................................................................... 33
Figure 32 – Floor plan of the Sirius building. ................................................................................................... 33
Figure 33 – Interpretation signage for Bunker’s Hill located on Gloucester Walk, adjacent to the Sirius building............................................................................................................................................................. 50
Figure 34 – Foundation Park, former terraces houses at 2-16 Gloucester Street. ......................................... 50
Figure 35 – First Impressions sculpture by Bud Dumas located at Playfair Street, The Rocks. ..................... 51
Figure 36 – Sirius Building Archive interface. .................................................................................................. 51
Figure 37 – First Impressions sculpture by Bud Dumas located at Playfair Street, The Rocks. ..................... 52
Figure 38 – The public artwork opportunities as illustrated by UAP. ............................................................... 66
Figure 39 – The public artwork opportunities as illustrated by UAP – the through site link as viewed from Cumberland Street. ................................................................................................................................. 67
Figure 40 – The public artwork opportunities as illustrated by UAP – Gloucester Walk, Northern Park. ....... 67
Figure 41 – The original building name signage proposed to be conserved................................................... 70
Figure 42 – Original carpet in the Phillip Room. .............................................................................................. 71
Figure 43 – ‘Cave art’ or ‘Unidentified Running Objects’ in the Phillip Room. ................................................ 71
Figure 44 – Phillip Room Detail Plan showing the proposed rugs and the two retained sculptures, as well as the third sculpture, relocated to the lift lobby (sculptures indicated). .................................................. 72
Figure 45 – Phillip Room Mezzanine Plan showing the bison sculpture relocated to the mezzanine lift lobby. ............................................................................................................................................................... 73
Figure 46 – View of Cumberland Street looking north showing green spaces and rooftop gardens. ............. 75
Figure 47 – Site plan noting select opportunities for preferred interpretation zones. ...................................... 77
Figure 48 – Gloucester Walk looking south and towards through site link. ..................................................... 78
Figure 49 – Gloucester Walk looking north. .................................................................................................... 78
Figure 50 – View of Cumberland Street looking north. .................................................................................... 79
Figure 51 – View of Cumberland Street looking south towards the café/retail area. ...................................... 79
Figure 52 – Example of interpretation signage (Quay Quarter Lanes) ........................................................... 80
Figure 53 – Signage incorporated on stair risers. ........................................................................................... 80
Figure 54 – Example of paving inlays .............................................................................................................. 80
Figure 55 – Interpretation at the Corn exchange, Sussex Street, Sydney. ..................................................... 80
Figure 56 – Signage at Ballast Point Park ....................................................................................................... 81
Figure 57 – Example of a glass plaque at the former Cadbury’s site in the Rocks ......................................... 81
Figure 58 – Example of hoarding with heritage interpretation of the substation under development ............. 82
Figure 59 – Example of hoarding signage showing architectural detailing to the GPO. ................................. 82
TABLES
Table 1 Response to Conditions of Consent ..................................................................................................... 3
Table 2- Heritage Items in the Vicinity ............................................................................................................... 7
Table 3 – The Rocks - Historical Themes ....................................................................................................... 56
Table 4 Construction Stages ........................................................................................................................... 84
Table 5 Program for detailed design and delivery of Interpretation Media ...................................................... 85
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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ EXECUTIVE SUMMARY 1
1. EXECUTIVE SUMMARY Urbis has been engaged by Sirius Developments Pty Ltd to prepare the following Heritage Interpretation Plan for the developments of the Sirius building at 2-60 Cumberland Street, The Rocks.
This report follows a State Significant Development Application (SSDA) and is prepared in response to SSADA Conditions of Consent, specifically condition B11 which states:
HERITAGE INTERPRETATION
B11. Prior to the issue of Construction Certificate 1, a Heritage Interpretation Plan, prepared in accordance with the Heritage Impact Statement, prepared by Urbis, dated 18 February 2021 and relevant NSW Heritage Division guidelines, must be submitted to and approved by the Planning Secretary.
The Plan must be prepared in consultation with Council and PMNSW and other relevant stakeholders, including the Aboriginal and local community, and document the findings and recommendations raised in consultation. The Plan must:
(a) detail methods and elements to retain and interpret the site’s heritage to be included in the detailed design of the new additions and landscaping
(b) identify when the various interpretation elements will be delivered
(c) address how regular public access can be provided to the Phillip Room
The Sirius site sits within the historic and highly significant context of the Rocks and this report has therefore been prepared with regard for the Heritage Interpretation principles, guidelines and themes as outlined in key strategic documents including The Rocks Interpretation Strategy (GML 2006), Telling the Rocks’ Stories - Interpreting the Place and the People (SHFA 2006) and The Rocks Heritage Management Plan (SHFA 2010).
This report has also been prepared in response to recommendations in the Heritage Impact Statement (HIS), 2021, prepared by Urbis which notes the following recommendation:
An Interpretation Strategy / Plan should be prepared for the place. The Interpretation Strategy / Plan should be prepared prior to the issue of a Construction Certificate and the interpretation devices should be installed prior to the issue of an Occupation Certificate.
The 2021 HIS also summarised the nominated themes and narratives associated with the place and provided recommendations for interpreting its history to the identified audiences. The HIS also identified examples of interpretive media suitable for the site and included suggested interpretation principles for the subject site which have informed this report.
Accordingly, the purpose of this report is to build upon the recommendations of the HIS, establishing themes and narratives and further to identify locations for interpretation and opportunities for how the themes may be interpreted using the select interpretive media. This report also makes recommendations with regard to the fabric and content of the interpretive media. The Heritage Interpretation Plan is intended to inform and guide collaborative interpretation planning for the site, with stakeholders, consultants and other relevant parties and forms part of a staged delivery of interpretation and development of the site.
This report has identified the pertinent themes and narratives of the Sirius building included in Section 6.5 below. The themes have been summarised as the following:
▪ The Social History of Sirius
▪ Colonial, Convict and Maritime History of the Rocks
▪ Indigenous History
▪ Architectural and Landscaping Significance: Sirius as a Brutalist Icon.
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Various forms of interpretation media are recommended including temporary and permanent media, participation in education and community programs and traditional media such as signage. The Plan also considers and has regard for the Public Art Strategy prepared by UAP. The Plan also considers built form interpretation opportunities, as well as conservation works, which provides a significant opportunity for interpretation of the site’s important architectural and heritage values.
A draft of this Interpretation Plan(Issue #1 15 June 2021) was issued for the purposes of informing stakeholder consultation. This issue (Issue #4 – 6 October 2021) has been revised following consultation with representatives of the following groups:
▪ Dr. Wayne Johnson, (Senior Archaeologist, Curator of The Rocks Discovery Museum, Strategic Planning and Heritage) Place Management NSW
City of Sydney Council.
▪ Kadibulla Khan, representative of Kamilaroi- Yankuntjatjara Working Group Pty Ltd
▪ Lilly Carroll, representative of Didge Ngunawal Clan
Urbis also contacted Registered Aboriginal Parties (RAPs) included in the Aboriginal Cultural Heritage Assessment Report prepared by Urbis for the SSDA. This includes the Metropolitan Local Aboriginal Land Council (MLALC), A1 Indigenous Services, Barking Owl Aboriginal Corporation (BOAC), Butucarbin Aboriginal Corporation, Ngambaa Cultural Connections, Goodradigbee Cultural and Heritage Aboriginal Corporation and Tocomwall. It is noted that of the above RAPs contacted, only Kamilaroi Yankuntjatjara Working Group and the Didge Ngunawal Clan have expressed interest in providing comment on the project (their representatives listed above)
▪ Representatives of Save our Sirius Community Action Group (SOS)
▪ Representatives of the Millers Point Community Resident Action Group (MPCRAG)
Details of the proposed stakeholder consultation are set out in section 6.1. Feedback as a result of consultation with the aforementioned stakeholders has been documented and incorporated into this report and this report is therefore submitted for final issue to the Planning Secretary, in accordance with the conditions of consent.
Locations, content and media for interpretation as set out in this report are subject to review and detailed design. Interpretation media and content, guided by the principles and objectives set out under this Plan, will be further developed throughout the construction phases as part of the detailed design and delivery of the site in consultation with Sirius Developments and the consultant team including, but not limited to, project architects, BVN, Landscape architects 360 degrees, interior designers, the public art consultant and artist, wayfinding and signage designers, building contractors and specialists etc.
A program for implementation, detailed design and delivery of interpretation media is set out in section 8.
General principles for the interpretation moving forward, include:
▪ Interpretation should continue to be integrated into the overall planning, conservation and management of the site in conjunction with detailed design development.
▪ Interpretation should continue to be integrated into the building design in collaboration with project architects and designers.
▪ Interpretation should continue to be developed in consultation with relevant stakeholders.
▪ Interpretation should be undertaken in accordance with the relevant heritage guidelines and best practice “ingredients” for interpretation and consent requirements.
▪ Proposed interpretation should have regard for the extant interpretation and the broader site context within the Rocks.
▪ Interpretation should have regard for the audience and building users.
▪ Interpretation should not be visually or otherwise intrusive and should permit the audience to discover and interact or engage with the interpretation over time and on various levels.
▪ Interpretation should be contemporary and allow for technological innovation, including digital media.
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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ INTRODUCTION 3
2. INTRODUCTION 2.1. BACKGROUND Urbis has been engaged by Sirius Developments Pty Ltd to prepare the following Heritage Interpretation Plan in conjunction with the proposed works to 84 Cumberland Street, The Rocks.
This Plan builds upon previous reports undertaken by Urbis about this development. These reports include:
▪ Heritage Impact Statement, 2-60 Cumberland Street, The Rocks. February 2021.
▪ Heritage Fit-Out Advice, Phillip Room, Sirius Building. February 2021.
▪ Aboriginal Cultural Heritage Assessment: The Sirius Site, 2-60 Cumberland Street, The Rocks (ACHA). October 2020.
▪ Historical Archaeological Assessment: Sirius Site, 2-60 Cumberland Street, The Rocks (HAA). February 2021.
This report has also considered the opportunities and constraints outlined by the Sirius Public Art Strategy prepared by UAP.
This report follows a State Significant Development Application (SSDA) and is prepared in response to SSADA Conditions of Consent, specifically condition B11 which states:
HERITAGE INTERPRETATION
B11. Prior to the issue of Construction Certificate 1, a Heritage Interpretation Plan, prepared in accordance with the Heritage Impact Statement, prepared by Urbis, dated 18 February 2021 and relevant NSW Heritage Division guidelines, must be submitted to and approved by the Planning Secretary.
The Plan must be prepared in consultation with Council and PMNSW and other relevant stakeholders, including the Aboriginal and local community, and document the findings and recommendations raised in consultation. The Plan must:
(a) detail methods and elements to retain and interpret the site’s heritage to be included in the detailed design of the new additions and landscaping
(b) identify when the various interpretation elements will be delivered
(c) address how public access can be provided to the Phillip Room
The following details how this report has responded to the relevant condition.
Table 1 Response to Conditions of Consent
Condition Response
B11. Prior to the issue of Construction Certificate 1,
a Heritage Interpretation Plan, prepared in
accordance with the Heritage Impact Statement,
prepared by Urbis, dated 18 February 2021 and
relevant NSW Heritage Division guidelines, must
be submitted to and approved by the Planning
Secretary.
The Plan must be prepared in consultation with
Council and PMNSW and other relevant
stakeholders, including the Aboriginal and local
community, and document the findings and
The Plan has been prepared in consultation with
Council and PMNSW and other relevant
stakeholders, including the Aboriginal and local
community. Stakeholder engagement is detailed in
section 6.1 and documents and summarises
feedback and further details how we have
responded to feedback. Heritage interpretation is
subject to further development and will be
developed in consultation with stakeholders as
appropriate.
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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_
Condition Response
recommendations raised in consultation. The Plan
must:
(a) detail methods and elements to retain and
interpret the site’s heritage to be included in the
detailed design of the new additions and
landscaping
a) The Plan identifies themes and narratives to be
interpreted (see section 6.5) and further details the
proposed interpretation media, including
nominating appropriate locations for interpretation
(see Section 7). Various forms of interpretation
media are recommended including temporary and
permanent media, participation in education and
community programs and traditional media such as
plaques, signage and display as well as digital
media. The Plan also makes recommendations
with regard to public art. The Plan also considers
built form interpretation opportunities, as well as
conservation works, which provides a significant
opportunity for interpretation of the site’s important
architectural and heritage values.
(b) identify when the various interpretation
elements will be delivered
b) Development of heritage interpretation is subject
to detailed design and development and an
Implementation Plan is provided in section 8.
(c) address how public access can be provided to
the Phillip Room
c) The Plan outlines considerations to make the
Phillip Room available to the public in a variety of
ways, including access by community groups.
Section 7.4. Education and community programs
identify options for community use of the Phillip
Room for consideration in the development of the
interpretation Plan. Further work and liaison is
required to confirm this, including liaison with
PMNSW and their PACE team.
The Sirius site sits within the historic and highly significant context of the Rocks and this report has therefore been prepared with regard for the Heritage Interpretation principles, guidelines and themes as outlined in key strategic documents including The Rocks Interpretation Strategy (GML 2006), Telling the Rocks’ Stories - Interpreting the Place and the People (SHFA 2006) and The Rocks Heritage Management Plan (SHFA 2010).
This report has also been prepared in response to recommendations of The Heritage Impact Statement (HIS), 2021, which states:
An Interpretation Strategy / Plan should be prepared for the place. The Interpretation Strategy / Plan should be prepared prior to the issue of a Construction Certificate and the interpretation devices should be installed prior to the issue of an Occupation Certificate.
The 2021 HIS has also summarised the nominated themes and narratives associated with the place and provided recommendations for interpreting its history to the identified audiences. The HIS also identified examples of interpretive media suitable for the site and included suggested interpretation principles for the subject site.
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Accordingly, the purpose of this report is to respond to the conditions of consent and build upon the recommendations of the HIS, establishing themes and narratives and further to identify locations for interpretation and opportunities for how the themes may be interpreted using the select interpretive media. This report also makes recommendations with regard to the fabric and content of the interpretive media. The Heritage Interpretation Plan is intended to inform and guide collaborative interpretation planning for the site, with stakeholders, consultants and other relevant parties and forms part of a staged delivery of interpretation and development of the site.
2.2. SITE LOCATION The site is located on Lot 100 and 101 DP264104, 2-60 Cumberland Street, The Rocks. The site is within the City of Sydney Local Government Area (LGA). The subject site comprises the Sirius building, constructed in 1980, and the associated gardens. Gloucester Walk – a pedestrian walkway that runs to the east of Sirius which will be upgraded as part of the proposal.
Figure 1 – Locality plan showing the subject site outlined in red.
Source: SIX Maps, 2021.
2.3. HERITAGE LISTING AND HERITAGE SIGNIFICANCE
2.3.1. Existing Heritage Listings Applying to the Subject Site
The subject site is not an individually listed item of the environmental heritage under the NSW State Heritage Register (SHR), the State Environmental Planning Policy (State Significant Precincts) 2005, the State Environmental Planning Policy (State and Regional Development) 2011 or the Sydney Regional Environmental Plan (Sydney Harbour Catchment) 2005. The SLEP2012 does not apply to The Rocks area and the subject site is not identified as an item of environmental heritage under Schedule 5 of the SLEP2012.
The subject site is not listed as an individual heritage item on the Place Management NSW (formerly State Harbour Foreshore Authority – SHFA) Section 170 Heritage and Conservation Register, but it is located within The Rocks Conservation Area on the Place Management NSW Section 170 Heritage and Conservation Register.
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Figure 2 – Extract of The Rocks Conservation Area map showing the subject site outlined in red.
Source: Place Management Section 170 Heritage & Conservation Register, accessed online at http://www.shfa.nsw.gov.au/heritage_image_popup.cfm?objectid=170&id=2
2.3.2. History of the Proposed Heritage Listing of Sirius
In March 2014, the NSW State Government announced plans to sell the subject site and in 2015, tenants of the Sirius building public housing complex were relocated. Following a submission from the National Trust of Australia, the Heritage Council of NSW unanimously recommended the Sirius building for heritage listing on the NSW State Heritage Register in December 2015.
Recommendations of the Heritage Council of NSW are usually accepted by the Minister; however, in a statement released on 31 July 2016, the Minister declined to heritage list the Sirius building, saying it could reduce the site value by approximately $70 million, which is equivalent to 240 social housing units.
The Save our Sirius community action group took the NSW Government to the NSW Land and Environment (L&E) Court over the decision, not heritage list the building on the NSW State Heritage Register. The L&E Court found the following:
Acting judge of the Land and Environment Court Simon Molesworth ruled that former heritage minister Mark Speakman, now the state's attorney-general, made two errors of law when deciding not to list the building on the State Heritage Register. Justice Molesworth found that Mr Speakman erred in the way he applied the Heritage Act. One error was that Mr Speakman considered that listing the building would cause financial hardship to the building's owner, Property NSW, without properly considering the impact on that owner. A second error was that he failed to make a determination about the particular heritage significance of the building.
The decision to not heritage list the Sirius building was reviewed on 25 October 2017, by the Minister (Gabrielle Upton), when she also declined to heritage list the Sirius building on the NSW State Heritage Register. The building was officially listed for sale by the State Government in December 2017.
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2.3.3. Statement of Significance
This statement of significance has been sourced from the draft State Heritage Inventory (SHI) record for the Sirius building which was prepared for the State Heritage Register nomination for the place in 2015.1
The Sirius Apartments building at 36-50 Cumberland Street, The Rocks, designed by Tao (Theodore) Gofers is likely to be of State Heritage Significance as a rare, representative and fine example of the Brutalist architectural style, especially in its use of off-the-form concrete and the stacking of cubic components to create a harmonious whole. It is also significant as an early example of rooftop landscape gardening in NSW and Australia.
The building is likely to have further State landmark aesthetic significance as an unusual and aesthetically distinctive treatment of high rise accommodation, bookmarking the view of Circular Quay from Sydney Harbour together with the Opera House.
The Sirius apartment building is likely to have state heritage significance for its historical values as a major outcome of the Green Bans, a protest movement against the redevelopment of the Rocks and Millers Point area in the 1970s. The Sirius building built to provide affordable public housing in its 79 apartments, for approximately 200 people potentially displaced by other developments in the area.
The historical significance of the building is further demonstrated as the socially responsible design of the Sirius Apartment was part of a worldwide movement in architecture concerned with social justice and better outcomes for those less advantaged in society.
The building is likely to have state-level significance for historic associations with the Green Bans of the 1970s, the Green Ban's leader Jack Mundey as well as for its association with its designer, Tao Gofers, a noted architect who pioneered a new modular building style in concrete with specific application to social housing in Australia.
The Sirius Apartment Building is likely to have state-level heritage significance for its long and strong association with past and present residents of the Millers Point and The Rocks community. Many of The Rocks and Millers Point residents were the descendants of maritime workers who lived and worked in the area for generations. Sirius may also be of social significance to others in NSW who consider it an important achievement that the unique makeup of the Miller's Point and The Rocks community has been preserved for so many generations.
2.3.4. Vicinity Heritage Items
The subject site is located within the vicinity of a number of heritage items of various levels of significance including State Heritage Register (SHR) items and UNESCO World Heritage Listed sites. A summary of the most immediate heritage items is included below including the significance level and item number of each item (including conservation areas).
Table 2- Heritage Items in the Vicinity
Item Name Statutory List
(Highest Listing)
Item
Number
Level of
Significance
Sydney Opera House UNESCO World Heritage
List
N/A World
Sydney Harbour Bridge approaches group including
pylons, pedestrian stairs and access roads
National Heritage List N/A National
The Rocks Conservation Area Place Management NSW
Section 170 Heritage &
Conservation Register
N/A State
1 Accessed from the Save Millers Point Blog online at http://savemillerspoint.blogspot.com/2015/07/sirius-apartment-building.html.
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Item Name Statutory List
(Highest Listing)
Item
Number
Level of
Significance
Millers Point & Dawes Point Village Precinct NSW SHR 01682 State
Millers Point Conservation Area NSW SHR 00884 State
Argyle Cut NSW SHR 01523 State
Mercantile Hotel, 25-27 George Street NSW SHR 01560 State
Terraces, 29-31 George Street NSW SHR 01608 State
Merchants House, 43-45 George Street NSW SHR 01561 State
Union Bond Store (former), Westpac Bank, 47
George Street
NSW SHR 01612 State
Avery Terrace, 2-4 Atherden Street NSW SHR 01529 State
Playfair’s Terrace, 1-7 Atherden Street NSW SHR 01570 State
Old Sydney Holiday Inn, 53-65 George Street NSW SHR 01566 State
Argyle Terrace - Caminetto's Restaurant, 13-15
Playfair Street
NSW SHR 01525 State
Playfair Street Terraces, 17-31 Playfair Street NSW SHR 01569 State
Cleland Bond Store (part of Argyle Stores), 33
Playfair Street
NSW SHR 01538 State
Argyle Stores, 2-20 Argyle Street NSW SHR 01524 State
Glenmore Hotel, 96-98 Cumberland Street NSW SHR 01549 State
Ajax Building Place Management NSW
Section 170 Heritage &
Conservation Register.
N/A State
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Figure 3 – Extract of the NSW heritage map showing state and local heritage items and the subject site outlined in yellow.
Source: NSW Planning Portal 2020
Figure 4 – Sydney Regional Environmental Plan (Sydney Harbour Catchment) 2005 Sydney Opera House Buffer Zone Map (Amendment 2016), subject site outlined in yellow.
Source: Sydney Regional Environmental Plan (Sydney Harbour Catchment) 2005
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2.4. THE AIMS OF THIS INTERPRETATION PLAN Heritage Interpretation is the art of explaining the significance of a place to the people who visit it, with the objectives of promoting an understanding of its heritage values and the need to conserve it. Interpretation also involves conveying messages including the presentation of particular points of view about places and history. Interpretative methods might include but are not limited to, conservation, built form strategies, signage, publications, mixed media and websites.
This Plan will outline opportunities and recommendations, within the context of the submitted SSDA proposal, for interpretation of the site and its history. The report has been informed by previous heritage reporting prepared for the subject site.
2.5. METHODOLOGY This Plan has been prepared with regard for the following documentation:
2.5.1. Heritage Guidelines and the Burra Charter
Heritage conservation seeks to sustain the values of heritage landscapes, places and objects, individually and collectively, so that the community and visitors can continue to appreciate, experience and learn from them and about them, and that they may be passed on to future generations.2 Interpretation is an integral part of the experience of significant heritage places and the conservation and management of heritage items and is relevant to other aspects of environmental and cultural management and policy. Interpretation also incorporates and provides broad access to historical research and analysis.3
This Interpretation Plan has been prepared in accordance with the NSW Heritage Manual, the NSW Heritage Branch Interpreting Heritage Places and Items: Guidelines (August 2005) and the NSW Heritage Branch’s Heritage Interpretation Policy (endorsed by the Heritage Council August 2005), as well as the recommendations of the HIS, as set out in section 1.1. The general philosophy and process adopted are guided by the Australia ICOMOS Burra Charter 1999.
The Burra Charter defines interpretation as “all the ways of presenting the cultural significance of a place” and it may be a combination of the treatment of the fabric; the use of and activities of the place; and the use of introduced material (Article 1.17).
Interpretation should provide and enhance understanding of the history, significance and meaning of the building. Interpretation should respect and be appropriate to the cultural significance of the building (Article 25).
The NSW Heritage Branch Interpreting Heritage Places and Items: Guidelines lists the following best practice “ingredients” for interpretation:
1) Interpretation, People and Culture – Respect for the special connections between people and items
2) Heritage Significance and Site Analysis – Understand the item and convey its significance
3) Records and Research – Use existing records of the item, research additional information and make thesepublicly available (subject to security and cultural protocols)
4) Audiences – Explore, respect and respond to the identified audience
5) Themes – Make reasoned choices about themes, stories and strategies
6) Engaging the Audience – Stimulate thought and dialogue, provoke response and enhance understanding
7) Context – Research the physical, historical, spiritual and contemporary context of the item, includingrelated items, and respect local amenity and culture
2 NSW Heritage Branch, Department of Planning, Heritage Information Series, Heritage Interpretation Policy, August 2005, pg. 2. 3 Ibid.
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8) Authenticity, Ambience and Sustainability – Develop interpretation methods and media which sustain thesignificance of the items, its character and authenticity
9) Conservation Planning and Works – Integrate interpretation in conservation planning and in all stages of aconservation project
10) Maintenance, Evaluation and Review – Include interpretation in the ongoing management of an item;provide for regular maintenance, evaluation and review
11) Skills and Knowledge – Involve people with relevant skills, knowledge and experience
12) Collaboration – Collaborate with organisations and the local community
2.5.2. Interpretation Principles for Sirius
The following is extracted from the HIS, 2021 and outlines the suggested principles for the suggested consideration within the proposed heritage interpretation.
- The highest form of interpretation is the retention and conservation of significant fabric,spaces and relationships and accordingly, significant elements should be retained,exposed, and interpreted where appropriate. As detailed in this report (the HIS), thebuilding is essentially retained, and the demolition is confined to that necessary to alterthe building for its new use. The significant architectural program will remain entirelylegible and would be enhanced by the interpretation devices to be developed.
- Interpretation should be considered strategically, with consideration for future uses,ongoing maintenance of interpretive media, public access (external) and amenityissues and ordinance compliance.
- Interpretation should adopt ‘best practice’ methods to deliver key themes andmessages that connect places to stories, using methods and techniques that arerelevant to the place, are engaging and respond to the target audiences.
- Interpretation should address tangible and intangible evidence and values includingAboriginal cultural heritage values, historical archaeology, buildings and structures,natural and cultural landscape and the people associated with the place.
- Interpretation measures should be meaningful, robust, creative, and ambitious toappropriately reflect and celebrate the significance of the place.
- The original decorative elements within the common areas including the foyer andcommunity room (Phillip Room) are distinctive and should be respected in line with theinterior design guidelines which accompany this application.
- Opportunities should be sought by building management to participate in relevantopen days and architectural events (including Sydney Open). Where possible, accessto the Phillip Room should be made available.
- The Interpretation Plan is to be prepared with direct reference to the Public ArtStrategy prepared to accompany this submission. Opportunities are to be identified toenhance the Public Art Strategy with themes identified above.
- Reconstruction of missing elements should only be based on historical documentationand not an assumption.
- Interpretation of the heritage values of the place should acknowledge and incorporateall aspects of the site’s history including the site’s important Aboriginal cultural heritagevalues. Interpretation should be incorporated which meaningfully recognises andcelebrates the rich cultural history and contribution of Australia’s Aboriginal heritage.
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- Historical archaeological remains if discovered and if assessed to contribute to the significance of the place, should be retained in situ where possible or interpreted appropriately under the guidance of a qualified heritage consultant and archaeologist.
- The ongoing responsibility for and management (including maintenance) of interpretation should be considered in the methods and techniques identified and selected to enhance the understanding of the natural and cultural heritage values of the place.
2.5.3. Public Art Strategy
A Public Art Strategy has been prepared for the site by UAP. There are opportunities for synergies between public art and heritage interpretation of the Sirius site and heritage interpretation should inform and be cognisant of the Public Art Strategy.
The central focus of the Public Art Strategy is to identify an approach for the inclusion of innovative, site-specific, integrated and contemporary public art, with consideration of Property NSW, Place Management and City of Sydney’s guidelines and in collaboration with the project architects and client team. Foremost will be the consideration of enhancing a new Through Site Link and public realm at Sirius and creating a unique, inviting, and inclusive civic space. Public art can be a visual reflector of heritage and culture, conceptually telling its narrative, building statements of pride and ownership whilst offering functional elements such as wayfinding and creating engaging interactions through innovative interventions on the site. In the Strategy, UAP identifies that the inclusion of public art can highlight and support place, cultural significance, fabric, and conservation. The Public Art Strategy will consider the social and cultural significance of the Sirius Building to Sydneysiders and the historic context of Sydney’s Rocks.
To inform the successful commissioning of suitable public art for Sirius, the Public Art Strategy aims to:
▪ Provide an analysis of policy guidelines
▪ Research the local context, including historic, cultural, environmental and social
▪ Analyse the site and surrounding precinct
▪ Research the site’s architectural heritage element
▪ Develop a curatorial vision to guide the conceptual approach of integrating the site’s heritage through Public Art
▪ Identify potential artwork types with rationale, materials, form, location and desired experience
▪ Identify benchmark images to illustrate the opportunity
▪ Provide project exemplars with indicative budgets
2.5.4. The Rocks Heritage Management Plan, SHFA, 2010
The following interpretation principles have been extracted from The Rocks Heritage Management Plan (SHFA 2010) and inform the development of this Plan.
5.4.8 Interpretation
▪ A proactive approach should continue to be taken to interpretation of the history and heritage values of The Rocks.
▪ Interpretation should be provided both on and off-site, through a diverse range of media.
▪ The Authority should consult widely to help develop interpretative messages and to ensure that these messages are appropriately conveyed to the maximum audience.
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▪ Interpretation in The Rocks should embody the following principles developed by the Australian Heritage Commission (AHC) and Tourism Council of Australia:
‒ recognise the importance of heritage places;
‒ look after heritage places;
‒ develop mutually beneficial partnerships;
‒ incorporate heritage issues into business planning;
‒ invest in people and place;
‒ market and promote products responsibly;
‒ provide high-quality visitor experiences; and
‒ respect indigenous rights and obligations.
2.5.5. The Rocks Interpretation Strategy, GML, 2006
The following interpretation principles have been extracted from The Rocks Interpretation Strategy (GML 2006) and inform the development of this Plan.
The initiatives outlined in The Rocks Interpretation strategy and the recommendations therein provide great opportunities to infuse world-class interpretive media throughout The Rocks. Using a variety of media, the strategy aims for interpretation initiatives that will create a unique atmosphere; engage a variety of audiences, evoking for them a deeper, more authentic and textural experience of the past and the present, and reveal meanings otherwise obscured in the busy contemporary experience of The Rocks.
The strategy incorporates the following aims:
8.1.1 Interpret Aboriginal Values and Heritage
Research shows that most foreign tourists come to Australia with a desire to experience Aboriginal culture and history on some level. The Foreshore Authority should lead by example by employing Aboriginal staff. There is potential to create continuing links to appropriate people and groups in the Aboriginal community and, in turn, encourage collaboration in developing interpretive devices in The Rocks. Aboriginal staff should be encouraged to explore the Aboriginal history of The Rocks and to develop interpretive initiatives for Aboriginal values and bring them to completion. There is potential for Aboriginal values to be interpreted using any of the proposed initiatives, but particular devices might include artwork that could provide an appropriate ‘Welcome to Country’ at a site so steeped in stories of arrival and departure. An important emphasis might include the lack of documented evidence or known fabric that demonstrates the connections of Aboriginal people to The Rocks, a poignant reminder of the experience of Aboriginal people of dispossession and displacement (see Section 7.3).
8.1.2 Pursue Excellence in Face-to-Face Interpretation Delivery
The Foreshore Authority, along with other tour operators working in and near The Rocks, should work together to continue to grow a professional approach to face-to-face heritage interpretation. In time a tour guide accreditation program may result, as is common in other tourist destinations across Australia and the world. The Foreshore Authority could take a strong leading role by developing a Code of Behaviour amongst operators and individual guides in The Rocks, and by resourcing participation amongst Foreshore Authority staff. A code could cover collaborative learning, management of groups and appropriate crowd control issues. The pursuit of professionalism in face-to-face interpretive activities relates to several proposed initiatives described in Section 6.0, including Collaborating on Stories Told in The Rocks, Learning Partnerships, The Rocks Guide Accreditation and Informed Rocks Rangers.
8.1.3 Evaluate Interpretive Initiatives
The Foreshore Authority aims to deliver world quality interpretation that enhances visitor experiences in informal learning settings and effectively communicates to, and inspires, the wide variety of identified audiences. To do this well the Foreshore Authority must commit to undertaking an effective evaluation of its interpretive initiatives and programs. All interpretive media must be evaluated during developmental stages to ensure that it is communicating the desired messages. Front-end evaluative techniques would include
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small focus groups of lay people as well as broader community consultation. Once the interpretive media is installed, it is recommended that evaluation takes place to measure the effectiveness of the interpretation in delivering key messages on identified themes. Suggested techniques would also include tracking, observation and personal interviews.
8.1.4 Rationalise Plaques and Panels
The Foreshore Authority should consider reducing the sheer number of information plaques in The Rocks, and over time, replacing some of them with more interpretive media. This would include installations that are commemorative, memorial or simple markers that do not have intrinsic heritage values or do not extend the complex stories of The Rocks. As this Interpretation Strategy is implemented across The Rocks, existing media should be carefully reviewed, including the removal of simple markers and duplicated information and their replacement in sensitive consultation with appropriate individuals or groups, with interpretive installations that reveal an authentic Rocks story. Redundant plaques would be documented and stored. Information would then be incorporated into new media providing more effectively targeted interpretation for the themes. A review of existing media will provide an opportunity to re-present the history and people of The Rocks with accessible interpretive media.
8.1.5 Resource Educational Services and Tours Team
For the Foreshore Authority’s Educational Services and Tours (ES&T) team to deliver excellent learning programs, staffing and funding, the team needs to allow for expansion and to facilitate partnership building with other learning providers in The Rocks. The team needs to be staffed by a core of permanent, appropriately qualified and experienced full and part-time educators/guides to develop and deliver programs, train and monitor casual staff and network with other service providers. Consideration needs to be given to employing Aboriginal staff. The ES&T team is an integral component in delivering authentic interpretation in The Rocks. Its performance on learning outcomes should be monitored. In order to provide best-practice educational services and tours, the team may require an ongoing financial subsidy by the Foreshore Authority.
8.1.6 Develop Cultural Tourism in The Rocks
The Department of Environment and Heritage’s publication, Successful Tourism at Heritage Places, and the ICOMOS International Cultural Tourism Charter recommends a sustainable approach to tourism. This includes the development of a specific marketing orientation, through a Cultural Tourism Plan, to target market sectors which may not in themselves initially be the most profitable, but would bring, through presence and activities, the experiences sought by locals and tourists alike–The Real Rocks.
8.1.7 Re-populate The Rocks
An objective of The Rocks Heritage Management Plan is to continually strive to increase the number of permanent residents in The Rocks. More people living in the precinct will also enliven it more than any other action, and confirm its authenticity as a complex heritage place of living, working and entertainment
8.1.8 Develop Sydneysiders Relationship and Experience of The Rocks
Repeat visitation to The Rocks can be inspired by familiar enjoyable experiences, special events or reminders delivered through print, broadcast or electronic media which keep people involved in the relationship and experience of The Rocks. Updating Sydneysiders with new initiatives and opportunities to enjoy the heritage of The Rocks can be prompted by a regular segment on radio to tell (and correct) the stories of The Rocks. It would be hosted by well-informed Foreshore Authority staff in collaboration with other associated people with in-depth knowledge. This would raise awareness and stimulate interest for Sydneysiders and keep them up to date with The Rocks initiatives.
8.1.9 Light Up the Stories of The Rocks
Lighting plays an important role in interpreting places and ensuring the visitors’ sense of security and safety. The Rocks targeted evening lighting programs, in accordance with The Rocks Lighting Strategy, can emphasise heritage features and ‘edit out’ uncharacteristic elements. Lighting can be used to tell particular thematic stories–highlighting specific periods of history or building use at selected periods for example. The night life of The Rocks is an experience for many visitors, which can be enhanced subtly through such simple mechanism.
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2.5.6. Telling The Rocks Stories: Interpreting the Place and the People, SHFA, 2006
The following interpretation principles have been extracted from ‘Telling The Rocks’ Stories - Interpreting the Place and the People (SHFA 2006) and inform the development of this Plan.
Creating stimulating and meaningful experiences for visitors to The Rocks is vital to ongoing heritage management and conservation. In order to strengthen accessible, authentic and enjoyable interpretation in The Rocks, one should ask these questions at every opportunity, when any project is in its planning stage:
▪ How can this event/activity/publication/initiative interpret the values of The Rocks?
▪ How can we interpret Aboriginal Country, experience or values with this initiative?
▪ How can the wider Rocks’ communities and associated people be involved?
▪ Which Historic Theme/s will this initiative interpret?
▪ Does the interpretive initiative impact historic fabric?
▪ How can people with limited mobility or sight/hearing impairment access this interpretation?
▪ How can people access this interpretive initiative without visiting The Rocks?
▪ Which evaluation methods should be used to assess the interpretation concept while it is indevelopment?
▪ How can this interpretive initiative stimulate children/families/non-English speakers/culturaltourists/commercial visitors to understand more of The Rocks’ stories?
2.6. AUTHOR IDENTIFICATION The following report has been prepared by Cecelia Heazlewood (Heritage Consultant). Fiona Binns (Associate Director, Heritage) has reviewed and endorsed its content.
Community consultation and engagement outcomes were prepared by Hayley Kardash (Consultant) and Dianne Knott (Director).
Unless otherwise stated, all drawings, illustrations and photographs are the work of Urbis.
This issue (Issue #4 – 6 October August 2021) has been revised following consultation with the following:
▪ Dr. Wayne Johnson, (Senior Archaeologist, Curator of The Rocks Discovery Museum, Strategic Planningand Heritage) Place Management NSW
City of Sydney Council.
▪ Kadibulla Khan, representative of Kamilaroi- Yankuntjatjara Working Group Pty Ltd
▪ Lilly Carroll, representative of Didge Ngunawal Clan
▪ Representatives of Save our Sirius Community Action Group (SOS)
Representatives of the Millers Point Community Resident Action Group (MPCRAG)
2.7. RESOURCES The resources used for the preparation of this report and content for the proposed interpretation were sourced from the following reports:
▪ Heritage Impact Statement: 2-60 Cumberland Street, The Rocks (HIS). Urbis, February 2021.
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▪ Heritage Fit-Out Advice: Phillip Room, Sirius Building. Urbis, February 2021.
▪ Aboriginal Cultural Heritage Assessment: The Sirius Site, 2-60 Cumberland Street, The Rocks (ACHA). October 2020.
▪ Historical Archaeological Assessment: Sirius Site, 2-60 Cumberland Street, The Rocks (HAA). February 2021.
▪ Sirius Public Art Strategy: Sirius Site, 2-60 Cumberland Street, The Rocks. UAP Studio, October 2020.
▪ Published literature and other resources.
▪ The Rocks Interpretation Strategy (GML 2006)
▪ Telling The Rocks’ Stories - Interpreting the Place and the People (SHFA 2006)
▪ The Rocks Heritage Management Plan (SHFA 2010)
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3. SITE DESCRIPTION AND SUBMITTED DEVELOPMENT 3.1. SITE DESCRIPTION
3.1.1. The Rocks
The Rocks is a significant foreshore port settlement that was vital in the social and economic activity of the early colony. It is defined by its mix of early colonial buildings, including terraces, pubs, bond stores, cottages and shops. The majority of these buildings were constructed in the late 19th century and those that survive today survived political turmoil and resumptions. The Rocks is an important historic place for the wider Sydney region and there is great public interest in the retention of the heritage character of the area.4
One of the defining features of The Rocks is the Bradfield Highway which leads up to the dominant steel frame of the Sydney Harbour Bridge. This local and state listed roadway divides The Rocks to the east and west, with Millers Point to the west, providing a visual buffer between the two (see Figure 5). To the east of the highway is the subject site.
This eastern side of the highway is less fine-grained in character than the Millers Point area, with an eclectic accumulation of local and state heritage-listed buildings that reflect the layers of development in, and complex history of, The Rocks area. This area is dominated by a combination of both commercial and residential structures, many of which appeal to the tourist-focused market of the area (see Figure 6).
Figure 5 – View north-west of the Sirius building with Bradfield highway between Sirius and Millers Point
Source: Urbis, 2020.
Figure 6 – View east of The Rocks from the Sirius building
Source: Urbis, 2020.
3.1.2. The Sirius Building
It is in the setting of these heritage buildings that Sirius resides. Sirius was commissioned in 1975 by the NSW Housing Commission and completed in 1980. The tallest buildings in the area and sitting atop the sandstone embankment, Sirius dominates the landscape. The Sirius building is a brutalist social housing building built in a modular stacked form, finished in off-form concrete and render (see Figure 8). Sirius is, at its maximum, 11 storeys high and steps down to the north and south. Seventy-five percent of the Sirius building is five storeys or below.
The building contains 79 residential apartments (28 of which are studios, 38 of which are two bed, 8 of which are three bed and five of which are four-bed) as well as community rooms, rooftops gardens and basement parking which is cut into the sandstone bedrock. The apartments of the Sirius building are designed as individual pods, but there are also communal places including the foyer, with wooden panelling and striking red carpet flooring, the Phillip Room and the Heritage Room. The southern wall of the Heritage Room was papered with Sydney skyline wallpaper, adjacent to the glass windows which provide views of the Sydney
4 Planning Report, Sirius.
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Harbour Bridge, recreating the visual landscape of Sydney within the room (see Figure 10). The foyer of the building also featured laminated timber animals designed by architect Penny Rosier, which are still intact today (see Figure 11).
Sirius was designed by project architect Theo (Tao) Gofers and constructed by Alexander and Lloyd. Gofers designed Sirius to provide accessible and diverse public housing that generated a sense of community. The original plans of Sirius were based on a three-storey prototype built at Sans Souci. In responding to the brief, Gofers stated:
“The Building was to provide for a range of units from pensioner one-bedroom units, accessible two-bedroom units, two, three and four-bedroom split level units with balconies, roof gardens or terraces. The complex was to encompass community facility area and a special pensioners’ community space. The complex was to include undercover parking… Special features of the accessible / pensioner units included emergency call buttons and special electronic locks on the unit doors in case of accidents or medical emergencies. There are a lot of ideas that were developed within the general framework as the design development and construction documents were being prepared”.5
The Sirius building was designed with residents at heart. The accessibility and amenity of older residents was at the forefront of design, with accessible entrance for aged units and a distress-call panel for every aged unit in the foyer. The units themselves were primarily self-contained, with mutual laundry facilities on each floor. Units typically included bedrooms, bathrooms, kitchens and sitting rooms. The units were functional in layout and styling designed for amenity. A typical floor plan of the Sirius building is included below (Figure 7).
Figure 7 – typical floor plan of the Sirius building
Source: https://millerspointcommunity.com.au/the-place/sirius/
5 John Dunn, 2014-2016. Sirius, https://millerspointcommunity.com.au/the-place/sirius/
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The Sirius building was designed to complement the heritage character of its surroundings. The rooftop was considered by Gofers to be a ‘fifth elevation’, designed to be viewed by the traffic flow of the Bradfield Highway with landscaping a key design element. Of the roof space, Gofers stated:
“On the accessible roof areas, plants have been confined to planter boxes to maximise human space available and to maintain control of the planting…These gardens in the sky are an integral part of the visual presentation of the complex and should become evident with the growth of the plants. This has not been the case as the HC maintenance and caretaker roles have sadly lacked both planning and emphasis… The colour of the exhaust vents and steel balustrades ranged from blue in the North to red in the South with a gradual gradation of eight colours from north to south. The most prominent colour was purple which was obvious because it could be seen from the bridge.”
Figure 8 – The Sirius building, from Cumberland Walk. View northeast.
Source: Urbis, 2020
Figure 9 – Panelling on the roof of the foyer inside the building.
Source: Urbis, 2020
Figure 10 – The Heritage Room southern wall.
Source: Urbis, 2020
Figure 11 – Example of laminated timber animals in the foyer.
Source: Urbis, 2020
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Figure 12 – Example of a kitchen/sitting room within a unit, with bedrooms to the left of the frame.
Source: Urbis, 2020
Figure 13 – stepping down of the roof of Sirius to the north.
Source: Urbis, 2020
3.1.3. Heritage Landmarks in the Area
As can be seen from Figure 14 and Figure 15, Sirius is in close proximity to the Nationally listed Sydney Harbour Bridge and has visual connections across Sydney Harbour to the Sydney Opera House, a World Heritage site. The Sirius building sits within the visual buffer zone of the Sydney Opera House, which encompasses the majority of Sydney Harbour.
Both the Sydney Opera House and the Sydney Harbour Bridge are visible to and from Sirius, however, changes to the building will not impact the heritage significance of these items.
The Sydney Opera House sits at Bennelong Point, to the east of the subject area across Circular Quay. The distinctive white sails are visible over the stern of the cruise ships which dock at the Overseas Passenger Terminal. The Sydney Harbour Bridge is located to the north, with the steelwork of the bridge starting from directly to the west of the site, where the Sydney Harbour Bridge climbs commence.
Figure 14 – The Sydney Opera House (to the right of frame) from level 11 of the Sirius building.
Source: Urbis, 2020.
Figure 15 – The Sydney Harbour Bridge from level 11 of the Sirius building.
Source: Urbis, 2020.
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3.2. SUBMITTED DEVELOPMENT The works were submitted as a State Significant Development Application (SSD-10384) under Section 4.12(8) of the Environmental Planning and Assessment Act 1979 to the NSW Department of Planning.
The works are central to the adaptive reuse of the Sirius building involving the following alterations and additions:
▪ Alterations and additions to the existing building to provide for:
‒ Residential accommodation (a total of 76 apartments).
‒ Commercial premises, including retail floorspace; and
‒ Basement car parking.
▪ Provision of a through-site link between Cumberland Street and Gloucester Walk.
▪ Upgrades to Gloucester Walk including landscaping and pedestrian access.
▪ Improvements to Cumberland Street including landscaping and improved carpark entry.
▪ Associated works, including:
‒ Demolition works with significant remedial works to retained structure and fabric;
‒ Earthworks.
‒ Structural upgrades.
‒ Services upgrades; and
‒ Landscaping works.
Extracts of the proposed plans are included hereunder for reference.
Figure 16 – Extract of proposed plan – view north (Cumberland Street).
Source: BVN
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Figure 17 – Extract of proposed plan – view north from Gloucester Walk
Source: BVN
Figure 18 – Extract of proposed plan – levels 3-5 floor plan
Source: BVN
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4. HISTORICAL OVERVIEW 4.1. PRE-EUROPEAN SETTLEMENT Aboriginal people have inhabited the Sydney Basin region since at least 30,735+ BP, with some potential evidence of occupation at around 40,000 years ago (JMCHM 2005a). Due to the absence of written records, it is difficult to infer what life was like prior to the arrival of European settlers. Much of our understanding of Indigenous life pre-colonisation is informed by the histories documented in the late 18th and early 19th century by European ‘explorers. These histories provide a somewhat biased view, but when combined with archaeological evidence can generate an understanding of the customs, social structure, languages, beliefs and general culture of Indigenous Australians. However, the changing belief systems, social organisation and ritual are difficult to fully understand, as behaviours recorded by Europeans may have been impacted by the presence of those same Europeans (Attenbrow 2010:17).
The population of Aboriginal people around Sydney at the time of the first contact has been estimated at between 2000 and 3000 people, with the greater Sydney region estimated at somewhere between 4000 and 8000. The social structure of Aboriginal groups is well documented, with the division of tribes into two moieties within which intermarriage is common (Howitt, 1996). Clan descent is usually patrilineal. Marriages were not restricted to monogamous relationships, with polyamory common. An Observation from Collins acknowledges both the occurrence of polyamory and the intermarriage between different groups. Collins describes Bennelong, of the Wanegal Clan, as married to both a woman of Kameraigal descent and a woman of Gweagal descent simultaneously (Collins, 1975).
Given the early contact with Aboriginal tribes in the Sydney region, more is known about these groups than those which inhabited regional areas. In the general Sydney area, the land was occupied by the clans of the Eora tribe. The meaning of ‘Eora’ is unknown, but their land is documented to extend from the Hawkesbury River plateau margins in the north to Botany Bay and the Georges River in the south. There is some controversy regarding the linguistic origins of the Eora People. Some argue that the Eora People were a part of the Darug language group (Kohen, 1993). Others suggest the Eora People formed a distinct and separate language group (Hughes, 1987). The various clans of the Eora people include the Kameraigal, Wanegal, Borogegal and Gadigal. The subject area was within the boundary of the Gadigal. The Gadigal, also known as Cadigal, were believed to occupy the south side of Port Jackson, from South Head to Long Cove (now Darling Harbour) (Tindale, 1974; Turbett, 1989). This area incorporates the Eastern Suburbs, Central Business District and some of the Inner West.
Prior to European colonisation and development, the lands of the Gadigal people were abundant in resources. The Kangaroo Grounds (around present-day Summer Hill) were on the western border of their land, a border shared with the Wanegal. This was a hunting ground abundant with macropods, which could be used not only for food but also for their hides (Ashfield & District Historical Society, 1996). To the east, north and south of the Gadigal lands is the coastline. Not only were the rivers and streams which provided freshwater critical to Aboriginal groups, but the edible resources of these watercourses, including the sea, were of high importance. The diet of the Gadigal people comprised primarily of fish, shellfish and other aquatic animals. They also sourced roots and foraged for food within the Lachlan Swamplands, now Centennial Park (Tench, 1789). The importance of aquatic resources is attested to in the archaeological record, with middens providing evidence of dietary practices located along the coast and streams.
The archaeological record also provides evidence for the exploitation of stone materials to create tools and weapons, with high density artefact scatters located across the region. At Bondi Beach, situated in the former sandhills now covered by Campbell Parade, with the centre near what is now the North Bondi Surf Life Saving Club, a large artefact scatter was registered on AHIMS in 1990. This was located in the 1900s following a series of gales which exposed thousands of stone flakes and other tools, with local knowledge suggesting the whole of the back of the beach was covered in stone artefacts accumulated over thousands of years. The distinctive ‘backed’ points collected from this extensive scatter have since become the type of name for this artefact type, which is located across sites throughout south-eastern Australia – the Bondi Point.
There is abundant evidence throughout the Sydney area of contact between the local Aboriginal people and European settlers. This evidence exists in the form of contact sites, with material remains including knapped ceramic and glass, European materials in middens, and rock engravings depicting European arrival. A contact period Aboriginal archaeological deposit was recently located during the CSELR works, within the Randwick Racecourse Stabling Yards. These included flint artefacts, with scientific analysis demonstrating that this flint was sourced from the banks of the River Thames in London and transported to Sydney as ships
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ballast. This archaeological assemblage sheds light on the dynamic relationship between Europeans and Aboriginal groups, the differential assignment of value to material culture (flint ballast and bottle glass) and the spatial distribution of Aboriginal communities during the early years of colonisation (GML, in prep). There is also evidence for ceramic located within Aboriginal middens, for example in excavations undertaken in 1985 at Millers Point where four sherds of blue and white transferware were located within a midden (Lampert, 1985).
In general, however, the impacts of colonisation were devastating for all Aboriginal people, but particularly for those groups living around the coast and Sydney Cove. With colonisation, Aboriginal people were forced away from their lands and the resources they relied upon. The settlement around the coast drove faunal resources further inland, reducing the traditional hunting grounds of local Aboriginal groups (Evidence, 1835). Further to this, diseases including smallpox and conflicts between local Aboriginals and colonisers decimated their population. Rather than accepting fault for this, some colonisers attributed this population decline to the introduction of alcohol and other vices (Dredge, 1845). In 1789, an epidemic believed to be smallpox and called gal-galla by the local Aboriginal people resulted in a great population decrease (Attenbrow, 2002).
Aboriginal people did not cease to exist within the Sydney region following European settlement, despite the devastating impacts it had. Aboriginal people continued to live in the area, adapting to the changes brought by settlement. This led to displacement of Aboriginal people from all over the country. There are stories, for example, of Aboriginal people from the South Coast of New South Wales migrating to La Perouse in search of employment (Kensy, J. 2008). However, not all of this movement was voluntary. In the early 1880s, George Thornton was appointed by Sir Henry Parkes as the “Protector of Aborigines”. Thornton supported the removal of Aboriginal people from traditional lands in urban areas (Goodall, 1996). In 1883, the “Aborigines Protection Board” was established, replacing Thornton. The Board established reserves, to which Aboriginal people were forcibly removed, segregating Aboriginal people from the rest of the community. More insidious were the Missions, a modified form of reserve which sought to convert indigenous people to Christianity (OEH, 2012). The APB were also responsible for the removal of Aboriginal children, resulting in the Stolen Generations. In 1909, the APB was given legislative authority under the “Aborigines Protection Act” (Aborigines Protection Act, 1909). These missions and reserves were closed between the 1920s-1960s following changing public attitudes.
The fight for recognition was a political one. On 26th January 1938, a “Day of Mourning” protest was held, following campaigns by Aboriginal individuals including Jack Patten, William Cooper and Pearl Gibbs (a Botany Bay local) who fought for civil rights including the right to vote and representation in Parliament. This struggle was long fought, and Aboriginal and Torres Strait Islanders were granted the right to vote Australia wide by 1965. Aboriginal people were recognised in the census and subject to Commonwealth laws following the referendum for Indigenous Rights in 1967. Aboriginal people across Sydney and Australia continue to fight for recognition. In February 2008, then Prime Minister Kevin Rudd delivered an address apologising for the mistreatment of Aboriginal people throughout history and committing to closing the gap, recognising Aboriginal cultures as “the oldest continuing cultures in human history” (Rudd, 2008). In contemporary times, respect for Aboriginal people and connection to Country continues to grow. Despite attempts to eradicate Aboriginal people throughout the 19th and 20th centuries, Aboriginal communities continue to thrive across Australia, and Aboriginal individuals play a vital role in all levels of society.
4.2. HISTORICAL OVERVIEW OF THE ROCKS The following is not intended as an exhaustive account of The Rocks history. Detailed historical research will inform the development of interpretation media.
The Rocks was settled early on in the days of the colony and has been referred to as ‘white Australia’s most historic place’.6 The first locals were primarily working-class, sent as convicts to the colony. While the convicts were generally displeased with their new prison, they quickly made the most of it. Amateur drawings from Francis Fowkes (a convict sent over on the first fleet) in 1788 almost three months after landing show The Rocks as a hive of activity with facilities including a hospital, a bakery, stone quarry, food store, garden plots and farms (see Figure 19).
6 Kelly, M., 1997. Anchored in a Small Cove: A History and Archaeology of The Rocks, Sydney.
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Figure 19 – Francis Fowkes Sketch of Sydney Cove Port Jackson, 16th April 1788
Source: Trove, https://nla.gov.au/nla.obj-230578175/view
Life in The Rocks continued to develop with the colony. Tents and huts gave way to houses and terraces, made from Sydney sandstone quarried by convicts, bricks or wood. Maps from the early 1800s show subdivision and construction ongoing in the region (see Figure 20). However, The Rocks was neither a safe nor upstanding section of the early Sydney society. Thievery, prostitution, alcoholism and general ‘depravity’ were rife in The Rocks during these early years. Thievery became such an issue that in 1789 a night watch – comprised of 12 convicts – was formed to guard against crime. Commissioner J.T. Bigge said of The Rocks and the convicts who spent their time there:
‘A town called the Rocks, a place distinguished… for the practice of every debauchery and villainy, or loiter about the street… The Rocks [is] chiefly inhabited by the most profligate and depraved part of the population’.7
7 Bigge, 1822. Cited in Kelly, M., 1997.
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Figure 20 – C. A. Lesueur ‘Plan De La Ville Sydney, 1802
Source: Trove, https://nla.gov.au/nla.obj-230976925/view
By 1807 the central part of The Rocks, including Cumberland, Gloucester and Harrington Streets, was settled, mainly with freestanding residential buildings with yards and probably gardens. The streets in the area were beginning to formalise with streets running north-south along the ridge and steep lanes and stairs connecting them. By 1830, the primarily freestanding buildings on larger lots had given way to a greater density of attached buildings. Commercial, industrial and residential buildings shared The Rocks with people living and working in the same buildings. Pubs were a very common feature of The Rocks. Sewer lines were installed down the main streets in the 1850s, but not every house was connected. Many houses had stone cesspits, and some had nothing at all and had to share a neighbour’s facilities. With the discovery of gold in 1851, immigration to the colony rose dramatically, resulting in an intense demand for housing. Developers and residents began subdividing the large old yards and built rows of small, plain terrace housing.8
By the 1900s, the government commenced a resumption program within The Rocks intended to clear the slums and make the area suitable for the ambitious plans surrounding it. A plan of the resumption is included in Figure 21 and demonstrates how early street grids in the area were modified, with whole streets demolished and realigned. The resumption was undertaken under the guise of preventing the spread of the bubonic plague which had begun to make impacts on the colony.9 During the early years of the 20th century, the buildings in The Rocks were seen as outdated at a time when the Government wanted to move away from terrace houses. Photos from The Rocks resumption photographic survey show an unrecognisable conglomeration of terraces and a clearly impoverished community (see Figure 22 and Figure 23).
8 Karskens, G. 2008. Dictionary of Sydney – The Rocks. 9 ibid
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Figure 21 – Plan showing The Rocks resumption, 1901.
Source: SLNSW, Digital Collection, https://collection.sl.nsw.gov.au/digital/file/pRlLvm64R42O5
Figure 22 – Photo of north Gloucester Street during
The Rocks Resumption photographic survey, 1901.
Source: State Record Authority of NSW, https://www.records.nsw.gov.au/image/4481_a026_000207
Figure 23 – Rear of terraces on Gloucester and
Cumberland Streets, The Rocks Resumption Photographic Survey, 1901.
Source: Trove, https://trove.nla.gov.au/version/11012028
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Post-resumption, The Rocks was passed between different State government bodies including the Sydney Harbour Trust, the Maritime Services Board and the Sydney Cove Redevelopment Authority. With the bypassing of traffic through the construction of the Cahill Expressway, The Rocks became a semi-forgotten enclave of Sydney. This area was dominated by lower-class families and was considered to be slums by the Government. To the families that lived there, however, it was a community and they fought for their community when the Sydney Cove Redevelopment Authority attempted to demolish The Rocks in the 1970s to make way for new high rises.10
4.3. GLOUCESTER WALK PRECINCT The Sirius building is located to the east of the Bradfield Highway, nestled between the state heritage-listed road leading up to the Sydney Harbour Bridge and several state heritage-listed buildings which front onto George Street. For the purposes of this assessment, this area is referred to as the Gloucester Walk precinct and encompasses the area bound by Argyle, Cumberland and George Street, with Gloucester walk running down the centre.
The Rocks was one of the first places in Sydney to be settled. The Gloucester Walk Precinct is no exception to this rule. In the 1845 Sheilds Map of Sydney shows this precinct as containing, amongst a number of other structures, the original Customs House (see Figure 24). The original Customs House occupied the eastern portion of the buildings now known as the Argyle Stores. This was used as Customs House from 1830 until 1850. The location of the original Customs House, should it be here, was believed to also be the location of or near where the landing and official flag of the First Fleet first took place.11 Following the formalisation of Circular Quay, Customs House moved to its new home in Circular Quay. The Argyle Stores continued to be used as commercial stores and have historic associations with figures such as John Piper, Mary Reiby, Fredrick Unwin, Samuel Terry and the Tooth brothers.12
Figure 24 – Sheilds Map of Sydney, 1845
Source: City of Sydney Archives.
A watercolour from approximately 1860 depicts Cumberland Street as the main thoroughfare, lined with shops and terraces (see Figure 25) A map from 1880 shows this precinct as fully subdivided, connected to sewer mains and developed, leaving no doubt that this area was a populated hive of activity (see Figure 26).
10 Kelly, 1997. 11 N. Selfe, ‘A Century of Sydney Cove and the Genesis of Circular Quay’, AHS Journal and Proceedings, Pt V 1902, p. 57 12 State Heritage Register, Argyle Stores Inventory Sheet (Database No. 5053139)
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The Gloucester Walk precinct was primarily dominated by terraces, pubs and bond stores with some vacant land. The terraces present provided homes to a mix of upper and lower class residents of early Sydney. A number of these survive to the present day in various conditions, including the Playfair and Argyle Terraces.
Figure 25 – William Andrews watercolour, Cumberland Street, Sydney.
Source: State Library of NSW, http://digital.sl.nsw.gov.au/delivery/DeliveryManagerServlet?dps_pid=FL3274062&embedded=true&toolbar=false
Figure 26 – Doves Plan of Sydney, 1880.
Source: City of Sydney Archives
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4.4. SUBJECT SITE HISTORY In the early 1800s, while settlement and development took place around it, the land upon which the Sirius building currently resides remained vacant (see Figure 27). This area was part of a land grant given to Captain Bunker by the Governor King and was known as Bunker’s Hill. In 1791, Captain Bunker built a wattle and daub cottage on the Hill which was replaced in 1820 by a stone villa and store buildings. The villa was demolished in the 1900s.13
As The Rocks continued to develop and grow, the subject site was subdivided and developed. By 1880, the subject area was heavily subdivided and included several townhouses and buildings (see Figure 28). Houses in this area generally fronted onto Cumberland Street with rear entrances to Gloucester Street, along the current alignment of the Gloucester Walk.14
Figure 27 – Parish of St Philip Parish Map, 831 (approximate location of the subject site outlined in red)
Source: HLRV,
13 Jennifer Hill, 2017. Heritage Impact Statement, Pg. 12. 14 Docomomo, 2014. Sirius Apartments
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Figure 28 – Doves Plan of Sydney, 1880 showing the approximate location of the subject site outlined in red.
Source: City of Sydney Archives
The Rocks decayed into slums over the years owing to the rapid development and diverse mix of residents. In the 1900s, plague began to threaten Sydney on both a public health and economic scale. The Rocks were seen as a hotbed of the bubonic plague, with one of the first deaths from the plague being Arthur Paine, a carter who worked in the area. The fear of plague was rampant across Sydney. Journalists fuelled this fear and politicians capitalised upon it for their own agendas, which led them to look at The Rocks and Millers Point.15 The Rocks were quarantined along with Darling Harbour, and the residents were given the task of cleansing the area. In 1902, the Sydney Harbour Trust was formed and headed by R. P. Hickson, and Hickson called for the reformation of the area. Resultingly, The Rocks were resumed, with the government purchasing approximately 900 properties as well as wharves, bond stores, factories, pubs, workshops and offices.16 The slums were cleared, and The Rocks began to be redeveloped.
From 1914 the site was redeveloped. The NSW Housing Board erected bond stores (Rowan’s Bond) and the Mercantile Shipping office. Below the shipping office was a warehouse, the roof of which carried part of the realigned Cumberland Street. The Mercantile Shipping Office occupied the northern portion of the subject area, with the Seamans Office to the south, vacant space and then the Rowans Bond Store (see Figure 29). The Housing Board was disbanded in 1924, and in 1927 the Sydney Harbour Trust was given authority over the public works buildings in The Rocks resumption area. This was then transferred to the Maritime Services Board in the 1930s.
Figure 29 – Map of the subject site, undated.
Source: Sydney Water
15 Kelly, 1997, pg. 87-91. 16 Ibid, pg. 93.
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The management of government properties in The Rocks area was a contentious issue. In 1964, a survey by the Housing Commission of NSW demonstrated that best practice would be to construct flats within a 3-mile radius of the city centre to provide accommodation for low income and displaced residents.17 Following this, in 1970 the government-owned properties in The Rocks were transferred to the newly formed Sydney Cove Redevelopment Authority, who proposed wide-scale demolition of buildings in The Rocks to be replaced with high-rises. This led to the imposition of a Green Ban by the Builders Labourers Federation (NSWBLF) in 1971 (see Figure 30).
Figure 30 – Plan for The Rocks in the 1960s which resulted in the Green Bans.
Source: https://millerspointcommunity.com.au/the-place/sirius/
Green Bans were imposed by the NSWBLF as a way of delaying and combatting development and insisting on social responsibility for labour. These bans fulfilled the following purpose: ‘to defend open spaces from various kinds of development; to protect existing housing stock from demolition intended to make way for freeways or high-rise development; and to preserve older-style buildings from replacement by office-blocks or shopping precincts‘18 The movement was headed up by three union leaders, Jack Mundey, Joe Owens and Bob Pringle. The Green Ban on the Rocks, which lasted from 1971 to 1975, is seen as influential in the maintaining of several heritage buildings and the character of the area.19
One of the objections of the NSWBLF was a proposed East Rocks Car Park, an eight-storey carpark to be constructed in the area surrounding or including the subject site.20 The NSWBLF also took exception to what they saw as an exclusion of the low-income inhabitants of The Rocks area. This was resolved with the intervention of the Housing Commission, who stepped in to provide assistance to pensioners and existing residents who qualified. The Green Ban was lifted in The Rocks in 1975 to allow for the construction of a
17 Housing Commission of NSW, 1964. “Rocks” Area Redevelopment Scheme: Report on Survey of occupants of dwelling sin area
proposed for redevelopment together with a schedule setting out details relating to the family groups residing in the area as of 30 June
1964. 18 Burgmann & Burgmann, 2011. Dictionary of Sydney, Green Bans Movement. 19 Ibid. 20 Docomomo
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social housing apartment block, known as the Sirius Apartments (named after the ship which formed part of the First Fleet).
The construction of the Sirius building saw the demolition of the buildings within the subject site, including the Rowan’s Bond Store and the Mercantile Shipping Office. The Sirius building was designed by Tao Gofers to meet the brief of both the Housing Commission and The Rocks Residents’ Group (see Figure 31). In general, the Sirius building was designed to address the needs of the community and provide safe and affordable housing to elderly and low-income residents in the area, while being respectful to the heritage character of the area. The building application for Sirius was submitted in 1977, and the construction was completed in 1980. Since its completion, the Sirius building has housed numerous families, pensioners and individuals.
Figure 31 – Original designs of the Sirius building.
Source: https://millerspointcommunity.com.au/the-place/sirius/
Figure 32 – Floor plan of the Sirius building.
Source: https://millerspointcommunity.com.au/the-place/sirius/
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In recent history, the Sirius building has been subject to controversy following its decommissioning as public housing and suggestions of demolition. The controversy surrounding the Sirius building has been referred to as “the battle over Sydney’s Heart”21. The sale of the Sirius building was first announced in 2014 as part of a sell-off of government assets, and the movement of residents commenced. The heritage nature of the Sirius building has been the subject of debate. In 2014 the National Trust called for Sirius to be heritage listed, and in 2016 the NSW Heritage Council voted unanimously for listing of the Sirius building on the State Heritage Register on the basis of aesthetic and historical significance. These recommendations were rejected by the NSW Government. The current renewal of Sirius similar respects the heritage character of the building and the area.
4.5. DATE OF CONSTRUCTION Construction of the Sirius building commenced in 1975 and was completed in May 1981. The building was designed by architect Theo (Tao) Gofers for the NSW Housing Commission.
21 Ann Arnold, Australian Broadcasting Network, 2016. The Battle Over Sydney’s Heart”,
https://www.abc.net.au/radionational/programs/backgroundbriefing/7908292?searchTerm=the%20sirius%20building
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5. ARCHAEOLOGICAL ASSESSMENT AND POTENTIALUrbis has previously assessed the archaeological potential for the Sirius site and surroundings. The subject site was assessed by Urbis in the process of preparing the Aboriginal Cultural Heritage Assessment (ACHA) in October 2020 and the Historical Archaeological Assessment (HAA) in December 2019.
5.1. ABORIGINAL CULTURAL HERITAGE ASSESSMENT The following has been concluded from the ACHA (Urbis, 2020).
An extensive search of the Aboriginal Heritage Information Management System (AHIMS) was carried out over an area of two square kilometres in surrounding and including the Sirius building.
Altogether 71 Aboriginal objects and no Aboriginal places were identified within the Extensive AHIMS search area. The search found no registered Aboriginal objects within or adjacent to the subject area. The closest registered Aboriginal sites within the greater subject area are identified as follows:
▪ Dawes Point; Dawes Point Park, which was a rock engraving approximately 320m north. The site islisted as destroyed.
▪ Lilyvale, which was a midden approximately 360m south and has since been destroyed under Consent toDestroy #450017. The midden was already partially destroyed by terrace construction in the 1830s, asnoted on the site card.
▪ MSB Tower, which was a rock engraving approximately 580m west. The site was recorded based on‘personal conversation’ and had been destroyed prior to registration.
Additionally, in accordance with the Guide to Investigating, Assessing and Reporting on Aboriginal Cultural Heritage in NSW, and in consultation with representatives of the local Aboriginal community, the following assessment of the scientific (archaeological) significance of identified sites within the subject area has been prepared.
This assessment has determined that there are no Aboriginal objects or places within or in proximity to the subject area. Furthermore, because of the high level of disturbance, there is nil-extremely low potential for subsurface archaeological material to remain within the subject area. The subject area is considered to contain low scientific (archaeological) significance.
5.2. HISTORICAL ARCHAEOLOGICAL ASSESSMENT The following has been concluded from the Historical Archaeological Assessment (HAA) (Urbis, 2019).
The Sirius building occupies a site that has been subject to continuous development over the past c.100 years, including late 19th century terraces, the resumption periods and the construction of public works offices within the subject area, and finally the demolition of existing buildings and construction of Sirius. Generally, the high level of disturbance associated with the cutting into sandstone bedrock for the construction of Sirius, along with continuous periods of redevelopment from c.1880-1970s has likely resulted in the removal of archaeological materials across the subject area. There are some archaeological materials that may remain, including structural elements associated with the redevelopment and public works offices c.1914-1960s.
Sandstone blocks with degraded mortar were identified about the natural sandstone bedrock in the boiler room, the origins of which are unknown. While these blocks may represent structural remains from earlier developments, they are more likely to be functional in nature, representing a retaining wall at the edge of the Sirius development.
Should any archaeological materials occur within the subject site that can be definitively attributed to a particular phase of occupation – specifically with the early occupation at the site, the public works offices and the green bans prior to the construction of Sirius – these may be of state significance due to their connection with significant phases of development of the colony of Sydney and of The Rocks. Materials including structural remains, rubbish dumps and discard items would provide an insight into the use of the area during these periods. However, as concluded above, it is generally considered highly unlikely that any such materials will remain due to the extensive disturbance across the site associated with the construction of The Sirius building.
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Within the area proposed for public domain works, there is no historic evidence of structures. There is low potential for earlier street and pavement surfaces to be retained below the current road and pavement surfaces. These will likely have been disturbed by service installation and general works.
Overall, the archaeological potential for the subject site is determined to be generally low.
The proposed works are not anticipated to impact on any archaeological materials. The sandstone wall visible in the boiler room basement is not proposed to be impacted.
Based on the above conclusions, Urbis provides the following recommendations for the Sirius Site under SSD 10384:
Recommendation 1 – Protection of Sandstone Wall.
The sandstone wall in the basement should be protected from any indirect impact from the proposed works. This should be done through fencing, covering with geotextile and sandbags or tarp during works in the vicinity
2. An archival recording of the sandstone wall in the basement should be undertaken if any works which willdirectly impact the wall are proposed, with the blocks to be re-used.
Recommendation 2 – Archaeological Chance Find Procedure
In areas identified as having low potential for archaeological resources, although considered highly unlikely, should any archaeological deposits be uncovered during any site works, a chance find procedure must be implemented. The following steps must be carried out:
1. All works stop in the vicinity of the find. The find must not be moved ‘out of the way’ without following thesteps below.
2. Site supervisor, or another nominated site representative must contact either the project archaeologist (ifrelevant) or DPIE to contact a suitably qualified archaeologist.
3. The nominated archaeologist examines the find, provides a preliminary assessment of significance,records the item and decides on appropriate management.
4. Depending on the significance of the find, reassessment of the archaeological potential of the subject areaand application for relevant permit may be required, and further archaeological investigation undertaken.
5. Works in the vicinity of the find can only recommence upon relevant approvals from DPIE.
Recommendation 3 – Human Remains Procedure
In the unlikely event that human remains are uncovered during any site works, the following must be undertaken:
1. All works within the vicinity of the find immediately stop.
2. Site supervisor or other nominated manager must notify the NSW Police and DPIE.
3. The find must be assessed by the NSW Police, and may include the assistance of a qualified forensicanthropologist.
4. Management recommendations are to be formulated by the Police, DPIE and site representatives.
5. Works are not to recommence until the find has been appropriately managed.
Urbis provides the following recommendations for the Public domain works under SSD 10834:
Recommendation 1 –Archaeological Monitoring
1. Archaeological monitoring of works within the Public Domain area should be undertaken to ensure nopotential relics are harmed during the works.
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6. HERITAGE INTERPRETATION PLANThe following Heritage Interpretation Plan draws on historical information outlined in Section 3 and has regard for stakeholder engagement, the intended audience profile and available resources and recommended forms of heritage interpretation media. The interpretation detailed herein outlines recommendations for the potential locations, themes, key messages and interpretive devices that may be used and/or incorporated into the new development. Implementation of interpretation media is subject to further detailed design.
6.1. STAKEHOLDER ENGAGEMENT PROGRAM Stakeholder consultation is intended to inform and guide collaborative interpretation planning for the site and forms part of a staged delivery of interpretation and development of the site. In accordance with the conditions of consent (see section 1.1) stakeholder liaison is required to inform finalisation of this Plan and the staged development and delivery of specific interpretation media.
A draft of this Interpretation Plan (Issue #1 15 June 2021) was issued for the purposes of informing stakeholder consultation. This report was issued to the following stakeholders for comment:
▪ Place Management NSW (PMNSW).
▪ City of Sydney Council.
▪ Community groups specifically, Save our Sirius and the Millers Point Resident Action Group.
▪ Registered Aboriginal Parties (RAPs) included in the Aboriginal Cultural Heritage Assessment Reportprepared by Urbis for the SSDA. This includes the Metropolitan Local Aboriginal Land Council (MLALC),A1 Indigenous Services, Kamilaroi Yankuntjatjara Working Group, Didge Ngunawal Clan, Barking OwlAboriginal Corporation (BOAC), Butucarbin Aboriginal Corporation, Ngambaa Cultural Connections,Goodradigbee Cultural and Heritage Aboriginal Corporation and Tocomwall. It is noted that of the aboveRAPs contacted, only Kamilaroi Yankuntjatjara Working Group and the Didge Ngunawal Clan haveexpressed interest in providing comment on the project.
Urbis has coordinated meetings and workshops with stakeholders. Workshops were coordinated by Urbis Engagement team. This issue (Issue #4 – 6 October 2021) has been revised following consultation with the following individuals/groups:
▪ Dr. Wayne Johnson, (Senior Archaeologist, Curator of The Rocks Discovery Museum, Strategic Planningand Heritage) Place Management NSW
City of Sydney Council.
▪ Kadibulla Khan, representative of Kamilaroi- Yankuntjatjara Working Group Pty Ltd
▪ Lilly Carroll, representative of Didge Ngunawal Clan
▪ Representatives of Save our Sirius Community Resident Action Group (SOS) and the Millers PointResident Action Group (MPCRAG) including:
‒ Tao Gofers (Architect of the Sirius Building) and member of SOS.
‒ John McInerney (Chair of SOS and MPCRAG).
‒ Amiera Piscopo, Architect, member of SOS and co-author of Sirius.
‒ Anne Warr (Heritage Consultant), member of SOS
‒ Margaret Bishop (member of MPCRAG and SOS)
‒ John Dunn (member of MPCRAG and SOS) and co-author of Sirius
‒ Yasmina Bonnet (Vice President of MPCRAG)
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A workshop was held with members of Save our Sirius and the Millers Point Community Resident Action Group. A second workshop was held with representatives of the RAP Groups as detailed above. Workshops were coordinated by Urbis’ Engagement team, with findings summarised below.
To ensure that all participants could contribute to the consultation process in an informed and meaningful way, they were provided with a pre-reading pack ahead of the workshop. This pre-reading pack included:
▪ A summary of the main aspects of the Heritage Interpretation Plan to be discussed in the workshops: heritage interpretation themes and narratives and heritage interpretation strategies and methods
▪ Workshop agenda and questions to be covered in discussion, so that participants could consider their responses ahead of time
▪ The full Heritage Interpretation Plan, prepared by Urbis
▪ The full Public Art Strategy, prepared by UAP.
The pre-reading pack is included in Appendix A.
Urbis also submitted the Draft Heritage Interpretation Plan to PMNSW and the City of Sydney Council, and each organisation provided feedback in writing (via email). Urbis further engaged with PMNSW via an online (TEAMS) meeting to better understand written feedback. Feedback is summarised below.
The consultation has informed revisions to this Plan (Issue #4) and planning for the detailed design and implementation of the Plan.
Detailed design of interpretation media is to be developed and implemented in consultation with PMNSW’s Design Integrity Unit. This should take the form of regular Project Control Group meetings to ensure interpretative elements, particularly in the public domain, are in keeping with PMNSW’s vision and the guidelines promoted by the documents The Rocks Interpretation Strategy, Telling The Rocks’ Stories - Interpreting the Place and the People and The Rocks Heritage Management Plan.
The members of the community groups have considerable expertise on the Sirius Building, the Rocks more broadly, and Aboriginal cultural heritage and this presents a significant opportunity to inform detailed design and implementation of the Plan and specific interpretation media. Most of the SOS and MPCRAG groups were willing to be involved in the next stage of development of interpretation strategies and would like to see the detailed designs being proposed. They also offered to connect the consultants with previous residents and others associated with Sirius. Therefore, the development of the Plan will also be subject to further and ongoing stakeholder and community consultation with the groups above, as required and as appropriate. There may be opportunities to consider additional consultation with the former tenants of the building should they wish to be involved and when more developed strategies are available.
The following summarises the feedback obtained from the aforementioned stakeholder groups. Feedback has informed themes and narratives as set out in section 6.5 and recommended interpretation media in section 7. Feedback will continue to inform further detailed design of interpretation media and is subject to further investigations.
6.1.1. Place Management NSW
Urbis undertook consultation with Dr Wayne Johnson (M.ICOMOS), Senior Archaeologist, Curator of The Rocks Discovery Museum, Strategic Planning & Heritage, Place Management NSW, Department of Planning, Industry and Environment. Feedback centred on a number of issues as outlined below. Dr Johnson has reviewed the revised report and acknowledges that the report adequately addresses PMNSW’s comments and suggestions (refer to correspondence appended to this document).
Resources for Heritage Interpretation
It was acknowledged that PMNSW has a considerable archive of historical information that should be consulted in developing specific interpretation media.
References should also be sought from former Conservation Management Plans of buildings within The Rocks and in the vicinity of the Sirius building such as, ‘the Ajax Building’ at 23 George Street, the ‘Glenmore Hotel’ at 96 Cumberland Street, ‘Foundation Park’ former 2-6 Gloucester Street, and 6-8, 1-7 Atherton Street.
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Implementation of the Plan
PMNSW indicated that interpretation should take a ‘less is more’ approach, with fewer themes, but done well, in a subtle yet effective way, forming part of a cohesive overall design. Interpretation should be layered – incorporating a variety of media and works in the public domain should conform in materiality and in design principles with broader Rock’s installations.
Interpretation Themes and Narratives
It was agreed that Aboriginal Cultural Heritage and the Sirius building (from an architectural and social perspective) were primary themes for interpretation, with the Rocks historical themes being secondary.
PMNSW advised that interpretation should highlight the significance of Gloucester Walk in relation to the remainder of The Rocks. Gloucester Walk is noted as a major historical thoroughfare in the historic suburb of The Rocks.
Interpretation should also consider the former site development, notably, the Miles Buildings, formerly on Gloucester Street, which is believed to have been the former home of the first Prime Minister, Edmund Barton.22
Additionally, it is recommended that the international connection is highlighted between the historic Bunker’s Hill in The Rocks ( i.e. where the Sirius building is now located, named after Eber Bunker) and Bunker Hill in Charlestown, Massachusetts (i.e. Battle of Bunker Hill named after Eber’s direct relative, George Bunker).
The basement sandstone wall should be interpreted subsequent to further research.
Further Consultation
PMNSW noted that the detailed design of heritage interpretation media is to be developed and implemented in consultation with PMNSW’s Design Integrity Unit. This should take the form of regular Project Control Group meetings to ensure interpretative elements, particularly in the public domain, are in keeping with PMNSW’s vision and the guidelines promoted by the documents The Rocks Interpretation Strategy, Telling The Rocks’ Stories - Interpreting the Place and the People and The Rocks Heritage Management Plan. Final format is to be determined and will likely be incorporated with general construction meetings.
Education and Community programs should be developed in consultation with PMNSW’s education unit, Sydney Learning Adventures and the Design Integrity Unit, and with PMNSW’s Partnerships Activation and Customer Experience (PACE) team. PACE promotes the Rocks and events and may liaise with building management/ strata for opportunities.
In the event that a sculptural public art piece is proposed (subject to development of the Public Art Strategy), there is an opportunity for any public art to be incorporated into a ‘harbour-view walk’ that is being separately devised in consultation with PMNSW involving sculptural pieces. Public Art should be prepared in consultation with PMNSW and their Public Art coordinator.
6.1.2. City of Sydney Council
Council’s Heritage Specialist – comments below:
Heritage Interpretation Plan prepared by URBIS dated 15 June 2021: The strategy is supported in principle, and as indicated in the report, heritage interpretation of the site needs to integrate into the overall planning, conservation and management of the site in conjunction with detailed design development.
The nominated heritage consultant will play a crucial role in developing and implementing the interpretation strategy, and the general principles for the “interpretation moving forward”, outlined on page 63 of the strategy, need to be actively pursued. (It should be noted that this reference refers to Issue #1).
22 State Archives & Records, Miles Buildings, Gloucester Street, where Edmund Barton was born, The Rocks (NSW) [Rocks
Resumption photographic survey], https://www.records.nsw.gov.au/image/4481_a026_000203
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6.1.3. Registered Community Groups
Members of the Save Our Sirius and Millers Point Community Resident Action Group presented a range of deeply considered thoughts and opinions, which stem from the groups’ deep understanding of the building and landscape, community involvement in the creation of Sirius and the fight to save it as social housing, their deep knowledge of the local community context and relationships with many of the past residents. Participants in this workshop included Sirius’ architect Tao Gofers.
Feedback focussed on the following:
Ensuring the Preservation of Interpretation media: A fundamental concern for the group was the ability to ensure that any interpretation media was able to be protected over time, SOS and MPCRAG chair John McInerny noted the potential for a DA modification or a positive covenant on title. The most appropriate means to achieve this is subject to further review and specialist advice. The interpretation media itself must be able to be maintained and replaced where appropriate (in conjunction with a further update to the Plan) in accordance with best practice.
Community use and access to the Site/ the Phillip Room: the community requested that the Phillip Room be made available to the community twice a year including for the purposes of Millers Point Resident Action Group meetings, and for an annual “Sirius lecture”, open to the broader community and intended as a means to discuss and promote contemporary issues of social housing. This latter opportunity was considered a meaningful method of interpreting the ideals of the original Sirius building as a ‘social experiment’.
Educational Tours: The opportunity for building tours was noted, and the community continues to express interest in these to members of SOS and MPCRAG. Members of SOS and MPCRAG expressed interest in conducting tours or provide guidance and content, A need for transparency in education programming was also identified – how can people access tours etc.
Preserving social history: The group acknowledged the sensitivity and complexity of this topic and understood the difficulty involved in respectfully interpreting this theme. They noted that ethics approval and use of people’s stories should be carefully managed.
It was noted that there is a strong sense of displacement and loss among the Miller Point community which remains very raw. While the groups acknowledged the importance of representing the site's social history through past residents, they did not recommend including images or photographs of past residents given the sensitivity of their displacement. "I would strongly oppose putting the faces of the residents throughout any of the development. They are personal and private." The group further noted the opportunity to use direct quotes from the Sirius book (Dunn et al) which could assist to sensitively interpret the important social aspects of the place and the ideal of Sirius as a ‘utopia in the southern hemisphere’.
Source materials: The group holds many source materials which have been approved for use. These include the ‘Save Our Sirius’ book, published by Save our Sirius, building photographs and Save Our Sirius memorabilia from an exhibition held at the National Trust.
The role of women: In addition to Sirius’ labour history, being built as a result of the construction Green Bans in The Rocks, Sirius was also the first building to have a female labourer. The group also credited the contribution of Nita McCrae who, along with Jack Mundey was responsible for saving The Rocks and Millers Point from destruction in the 1970s, and for saving a community. This is an opportunity to explore women's contribution to the history of Sirius – marking an important aspect of Sydney’s social history.
Modernist architecture: The building represents modernist architecture integrated with social responsibility; it's a significant theme the groups would like to see celebrated throughout the heritage interpretation strategies. The group noted the opportunity to interpret the architectural significance of Sirius through the display of photographs, specifically photographs created for the Save our Sirius Art Exhibition. Details of local artists who have already interpreted Sirius are available.
Conservation of the building/ original fittings: The group noted the importance of the architectural authenticity of Sirius and thought that it was being eroded by the works. The group identified ways in which to further interpret the heritage values of the place via building conservation. This included retention of the former indicator board in the lobby (which alerted the building managers if the tenants needed medical or other assistance) the retention of building numbering, in addition to the original ‘Sirius’ building signage, (or reuse of the numbering in conjunction with Public Art and Interpretation) and retention of garden beds and balcony planter boxes. The retention of the original carpeting was also preferred.
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It was noted that the original design sought to create a vertical village and to make a community and therefore the group highlighted the importance of intermediate communal elements. The importance of the 5th elevation was also highlighted, and it was noted that the roofscape should not incorporate pergolas.
Landscaping: With regard to the site landscaping, it was noted that the original design specified primarily Australian native plants. The intention was that the occupants would maintain the gardens and planters. Mr Gofers noted that there was originally a fountain near the building entry which was later switched off forbuil maintenance reasons. The opportunity was identified to incorporate a new water feature as part of the future landscape design.
Through site link: The through site link was discussed as a specific opportunity for heritage interpretation which could include incorporating quotes from the previous tenants, architect Tao Gofers and others, as presented in the book, Sirius, (authored by John Dunn, Ben Peake and Amiera Piscopo, 2017,) with a view to interpreting the ideals and social history of the Sirius building. The opportunity for soundscapes and oral histories were also identified.
The Millers Point community: Sirius played a major role in binding together a strong and tight-knit community – and it’s a story that needs to be acknowledged. It provided a place for people to live in the area through to the end of their lives – and live very independently. People who lived in the community move around the community, but not out of the community.
6.1.4. Registered Aboriginal Parties
As part of the discussion, the RAP groups were presented with a range of examples representing tools and methods that could be used to communicate the themes, narratives, and stories in a meaningful way.
Feedback focussed on the following:
Design: design aspects should respond to Aboriginal cultural heritage.
Landscaping: Consider the use of native and edible plants in line with what Traditional Owners ate. The landscaping should draw links to the site’s profusion. It’s an important element to include, which will evolve the cultural design of the space. Redfern Station and The Block were mentioned as precedent examples. There is an opportunity to interpret what the area was like in the past. It was also suggested that the site landscaping consider opportunities for play.
Interpreting the location: Explore maritime history using objects such as fishnets, shell hooks and shell middens as well as incorporating important local stories such as the fisherwomen, whale stories and sky knowledge. These elements could be illustrated using art or engravings in the design. Consider a water feature as a tool to link the building to its coastal surroundings. Freshwater is also used as a very important connection to people. The opportunity was noted to incorporate a “Keeping Place” which could store any Aboriginal archaeological remains which were uncovered, or in conjunction with PMNSW to utilise existing archaeological remains from the Rocks area. Display and 3D display of artefacts could also be incorporated.
Educating the community: All Indigenous interpretations should be used as a method for education. Activities and play equipment for children that is decorated with Aboriginal artwork was highlighted as a method to consider.
Interactive interpretation: The Plan should explore the inclusion of interactive elements, such as instruments, buttons, visual displays, and video content to connect with the Aboriginal history of the site. Consider the inclusion of a soundscape or display of the Indigenous culture and history. It was noted this feature would attract people who may not be interested [or have time] reading the signage.
"A lot of interactive things is good because then you're more likely to stop and have a look… Also, bright things, like if there is an Aboriginal playground, which includes Aboriginal art and play equipment."
Apps and digital tools: Digital interpretation should be explored in the Heritage Interpretation Plan. The Plan should consider two-way communication methods, such as developing an app or the use of QR codes around the site. Augmented reality could also be considered. Parramatta Square was provided as an example. It’s a method to link more information about Indigenous stories and lifestyles. Interpretation should include means to access/ download information to be perused at the user’s leisure.
Community events: Once interpretation elements are installed on-site, consider a public open day event as an opportunity to broaden awareness and increase the community's understanding of the Sirius building. As
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a method of identifying Aboriginal culture, temporary media such as pop-up events, dances, market stalls, and cultural talks should be considered in the Plan.
“I didn’t learn Aboriginal culture at school – or Aboriginal history. So, you just have to remember that this is our time to thrive and to move forward, finally. Everyone goes on about closing the gap… well, let’s start doing that! Let’s educate people – education is the key. So, if we educate the wider community about our culture, then they might take a step back and think a bit differently about things, or about how our country has come to what it is today.” Workshop participant.
6.1.5. Summary of Stakeholder Feedback
The below table lists the stakeholder feedback items and details how we have responded and points to relevant sections of the report where the items have been addressed.
Theme (in
report)
Feedback Report reference Report response
Place Management NSW
Resources for
heritage
interpretation
▪ Incorporate the
considerable resources
of PMNSW and relevant
CMPs.
Section 6.1.1
Section 6.3
The report acknowledges that the
considerable resources of
PMNSW will inform the
development of heritage
interpretation media.
Implementation
of the Plan
▪ Adopt a ‘less is more’
approach
▪ Layered and integrated
with design and
incorporating a variety of
media
Section 7 The report identifies a variety of
interpretation opportunities and
media and is subject to detailed
design and development in
consultation with stakeholders
including PMNSW.
Interpretation
Themes and
Narratives
▪ Aboriginal cultural
heritage and Sirius
history as primary
themes
Section 6.5.3
Section 7
The report identifies that
Aboriginal Cultural Heritage, and
the Sirius building (from an
architectural and social
perspective) were primary
themes for interpretation, with the
Rocks historical themes being
secondary. Methods/
opportunities for interpretation
and incorporating these themes
are variously outlined in section 7
Further
consultation
▪ PMNSW noted that the
detailed design of
heritage interpretation
media is to be developed
and implemented in
consultation with
PMNSW’s Design
Integrity Unit.
Section 6.1.1
Section 7.1
Section 7.4
Section 8.
The Plan acknowledges that
heritage interpretation media will
be developed in consultation with
PMNSW.
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Theme (in
report)
Feedback Report reference Report response
▪ Educational/ community
programs developed with
PACE team
▪ Public Art developed in
consultation with
PMNSW and their Public
Art Coordinator
Theme (in
report)
Feedback Report reference Report response
Registered Community Groups
▪ Save Our Sirius (SOS)
▪ Millers Point Community Resident Action Group (MPCRAG)
Ensuring the
preservation
of
interpretation
media
Request to ensure
interpretation media is
protected over time. SOS
and MPCRAG request for
potential DA modification or
a positive covenant on title.
Section 6.1.3.
Registered
Community Groups
The Plan states the most
appropriate means to achieve this
is subject to further review and
specialist advice.
Community
use and
access to the
site/ the Phillip
Room
Request to access the Phillip
Room twice yearly.
Section 6.5.3.1.
The Social History
of Sirius
The Plan outlines considerations
to make the Phillip Room
available to the public in a variety
of ways, including access by
community groups.
Section 7.4.
Education and
community
programs
Options for community use of the
Phillip Room are outlined for
consideration in the development
of interpretation strategies.
Educational
tours
Members of SOS and
MPCRAG expressed interest
in conducting tours.
Section 7.2.3.
Reinterpretation of
the Phillip Room
The Plan outlines considerations
to make the Phillip Room
available to the public in a variety
of ways, including via community
programs.
Section 7.4.
Education and
community
programs
Examples for educational tours
included for consideration.
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Theme (in
report)
Feedback Report reference Report response
Preserving
social history
Use of people’s stories as a
form of preservation should
be carefully managed. This
includes:
▪ Ensuring ethics approval
is gained from
participants
▪ Not including
images/photographs of
past residents
▪ Use of previously
approved content
(including use direct
quotes from the Sirius
book).
Section 6.3.
Resources for
interpretation
The Plan recommends the use of
the Save Our Sirius book as a
source of pre-approved content.
The book includes quotations
from Sirius architect Tao Gofers
and former residents.
Source
materials
Members of SOS and
MPCRAG noted a range of
approved source materials
which could be used in
heritage interpretation,
including:
▪ ‘Save Our Sirius’ book
▪ Building photographs
▪ Save Our Sirius
memorabilia from an
exhibition held at the
National Trust.
Section 6.3.
Resources for
interpretation
The Plan states primary
resources for the site are
available through repositories,
including:
▪ City of Sydney Archives
▪ State Library of NSW
▪ Place Management
▪ Associated publications
(which present records of the
social history of the Sirius
building and a paper trail of
the Save Our Sirius and
similar anti-demolition
campaigns).
The role of
women
Members of SOS and
MPCRAG noted the role of
women as significant for the
following reasons:
▪ Sirius was the first
building to have a female
labourer
▪ Nita McCrae was among
those was responsible
for saving The Rocks
Section 6.1.3.
Registered
Community Groups
The Plan states there is an
opportunity to explore women's
contribution to the history of Sirius
– marking an important aspect of
Sydney’s social history. There is
an opportunity for these themes
to be explored in building signage
and other media.
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Theme (in
report)
Feedback Report reference Report response
and Millers Point from
destruction in the 1970s.
Modernist
architecture
Opportunity to interpret the
architectural significance of
Sirius through the display of
photographs, specifically
photographs created for the
Save our Sirius Art
Exhibition.
Section 7.3.
Interpretation
signage
The Plan recommends
incorporating historic photographs
of the Sirius building to be used in
heritage interpretation.
Conservation
of the building/
original fittings
The group identified ways to
interpret the heritage values
via building conservation,
referring specifically to:
▪ Retention of the former
indicator board in the
lobby
7.2. Built form
The Plan acknowledges the
highest forms of interpretation is
the retention and conservation of
significant fabric, spaces and
relationships. Accordingly,
significant elements should be
retained, exposed, and
interpreted where appropriate.
Retention/ conservation is subject
to further investigation.
▪ Retention of building
numbering
7.2.2. Conservation The Plan states the numbering
could be reused as part of public
art and/ or interpretation where
these were not able to be
retained. The opportunity to
interpret the original form and
style of the new numbering could
also be considered in the
development of interpretation
strategies. Retention/
conservation is subject to further
investigation.
▪ Retention of the original
carpeting
7.2.2. Conservation
7.2.3
Reinterpretation of
the Phillip Room
The report recommends
reinterpreting the carpet as part of
the reinterpretation of the Phillip
Room.
Opportunities for further
conservation in line with the
community feedback will be
considered in the development of
interpretation strategies.
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Theme (in
report)
Feedback Report reference Report response
▪ Retention of garden beds
and balcony planter
boxes.
Section 7.2.4.
Landscaping
The Plan states areas of
landscaping, including planter
boxes and ‘green spaces’, also
provide further opportunities for
heritage interpretation.
Landscaping Recommended interpretation
of original landscaping,
included:
▪ Inclusion of a water
fountain (included in the
original building design)
Section 6.5.3.3
Architectural and
Landscaping
Significance: Sirius
as a Brutalist Icon.
The Plan states the landscaping
details are inherent to Brutalist
architecture and are considered a
major design element in this
instance.
The inclusion of a water feature is
identified as an opportunity and is
subject to design development.
▪ Preservation of the
rooftop ‘fifth elevation’
Section 7.2.4.
Landscaping
The Plan states the proposed
landscaped areas on the new
development's terraced roofs
assist in reinterpreting the original
design intent and aesthetic.
▪ Use of native plants
(included in the original
design).
Section 7.2.4.
Landscaping
The Plan states the proposed
plantings should consider the
original plantings, landscape
design program and overall visual
presentation of the complex. This
is considered an integral part of
the design of the whole and is
subject to further research.
Through site
link
▪ Use of the through site
link was recommended
for heritage
interpretation.
7.3. Interpretation
signage
The through-site link is included
as a preliminary location for
interpretation, which will be
subject to further consideration.
Theme (as in
report)
Feedback Report reference Report response
Registered Aboriginal Parties
▪ Kadibulla Khan, representative of Kamilaroi- Yankuntjatjara Working Group Pty Ltd
▪ Lilly Carroll, representative of Didge Ngunawal Clan
Design Respond to Aboriginal
cultural heritage
Section 6.5.3.2.
Indigenous history
The Aboriginal Cultural Heritage
values of the site are assessed as
being one of the most prominent
themes. They should form a key
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Theme (as in
report)
Feedback Report reference Report response
component of heritage
interpretation and be developed
in consultation with relevant
stakeholders.
Landscaping Consider the use of native
and edible plants in line with
what Traditional Owners ate.
Section 7.2.4.
Landscaping
The Plan outlines opportunities to
interpret the Indigenous history
and cultural heritage values of the
place, through appropriate plant
selection.
Interpreting
the location
Explore maritime history
through methods such as:
▪ Art or engravings in the
design
▪ Inclusion of a water
feature
▪ Display and 3D display of
artefacts
Section 6.5.3.2.
Indigenous history
The Plan acknowledges the
opportunity to interpret the
significance of water, exploring
maritime history using objects
such as fishnets, shell hooks and
shell middens as well as
incorporating important local
stories such as the fisherwomen
and whale story.
Educating the
community
All Indigenous interpretations
should be used as a method
for education.
Section 7
Interpretation
media
Various forms of interpretative
media are recommended
throughout the Plan, including
educational and community
programs.
Interactive
interpretation
Explore the inclusion of
interactive elements, such as
instruments, buttons, visual
displays, and video content
to connect with the
Aboriginal history of the site.
Section 1
Executive summary
Section 7.3.
Interpretation
signage
The Plan states interpretation
should permit the audience to
discover and interact or engage
with the interpretation over time
and on various levels.
Apps and
digital tools
Consider two-way
communication methods,
such as developing an app
or the use of QR codes
around the site.
Section 1
Executive summary
The Plan states interpretation
should be contemporary and
allow for technological innovation,
including digital media.
Section 7.3.
Interpretation
signage
The Plan states interpretation
may also be complemented by
digital media, such as the
inclusion of QR codes.
Community
events
Consider events as an
opportunity to broaden
awareness and a method of
identifying Aboriginal culture
through temporary media
Section 7.4.
Education and
community
programs
The Plan recommends events for
the local and wider community to
assist the interpretation. It notes
heightening public awareness
and enhancing the understanding
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Theme (as in
report)
Feedback Report reference Report response
(such as pop-up events,
dances, market stalls and
cultural talks).
of the cultural heritage of the
place, often to a broader
audience who may not have
otherwise visited the site.
6.2. AUDIENCE ANALYSIS The Interpretation aims to reveal meanings and connections to the subject site. To effectively achieve this, interpretation is predicated on identifying audiences and using appropriate media. It is important to identify specific audiences so that interpretation responds to the audience needs and takes into consideration literacy levels, accessibility, gender, ethnicity and age. Accessible interpretation of historic themes and values associated with a site ensures these values of the site, in general, are appreciated by the occupants of the new development and wider community.
The development involves the retention and conservation, alterations and additions of the existing building. It is proposed to modify the apartment building for a large-scale residential property. The primary audience would therefore be the residents and guests of the building. However, as noted above, the building is bounded by thoroughfares of Cumberland Street and Gloucester Walk which are both highly trafficked by public users. Additionally, the building is located in the popular tourist location of The Rocks. Accordingly, there may be other opportunities for interpretation in Cumberland Street, Gloucester Walk or adjacent gardens within the broader site area where the public could access interpretation media. The proposal also incorporates a through site link between Cumberland Street and Gloucester Walk which will be open to the public. Lower ground building pods will house bespoke commercial and hospitality enterprises. In light of the above, the audience of the Interpretation elements may fall into the following categories:
▪ Primary users of the building including residents, guests and family of residents, building staff and contractors.
▪ Former and current stakeholders (and families) such as former residents, architects, planners, construction workers, social groups, etc.
▪ Special interest groups, historians, architecture enthusiasts.
▪ Members of the public, general passers-by, locals, staff and occupants/ users of surrounding businesses.
▪ Tourists and visitors to The Rocks, Circular Quay and more broadly Sydney.
It is recommended that during detailed design, a matrix is created that represents the connection between audience, media and content of the media proposed below. This will illustrate how the detailed design of the element has acknowledged the potential audiences listed above.
6.3. RESOURCES FOR INTERPRETATION In order to interpret the fabric and significance of the subject site, it is essential to identify all the resource materials that have the potential to engage the identified audiences and interpret identified themes, informing about the significant values of the site.
The built fabric on the site should influence interpretation. The considered design choices for the building’s materiality, colour palette and form have the potential to be reinterpreted into the redevelopment.
Primary resources for the site are available in repositories such as (but not limited to) the City of Sydney Archives, the State Library of NSW, Place Management, associated publications and online repositories, which present formidable records of the significant social history of the Sirius building and a paper trail of the Save Our Sirius and similar anti-demolition campaigns. Notable online resources include millerspointcommunity.com and saveoursirius.com. Resources include (but are not limited to) plans, heritage listing submissions, historical photographs, newspaper articles, land and property information, published materials as well as development and building application files relevant to the site. Development of interpretation media will incorporate further detailed historical research at the above repositories The book, Sirius, authored by John Dunn, Ben Peake and Amiera Piscopo, 2017, was written in conjunction with the
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Save Our Sirius campaign and not only chronicles the campaign but incorporates information about the development of Sirius from an architectural, historical, political, and social perspective, as well as interviews with Tao Gofers, the architect of the building and well-known building tenants. The book was informed by extensive interviews and consultation and thus represents a significant resource for the detailed design and development of interpretation media and as a record of the building itself. This book provides useful content including quotations from Tao Gofers and tenants that may be incorporated as part of future interpretative media.
Consultation with experts in the community and stakeholder groups has informed the development of this Plan and should also inform future detailed design and development of interpretation media (refer to section 6.1).
The various professional reports prepared for the site over the years are also of interest. These include the aforementioned HIS, Heritage Fit Out Advice, ACHA and HAA that were created by Urbis for the site in 2020 and 2021 respectively. Additionally, Urban Art Projects (UAP) has prepared a Public Art Strategy, dated 2020 that has nominated themes and artwork opportunities around the site. Accordingly, this report will have regard for the key objectives of the Public Art Strategy when nominating potential interpretation media and locations for the Sirius building. Additionally, at the advice of Place Management NSW, this report and future development of interpretation media has and will take into consideration the principles outlined in the following documents, being the Rocks Public Art Strategy, The Rocks Interpretation Strategy and The Rocks Heritage Management Plan.
6.4. EXISTING INTERPRETIVE MEDIA The Sirius building in itself does not incorporate any known interpretive media on site. However, owing to the site’s location, there are various interpretive media (signage, public art etc) in the vicinity that interpret themes relevant to the site, specifically relating to The Rocks and early Sydney history. Proximate interpretation also highlights significant buildings and structures including the Sydney Harbour Bridge. There is limited interpretive media on the side of the northern elevation of the site, fronting Cumberland Street. The historic landmarks, the Argyle Cut and the Argyle Stairs, while in the vicinity of the Sirius building are not within its visual catchment. These landmarks are significant to Gloucester Walk and have interpretive media on location.
On the eastern elevation of the Sirius building, with a frontage to Gloucester Walk, the subject site sits elevated over a historic area of The Rocks known as Bunker’s Hill. Accordingly, the interpretive media in the vicinity on the eastern side of the subject site is associated with Bunker’s Hill. Notably, there is an existing signage area adjacent to Gloucester Walk and the Sirius building (Figure 33) overlooking the Rocks. On a slightly lower elevations of the former Bunker’s Hill, within the view line of the Sirius building, is ‘Foundation Park’. This interpretive piece uses a combination of remnant-built elements, sculptural aspects and signage to interpret a row of former terraces at 2-16 Gloucester Street (Figure 34).
While there are many site-specific art pieces around The Rocks, the most prominent work in the visual catchment of the Sirius building is ‘First Impressions’ by Bud Dumas (Figure 35) located on Playfair Street. This sandstone relief sculpture captures three perspectives of early European settlers (i.e., the soldier, the convict and the settler).
There is also The Rocks Discovery Museum within the vicinity of the Sirius building that is facilitated by the NSW Government. In a similar vein, private and public historical tours run daily around The Rocks and deliver the content of both Aboriginal and early Convict life in The Rocks. ‘The Big Dig’ site is an openly accessible archaeology site, located nearby to the south of the site and is accessed via either Gloucester Street or Cumberland Street, and is used for education and interpretation of the daily life of former residents at The Rocks in the 19th and early 20th centuries.
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Figure 33 – Interpretation signage for Bunker’s Hill located on Gloucester Walk, adjacent to the Sirius building.
Source: Urbis, 2021
Figure 34 – Foundation Park, former terraces houses at 2-16 Gloucester Street.
Source: www.visitsydneyaustralia.com.au/
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Figure 35 – First Impressions sculpture by Bud Dumas located at Playfair Street, The Rocks.
Source: https://www.weekendnotes.com/first-impressions-sculpture-the-rocks/
As noted above, while there is no on-site interpretive media for the Sirius building, there are informal, privately run websites that include accessible archives of the social histories of the site. These websites, notably saveoursirius.org/ and siriusbuildingarchive.wordpress.com, include digital archives, personal accounts of former residents, trade union paraphernalia, original architectural drawings and submissions. The Save Our Sirius organisation has published the book Sirius by Ben Peake, John Dunn and Amiera Piscopo documenting the history of the building. Initial sales of this publication facilitated the anti-demolition, Save Our Sirius campaign. Additionally, as the building is a significant piece of brutalist architecture as such, multiple architecture publications (digital, hardcopy and otherwise) have referenced Sirius for this reason.
Figure 36 – Sirius Building Archive interface.
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Source: http:// siriusbuildingarchive.wordpress.com/
Figure 37 – First Impressions sculpture by Bud Dumas located at Playfair Street, The Rocks.
Source: http://saveoursirius.org/
6.5. THEMES AND NARRATIVES
6.5.1. Heritage Council of NSW Themes and Narratives
The following interpretation themes and narratives have been highlighted and developed from the information supplied in sections of this report and informed by the historic themes outlined by the Heritage Council of NSW as shown in the table below. The themes focus on the history and development of the subject site and have been informed by the historical information included above.
These themes will inform the overall content for the heritage interpretation.
Australian Theme NSW Theme Notes Relevance to the subject site
2. Peopling Australia Aboriginal
cultures and
interactions with
other cultures
Activities associated with
maintaining, developing,
experiencing, and
remembering Aboriginal
cultural identities and
practises, past and
present; with
demonstrating distinctive
ways of life; and with
interactions demonstrating
race relations.
▪ Pre- and Post-Colonial Aboriginal
land use and occupation.
▪ The significant relationship between
the Gadigal people and water. The
subject site is located within the
vicinity of Sydney Harbour, thereby
presenting an opportunity to interpret
the significance of water and the
Gadigal people.
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Australian Theme NSW Theme Notes Relevance to the subject site
▪ Sky knowledge of the local Gadigal
people and their stories can be
represented through interpretation.
2 Peopling Australia Convict Activities relating to
incarceration, transport,
reform, accommodation
and working during the
convict period in NSW
(1788-1850) – does not
include activities
associated with the
conviction of persons in
NSW that are unrelated to
the imperial ‘convict
system’: use the theme of
Law & Order for such
activities
▪ The early associations with convicts
and The Rocks as some of the first
white settlers to the area.
3 Developing local,
regional, and national
economies
Events Activities and processes
that mark the
consequences of natural
and cultural occurrences
▪ Association with Green Bans and
Save Millers Point protests and other
anti-demolition groups e.g., ‘Save
Our Sirius’ etc.
3 Developing local,
regional, and national
economies
Fishing Activities associated with
gathering, producing,
distributing, and
consuming resources from
aquatic environments
useful to Humans.
▪ Early history of the site including
links between the early maritime
industries and the residents of The
Rocks/Sirius.
▪ The location on Bunker’s Hill named
so after seafarer, Eber Bunker.
▪ The significant relationship between
the Gadigal people and water. The
subject site is located within the
vicinity of Sydney Harbour, thereby
presenting an opportunity to interpret
the significance of water and the
importance of fishing to the Gadigal
people.
4 Building settlements,
towns and cities
Towns, suburbs,
and villages
Activities associated with
creating, planning, and
managing urban functions,
landscapes and lifestyles
in towns, suburbs and
villages
▪ 19th-century development for
residential and other uses.
▪ Previous site development including
the Miles building.
▪ The early 20th-century Resumption
and redevelopment for warehousing
▪ The current Sirius site was created
through an amalgamation of an
earlier historic subdivision.
4 Building settlements,
towns and cities
Accommodation Activities associated with
the provision of
accommodation, and
▪ Sirius was purpose-built for the NSW
Housing Commission and to house
disadvantaged members of the
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Australian Theme NSW Theme Notes Relevance to the subject site
particular types of
accommodation – does
not include architectural
styles – use the theme of
Creative Endeavour for
such activities.
public. Including in-built facilities for
elderly or disabled residents.
▪ Sirius provided social and affordable
housing for 40 years. It was
designed as a ‘vertical village’ and
fostered a living and viable, strong
sense of community incorporating
communal open spaces as a
foundational aspect of the design.
5 Working Labour Activities associated with
work practises and
organised and
unorganised labour
▪ History of the Green Ban movement
and other trade union groups and
the role that the Sirius building
played as an outcome.
▪ Associations with key figures Nita
McCrea, Jack Mundey, and others
▪ Sirius was also the first building to
have a female labourer. This is an
opportunity to explore women's
contribution to the history of Sirius –
marking an important aspect of
Sydney’s social history.
7 Governing Welfare Activities and processes
associated with the
provision of social services
by the state or
Philanthropic
organisations
▪ Sirius was purpose-built for the NSW
Housing Commission and to house
disadvantaged members of the
public. Including in-built facilities for
elderly or disabled residents.
▪ History of the place as public
housing accommodation potentially
incorporating social histories from
those who resided in the building.
▪ The building generated a sense of
community and formed social
connections among its inhabitants
which is foundational to the social
significance of the site.
8 Developing Australia’s
cultural life
Domestic Life Activities associated with
creating, maintaining,
living, and working around
houses and institutions.
▪ The Sirius building is an example of
purpose-built modest living quarters,
with in-built assistive features for the
elderly and physically disabled.
▪ Sirius provided social and affordable
housing for 40 years. It
demonstrated innovation as a social
housing concept and was designed
as a ‘vertical village’, fostering strong
sense of community incorporating
communal open spaces as a
foundational aspect of the design,
Special features of the accessible /
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Australian Theme NSW Theme Notes Relevance to the subject site
pensioner units also included
emergency call buttons and special
electronic locks on the unit doors in
case of accidents or medical
emergencies.
8 Developing Australia’s
cultural life
Creative
endeavours
Activities associated with
the production and
performance of literary,
artistic, architectural, and
other imaginative,
interpretive or inventive
works; and/or associated
with the production and
expression of cultural
phenomena; and/or
environments that have
inspired such creative
Activities.
▪ The Sirius Apartments building,
designed by Tao (Theodore) Gofers
is likely to be of State Heritage
Significance as a rare,
representative and fine example of
the Brutalist architectural style,
especially in its use of off-the-form
concrete and the stacking of cubic
components to create a harmonious
whole. Gofers pioneered the new
modular building style in concrete
with specific application to social
housing in Australia and in response
to its setting.
▪ It is also significant as an early
example of rooftop landscape
gardening in NSW and Australia.
▪ The building is likely to have further
State landmark aesthetic
significance as an unusual and
aesthetically distinctive treatment of
high-rise accommodation,
bookmarking the view of Circular
Quay from Sydney Harbour together
with the Opera House.
9 Marking the phases of
life
Persons Activities of, and
associations with,
identifiable individuals,
families and communal
groups
▪ The Sirius building has associations
with the notable architects and
figures associated with anti-
demolition and trade union protests,
of which the Sirius building is a
result.
▪ The building is likely to have state-
level significance for historic
associations with the Green Bans of
the 1970s, the Green Ban's leader
Jack Mundey, and Nita McCrae
whose staunch opposition to the
Askin governments plans to
demolish Millers Point led to the
establishment of the Rocks Resident
Action Group, as well as for its
association with the noted architect
Tao Gofers.
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6.5.2. The Rocks Interpretation Strategy (GML 2006), Historical Themes
The Rocks Interpretation Strategy (GML 2006) and The Rocks Heritage Management Plan (2010) have identified the following historical themes for the Rocks which warrant consideration in developing themes for this Plan. Accordingly, the following has been extracted in part from The Rocks Interpretation Strategy (GML 2006).
3.3 Themes Which Interpret The Rocks’ History
In preparing to interpret places, it is important to present their past in an informative, authentic, appealing and accessible way. By analysing the evidence of the built environment and the documented history of The Rocks, a series of development themes can be identified. These themes, in turn, provide the key messages and stories to be used to interpret The Rocks. Over recent years a national framework of historic themes has been developed by the Australian Heritage Commission, published in 2001. The Australian Historic Themes Framework aims to ‘assist in structuring research and to emphasise the historical values of a place to reverse the prevalence of fabric-based assessment by identifying historical processes that might be used in assessing and interpreting heritage significance’. Nine national theme groups were identified, with focused subthemes based on activities. The NSW Heritage Office has also developed state themes that, to a large degree, link with the national framework. The main historic themes which characterise The Rocks are set out below, each with local subthemes and examples of the local evidence which represent them. Section 6.0 develops recommendations for interpretive initiatives relating to these historic themes.
Table 3 – The Rocks - Historical Themes
Theme Subtheme Local Representation
National: Tracing the natural
evolution of Australia
NSW: Environment–naturally
evolved
Tracing topographical change in The
Rocks
The name ‘The Rocks’ stems from its
original topography.
The Rocks’ topography has
undergone radical change but the
sandstone itself is still evident.
National: Peopling Australia
NSW: Aboriginal cultures and
interactions with other cultures
Living as Australia’s earliest
inhabitants in The Rocks
Creation stories pertinent to The
Rocks.
Use of resources in or around The
Rocks.
Use of resources in or around The
Rocks.
Making lives in The Rocks from 1988
on.
National: Peopling Australia
NSW: Convicts
Coming to Australia as Punishment–
Convict life and society in The Rocks
The Rocks as an early place of
European settlement and the first
steps onto an unfamiliar shore from
1788 onwards.
Colonial life and lifestyles of the free
and of the convicts living side by side
in The Rocks.
Dispute over disrepute–slums or
otherwise: were the neighbourhoods
slums or were they merely
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Theme Subtheme Local Representation
undesirable residents in the eyes of
society?
Convict society in Sydney as a living
entity, not just as gaols and road
gangs.
National: Peopling Australia
NSW: Migration
Migration–The Rocks as a stepping
off point for migrants
The immigrant experience from
colonial to current often started in
The Rocks. What was it like to step
off the ship into bushland? What was
the experience of later migrants in
their new home?
National: Peopling Australia
NSW: Land tenure
Fighting for land and displacing
Aboriginal people
The Rocks as an on-going
permanent contact point between
Europeans and Aboriginal people
and the first displacement of
Aboriginal people from their land.
National: Developing Local, Regional
and National Economies
NSW: Commerce
Constructing capital city economies The Rocks as the early commercial
hub of Sydney town. The first
markets, shops and warehouses
were located in The Rocks.
National: Developing Local, Regional
and National Economies
NSW: Transport
Moving goods and people–The
Rocks as a harbour side working
area
The Rocks as a place of export and
import of goods, eg Campbells
warehouses, the Commissariat
Store.
Developing harbour facilities, wharfs,
jetties, Overseas Passenger
Terminal.
Moving goods and people on land, to
and from wharves, warehouses and
shipping.
National: Developing Local, Regional
and National Economies
NSW: Environment
Altering the environment by
reclaiming land
Reclamations of the harbour
foreshore occurred from the earliest
period of European settlement in The
Rocks.
National: Developing Local, Regional
and National Economies
NSW: Commerce
Marketing and retailing in The Rocks The Rocks has had a continuing
commercial aspect since the earliest
phase.
National: Developing Local, Regional
and National Economies
NSW: Housing
Lodging people–The Rocks as a
temporary home
Traditionally many lodging houses,
boarding houses and dormitories
operated in The Rocks to
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Theme Subtheme Local Representation
accommodate transient people, short
term stayers, sailors etc.
Many newlyweds spend a night in
The Rocks exclusive boutiques
hotels.
National: Developing Local, Regional
and National Economies
NSW: Leisure
Catering for tourists The Rocks as a tourist destination.
National: Developing Local, Regional
and National Economies
NSW: Health
Providing health services Sydney and Australia’s first hospital
was located in The Rocks.
National: Building Settlements,
Towns and Cities
NSW: Townships
Planning urban settlements–The
Rocks as a suburb and community
Australia’s oldest urban community is
The Rocks.
Australia’s first multi-cultural suburb
is The Rocks with visitors and
residents from across the globe
being an integral part of the area
from its first days.
The struggle to prevent demolition–
The Green Bans in the 1970s forced
the people of Sydney about the
importance and history of the area.
National: Building Settlements,
Towns and Cities
NSW: Townships
Living with slums The Rocks was viewed through
much of the nineteenth and twentieth
century as dangerous, disease
ridden and a slum.
Living with slums was a reality for
many in the area, or at least that was
the perception from the outside.
National: Working
NSW: Labour
Working in harsh environments
Coping with unemployment
Coping with dangerous jobs and
workplaces
Organising workers and workplaces
Caring for workers’ dependent
children
Working in offices
Trying to make crime pay
The Rocks encompasses all styles
and types of work, from crime to
shipbuilding and from warehousing
to bureaucracy.
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Theme Subtheme Local Representation
Working in the home
Surviving as Indigenous people in a
white-dominated economy
Working on the land
National: Educating
NSW: Education
The Rocks as a community The Rocks was home to a number of
schools, including the Ragged
School in Globe Street, and later in
Harrington Street.
National: Governing
NSW: Government and
Administration
Governing Australia as a province of
the British Empire–The Rocks as an
outpost of the Empire
The Rocks was home to the
Commissariat stores and other vital
tools of the British empire in colonial
Australia.
National: Governing
NSW: Events
Developing institutions of self-
government and democracy–The
Rocks as a place of protest
The Green Bans, Community and
Union protest of the 1970s to save
The Rocks.
National: Governing
NSW: Government and
Administration
Administering Australia–The Rocks
as a place of government
bureaucracies and control
Controlling entry of persons and
disease through customs control and
inspection.
Policing in The Rocks and
dispensing justice, with police
stations, registers of Flash Men kept
and night watchmen in colonial
streets.
Incarcerating people in Australia’s
first gaol.
Conserving Australia’s heritage.
National: Governing
NSW: Defence
Defending Australia–The Rocks
(Dawes Point) as an integral part of
the colonial defence plan
The Dawes Point Fort, as part of
Sydney’s inner line of defence, was
from its first years an important part
of the area’s character. Soldiers on
the Point were a feature of The
Rocks and the fort remains as an
archaeological site.
National: Developing Australia’s
Cultural Life
NSW: Leisure
Eating and drinking–The Rocks as a
place where people go to dine and
drink
The Rocks has always been a place
of pubs, bars and hotels, many of
which feature in the folklore of the
place and the city generally.
The Rocks is home to a number of
famous restaurants which draw
people to the area.
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Theme Subtheme Local Representation
National: Developing Australia’s
Cultural Life
NSW: Cultural Sites
Commemorating significant events–
The Rocks as the stepping off point
for European
settlement in Australia
The Rocks has many
commemorative plaques and statues
recalling the occupation, settlement
and migrant history of the area.
National: Developing Australia’s
Cultural Life
NSW: Cultural Sites
Making Australian folklore–The
Rocks as a place in Australian
folklore
The Rocks, through its history,
convict past, seedy characters, pubs,
wharves, protest movements and
ongoing habitation, has been a
feature of many Australian stories,
poems, songs, art, photography and
myths. It evokes the past in people’s
minds.
National: Developing Australia’s
Cultural Life
NSW: Townships
Living in cities and suburbs–The
Rocks as a live and ongoing
community
The Rocks is Australia’s oldest urban
community and has had a continual
residential occupation since
settlement.
National: Marking the Phases of Life
NSW: Death
Dying
People dying in The Rocks as a
result of overcrowding and slum
conditions.
The Rocks as a burial place.
The Rocks as home to the Sydney
Coroners Court and Morgue.
Source: GML, 2006
3.4 Key Historic Themes for Interpretation in The Rocks
Expert Reference Group member, Dr Grace Karskens, proposes a thematic narrative that reflects the evolution of The Rocks from pre-settlement to the present in a roughly chronological form:
1. Rock and Water–discussion of the environment of Sydney Cove and the broader evolution of Sydney Harbour from river valley to waterway; impact of European settlement in reshaping the environment, carving out the rock, building from it–but also the way water (groundwater, aquifer, the sea) continued to shape the Rocks and its image.
2. Cadigal–Aboriginal people and their relationship to The Rocks before and after settlement. Particularly in relation to the way they integrated into the community quite early in settlement times and were probably/certainly part of the Rocks working class community in the later nineteenth and twentieth centuries.
3. Convict community–period up to the 1840s and their input into building The Rocks, i.e. both private houses, quarries, wells, yards and later public projects like the Argyle Cut. Also founded a community, urban popular culture (drinking, gambling, fighting), businesses and trades, and families. Women involved in all these processes.
4. Immigrants–fabric built from 1850 to 1900, the Victorian working class struggling for a decent existence–success and failure are themes; also family, community and work networks, industry and commerce in The Rocks.
5. Slum or home? The Rocks was considered a slum by government and the upper/middle class– a blot on the city, it was home to a living and vibrant working class community who were not all very poor, strove to make the best of city life and built community bonds.
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6. Plague resumption and twentieth century reconstruction–explore the reasons for resumption; modernfactories arrive, government control, some public housing; the hope/expectation that the Rocks will be sweptaway by science and industry.
7. 20th century working class–intermarriages, close community, the ‘enclave’, the good and not so goodaspects of this; bridge bypasses the area. Role of women in holding this community together; tribalCatholicism; respectable and ‘rough’; poverty and pride.
8. Green Bans–community action, part of a worldwide movement to take back control of the urbanenvironment. The aim was to keeping low-income people in the inner city and a living and functioning localcommunity in The Rocks. Role of women in the campaign against the male planners and bureaucrats. Ironyof the outcome: heritage and commercialisation but very little community
9. Tourism and leisure landscape–the late twentieth century phenomena of tourism and leisure in the globalcity–driving change and commerciality and the impacts this has. Here we find myths about ‘birthplace’ andthe idea of ‘going back into the past’–very interesting, makes us think about how we see our past–real orromanticised? White dreaming about the urban past?
6.5.3. Urbis Summary of Historical Themes
The following themes have been developed for the site:
6.5.3.1. The Social History of Sirius
Tao Gofers has said that the story of Sirius is about people first and buildings second and as such, the social aspect of the site’s significance is assessed as being one of the most prominent themes for interpretation. As established in Section 4 above, the subject site has strong social-historical associations with the Green Bans movement and significant historical figures and activists including Jack Mundey (leader of the NSW Builders Labourers’ Federation) and Nita McCrae (leader of the Rocks Residents’ Group). The building is also of social significance as a purpose-built accessible social housing development with built-in design features for elderly and disabled occupants as well as community spaces. The following is extracted from a submission by architect Tao Gofers to support the potential state heritage listing of the building.
The building was purpose-built for Millers Point public housing tenants who had been displaced during the state government’s attempted demolition and redevelopment of the Rocks area in the 1970s. Had the government been successful in their plans for the area, a community would have been destroyed, together with the collective memory of over 160 years of culture, along with one of Australia’s most beautiful urban areas.
The Rock’s Residents Action Group, encouraged by the success of the Kelly’s Bush Green Bans, turned to the unions, particularly Jack Mundey and the BLF [Builders Labourers Federation]. The union green bans held, residents and BLF members forced the Askin Liberal government to stop the destruction of the Rocks area and acknowledge an alternative future for the Rocks area.
Sirius’ approval marked a compromise between the State Government and Green Bans activists who were fighting to keep working-class people in the area. This approval provided social housing accommodation for displaced local tenants. It lifted the Green Ban imposed by the BLF and allowed the Sydney Cove Redevelopment Authority to renovate and start their upgrading to further develop the Rocks into a historical tourist area and accommodated the removal over a period of time of a number of both residential and commercial squatters from the area.
The social significance of the site as an architectural icon and as social housing was also strongly demonstrated by the recent grassroots campaigns to save the building when the sale and decommissioning for social housing was posed in 2014 as part of a sell-off of Government assets, and the building faced threats of demolition and redevelopment for luxury housing. The controversy surrounding the Sirius building has been referred to as “the battle over Sydney’s Heart”23. Although
23 Ann Arnold, Australian Broadcasting Network, 2016. The Battle Over Sydney’s Heart”,
https://www.abc.net.au/radionational/programs/backgroundbriefing/7908292?searchTerm=the%20sirius%20building
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the NSW Heritage Council voted unanimously for the listing of the Sirius building on the State Heritage Register this was rejected by the NSW Government and an unprecedented crowdfunding campaign mounted a legal challenge to the Minister for Heritage’s decision to deny the listing for Sirius. The campaign demonstrates the value of the building and the social housing function to the community.
The story and people of Sirius are crucial to the interpretation of its social significance. Their individual stories and experiences should be incorporated or recorded as a part of the interpretation process. . However, it is acknowledged that there is a deep sense of displacement and loss among the Millers Point community which remains very raw, and this is a story which must be communicated with sensitivity.
An existing source of social-historical information is attained through both millerspointcommunity.com and saveoursirius.com, including video journals and names and biographies of the established residents of the Sirius building. These sources could provide content to be included in the interpretive media. Some noteworthy quotes from these sources are included below (final quotes to be determined).
“The Housing Commission of NSW and in particular the Chairman Mr Jack Bourke wanted to avoid the usual problems of Social Housing by creating communities that allowed for a mix of family types and sizes and included nearby amenities such as parks, playing fields, school sites, small shopping center and community halls. While this had attempted in large Greenfield sites and was partially successful, the typical Housing Commission 3 storey flats and high rise buildings were not designed to cater for this. By building the split level concept at Sans Souci he wished to expand his belief in mixed accommodation and test his ideas.” Tao Gofers on ‘The Laurels” at Sans Souci.
”The tenants of the seventeen pensioner units have a special communal room (the heritage Room) with a large balcony on the eighth floor with spectacular views of the Parramatta and Lane Cove rivers, the Harbour Bridge, Kirribilli house and the Opera House.” Tao Gofers on Sirius.
“The development was basically a physical solution to a political problem.
‒ It lifted the Green Ban imposed by the BLF.
‒ It allowed the Sydney Cove Redevelopment Authority to renovate and alter some existing building so they could be leased profitable.
‒ It allowed the Rocks area to further develop into a historical tourist area.
‒ It allowed the removal over a period of time of a number of squatters both residential and commercial from the area.” Tao Gofers on Sirius.
In addition to the above, Sirius by Ben Peake, John Dunn and Amiera Piscopo, contains a number of available stories of and quotes by notable Sirius residents. These stories, having been cleared for publication, present an opportunity to include them in the heritage interpretation. Quotes are also available from architect Tao Gofers which detail the original design intent and these quotes could be incorporated into ground inlays and street furniture, examples shown in Figure 54 below or as part of the through-site link. Examples of quotes are provided below (final quotes to be determined):
“Brutalism never went into the design, but it came out of the design” – Tao Gofers. (Ref: pg. 33, Sirius)
“The modular spaces and forms of Sirius parallel the Brutalist desire for the expression of an egalitarian society, with the standardisations of forms reflecting an aspiration for social cohesion and for the communal good” – Russell Rodrigo. (Ref: pg. 26, Sirius). “…The building was to provide for a range of units from pensioner one-bedroom units, accessible two-bedroom units, two, three and four bedroom split level units with balconies, roof gardens or terraces. The complex was to encompass community facility areas and a special pensioners’ community space… the designs were to be based on the prototype built at Sans Souci…” Tao Gofers, ‘The Brief for Sirius’. (Ref: pg. 19, Sirius).
The Philip room, originally designed as a communal space, is a significant aspect of the Sirius building both architecturally and socially. The significance of the Phillip room was expressed strongly in community consultation from several community members. Accordingly, it is acknowledged that
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methods of ongoing community access to the Phillip Room should be explored. Examples of these methods are included in this report in Section 7.4 below.
Further community consultation and workshops are to be undertaken by Urbis to ensure that this theme is interpreted respectfully and thoroughly.
6.5.3.2. Indigenous History
Aboriginal people have inhabited the Sydney Basin region since at least 30,735+ BP, with some potential evidence of occupation at around 40,000 years ago. The population of Aboriginal people around Sydney at the time of the first contact has been estimated at between 2000 and 3000 people, with the greater Sydney region estimated at somewhere between 4000 and 8000.
In the general Sydney area, the land was occupied by the clans of the Eora tribe. The various clans of the Eora people include the Kameraigal, Wanegal, Borogegal and Gadigal. The subject area was within the boundary of the Gadigal people. The area surrounding the Sirius development was covered in native vegetation, with large trees towering over the site. The site sits on a significant ridge above the coastline of Sydney harbour and would have provided a vantage point over the surrounding area for the Gadigal clan.
In general, the impacts of colonisation were devastating for all Aboriginal people, but particularly for those groups living around the coast and Sydney Cove. With colonisation, Aboriginal people were forced away from their lands and the resources they relied upon.
The archaeological assessment determined that there are no Aboriginal objects or places within or in proximity to the subject area. Furthermore, because of the high level of disturbance, there is nil-extremely low potential for subsurface archaeological material to remain within the subject area. The subject area is considered therefore to contain low scientific (archaeological) significance.
However, an assessment of cultural heritage significance and values incorporates a range of values that may vary for different individual groups and may relate to both the natural and cultural characteristics of places or sites. Cultural significance and Aboriginal cultural views can only be determined by the Aboriginal community using their own knowledge of the area and any sites present, and their own value system. All Aboriginal heritage evidence tends to have some contemporary significance to Aboriginal people because it represents an important tangible link to their past and to the landscape.
In preparation of the ACHA, consultation with members of the local Aboriginal community (project RAPs) was undertaken to identify the level of spiritual/cultural significance of the subject area and its components. In acknowledgement that the Aboriginal community themselves are in the best position to identify levels of cultural significance, the project RAPs were invited to provide comment and input and to the assessment of cultural heritage significance and values presented therein.
Comments received from the representatives of the project RAPs indicate that the local area is of some significance. When prompted to provide information on the cultural significance of the subject area as part of the ACHA prepared by Urbis, Barking Owl Aboriginal Corporation (BOAC) stated “The [subject area] is an important part of our culture due to previous generations living in and around the area, we maintain a special connection and responsibility as current generations whom continue to reside nearby and share in stories of our history relating to the location”.
Further consultations with members of the RAP group (as identified in section 6.1 above) have highlighted the importance of the relationship between the Gadigal people and water. The subject site is located within the vicinity of Sydney Harbour, thereby presenting an opportunity to interpret the significance of water, exploring maritime history using objects such as fishnets, shell hooks and shell middens as well as incorporating important local stories such as the fisherwomen and the whale story. The consultation also recommended the inclusion and interpretation of Sky knowledge of the local Gadigal people.
The Aboriginal Cultural Heritage values of the site are assessed as being one of the most prominent themes and should form a key component of heritage interpretation at the site, developed in consultation with relevant stakeholders.
6.5.3.3. Architectural and Landscaping Significance: Sirius as a Brutalist Icon.
The Sirius building is widely recognised as an exceptional expression of Brutalist Architecture, with its use of off-the-form concrete and the unusual but aesthetically distinctive stacking of cubic components to create a
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harmonious whole. Gofers pioneered the new modular building style in concrete with specific application to social housing in Australia, providing a distinctive treatment for high-rise accommodation. The building is also highly conceptualised in its execution with many intentional in-built design features to suit the residents varying needs and abilities of its occupants. The building embodies many of the aesthetic and idealist qualities of the Brutalist movement. In discussing the influences for the building Tao Gofers notes the following:
The Sirius Building was influenced by the English New Brutalist movement, (pioneered by the office of architects Alison and Peter Smithson from the mid-1950s). Sirius, like the Brutalist movement, espouses an ethical framework of design based on social concerns and the truthful expression of materials, function and structure…Through its direct and honest aesthetics, Sirius presents a powerful civic image that communicates the potential role played by the built environment in the lives of a society’s inhabitants, a role focused on the culture of the everyday, a powerful image of an egalitarian ideal expressed in architecture.
The Sirius building is also significant as an early example of rooftop landscape gardening in NSW and Australia. The rooftop was considered by Gofers to be a ‘fifth elevation’, designed to be viewed by the traffic flow of the Bradfield Highway with landscaping a key design element. These rooftop gardens were planned as an integral part of the visual presentation of the complex.
The general landscaping is also integral to the understanding of the building as a softening visual feature in contrast with the concrete exterior. The landscaping details are inherent to Brutalist architecture and is considered a major design element in this instance.
Heritage interpretation should acknowledge the significant aesthetic and representative values of the place and identified significant persons and associations. The aesthetic values of the place are considered a primary theme for interpretation. This should be primarily achieved through retention and conservation of the building and significant components, as well as opportunities to reinterpret keys aspects of the architectural program (see Section 7.1).
6.5.3.4. The Rocks Specific Themes
The Rocks was settled early in the days of the colony and has been referred to as ‘white Australia’s most historic place’.24 The first locals were primarily working-class, sent as convicts to the colony and within months of the landing, The Rocks was a hive of activity with facilities including a hospital, a bakery, stone quarry, food store, garden plots and farms. The Sirius building occupies an area of the Rocks known as Bunker’s Hill named so after Captain Eber Bunker25, an established mariner, who was granted a plot of land where the Sirius building now stands. Bunker’s house was located within the area. The subject site having first been developed for smaller fine-grained subdivisions largely for housing and commercial uses was later cleared as part of the Rocks Resumptions and occupied by Rowan’s bond store and the Mercantile Shipping office. The Sirius building is also named after HMS Sirius, the flagship of the first fleet, to pay homage to maritime history in The Rocks.
The Rocks, therefore, has a strong historical association with early European settlement in Australia and subsequent maritime events of the early Sydney colony. Notwithstanding, this is considered secondary to the above themes and is much more of a general concept, noting that this theme and significance is interpreted with the retention of historic built forms within the Rocks and nearby existing interpretation. The history of the Rocks is also interpreted within the Rocks Museum.
It is intended that the interpretation should include interpretation of the former site development in particular the bonded store and shipping office and should place the site in the broader context of the Rocks but should not focus on the early colonial development of the Rocks, or duplicate existing interpretation narratives, having regard for existing interpretation and media outlined in section 5.4 above. Interpretation should also consider the building naming and narrative of the HMS Sirius and its relationship to the aforementioned maritime history.
24 Kelly, M., 1997. Anchored in a Small Cove: A History and Archaeology of The Rocks, Sydney. 25 John S. Cumpston, 'Bunker, Eber (1761–1836)', Australian Dictionary of Biography, National Centre of Biography, Australian National
University, https://adb.anu.edu.au/biography/bunker-eber-1849/text2143, published first in hardcopy 1966, accessed online 29 April
2021.
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7. INTERPRETATION MEDIA This report forms part of a staged delivery and implementation of heritage interpretation across the site. It is provided to conceptualise the vision for ‘interpretation’ and will inform the detailed design of the interpretation recommended herein. This Plan is provided to satisfy recommendations of the Heritage Impact Statement submitted with the SSDA and anticipates corresponding conditions of consent. Development of heritage interpretation is subject to detailed design and development of detailed interpretation briefs. It is noted that recommended locations for interpretation and media contained within this Plan outline are subject to detailed design and development.
The following section details the proposed interpretation media for the subject site, including nominating appropriate locations for interpretation concerning the key themes and narratives listed above (see Section 6.5 above).
Various forms of interpretation media are recommended including temporary and permanent media, participation in education and community programs and traditional media such as plaques, signage and display as well as digital media. The Plan also makes recommendations with regard to public art. The Plan also considers built form interpretation opportunities, as well as conservation works, which provides a significant opportunity for interpretation of the site’s important architectural and heritage values.
Proposed interpretation devices are outlined below.
7.1. PUBLIC ART A Public Art Strategy has been prepared for the site by UAP studio which establishes a vision for Public Art at the site and nominates themes and locations for future public art.
Whilst the artwork will ultimately be an independent process and should not form part of the interpretation Plan, it is recommended that Public art at the site should provide a contextual response. The public art sits within a significant heritage context with a rich and diverse history reflecting the social and early life of Sydney. The artist should consider the historical context and interpretation themes and narratives identified herein (refer to section 6.5) in the design process and articulate a methodology for grounding the project in the surroundings and architecture. This aligns with the Curatorial Vision as defined in the Public Art Plan, “Finding Utopia and Identity in the Antipodes” as follows:
Finding Utopia and Identity in the Antipodes as a Sirius site rationale acts as a conduit to examine antithetical layers of The Rocks’ history and aspirations, embodying a direct nexus to the original motivations behind the Sirius building itself. The rationale aims to guide artists broadly with the hope of commissioning conceptually rigorous public artwork that draws national and international audiences closer to understanding Australian history and identity, a much-explored topic in contemporary discourse. Here, we unfurl utopia threefold, by investigating:
1) identity as it relates to Indigenous Australians, their cultural practice across time untold and the continuing strive for agency and self-determination;
2) the colonial pursuit and commentary as regards observations of the first European settlers, the eastern Australian shoreline being the place of first contact; and
3) utopia as it relates to Sirius itself and its initial policy objectives to provide equal housing opportunities, including this representation embedded in its brutalist architecture designed by Tao Gofers26
The Public Art Strategy notes the priority art opportunity area as the through site link between Cumberland and Gloucester Street. Further opportunities for consideration include the courtyard areas at the building entries and along Gloucester Walk.
26 UAP 2020, page 18
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The artwork suggested for these areas is identified in the Plan as follows:
▪ Public courtyard would have sculptural elements and/or pavement/hardscape treatments.
▪ Through-site link would have soffit treatments, pavement treatments, lighting (LED, projection, neon etc).
▪ Gloucester Walk would have a small scale sculptural trail along the walk, small to medium park sculpture, ground plane treatments including etching and bespoke tile or brickwork and/or functional artwork.
These locations are illustrated below in Figure 38. These locations similarly would be appropriate for heritage interpretation media as defined below, however, interpretation locations should have regard for the future Public Art and should not conflict with any artwork. Locations for heritage interpretation therefore should be developed subject to the development of the Public Art Strategy.
The strategy also identifies the opportunity to partner with the Museum of Contemporary Art in the delivery of Public Art at the Sirius site.
Figure 38 – The public artwork opportunities as illustrated by UAP.
Source: UAP, 2020
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Figure 39 – The public artwork opportunities as illustrated by UAP – the through site link as viewed from Cumberland Street.
Source: UAP, 2020
Figure 40 – The public artwork opportunities as illustrated by UAP – Gloucester Walk, Northern Park.
Source: UAP, 2020
It is noted that the public artwork will be developed concurrently with the detailed design of heritage interpretation. The SSDA conditions of consent require that the public artwork be developed prior to the issue of CC4 (see project staging in section 8). It is noted that the delivery of the public artwork may have implications for heritage interpretation, specifically, it may impact on the availability of some interpretation locations nominated in this report. Locations for interpretation are therefore subject to change and detailed design.
It is noted that the Public Art strategy is subject to development and will be prepared in consultation with PMNSW’s Design Integrity Unit (formerly Strategic Planning and Heritage), including PMNSW’s public art officer as well as other stakeholders. Noting the opportunities for synergies between public art and heritage interpretation of the Sirius site, heritage interpretation should inform the Public Art Strategy. Opportunities for community consultation should also be considered.
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7.2. BUILT FORMS The highest form of interpretation is the retention and conservation of significant fabric, spaces and relationships and accordingly, significant elements should be retained, exposed, and interpreted where appropriate.
“Every built form is a system of connecting links. Architecture, in this context, is the application of a number of spatial and temporal metaphors projected from bodily based experiences.”27 Interpretation in the built form thus refers to the treatment of the built form (being existing and adaptively reused buildings, new structures and streetscape elements) to interpret the site’s significant values. A built form interpretive strategy is generally a more subtle response which emphasises and complements the more overt interpretive media. Built form interpretation can be used to interpret specific events, uses, former structures and subdivision patterns, as well as cultural uses and activities including those associated with social welfare and religious communities.
7.2.1. Building Envelope
A key aspect of the Brutalist movement is the truthful expression of materials, function and structure and the design of Sirius is quite deliberate.
The following is extracted from Tao Gofers description of the design of the Sirius building.
The building is composed of 12 different vertical elements. The complex comprises four, three, two and one-bedroom units as well as units specially designed for aged pensioners. The units are all accommodated in a section with lifts four walk-up sections and three individually entered units. The building is a concept in modern expression of individual architectural elements with the external materials in colour; texture and toning selected to compliment the general atmosphere of the rocks area.
The structure is in-situ concrete with precast concrete window panels, roof garden balustrades and roof edge panels all finished in a sandstock colour to reflect the traditional materials of the surrounding area. The variable height of the development reflects the irregular roof shapes of the existing building and so does not represent an overpowering mass next to the laced steel framework of the Harbour Bridge. Although Sirius might be considered a high-rise development less than 30% of the units are above four storeys high… Landscaped areas on the podium associated with paving and individual planter boxes are intended to create a pleasant urban atmosphere for the tenants. The extensive use of private outdoor space also helps to foster this atmosphere. While the building has been designed in a contemporary idiom, the stepped structure relates to the Harbour Bridge by interpreting its engineering character (an assortment of numerous separate and dissimilar elements into a cohesive and structured unit) into a domestic environment…
BVN’s design for the redevelopment of Sirius was dependent on the idea of ‘retention with integrity’. The proposed design recognises the philosophies of its architectural styles, working with Sirius’ intellectual intent to accommodate future needs. Through this idea, the key design principles to retain, restore and reimagine were explored. This included the following as key concepts which facilitate the ongoing interpretation of the building’s values:
▪ Maintaining legibility and integrity of the overall building form, protecting its iconic modular design, with modular additions seeking to improve the building’s contribution to the public realm.
▪ Conserving and restoring the Brutalist and Metabolist architectural styles of Sirius, and conserving the modular façade, by restoring existing concrete within the pods, whilst new pod additions will be clad in recycled copper to clearly differentiate from the existing.
▪ Minimising intervention and minimal removal of existing structures and sensitive insertions to allow for the form and essence of Sirius to be restored.
▪ Maintaining the importance of the ‘fifth elevation’ with sustainability in mind, through updated roof terraces that integrate solar collection into the landscape design.
27 Snodgrass and Coyne, pg. 201
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▪ Using the additive principle to add to the form identifiably, ensuring new structures belong to the original building whilst stating themselves as introduced. Introduced materials (chosen with consideration of carbon footprint analysis) reference and complement the existing building, whilst creating new dialogues and a sense of interplay between the old and new.
BVN have designed alterations and additions to the original building with a similar form yet a distinctively different construction material. For instance, the proposed copper expressions have been developed as intentional design elements that reference the modular form of the original building whilst creating a striking contrast to the muted tonality of the concrete façade. The use of differing materials allows for articulation of the original form and shows the varying stages of the development.
See extracts of the subject proposal in Section 2.2 Submitted Development above.
7.2.2. Conservation
The SSD incorporates external and internal alterations and additions to the existing building to accommodate new residential apartments and commercial retail spaces. Urbis prepared a Conservation Works Strategy (CWS) for the Sirius Building. The CWS has been prepared for Construction Certificate (CC1) requirements relating to SSD-10384. Conservation of the building and nominated significant components contributes to the interpretation of the building. Relevant conservation actions include remediation of the façade concrete.
Concrete specialists, Mahaffey Associates have carried out an initial inspection of the structure, which has found:
[…] there is a significant corrosion risk related to the carbonation of concrete. There is also a corrosion risk related to chlorine ingress in parts of the façade.28
Mahaffey Associates have prepared a “Concrete Remedial Options” document which provides a preliminary indication of the scope of conservation works for the concrete structure. Conservation of the significant concrete building facades is required subject to development of a detailed Schedule of Conservation Works and in conjunction with a Structural Engineer, Façade Engineer and other specialists as required. The recommended approach to the conservation of this building is to ensure the continued integrity and legibility of the structure’s monolithic presentation as a series of modulated, stacked forms.
It is understood that the overall intention will be to clean the façade and undertake necessary repairs – the works are not intended to lighten or change the character of the overall façade.
Subject to condition assessment and the CWS it is also proposed to retain and conserve original elements that assist to interpret the original building and its functions, notably the original Sirius building signage (being the name sign), and the Phillip Room signage. Opportunities for further conservation in line with the community feedback will be considered. Community consultation identified that the numbering could be reused as part of public art and/ or interpretation where these were not able to be retained. The opportunity to interpret the original form and style of the new numbering will also be considered.
The retention of the original carpeting was also identified as a preference in the community consultation; however, this is not feasible, but the proposal has sought to mitigate heritage impacts in the reinterpretation of the carpet finish as set out in section 7.2.3 below.
28 Mahaffey Associates, Sirius Building Concrete Remedial Options, 26 November 2020
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Figure 41 – The original building name signage proposed to be conserved.
Source: Urbis, 2020.
Conservation of interiors includes significant fabric and spaces such as the Phillip Room, which includes partial retention and conservation of the timber lining to the ceiling/bulkhead of the Phillip Room. The combination of timber and concrete finishes is a critical aspect of the interior design intent and preservation of these elements assists to interpret the original design aesthetic and intent. Retention and conservation works are subject to the CWS and will have regard for the condition of the fabric and requirements for the management of hazardous materials.
7.2.3. Reinterpretation of the Phillip Room
The following is extracted from Tao Gofers description of the design of the Sirius building interiors.
The Foyer and Phillip room are carpeted and have a Tasmanian Oak ceiling and vertical boarding to the lift core and service. There is a small balcony area originally meant to house a small lending library for tenants, but the HC Estate Management Department decided that although all staffing would be voluntary they did not believe it would be used.
The foyer wall motif of modern interpretation of pre-historic cave art made from Karri timbers add interest and toning of colour and texture to the in-situ bush-hammered concrete walls. The tenants of the seventeen pensioner units have a special communal room (the Heritage Room) with a large balcony on the eighth floor with spectacular views of the Parramatta and Lane Cove rivers, the Harbour Bridge, Kirribilli House and the Opera House. An early 2.5meter by 10-meter computer generated mural of the 1976 view of Sydney city is on the southern wall. Speciality selected photographs of historical landmarks have been hung in the lift lobbies while a series of photographs depicting the construction of the Harbour Bridge decorate the eighth-floor lift lobby where one may compare the photograph with the actual bridge.
With respect to the above, the original and special design features of the Lobby, Library and Phillip Room include the Tasmanian oak ceilings and decorative features, specifically the ‘cave art’ pieces of Karri timbers and the distinctive geometric patterned red carpet. The ‘cave art’ pieces are described by Tao Gofers as follows.
The majority of people inspecting the building during early open days continually questioned what the timber prehistoric cave art was? So, I eventually called them URO’s which was a play on UFOs as people did not appear to recognise them as Unidentified Running Objects
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(The original idea was mine, but the drawing and design were done by Penny Rosier, and the models were made by Penny and me).
Figure 42 – Original carpet in the Phillip Room.
Source: Urbis, 2020.
Figure 43 – ‘Cave art’ or ‘Unidentified Running Objects’ in the Phillip Room.
Source: Urbis, 2020.
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Designed as a communal space within the building, the Phillip Room is perhaps the most significant room/ space within the Sirius building. BVN (in consultation with Urbis) have designed a concept for the Phillip Room which reinterprets the original design intent in a contemporary form and carries key interior design components through into the new design. The proposal replaces the original timber floor with stone or concrete but incorporates 5 new bespoke rugs which will replicate the bold geometric pattern of the original carpet (pictured above) but in a monochrome colour scheme. All of the original Karri artworks are retained, two of which will be located within the Phillip Room, a third is proposed to be located in the lift lobby of the Phillip Room mezzanine and the fourth remaining URO will be located within the ground floor lift lobby where it will be accessible to a broader audience of building occupants and guests. As outlined above, the concept also includes the conservation of the timber-lined ceilings (subject to condition assessment and the CWS).
Lighting for the Phillip Room has not yet been designed (a lighting consultant will be engaged as part of CC3 works) and there is an opportunity to reinterpret the distinctive extruded square light fixtures.
Plans and elevations are provided below which illustrate the design concept.
Figure 44 – Phillip Room Detail Plan showing the proposed rugs and the two retained sculptures, as well as the third sculpture, relocated to the lift lobby (sculptures indicated).
Source: BVN, AR50H-LXX-PR1-Phillip Room Detail Plan (Ground Floor Plan only) (Issue 1).
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Figure 45 – Phillip Room Mezzanine Plan showing the bison sculpture relocated to the mezzanine lift lobby.
Source: BVN, AR50H-LXX-PR1-Phillip Room Detail Plan (Phillip Room Mezzanine Level) (Issue 1).
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Figure 1 Elevation of the east wall of the Phillip Room (Elevation 3) showing the picture window to the through site link and the retained bison sculpture.
Source: BVN, AR50H-LXX-PR3-Phillip Room Elevations (Phillip Room Elevation 3)
Figure 2 Elevation of the west wall of the Phillip Room (Elevation 4) showing the retained double bison sculpture.
Source: BVN, AR50H-LXX-PR3-Phillip Room Elevations (Phillip Room Elevation 4)
It is noted that the proposed site redevelopment includes a public through site link which provides ready access between Cumberland Street and the Gloucester Walk. In acknowledgement of the significance of the Phillip Room, a large picture window is provided which enables views into the Phillip Room from the through site link (see the plan of the Phillip Room and Phillip Room elevation 3 detail above). This provides unprecedented public visual access to the room, which has always been private and accessible only to building occupants. The window will enable views of the distinctive roof form, interior finishes and Karri artworks.
As set out in Section 7.4, Urbis understands that opportunities will be considered to make the Phillip Room available to the public in a variety of ways, through participation in community programs. Opportunities have been identified for the building to be opened as part of Sydney Open and/ or private building tours to special interest groups, e.g., as part of University tours in conjunction with relevant schools such as Architecture and Heritage Conservation. The Millers Point Community Resident Action Group has also requested that the room will be made available to the group twice a year for the purposes of general meetings and programs of public talks.
In addition to providing an important community function for the building occupants, making the room available to the broader community will assist to interpret the original ideals of Sirius in a contemporary form.
7.2.4. Landscaping
It is acknowledged that the landscaping is a significant part of the Sirius buildings aesthetics and functionality. As discussed by Tao Gofers.
The proximity of the development to the Harbour Bridge southern approach and its constant traffic flow has added a “Fifth Elevation” the roof-scape, to the four elevations normally seen by a passer-by. The roofs were designed with this aspect in mind and their landscaping was considered a major design element. On the accessible roof areas, plants have been confined to planter boxes to maximise human space available and to maintain control of the planting. The roof areas not intended for tenant access. These areas (again in planter boxes) have been planted with low maintenance shrubs. These planted roof areas are repeated elsewhere in the complex providing a garden atmosphere for the tenants on the upper levels similar to those areas available to the tenants at ground floor and podium levels.
These gardens in the sky are an integral part of the visual presentation of the complex and should become evident with the growth of the plants. This not been the case as the HC maintenance and caretaker roles have sadly lacked both planning and emphasis.
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Accordingly, the landscaping areas on the terraced roofs in the new development assist to reinterpret the original design intent and aesthetic, however, subsequent areas of landscaping including planter boxes and ‘green spaces’ also provide further opportunities for heritage interpretation. Proposed plantings should have regard for the original plantings and landscape design program, and the overall visual presentation of the complex as an integral part of the design of the whole and is subject to further research. Architect Tao Gofers identified in the community consultation that the original landscaping specified largely native plantings and new site landscaping should also incorporate these. Existing succulents and ferns were also highlighted in the recent community consultation as contributing to the character of the place.
The inclusion of native plantings will also complement opportunities to interpret the Indigenous history and cultural heritage values of the place, through appropriate plant selection. Community consultation highlighted the opportunity to include indigenous/ native plantings and further to include Aboriginal food plants.
Consultation with SOS, MPCRAG and the RAP groups identified opportunities to include a water feature at the site. Such a feature was included in the original design but was disused, and this would also assist to highlight the connection to the harbour and the importance of water to the Gadigal people.
The Heritage Consultant will work with project Landscape Architects, 360 Landscaping during CC4 to incorporate heritage interpretation in site landscaping, while having regard for stakeholder consultation.
See Figure 46 below for an example of indicative landscaping areas which may incorporate heritage interpretation.
Figure 46 – View of Cumberland Street looking north showing green spaces and rooftop gardens.
Source: BVN, 2020
Heritage interpretation must have regard for durability, installation and ongoing maintenance as well as replacement plantings. There is an opportunity to incorporate accompanying signage to complement the landscape interpretation, dependent upon access. Signage may consider a variety of media and should have regard for pedestrian traffic, accessibility, presentation, historical accuracy/ relevance and compatibility with the proposed development. Signage should not be visually or otherwise intrusive. The Heritage consultant and project architect will work with the appointed wayfinding consultant to ensure consistency across all signage.
The sites significant architectural and landscape values should also be acknowledged. Landscape design and furnishings should also ensure the extension of the architectural language of the heritage item is
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integrated with the new components, with the landscape materiality creating a strong language that ties together the building history and materiality.
7.2.5. Lighting
Lighting is an easy way to draw attention to the significant architectural aspects and features of the building. A lighting strategy should be developed which highlights identified significant external and internal building components, materials and finishes. This may include highlighting off-form concrete elements and stacked cubic components of the building, the restored original building name signage (retention is subject to condition assessment) and spot lighting of the Karri timber “cave art” pieces. In particular, spotlighting of the double bison on the western wall of the Phillip Room will ensure that the sculpture can be viewed from the through-site link.
Urbis understands that external lighting is subject to site constraints, notably that the site is in proximity to the Opera House and the Observatory, both highly significant sites, which have limitations on ambient lighting. The lighting strategy will be developed to have regard for proximate development and heritage.
7.3. INTERPRETATION SIGNAGE It is proposed to locate interpretation in a number of zones throughout the building and public spaces. This may include signage and photographic display and/ or built form responses such as pavement/ wall inlays. Interpretation may take a variety of different forms and materiality and may feature text, images, drawings or digitally rendered images. Interpretation may also be complemented by digital media such as the inclusion of QR codes. Signage is particularly useful to interpret the history of the site and it is recommended that interpretation incorporate all themes identified above in Section 6.5.
The final detailed design of the signage must be designed with regard to durability, installation and maintenance while the location of signage should consider accessibility, presentation, historical accuracy/relevance, and compatibility with the proposed development as well as audience analysis. Signage should not be visually or otherwise intrusive. The Heritage consultant and project architect will work with the appointed wayfinding consultant to ensure consistency across all signage. As outlined above, interpretation, and in particular the location of interpretation media must have regard for proposed uses of the spaces and proposed Public Art.
Signage materiality should complement other signage and finishes present in the space and is subject to detailed design. Interpretation works in the public domain must also conform in materiality and in design principles with broader installations in the Rocks. Interpretation should incorporate both images and written content to provide an overview of the historic values of the site.
The location of the signage will be confirmed during detailed design to have regard for other signage including wayfinding as well as the concurrent development of the Public Art strategy and detailed design of retail and other areas. A number of preliminary locations have however been identified where interpretation could be incorporated. Interpretation should focus on the significant themes mentioned above in Section 6.5. Preliminary locations may include the following:
▪ At the main courtyard and building entries to Cumberland street and along Gloucester Walk. Interpretation in these locations should interpret the significant architectural and social values of the place as well as acknowledging the sites Aboriginal cultural heritage values. Interpretation may consider a variety of media including traditional signage however options that allow for interpretation to be integrated into the building/ landscape design are preferred. Interpretation media should be developed in conjunction with architects and landscape designers.
▪ Within the through site link between Gloucester Street and Cumberland Street (subject to concurrent development of the Public Art Strategy). The through-site link was identified in the community consultation as a good location for interpretation and will be subject to further consideration. Interpretation may consider a variety of media including traditional signage however options that allow for interpretation to be integrated into the building/ façade and/ or landscape are preferred, this may include ground inlays or bespoke façade treatments. Interpretation media should be developed in conjunction with architects and landscape designers.
▪ Within the general area of the retail and café spaces to Gloucester Street.
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▪ The main foyers and each of the individual ground floor lobby spaces. Secondary lobby spaces may be considered and could incorporate interpretation of primary and secondary heritage themes. The use of secondary lobbies is contingent upon spatial requirements and likely audiences, noting that some of the secondary lobbies will service only 2-4 apartments. A series of narratives should be developed for each of the lobby spaces, acknowledging the respective interpretation themes and having regard for anticipated audiences. Lobby spaces and common areas should also include a display of historic photographs and building plans. Public consultation identified the opportunity to incorporate photographs of the Sirius building, taken for the SOS Art Exhibition which will be considered. Interpretation may also be complemented by digital media such as the inclusion of QR codes.
▪ Internal communal areas including the Phillip Room (Ground and Mezzanine), library (Level 1), and open space areas including lift lobbies. Communal spaces could also include a display of historic photographs and/or building plans. Interpretation may also be complemented by digital media such as the inclusion of QR codes.
The above locations are identified as they generally refer to the most trafficked and accessible areas with the opportunity for interaction with the broadest audiences including pedestrians and general passers-by. Secondary lobbies may be limited to tenants and visitors to specific building areas and therefore interpretation must be tailored to ensure that appropriate themes and messages are curated across the site. Examples of the views within these areas have been shown below. The precise location of the signage and in fact the number of interpretation zones is subject to detailed design and may be reduced in conjunction with the development of wayfinding, retail and other activation and with regard for the Public Art Strategy.
In addition to the above-nominated signage areas, Condition C19 of the SSDA consent also requires retention and protection of the remnant sandstone wall within the basement of the building. A small plaque should be located adjacent to the wall, interpreting its former function.
Graphic design of signage may take its cues from the present site in terms of materials and finishes. For instance, there is an opportunity to incorporate geometric motifs (notably the Phillip room carpet pattern) in the graphic design of interpretive media and the use of colour waves.
Figure 47 – Site plan noting select opportunities for preferred interpretation zones.
Source: BVN, 2020.
Retail
Phillip Room
Cafe External
Courtyard
Main foyer
Retail External
Courtyard Forecourt seating
area
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Figure 48 – Gloucester Walk looking south and towards through site link.
Source: BVN, 2020.
Figure 49 – Gloucester Walk looking north.
Source: BVN, 2020.
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Figure 50 – View of Cumberland Street looking north.
Source: BVN, 2020
Figure 51 – View of Cumberland Street looking south towards the café/retail area.
Source: BVN, 2020
Some examples of built form and signage precedents are provided below for reference.
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Figure 52 – Example of interpretation signage (Quay Quarter Lanes)
Source: Urbis 2021
Figure 53 – Signage incorporated on stair risers.
Source: Deuce Design
Figure 54 – Example of paving inlays
Source: Deuce Design
Figure 55 – Interpretation at the Corn exchange, Sussex Street, Sydney.
Source: Urbis 2020
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Figure 56 – Signage at Ballast Point Park Figure 57 – Example of a glass plaque at the former Cadbury’s site in the Rocks
7.4. EDUCATION AND COMMUNITY PROGRAMS Taking part in community and education programmes or staging events for the local and wider community can also assist in the interpretation of the place, heightening public awareness and enhancing the understanding of the cultural heritage of the place, often to a broader audience who may not have otherwise visited the site. Education and community programs will be developed to provide public access to the Phillip Room and awareness of the cultural heritage of the place.
There are opportunities to interpret the identified and varied heritage values of the site through participation in specific and targeted open days and events. Community and education programs may involve public lectures on-site, educational programs, festivals and community activities. Events may be run through the local council, PMNSW, special interest or community groups. Examples of well-known festivals or public programs include Sydney Open, Vivid, Biennale, Art and About, Sydney Laneways Festival or the Sydney Architecture Festival.
An education and community programs strategy will be prepared in consultation with PMNSW’s education unit, Sydney Learning Adventures and the Design Integrity Unit, and with PMNSW’s Partnerships Activation and Customer Experience (PACE) team. The strategy will establish a means to provide public access to the Phillip Room, and also consider the following opportunities:
▪ Sydney Open, the bi-annual festival that unlocks the doors of some of Sydney’s most prestigious locations and showcases the best of Sydney’s architecture.
▪ Educational Tours: The opportunity for building tours was identified in the community consultation. SOS and MPRCAG noted that the broader community continues to express interest in these to members of SOS and MPCRAG. Members of SOS and MPCRAG also expressed interest in conducting tours or provide guidance and content. Tours could be coordinated through PMNSW.
▪ Tours for special interest groups (e.g., in conjunction with University Architecture/ Heritage Conservation Schools)
▪ Potential art/ festival events, as part of Sydney festivals such as the Festival of Sydney, the Sydney Film Festival, the Live Lanes Project and Vivid Sydney.
▪ Community consultation also identified the opportunity for a ‘Sirius open day’ subsequent to the completion of the new development. This would be an opportunity for public education with specialised events, tours etc by the relevant indigenous and community stakeholders, including access to the public areas of the Sirius building and Aboriginal cultural heritage programming. Local community businesses, vendors and artists could also be promoted.
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▪ In Community consultation, SOS/ MPCRAG requested that the Phillip Room be made available to the community twice a year including for the purposes of Millers Point Resident Action Group meetings, and for an annual “Sirius lecture”, open to the broader community and intended as a means to discuss and promote contemporary issues of social housing. This latter opportunity was considered a meaningful method of interpreting the ideals of the original Sirius building as a ‘social experiment’.
Consultation on the education and community programs strategy will commence prior to Construction Certificate 4 and the strategy would be in place prior to the occupancy certificate.
7.5. PUBLISHED MEDIA As set out in section 6.4, existing media includes publications celebrating Sirius as an architectural icon and fine example of the Brutalist style. Further, the Save Our Sirius organisation has published Sirius by Ben Peake, John Dunn and Amiera Piscopo documenting the history of the building and the campaign to save the building following the sale. Sources for this publication included interviews, written and other accounts from the architect Tao Gofers, Save our Siris campaigners, and residents of the building among others, as well as incorporating archival collections of plans and photographs. These publications assist to demonstrate the social significance of the Sirius building. A copy of Sirius by Ben Peake, John Dunn and Amiera Piscopo and other relevant publications should be made available in the Lobby, Phillip room, Phillip room mezzanine or other designated common areas.
7.6. TEMPORARY INTERPRETATION Given the period of development of the site, it is proposed that temporary interpretation be undertaken in the short term, specifically through the provision of heritage interpretation on the construction hoardings. Interpretation should consider the history and use of the site through the depiction of historic and contemporary photographs of the Sirius building. Alternatively, hoardings may incorporate interpretation of Aboriginal cultural heritage, including identified maritime narratives.
Figure 58 – Example of hoarding with heritage interpretation of the substation under development
Source: Urbis 2020
Figure 59 – Example of hoarding signage showing architectural detailing to the GPO.
Source: Urbis 2020
7.7. MAINTENANCE OF INTERPRETATION ELEMENTS The upkeep and general maintenance of interpretation elements are critical as it ensures the longevity of the elements and enhances accessibility and visibility for its audiences. Maintenance of the elements should include regular assessment of condition, regular cleaning, removal of any graffiti and replacement should the elements be severely damaged.
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The maintenance of the interpretation should form part of strata/ property management and should form part of general building maintenance programs and budgets for upkeep within the subject site. Note this is inclusive of all Interpretation elements installed within the subject site.
Regarding the bespoke carpets to be installed within the Phillip Room, these carpets are to replicate the original geometric pattern with a more monochrome finish. A digital copy of the pattern is to be stored on-site and the name of the manufacturer is to be recorded to enable the finishes to be replaced with wear and tear.
For long term maintenance and in line with best practice, it is recommended that the interpretation elements be reviewed every 10-15 years to assess suitability and general appearance and condition. Should the elements require an upgrade or be replaced a suitable consultant or designer should be engaged to ensure any new interpretation elements continue to be in line with this Plan and the nominated themes and narratives. Any future review of the interpretation should include community consultation.
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8. IMPLEMENTATION PLAN The Heritage Interpretation Plan is intended to inform and guide collaborative interpretation planning for the site, with stakeholders, consultants and other relevant parties and forms part of a staged delivery of interpretation and development of the site.
Locations, content and media for interpretation as set out in this report are subject to review and detailed design at the appropriate stage of delivery. Interpretation media and content, guided by the principles and objectives set out under this Plan, will be further developed throughout the construction phases as part of the detailed design and delivery of the site in consultation with Sirius Developments and the consultant team including, but not limited to, project architects, BVN, Landscape architects 360 degrees, interior designers, the public art consultant and artist, wayfinding and signage designers, building contractors and specialists etc.
Detailed design of interpretation media is to be developed and implemented in consultation with PMNSW’s Design Integrity Unit. It is anticipated that this will take the form of regular Project Control Group meetings to ensure interpretative elements, particularly in the public domain, are in keeping with PMNSW’s vision and the guidelines promoted by the documents The Rocks Interpretation Strategy, Telling The Rocks’ Stories - Interpreting the Place and the People and The Rocks Heritage Management Plan.
Detailed design of interpretation media will also incorporate further stakeholder and community consultation as required and as appropriate, including with stakeholders outlined in section 6.1 of this report.
Construction of the development is being carried out in stages, in accordance with the below table and the SSDA conditions of consent, with conditions to be satisfied prior to commencing work on the relevant stage.
Table 4 Construction Stages
Stage Description of Works Anticipated Timing
Construction certificate stage 1 Tree removal & pruning, internal
strip out, façade rectification,
demolition and excavation works,
including any associated
retention or strengthening works
to allow demolition
6 months. Approximate CC
submission date, July –
December 2021.
Construction certificate stage 2 New concrete structure and
associated inground services
8 Months. Approximate CC
submission date, October 2021 –
May 2022.
Construction certificate stage 3 Structural steel, façade works,
internal fitout, and building
services
13 months. Approximate CC
submission date, January 2022 –
February 2023.
Construction certificate stage 4 External works, landscaping
works and public domain
(including external lighting and
security).
6 Months. Approximate CC
submission date, August 2022 –
February 2023.
Detailed design of respective interpretation media is required to be developed and implemented at the appropriate CC stage. Anticipated delivery is set out in the table below. The Heritage Consultant will develop content and work with the consultant team to develop a series of interpretation briefs to inform the delivery of the Interpretation Plan.
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Table 5 Program for detailed design and delivery of Interpretation Media
Works and Interpretation
Media
Stage Consultant Team
Temporary Interpretation Media
(Construction Hoardings)
Construction certificate stage 1 Sirius Developments Pty Ltd, The
Heritage Consultant, BVN, and
specialist contractors as required
Refining content/ additional
historical research for
interpretation media
Construction certificate stage 1-3 The Heritage Consultant
Public Art Construction certificate stage 3/ 4 This item is to be developed by
UAP and the artist, however,
Urbis will liaise with UAP/ the
artist as and where required
Conservation works in
accordance with the SCW
including:
▪ Façade remediation
▪ Conservation of Building
name signage
▪ Conservation of the Phillip
Room and significant
components
Construction certificate stage 3 Sirius Developments Pty Ltd, The
Heritage Consultant, Mahaffey
Associates, BVN, Structural
Engineer, and specialist
contractors as required
Detailed design and
implementation of the Phillip
Room interiors
Construction certificate stage 3 Sirius Developments Pty Ltd,
BVN, Heritage Consultant,
Lighting Specialist (to be
appointed)
Detailed Design of lobbies
including relocation of bison
sculptures
Construction certificate stage 3 Sirius Developments Pty Ltd,
Interior designer, Heritage
Consultant, specialists/
contractors as required
Detailed design of site
landscaping and associated
interpretation
Construction certificate stage 4 Sirius Developments Pty Ltd, 360
Degrees Landscaping, Heritage
Consultant
Detailed design/ implementation
of Lighting Strategy
Construction certificate stage 4 Sirius Developments Pty Ltd,
Lighting consultant (yet to be
appointed), BVN, 360 Degrees
Landscaping, Heritage
Consultant
Content development and
detailed design of interpretation
signage media
Construction certificate stage 3/ 4 Sirius Developments Pty Ltd, The
Heritage Consultant, BVN, 360
Degrees Landscaping, Interior
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Works and Interpretation
Media
Stage Consultant Team
designer, Signage and
Wayfinding Consultant (yet to be
appointed), signage
manufacturer, graphic designers,
and other specialists as required
Collating published media for
inclusion in public areas
Construction certificate stage 3 Sirius Developments Pty Ltd, The
Heritage Consultant, BVN,
Interior Designer
The Heritage Consultant will continue to work with Sirius Developments Pty Ltd to deliver the heritage interpretation throughout the relevant stages and will identify the appropriate interpretation opportunities accordingly with each stage of works. The Heritage Consultant will ensure works are carried out in accordance with the general intent of this Interpretation Plan while acknowledging that the Plan is subject to detailed design and further that circumstances may evolve that influence the Plan, for example, the concurrent delivery of the Public Art Strategy. Locations for interpretation are therefore subject to change and detailed design. Urbis will provide appropriate endorsement in accordance with this report.
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9. CONCLUSION This report follows a State Significant Development Application (SSDA) and has been prepared to satisfy Conditions of Consent and the directions of the previous Heritage Impact Statement. (refer to section 1.1).
Interpretation forms a critical part of the project, with the aim that interpretation is embedded into the redevelopment rather than being added on at the end of the process. Various forms of interpretation media have been recommended herein including temporary and permanent media, participation in education and community programs and traditional media such as signage. The Plan also makes recommendations with regard to public art. The proposed works to the site have also incorporated conservation of significant fabric and spaces which assist to interpret the original building, and the Plan makes further recommendations to reinterpret or reimagine original aspects of the design program.
An Implementation Plan for delivery of interpretation is provided in section 8. Interpretation media is proposed to be developed and implemented throughout the construction phases with locations, content and media for interpretation being subject to review and detailed design at the appropriate stage of delivery. Interpretation media and content, guided by the principles and objectives set out under this Plan, will be further developed in consultation with Sirius Developments and the consultant team including, but not limited to, project architects BVN, Landscape architects 360-degree Landscaping, interior designers, the public art consultant and artist, wayfinding and signage designers, building contractors and other specialists as required.
Interpretation will also be developed in consultation with PMNSW and stakeholder/ community groups as outlined above.
The Heritage Consultant will develop content and work with the consultant team to develop a series of interpretation briefs to inform delivery of the Interpretation Plan.
The Heritage Consultant will continue to work with Sirius Developments Pty Ltd to deliver the heritage interpretation and will ensure works are carried out in accordance with the general intent of this Interpretation Plan while acknowledging that the Plan is subject to detailed design and further that circumstances may evolve that influence the Plan.
General principles for the interpretation moving forward, include:
▪ Interpretation should continue to be integrated into the overall planning, conservation and management of the site in conjunction with detailed design development.
▪ Interpretations should continue to be integrated into the building design in collaboration with project architects and designers.
▪ Interpretation should continue to be developed in consultation with relevant stakeholders.
▪ Interpretation should be undertaken in accordance with the relevant heritage guidelines and best practice “ingredients” for interpretation and consent requirements.
▪ Proposed interpretation should have regard for the extant interpretation and the broader site context within the Rocks.
▪ Interpretation should have regard for the audience and building users.
▪ Interpretation should not be visually or otherwise intrusive and should permit the audience to discover and interact or engage with the interpretation over time and on various levels.
▪ Interpretation should be contemporary and allow for technological innovation, including digital media.
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10. BIBLIOGRAPHY AND REFERENCES 10.1. BIBLIOGRAPHY Department of Lands 2018, Spatial Information Exchange, Department of Lands, Sydney, available at: <http://imagery.maps.nsw.gov.au/>.
Google Maps 2018, Aerial view of the subject site, available at: <http://maps.google.com.au/maps?hl=en&tab=wl>.
10.2. REFERENCES Ann Arnold, Australian Broadcasting Network, 2016. The Battle Over Sydney’s Heart”, https://www.abc.net.au/radionational/programs/backgroundbriefing/7908292?searchTerm=the%20sirius%20building
Apperly, R., Irving, R. and Reynolds, P. (eds) 2002, A Pictorial Guide to Identifying Australian Architecture: Styles and Terms from 1788 to the Present, Angus and Robertson, Pymble.
Australia ICOMOS 1999, The Burra Charter: 2013 The Australia ICOMOS Charter for Places of Cultural Significance, Australia ICOMOS, Burwood.
Bigge, 1822. Cited in Kelly, M., 1997.
Burgmann & Burgmann, 2011. Dictionary of Sydney, Green Bans Movement.
Docomomo, 2014. Sirius Apartments
Dunn, J. 2014-2016. Sirius, https://millerspointcommunity.com.au/the-place/sirius/
Heritage Office and Department of Urban Affairs & Planning 1996, NSW Heritage Manual, Heritage Office and Department of Urban Affairs & Planning (NSW), Sydney.
Heritage Office 2001, Assessing Heritage Significance, Heritage Office, Parramatta.
Housing Commission of NSW, 1964. “Rocks” Area Redevelopment Scheme: Report on Survey of occupants of dwelling sin area proposed for redevelopment together with a schedule setting out details relating to the family groups residing in the area as of 30 June 1964.
Hill, J. 2017. Heritage Impact Statement, Pg. 12.
Karskens, G. 2008. Dictionary of Sydney – The Rocks.
Kelly, M., 1997. Anchored in a Small Cove: A History and Archaeology of The Rocks, Sydney.
Selfe, N. ‘A Century of Sydney Cove and the Genesis of Circular Quay’, AHS Journal and Proceedings, Pt V 1902, p. 57
Snodgrass, Adrian and Coyne, Richard, 2006: Interpretation in Architecture: Design as a Way of Thinking
[Note: Some government departments have changed their names over time and the above publications state the name at the time of publication.]
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11. DISCLAIMER This report is dated 6 October 2021 and incorporates information and events up to that date only and excludes any information arising, or event occurring, after that date which may affect the validity of Urbis Pty Ltd (Urbis) opinion in this report. Urbis prepared this report on the instructions, and for the benefit only, of SIRIUS DEVELOPMENTS PTY LTD (Instructing Party) for the purpose of Heritage Interpretation (Purpose) and not for any other purpose or use. To the extent permitted by applicable law, Urbis expressly disclaims all liability, whether direct or indirect, to the Instructing Party which relies or purports to rely on this report for any purpose other than the Purpose, and to any other person which relies or purports to rely on this report for any purpose whatsoever (including the Purpose).
In preparing this report, Urbis was required to make judgements which may be affected by unforeseen future events, the likelihood and effects of which are not capable of precise assessment.
All surveys, forecasts, projections and recommendations contained in or associated with this report are made in good faith and on the basis of information supplied to Urbis at the date of this report, and upon which Urbis relied. Achievement of the projections and budgets set out in this report will depend, among other things, on the actions of others over which Urbis has no control.
In preparing this report, Urbis may rely on or refer to documents in a language other than English, which Urbis may arrange to be translated. Urbis is not responsible for the accuracy or completeness of such translations and disclaims any liability for any statement or opinion made in this report being inaccurate or incomplete arising from such translations.
Whilst Urbis has made all reasonable inquiries it believes necessary in preparing this report, it is not responsible for determining the completeness or accuracy of information provided to it. Urbis (including its officers and personnel) is not liable for any errors or omissions, including in information provided by the Instructing Party or another person or upon which Urbis relies, provided that such errors or omissions are not made by Urbis recklessly or in bad faith.
This report has been prepared with due care and diligence by Urbis and the statements and opinions given by Urbis in this report are given in good faith and in the reasonable belief that they are correct and not misleading, subject to the limitations above.
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APPENDIX A APPENDIX A – WORKSHOP PRE-READING PACKAGE
Consultation Workshops
July-August 2021
SIRIUS HERITAGE INTERPRETATION STRATEGY
This report was prepared by Urbis Pty Ltd on behalf of Sirius Development Pty Ltd
Urbis acknowledges the traditional custodians of
the Lands on which this project is located,
the Gadigal people of the Eora Nation. We pay
our respects to Elders past, present and
emerging.
Urbis staff responsible for this report were:
Director Dianne Knott
Associate Director Fiona Binns
Consultant Hayley Kardash
Sirius Heritage Interpretation Strategy Workshop –
July 2021
TABLE OF CONTENTS
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Sirius Heritage Interpretation Strategy Workshop – July 2021
Introduction 4
Principles for heritage interpretation 6
Site audiences and users 7
Heritage interpretation themes 8
• The social history of Sirius 10
• Indigenous history 11
• Architectural and landscape heritage significance 12
• Colonial, convict and maritime history of The Rocks 13
Interpretation methods and tools 14
• Public art 15
• Built form 16
• Interpretative signage 16
• Education and community programs 17
• Published media 17
• Temporary interpretation 18
• Maintenance 18
• Digital media 18
Workshop agenda 19
Questions for workshop discussion 20
INTRODUCTION
A Heritage Interpretation Strategy (the Strategy) is being prepared for the Sirius site at 2-60
Cumberland Street, The Rocks.
The Strategy is being prepared in consultation with City of Sydney Council, Placemaking
NSW, members of the local and Aboriginal communities and is a Condition of Consent under
the State Significant Development Application (SSDA) approval for the site.
During August 2021, consultation workshops are being held with community groups and
Registered Aboriginal Parties to inform the finalisation of the Strategy.
The Strategy builds on the themes and narratives established in a Heritage Impact Statement
(the Statement) prepared during the SSDA phase.
The Strategy identifies specific interpretation locations, methods, tools and opportunities to
communicate the site’s important cultural and social heritage to site users and the general
public.
The final heritage interpretation strategies will also be informed by a public art strategy
prepared by UAP and included in the SSDA document package.
Specific objectives of the Strategy are to:
• Detail methods and elements to retain and interpret the site’s heritage to be included in the
detailed design of the new additions and landscaping
• Identify when the various interpretation elements will be delivered
• Address how regular public access can be provided to the Phillip Room.
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Sirius Heritage Interpretation Strategy Workshop – July 2021
Image: Doves Plan of Sydney, 1880.Source: City of Sydney Archives
PRINCIPLES FOR HERITAGE INTERPRETATION
The Strategy includes a number of principles to guide heritage interpretation.
Please consider these when thinking through the type of type of interpretation
methods and tools that could be used – are there any other principles that should be
considered in your view?
Principles outlined in the Strategy include:
• Interpretation should continue to be integrated into the overall planning,
conservation and management of the site in conjunction with detailed design
development.
• Interpretation should continue to be integrated into the building design in
collaboration with project architects and designers.
• Interpretation should be undertaken in accordance with the relevant heritage
guidelines and best practice “ingredients” for interpretation and consent
requirements.
• Interpretation should have regard for the extant interpretation and the broader site
context within the Rocks.
• Interpretation should have regard for the audience and building users.
• Interpretation should not be visually or otherwise intrusive and should permit the
audience to discover and interact or engage with the interpretation over time and
on various levels.
• Interpretation should be contemporary and allow for technological innovation,
including digital media.
Image: Original designs of the Sirius building. Source: https://millerspointcommunity.com.au/the-place/sirius/
SITE AUDIENCES AND USERS
In considering the type of interpretation methods and tools that could be
used, please think broadly about the site’s audiences and users, and what
might assist their understanding of the cultural and social history of Sirius.
These audiences include:
• First Nations community members.
• Former and current stakeholders (and families) such as former
residents, architects, planners, construction workers, social groups, etc.
• Future residents, guests, and family of residents.
• Building staff and contractors.
• Special interest groups, historians, architecture enthusiasts.
• Members of the public, general passers-by, locals, staff and occupants/
users of surrounding businesses.
• Tourists and visitors to The Rocks, Circular Quay and more broadly
Sydney.
Image: BLF members march in favour of the Green Bans through the streets of Sydney
Source: Libertarian Socialist Wiki
HERITAGE INTERPRETATION THEMES
A series of heritage interpretation themes are included in the
Strategy and will guide the development of the interpretation methods and tools. A brief overview of each theme is included below, to help aid discussion in the workshops.
Image: Interpretative signage, Quay Quarter Lanes
Image: Signage incorporated on stair risers.
Image: Interpretive signage, Trial BaySource: The Interpretive Design Company
Image: Photo of north Gloucester Street during The Rocks Resumption
photographic survey, 1901.
Image: Rear of terraces on Gloucester and
Cumberland Streets, The Rocks
Resumption Photographic Survey, 1901.
Image: Signage incorporated on stair risers. Source: Millers Point Community
THE SOCIAL HISTORY OF SIRIUS This is considered in the Strategy as one of the most prominent
themes for interpretation.
The site has strong social-historical associations with the Green
Bans movement, significance as a purpose-built accessible social
housing development, and its connection to the more recent Save
Our Sirius campaign.
Sirius’ initial approval marked an historic compromise between the
NSW Government and Green Bans activists who were fighting to
keep working-class people in The Rocks. The longstanding
residents of the Sirius building, as stakeholders and key audience
members, are crucial to the interpretation of its social significance.
Their individual stories and experiences should be incorporated or
recorded as a part of the interpretation process. Noting that the
building is no longer used for public housing, the social values
should be sensitively incorporated at the site. For detail, please
refer to section 6.5.1 (page 39) of the Strategy.
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Sirius Heritage Interpretation Strategy Workshop – July 2021
INDIGENOUS HISTORY
This is considered in the Strategy as one of the most prominent
themes for interpretation.
The Rocks is a significant site of first contact and an important
location for Aboriginal cultural expression and practice past and
present.
In acknowledgement that the Aboriginal community themselves are in
the best position to identify levels of cultural significance, members of
the community provided input into the assessment of cultural heritage
significance and values during the SSDA – a summary of that
feedback is included in the Strategy. For detail, please refer to section
6.5.2 (page 40) of the Strategy.
ARCHITECTURAL AND LANDSCAPE HERITAGE AND SIGNIFICANCE This is considered in the Strategy as one of the most prominent
themes for interpretation.
The Sirius building is widely recognised as an exceptional
expression of Brutalist Architecture. Architect Tao Gofers
pioneered the new modular building style in concrete with
specific application to social housing in Australia.
Sirius is also significant as an early example of rooftop
landscape gardening in NSW and Australia. The rooftop was
considered by Gofers to be a ‘fifth elevation’, designed to be
viewed by the traffic flow of the Bradfield Highway with
landscaping a key design element. For detail, please refer to
section 6.5.3 (page 40) of the Strategy.
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Sirius Heritage Interpretation Strategy Workshop – July 2021
COLONIAL, CONVICT AND MARITIME HISTORY OF THE ROCKS
This is considered in the Strategy as a contextual theme
for interpretation.
The Rocks has a strong historical association with early
European settlement in Australia and subsequent maritime
events of the early Sydney colony.
Noting that colonial history is well-represented in the Rocks
Museum, the Strategy recommends only some contextual
interpretation of the colonial bonded store and shipping
office only as part of the broader social context of The
Rocks. For detail, please refer to section 6.5.4 (page 41) of
the Strategy.
Artist impression: The public artwork opportunities as illustrated by UAP –the through site link as viewed from Cumberland Street.
Artist impression: The public artwork opportunities as illustrated by UAP –Gloucester Walk, Northern Park.
The Strategy recommends a number of options for interpretation tools
and media. These include, but are not limited to, built form, public art,
temporary and permanent artworks, participant education and
community programs, and digital media.
In discussing options, please reflect on the relevance to audiences and
the place themes outlined above.
PUBLIC ARTTo establish a vision for Public Art at the site, UAP Studio has prepared a
public strategy. Artwork is currently being considered for locations, such
as public courtyard, through-site link, and Gloucester Walk.
Public art could take the form of sculptural elements, pavement design,
projection lighting, sculptural trail along Gloucester walk, etching, tiling,
and functional artwork.
Interpretation methods
and tools –overview
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Sirius Heritage Interpretation Strategy Workshop – July 2021
Image: Example of paving inlaysImage: Interpretation at the Corn exchange, Sussex Street, Sydney
Image: Signage at Ballast Point Park Image: Example of a glass plaque at the former Cadbury’s site in the Rocks
The most effective form of interpretation is the retention and protection of
the fabric and built space – creating links to the heritage and culture of
the site. The Strategy outlines significant built form elements – such as
the facade, Phillip Room, landscaping in and around the site and lighting
– should be conserved and interpreted.
Built form interpretation would include building envelope, conservation,
interpretation of the Phillip Room, landscaping and lighting.
INTERPRETATIVE SIGNAGE
Interpretive signage helps to create a narrative and generate a positive
user experience for people using the site. Interpretation signage may
include way-finding signage, photographs or built form responses such
as pavement, wall inlays and may feature text, images, drawings or
digitally rendered images.
Interpretation may also be complemented by digital media such as the
inclusion of QR codes which lead to online media such as information
sites and/or interviews.
Built form
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Sirius Heritage Interpretation Strategy Workshop – July 2021
TEMPORARY INTERPRETATION
It is proposed that temporary interpretation should be undertaken in the
short term by establishing heritage interpretation on the construction
hoardings.
Interpretation should consider the history and use of the site through
the depiction of historical and contemporary photographs. Temporary
interpretation may also include site activations and events.
MAINTENANCE
Maintenance and upkeep is critical to the longevity of the site’s heritage
interpretation. Upkeep – such as regular cleaning, removal of any
graffiti and replacement of damaged elements – should form part of the
building’s maintenance program.
DIGITAL MEDIA
A building site website should be considered in the interpretation plan.
It’s also noted that QR codes should be installed in significant locations,
on signage and sculptures, with links to online interpretation, artwork,
interviews and information that refers to that particular element.
Image: Example of hoarding with heritage interpretation of the substation under development
Image: Example of hoarding signage showing architectural detailing to the GPO
28/07/2021
Sirius Heritage Interpretation Strategy Workshop – July 2021
Image: Example of an information QR code
Community and education programs may involve public lectures on-site,
educational programs, festivals and community activities.
The Strategy also outlines a number of examples of well-known public
events including Sydney Open, Vivid, Biennale, Art and About, Sydney
Laneways Festival or the Sydney Architecture Festival.
PUBLISHED MEDIA
Published media assists in demonstrating the social significance of the
Sirius building. The Strategy notes that a copy of relevant publications
should be made available in the Lobby, Phillip room, Phillip room
mezzanine or other designated common areas.
Education and community
programs
28/07/2021
Sirius Heritage Interpretation Strategy Workshop – July 2021
Image: Oak Hill Aboriginal Interpretive Signage Design Source: Pinterest
Image: Park Signage -Northumberlandia Zinc Etched
Interpretation Pane
Source: Pinterest
Image: Samford Village Source: Lump Sculpture Studio
Image: Interpretation signage for Bunker’s Hill located on Gloucester
Walk, adjacent to the Sirius building.
Source: Urbis, 2021
WORKSHOPAGENDA
28/07/2021
Sirius Heritage Interpretation Strategy Workshop – July 2021
1. Welcome, Acknowledgement of Country, introductions and workshop overview – 10 mins
2. Heritage interpretation themes and narrative – 40 mins
• The Social History of Sirius
• Colonial, Convict and Maritime History of the Rocks
• Indigenous History
• Architectural and Landscaping Significance: Sirius as a Brutalist Icon.
3. Interpretation strategies – 60 mins
• Public Art
• Built form
• Building Envelope
• Conservation
• Reinterpretation of the Phillip Room
• Landscaping
• Lighting
• Interpretation Signage
• Education and Community Programs
• Published Media
• Temporary Interpretation.
4. Concluding comments, next steps and close – 10 mins
QUESTIONS FOR WORKSHOP DISCUSSION
1. Reflecting on the heritage interpretation themes and narratives included in the Heritage Interpretation Strategy:
a) What are your general observations?
b) Are there any themes or narratives that are missing / should be added in your view? And why do you say that?
c) Are there any themes or narratives that require more research or explanation? And why do you say that?
2. Reflecting on the heritage interpretation methods and tools outlined in the Heritage Interpretation Strategy:
a) What are your general observations?
b) Are there any methods or tools that are missing / should be added in your view? And why do you say that?
28/07/2021
Sirius Heritage Interpretation Strategy Workshop – July 2021
QUESTIONS CONT.3. Communicating, raising awareness and generating understanding for diverse user groups:
a) How can these methods and tools best communicate the heritage of the site in a culturally appropriate and respectful way?
b) How can these methods and tools best ensure that the public understands the heritage themes and narratives associated with Si rius?
c) What issues or sensitivities need to be considered? And how could these best be addressed?
d) How can we best balance the principle of ensuring that interpretive strategies are not visually or otherwise intrusive but ce lebrate and enhance Sirius’ heritage and
enable public education.
e) What are some ways that the methods and tools could involve, communicate with and raise awareness amongst diverse user groups:
I. Aboriginal communities
II. Young people
III. Former residents, architects, planners, construction workers, community organisations, social groups, etc.
IV. Special interest groups, historians, architecture enthusiasts
V. Future residents, guests and family of residents, building staff and contractors
VI. Members of the public, existing local communities, domestic and international visitors.
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Sirius Heritage Interpretation Strategy Workshop – July 2021
4. Delivering and maintaining heritage interpretation strategies:
a) What needs to be considered in the maintenance of these heritage interpretation strategies?
b) Discuss key considerations for maintaining heritage interpretation strategies.
c) How should regular public access to the Phillip Room be managed?
URBIS
P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ STAKEHOLDER CORRESPONDENCE 91
Attached includes stakeholder correspondence with PMNSW and City of Sydney Council regarding review o the Interpretation Plan
APPENDIX B STAKEHOLDER CORRESPONDENCE
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Skirtings – Whilst the existing floor finishes are to be removed and replaced, the skirtings which are an original feature of the room, should be retained and conserved. Any new flooring should allow for the retention of the existing timber skirtings. Bison artwork – whereas there is mention of two of the artworks being relocated there is no specification about the careful removal, reinstallation and conservation of the artwork. 6.6.2. ‐ The Original Building Name Sign – This should be retained and conserved, as mentioned in the Interpretation Strategy but not in the CWS, with any required replacement matching the original. If found in poor condition it should be retained on site as part of the heritage interpretation, and not relocated off site where it will lose its direct association and significance with the site. The retention and conservation of the original “Phillip Rooms” wall‐mounted lettering signage, should also be addressed in the CWS. Heritage Interpretation Strategy prepared by URBIS dated 15 June 2021 The strategy is supported in principle, and as indicated in the report, heritage interpretation of the site needs to integrated into the overall planning, conservation and management of the site in conjunction with detailed design development. The nominated heritage consultant will play a crucial role in developing and implementing the interpretation strategy, and the general principles for the “interpretation moving forward”, outlined on page 63 of the strategy, need to be actively pursued. If you have any questions or need any clarification, please let me know. Kind regards, Marie Burge Specialist Planner Planning Assessments
____
Telephone: +612 9288 5850 cityofsydney.nsw.gov.au
The City of Sydney acknowledges the Gadigal of the Eora nation as the Traditional Custodians of our local area.
From: Anthony Kilias <[email protected]> Sent: Friday, 16 July 2021 8:55 AM To: Marie Burge <[email protected]> Subject: RE: SSD‐10384 ‐ Sirius Building, The Rocks ‐ Heritage documentation Hi Marie, Hope this finds you well. Would I be able to follow up to see if there’s any feedback on the heritage documentation we sent through last week for Sirius?
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We are beginning to engage more formally with PMNSW on the Heritage Interpretation Plan, and it would be ideal to be able to capture the City’s feedback at the same time. Please feel free to call me if there are any concerns. Many thanks, and looking forward to hearing from you. Anthony
ANTHONY KILIAS SENIOR CONSULTANT
D +61 2 8233 7643 T +61 2 8233 9900 E [email protected]
ANGEL PLACE, LEVEL 8, 123 PITT STREET SYDNEY, NSW 2000, AUSTRALIA
Urbis recognises the traditional owners of the land on which we work. Learn more about our Reconciliation Action Plan.
This email and any files transmitted are for the intended recipient's use only. It contains information which may be confidential and/or protected by copyright. Any personal information in this email must be handled in accordance with the Privacy Act 1988 (Cth). If you have received this email by mistake, please notify the sender and permanently delete the email. Any confidentiality or copyright is not waived or lost because this email has been sent to you by mistake.
From: Marie Burge <[email protected]> Sent: Thursday, 8 July 2021 9:48 AM To: Anthony Kilias <[email protected]> Cc: John Green <[email protected]>; Stephen Davies <[email protected]>; Allie Barnier <[email protected]>; Fiona Binns <[email protected]>; Aldo Donato <[email protected]>; Cecelia Heazlewood <[email protected]> Subject: RE: SSD‐10384 ‐ Sirius Building, The Rocks ‐ Heritage documentation Hi Anthony, Thanks for sending this through. I have forwarded it on to our Heritage Specialist for review and will get back to you with comments. Kind regards, Marie Burge Specialist Planner Planning Assessments
____
Telephone: +612 9288 5850 cityofsydney.nsw.gov.au
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The City of Sydney acknowledges the Gadigal of the Eora nation as the Traditional Custodians of our local area.
From: Anthony Kilias <[email protected]> Sent: Tuesday, 6 July 2021 11:35 AM To: Marie Burge <[email protected]> Cc: John Green <[email protected]>; Stephen Davies <[email protected]>; Allie Barnier <[email protected]>; Fiona Binns <[email protected]>; Aldo Donato <[email protected]>; Cecelia Heazlewood <[email protected]> Subject: SSD‐10384 ‐ Sirius Building, The Rocks ‐ Heritage documentation Dear Marie, Following the granting of consent for SSD-10384 relating to the Sirius Building, find attached the following documents for your review:
Heritage Interpretation Plan (condition B11) Conservation Works Strategy (condition B12)
Note that the condition relating to heritage interpretation (B11) requires that the Interpretation Plan be developed in consultation with the City, and as such we have provided the document in draft format for your perusal and comment. To this end, we would be grateful if we could receive written feedback from Council within the next 2 weeks in order to achieve construction certificate timeframes. Please feel free to reach out if you have any questions in the meantime. Many thanks, Anthony
ANTHONY KILIAS SENIOR CONSULTANT
D +61 2 8233 7643 T +61 2 8233 9900 E [email protected]
ANGEL PLACE, LEVEL 8, 123 PITT STREET SYDNEY, NSW 2000, AUSTRALIA
Urbis recognises the traditional owners of the land on which we work. Learn more about our Reconciliation Action Plan.
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Meggan Walker
ANGEL PLACE, LEVEL 8, 123 PITT STREET SYDNEY, NSW 2000, AUSTRALIA T +61 2 8233 9900
Urbis recognises the traditional owners of the land on which we work. Learn more about our Reconciliation Action Plan.
This email and any files transmitted are for the intended recipient's use only. It contains information which may be confidential and/or protected by copyright. Any personal information in this email must be handled in accordance with the Privacy Act 1988 (Cth). If you have received this email by mistake, please notify the sender and permanently delete the email. Any confidentiality or copyright is not waived or lost because this email has been sent to you by mistake.
From: Wayne Johnson <[email protected]> Sent: Thursday, 26 August 2021 2:30 PM To: Fiona Binns <[email protected]> Cc: John Green <[email protected]>; Cecelia Heazlewood <[email protected]>; Dianne Knott <[email protected]> Subject: RE: Sirius Building Heritage Interpretation Plan Hi Fiona, Thanks for forwarding the revised Interpretation Plan, which adequately addresses PMNSW’s comments and suggestions. Looking forward to the further development and implementation of the themes on site. Many thanks, Wayne
From: Fiona Binns <[email protected]> Sent: Thursday, 26 August 2021 2:12 PM To: Wayne Johnson <[email protected]> Cc: John Green <[email protected]>; Cecelia Heazlewood <[email protected]>; Dianne Knott <[email protected]> Subject: FW: Sirius Building Heritage Interpretation Plan
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Hi Wayne, Thank you for your time on the phone just now. Please see attached the updated report, submitted to DPIE. DPIE have requested that we seek confirmation from PMNSW that the accounting of the engagement and feedback given in the report is correct and that you have no additional comments. I refer you to section 6.1 and specifically section 6.1.1 where we have summarised your feedback provided by email and in the subsequent discussion. If you could reply in writing (email will suffice), that you have reviewed the update and you are satisfied with the summary, that correspondence will be appended to a final issue of the report. Your earliest attention to this item would be greatly appreciated, as the Interpretation Strategy is the final item to close out the CC. Feel free to give me a call with any queries. Thanks, and regards,
FIONA BINNS ASSOCIATE DIRECTOR
D +61 2 8233 7610 E [email protected]
ANGEL PLACE, LEVEL 8, 123 PITT STREET SYDNEY, NSW 2000, AUSTRALIA T +61 2 8233 9900
Urbis recognises the traditional owners of the land on which we work. Learn more about our Reconciliation Action Plan.
This email and any files transmitted are for the intended recipient's use only. It contains information which may be confidential and/or protected by copyright. Any personal information in this email must be handled in accordance with the Privacy Act 1988 (Cth). If you have received this email by mistake, please notify the sender and permanently delete the email. Any confidentiality or copyright is not waived or lost because this email has been sent to you by mistake.