PERTH WATERFRONT Public ART STRATEgy April 2012

Contents1

PART 1 - MRA STRATEgy1.1 PUBLIC ART 3

1.2 STRATEGY OVERVIEW 5

1.3 MRA’S PUBLIC ART PROGRAM 6

1.4 LOCATING PUBLIC ART 7

1.5 ARTWORK COMMISSIONING PROCESS 9

1.6 ARTWORK APPROVAL PROCESS 13

1.7 MANAGEMENT OF PUBLIC ART 14

PART 2 - THE PROJECT AREA

2.1 PERTH WATERFRONT PROJECT AREA 17

2.2 HISTORICAL CONTEXT 18

2.3 WATERFRONT PRECINCTS 19

2.4 EXISTING PUBLIC ART 20

2.5 PUBLIC ART THEMES 20

2.6 PUBLIC ART OPPORTUNITIES 22

Public Art Strategy

CONTENTS

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1.1 Public ARTWhat is Public Art?

Public art is an artistic work that is created and located for public accessibility. The defining principle of public art is that the work has been designed by an artist for enhancement of a particular public realm, meaning:

• It is an artwork. It is not merely artistic style detailing or architectural design and is not designed for a commercial purpose, such as advertising signs or branding.

• It is designed by a professional artist - a person who earns the majority of their income from creating original artworks, who has a track record of exhibiting their artworks, and who usually has a university or technical college qualification in a relevant art form.

• The artist has produced the artwork and/or supervised its fabrication and installation.

• It is accessible or visible from the public realm - the public realm is not only public land but is defined as the sites and settings for public life, including public places, streets and building facades.

Public art can be of any art form - from traditional mediums such as sculpture, to contemporary works or functional objects, to multimedia installations. It may be permanent or temporary artwork or ephemeral art.

Types of Public Art

Public art has a broad scope with many possibilities for the form, function, materials and degree of permanency of the artwork. It can include any one or more of the following forms:

Stand Alone: freestanding artworks that are not part of a building or other structure, such as sculptures and objects.

Applied: artwork that is applied to a surface, such as artworks applied to building facades, or murals on walls.

Integrated: artwork that is successfully integrated into the design and function of a place, through the collaboration of an artist with the design team.

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PART 1 - MRA STRATEgy

Artwork: 1. Public art Tokyo 2. urban art by banksy 3. Light Year by Peter Fink & Anne bean

Industrial: artwork that serves an operational function within the built environment, such as seating, bike racks, paving, fencing or lighting that has been designed by an artist.

Heritage / Memorial: artwork designed to recognise the history or cultural heritage of a place, or to commemorate a person or past event.

Interactive: artwork that the public can interact with, beyond merely touching the work, such as works incorporating sound, lighting or movement that respond to public or environmental interaction.

Multimedia: artwork produced or displayed through the use of technical media such as digital imagery, film, video, photography or projection art.

Temporary: artwork designed to be installed for a short time frame (e.g. 1 week to 1 year), such as artwork in a seasonal programme or art made with materials that are intended to only last for a limited time.

Ephemeral: art that is transitory in nature, usually designed as an experience or event and lasting for only a short period, such as performance art, music, dance or exhibitions.

Indigenous Art: cultural, heritage or contemporary artworks that are specifically commissioned to be created by indigenous artists and/or to have involvement of local indigenous people.

Community Art: artwork that is created with the involvement of community members or groups, such as local residents or school students. Community art is usually produced through collaboration between a qualified artist and the community group.

The Role and Benefits of Public Art

Essentially public art provides physical enhancement of a locality, however an understanding of its many benefits reveals that public art is an important part of MRA’s goal of sustainable urban renewal. Public art provides social, economic and environmental benefits, including:

• physically enhancing public places and the public realm, through creating points of interest, animating spaces and making them more aesthetically pleasing;

• physically enhancing buildings, through adding detailing, colour and character;

• providing greater meaning and context to places and buildings, by providing linkages to the history, character or culture of the locality;

• contributing to ‘sense of place’, by creating or expressing difference and identity for particular locations;

• creating local or regional landmarks;

• encouraging the increased use and enjoyment of public places;

• encouraging different interpretations and understandings of places;

• developing cultural richness in a local community by celebrating culture and encouraging creativity and innovation;

• providing increased public exposure to and understanding of art and contemporary art practices;

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• contributing to the ‘visitor experience’ where physical and ephemeral works attract visitors and tourists, providing economic advantage to a place; and

• providing employment, experience and exposure for local artists, and flow on benefits to the local economy, such as their suppliers and manufacturers.

1.2 STRATEgy OVERViEWThis public art strategy provides the foundation of MRA’s commitment to enhance each project area within MRA’s jurisdiction through the appropriate integration of public art. This will be achieved through public and private landowner contributions of public art, on a “Percent for Art” basis, whereby anyone undertaking significant development of land within the redevelopment area will be required to provide at least 1% of their construction cost as public art. This will apply to all government and private developers of public and privately owned land.

This strategy, together with MRA’s Central Perth Development Policy 4 Providing Public Art which provides the legal basis for the Percent for Art requirement, provide the direction for the acquisition, location and theming of public art commissioned by MRA, other government agencies, arts providers, and private land developers within MRA’s redevelopment areas.

The strategy is provided in two parts:

PART 1 - MRA STRATEGY provides an overview of MRA’s public art program and sets out principles and procedures for the acquisition, placement and management of public art within the redevelopment areas.

PART 2 - PROJECT AREA provides direction for the location and theming of public art within the project area. This includes an overview of the vision for the future development of the project area, including the precincts and public places that make up the project area, appropriate themes for artwork within each precinct, and suitable locations for public art.

Strategy Objectives

• To infuse different locations within MRA’s redevelopment areas with a sense of place, vibrancy, and creativity, through the integration of contemporary public art that is appropriate to each location.

• To enhance the design and function of the public realm and public enjoyment and understanding of places, through the integration of public art and the

51. Ferns by Neil Dawson 2. I See What You Mean by lawrence Argent 3. building Facade by Stuart green Perth

early involvement of artists in the design of public places.

• To enhance the appearance, character and value of buildings through the inclusion of high quality public art and the involvement of artists in building design and development.

• To support professional art practice and the social, cultural, economic and built environment benefits that a Percent for Art program provides.

• To provide a level of guidance to artwork design by providing public art themes for different precincts, which are relevant to the cultural heritage and future aspirations of each precinct.

• To provide direction on the appropriateness of different artwork types and forms that would be suitable for different places and precincts.

• To guide the acquisition and location for artworks procured by MRA with MRA’s own Percent for Art contributions and with cash in lieu funds paid by other developers, including best practice in public art procurement.

1.3 MRA’S Public ART PROgRAMMRA is composed of what were formerly the East Perth Redevelopment Authority, Subiaco Redevelopment Authority, Midland Redevelopment Authority and Armadale Redevelopment Authority. These Redevelopment Authorities have been leaders in the integration of public art in land development projects within Western Australia since the early 1990’s. In accordance with the State government Percent for Art Scheme, a public art program was implemented in the Central Perth redevelopment area from the commencement of the first project area, Claisebrook Village, which included the commission of 28 permanent artworks to create the “Claisebrook Village public art walk”. Public art has been commissioned in other Central Perth project areas, such as “Nexus” in Plateia Hellas in New Northbridge and new pieces in various parks and urban plazas, as well as regular funding of temporary and ephemeral public art projects.

In 2005, the public art policy for the Central Perth redevelopment area was amended so to apply to all public agencies and to private landowners, where all development approvals with a construction cost of $1 million dollars or greater must provide 1% of construction costs as a public art contribution. The developer has the choice of providing public art as part of their development or paying cash-in-lieu. The policy has been highly successful in delivering public art incorporated onto the public face of new buildings, with over $3.5 million dollars worth of public art being installed on building facades and development sites within the Central Perth redevelopment area since 2005.

6The Impossible Triangle by brian McKay & Ahmad Abas Nexus by Simon gauntlett & Russell Kingdom

Some landowners may opt to pay the equivalent of 1% of their construction costs to MRA instead of providing public art as part of their development (i.e. “cash-in-lieu”). MRA is committed to using these cash-in-lieu funds to procure artwork to enhance the public realm of the relevant project area. MRA will accumulate these payments in a special fund for each project area and periodically procures public art with these funds.

MRA will produce a public art strategy for each of its project areas to guide the artwork themes for the area, including specific themes for each precinct within the project area. The strategies also identify locations for public art that is to be provided in public places, and may also detail opportunities for temporary and ephemeral works.

As each of MRA’s project areas are developed the public and private collection of public art within the redevelopment area will continue to grow and enrich the city.

1.4 lOcATiNg Public ARTPublic Art on Public Land

MRA has a strong belief in the importance of the public realm and public places as critical elements in the experience of a city. MRA’s public realm philosophy is to focus on “place making” - bringing vibrancy, interest, safety, beauty and a sense of unique identity to turn a space into a “place”. An important element of place making is the use of public art. Permanent art can add interest, amenity, identity and improved function to a place, whilst temporary and ephemeral art can bring activation, visitors, and new understandings to a place.

Locations

Some public locations that are most suitable for public art in redevelopment areas are:

• Urban plazas and city squares;

• Parks and gardens;

• Key street intersections;

• Main pedestrian routes;

• Gateways between key locations or entries into project areas; and

• Laneways that would benefit from activation and beautification.

Principles

The following principles are to be applied to the development of public art on public land and in public places:

• Place Making - public art is to contribute to the place making of a location and the interpretation of a place. It can aid the understanding of history or cultural heritage, enhance how people currently understand or use the space, or provide new meanings.

• Site-Specific - artworks are to be designed specifically for the site responding to the site context - its surrounds, its use and users, and reflecting the relevant precinct art themes identified in the Public Art Strategy for a project area.

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• Scale - the scale and size of artwork needs to be consistent with the artwork brief/intent - i.e. it could be a single landmark piece, a series of artworks, or a small element of surprise. The scale of an artwork needs to be responsive to the site context - such as the surrounding landscape and buildings and pedestrian circulation.

• Universal Access - public art should be made accessible to all members of the community, irrespective of their age, abilities or cultural background.

• Attractors - public art can function as an “attractor” for visitors and tourists. Landmark and popular interactive artworks, and seasonal art programs particularly places with landmark artworks or seasonal art programmes;

• Interaction - public art must be designed for some level of public interaction - the public should be able to touch the artwork and in some cases it may be appropriate to climb or sit on or use the artwork in some way. There is also a need for some interactive artworks in public places, such as works that are responsive to touch or movement.

• Management - artworks must be designed and constructed with best practice risk and asset management, being mindful of public safety, easy and low cost maintenance, resistance to vandalism, and resistance to deterioration for the lifespan of the artwork.

Public Art on Privately Owned Land

The Authority’s Central Perth Development Policy 4 Providing Public Art requires those undertaking developments in the Central Perth Redevelopment Area with a construction cost of $1 million dollars or greater to provide 1% of the cost as a public art contribution. Usually the developer will choose to meet this requirement by providing public art on the subject development site. This provides benefit for the developer from the contribution, by enhancing the visual amenity and value of the development.

The artwork requires the MRA’s approval prior to installation. The MRA and our public art consultant will use the Authority’s Providing Public Art Policy and this Public Art Strategy to assess the suitability of the artwork and to guide the approval of the work. The developer, their artists, architect and other designers should also use the Policy and Strategy to help them successfully integrate appropriate artwork.

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Jack MackieBroadway DancestepsSeattle

1. Dance Steps on Broadway by Jack Mackie 2. Flying Saucer Grove, Martha Swhartz 3. Stravinsky Fountain, Niki de Saint Phalle, Paris

Locations

Public art on private land needs to be visible or accessible from the public realm.Appropriate locations include:

• Applied to or integrated into facades of buildings.

• Applied to or integrated into walls that would otherwise remain blank or uninteresting, such as exposed parapet walls.

• Integrated or functional art such as unique gates, grilles, balustrades, fences, or other similar building structures.

• Entry statements or stand alone works in front garden or setback areas.

Principles

The following principles are to be applied to the development of public art on private land:

• Public Realm - the artwork must be clearly seen from the public realm and contribute to the public realm amenity.

• Professional Art - the artwork is to be designed by a professional artist and be a unique, high quality artwork.

• Site Specific – the artwork is to be designed specifically for the site and to be responsive to the site context, including consideration for surrounding buildings and activities, and reflecting the relevant precinct art themes from this Strategy.

• Integration - the artwork design should integrate with the building design and site layout and be responsive to the building materials and colours. The early involvement of the artist in a collaborative design process is the best way to achieve this.

• Management – the artwork must be designed, constructed and installed with best practice risk and asset management. Ongoing maintenance of the artwork on private land will be the land owner’s obligation (such as strata bodies).

1.5 ARTWORK cOMMiSSiONiNg PROcESSMRA Funded Artworks

As a State Government agency MRA is committed to the Western Australian State Government’s Percent for Art Scheme. This program requires 1% of the construction cost of each State capital works project valued at $2 million or more to be allocated to public art. MRA is committed to leadership in this initiative and in accordance with MRA’s Central Perth Development Policy 4 Providing Public Art, MRA allocates a minimum of 1% of our own development projects valued at $1 million or more to public art.

Cash in Lieu Fund

The public art cash in lieu fund is a special fund held in MRA’s account for the purposes of accumulating cash in lieu contributions provided by developers and land owners under

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Central Perth Development Policy 4 Providing Public Art (i.e. where the developer chooses to pay cash in lieu of providing public art as part of a development). The cash in lieu funds are accumulated until a sufficient amount is collected for a project area to enable commissioning of one or more significant artworks within the same project area as the contributing site/s.

• The cash in lieu funds are to be used by MRA, or persons nominated by MRA (such as an arts agency or local government) for the following:

• Primarily the funds should be used for permanent public art for public places within the relevant project area;

• Where a project area has already been substantially redeveloped and/or there is quite a large amount of public art, the funds may be used to procure artwork for a public place immediately adjacent to the project area;

• Where appropriate, funds may be used for temporary and ephemeral art to activate the project area; and

• Where necessary, funds may be used to fund replacement or restoration of existing public art - this also may be appropriate where insufficient funds are available in the project area fund to purchase new works.

MRA Commissioning Process

Whether commissioning public art with MRA’s own funds or the cash in lieu funds, MRA will employ best practice public art commissioning processes to ensure an equitable and transparent process and the acquisition of quality public art. MRA’s Public Art Consultant will coordinate and manage the commissioning process. The following steps provide a guide to the process that should be followed:

1. Procurement Process - The type of procurement process is selected, based on the objectives of the project, the size of the budget and government procurement requirements. At present, contracts valued at over $150,000 are required to be advertised through a public tender process. Best practice procurement for projects between $20,000 to $150,000 is to request at least three proposals for consideration. In this process three artists may be contacted directly for an Expression of Interest (EOI), or MRA may publicly advertise the EOI to gain a wider choice of artists and proposals.

A curated process, where MRA’s public art consultant selects and invites artists to submit proposals, may be appropriate where a particular type of artwork is desired and artists that work in that medium are directly contacted (such as artists experienced in functional artwork, community projects etc). This process may also be chosen for smaller budget projects to reduce timeframes.

2. Selection Panel - A Selection Panel is set up that will shortlist artists and select the final proposal. The Panel must have a minimum of three members and will usually include a representative of MRA, a representative of the relevant local government and a representative from an arts agency (such as Department of Culture & the Arts or Art Gallery W.A). Professional artists, community members or other stakeholders may also be appropriate, depending on the intent, location and budget of the work.

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3. Artwork Brief - an artwork brief will be prepared by the MRA’s public art consultant and agreed to by the Selection Panel. The brief should provide artists with clear direction on MRA’s expectation for the project such as project background, vision or themes for the artwork, location, budget, timing, and any objectives or constraints with regard to the form/type, scale, or materials of the artwork. The brief should not dictate the actual design of the finished artwork but rather leave sufficient flexibility for artistic interpretation and a creative response to the brief.

The brief must also provide the selection criteria to be used by the Selection Panel to select the short listed artists. It must also detail what information artists are to submit with their Expression of Interest - such as written responses to selection criteria, a short CV, marquette and relevant images of past artworks.

4. Expressions of Interest - a call for Expressions of Interest (EOI) is held by releasing the Artwork Brief. The brief may be sent directly to artists, or advertised through the government tenders process and/or advertised through art agencies such as Artsource. A media release from MRA may also be appropriate to gain exposure and interest from a wide field of artists (particularly for large commissions). The call for EOI’s should usually run for between 3-4 weeks, however 6-8 weeks may be appropriate for large commissions (i.e. over $1,000,000).

5. Short Listing - each member of the Selection Panel reviews each EOI and individually assesses them against the selection criteria. The Panel then meets to discuss their assessments, undertake a group assessment, and select the preferred 2 to 4 artists or teams that will be invited to progress to the next stage and submit a Design Concept.

6. Design Concept - the Artwork Brief is reviewed and updated to provide any available additional information and to provide the selection criteria and submission requirements for the final selection. Each short listed artist then prepares a design concept in response to the brief. The submission requirements will usually include concept develop documents, a model or detailed plan showing dimensions, colours and materials, a written design statement and a detailed budget.

Depending on the scale of the project, artists should be give between 4 to 8 weeks to submit the Design Concept. A briefing session is usually held at the start of the Design Concept process for all shortlisted artists with MRA and other design professionals working on the project. Artists will usually be paid a nominal fee for preparation of the Design Concept relevant to the overall budget.

7. Final Selection - the Selection Panel meets and each short-listed artist or team present their Design Concept to the Panel. Following the presentations the Panel undertakes a group assessment and selects the preferred proposal.

8. Contract - once selected, the artist is provided with a written contract from MRA which sets out terms and obligations. The contract will be based on industry best practice for public art contracts. The contract will include a work program with milestone dates and a payment schedule for staged payments against each milestone.

9. Government Approvals - the artist prepares a Design Development Report with final detailed design documentation and engineering specifications and certification. Further documentation may be required for any government approvals, such as to obtain a development approval, or a building licence. If development approval is required on MRA owned land, the MRA will prepare and lodge the application. The artist will be responsible for obtaining any building licence or other local government approvals, with MRA’s assistance where required.

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10. Preparation of Artwork - the artist works to produce the artwork. MRA makes progress payments in response to Tax Invoices submitted by the artist as per the schedule outlined in the signed Commission Agreement. The artist is also required to submit written progress reports (with images where appropriate) when submitting Tax invoices for progress payments. A visit to the artist’s studio is also usually arranged by MRA’s public art consultant to view progress of the artwork.

11. Installation & Handover - the artwork is to be finished and delivered to the site by the agreed completion date. MRA arranges with the artist or another contractor for the safe and legal installation of the work and installation of a naming plaque. The artist will then provide a project record and maintenance schedule. Final payment is then made to the artist. An unveiling or media launch of the work may be appropriate.

State Agency Commissioning

Where other State Government agencies are commissioning public art within MRA’s Redevelopment Areas, either under their obligations under the State Government Percent for Art Scheme or to meet Development Approval requirements - in accordance with MRA’s Central Perth Development Policy 4 Providing Public Art, the agency will usually procure the work through the Percent for Art Scheme. The agency should contact the Department of Finance Building Management and Works Division who can engage a public art coordinator to work with the agency and manage the public art procurement process.

Private Commissioning

All development within the Waterfront Project Area valued at $1 million or greater will be required to comply with the Authority’s Central Perth policy on providing public art. This requires the provision of public art as part of the development or a cash in lieu contribution which the Authority will spend on public art within the Waterfront Project Area.

Various options and opportunities are available for Developers with respect to how to utilise their Public Art contribution including:

• Commissioning artwork for the development site that is either located in or clearly seen from the public realm, or public space close by / adjacent to the development site; or

• Providing a cash in lieu payment equal to the applicable public art contribution to the Authority’s Public Art Fund to be spent on public artworks and /or public art activation events throughout the Waterfront Project Area; or

• A combination of the above such as commissioning artwork for the development site with 80% of the public art allocation, and contributing the remaining 20% to the Authority’s Public Art Fund.

Where a landowner or developer is commissioning public art to meet Development Approval requirements under Central Perth Development Policy 4 Providing Public Art, the procurement process is the responsibility of the landowner. For large budget projects it is recommended that the landowner engage an art coordinator / public art consultant to assist them with the public art procurement process. For smaller projects they may wish to contact agencies such as Artsource to gain contact details for artists or for assistance with

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contracts. MRA is not involved in this procurement process and does not recommend any particular artist or service. MRA can however provide some general advice and direction to the landowner. It is also advisable for the landowner and selected artist and architect to meet with MRA’s public art consultant and planning staff to outline the draft public art proposal to gain feedback prior to submitting for final approval to MRA.

The landowner will be responsible for arranging quotes, contracts, insurance and all other administration with the selected artist. The process set out above for MRA’s Commissioning Process may provide a useful guide to landowners to develop their own commissioning process.

MRA recommends that the landowner commence the commissioning process early on in the design stage of their building so that the artist and architect can work together to produce complementary architectural and artist design. The artist should also refer to this Public Art Strategy and Central Perth Development Policy 4 Providing Public Art from the early stages of design development, to ensure an appropriate artwork proposal is produced.

The artwork proposal will be required to be submitted for MRA’s approval prior to its implementation.

Where a developer elects to commission public artwork, it is recommended that they engage a Public Art consultant to undertake the following tasks:

1. Develop a Public Art Strategy for the site by:

• identifying one or more potential projects;

• proposing locations for the public artwork(s);

• confirming themes for the public artworks;

• outlining a budget for all public art projects proposed to add up to the required sum to be expended on public art;

• outlining an Artist selection process;

• outlining an overall timetable for the public art (including design concept work, MRA approval process, design development work and implementation); and

• proposing the Commission Agreement to be used to engage the selected Artist.

2. Implement an Artist Selection Process and a Design Concept Stage (with one Artist selected or a number of Artists invited to prepare Design Concepts for final Selection by the Developer).

3. Put in place a suitable Commission Agreement between the Developer and the Artist.

4. Prepare a public art approval submission to the Authority and progress reports as requested.

5. Meet with the Authority’s Public Art consultant and planning staff as necessary.

6. Administer the Commission Agreement (further design development and implementation stage).

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1.6 ARTWORK APPROVAl PROcESSApproval of Permanent Public Art

All permanent public art requires development approval (planning approval) before it is installed on public or private land. The proponent must lodge a development application with MRA at least two months prior to installation of the artwork. The proposal will be assessed against the Public Art Assessment Criteria (below).

Approval of Temporary & Ephemeral Public Art

Temporary or ephemeral public art that can be classed as an “event” (such as performance art or temporary exhibitions) may not require development approval if it meets the relevant criteria of MRA’s Central Perth Development Policy 8 Hosting Public Events - refer to the Policy or contact MRA for more information.

Approval of Public Art on a Development Site

Where public art is proposed on a development site to meet the requirement of a condition of a development approval (i.e. development approval was granted for a building or other works subject to 1% of costs being allocated to public art), a separate development application will not usually be required for the artwork. The artwork proposal can be assessed, in accordance with the Assessment Criteria (below) when working drawings for the development’s building licence are submitted to MRA.

Land Owner Consent for Public Art on Public Land

All public art (permanent, temporary and ephemeral) requires approval from the landowner before it can be installed or undertaken on public land. The ownership of public land is usually with either the Local Government, the State Government land agency (currently called the Department of Regional Development and Lands), MRA, or another government agency. It is the responsibility of the person commissioning the artwork to identify the landowner and obtain their permission. Development approval from MRA may also be required, in accordance with the above requirements. The landowner must give their consent to the development application and sign the application form.

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Charnock Woman, Jenny Dawson, Sandra Hill & Miv Egan Functional art Tokyo

Public Art Assessment Criteria

The following criteria are used to assess development applications for public art within MRA’s redevelopment areas. Each proposal will be assessed by MRA’s planning team with the assistance of MRA’s public art consultant and where appropriate, by a representative of the relevant local government (particularly for major proposals and public land).

• A detailed Public Art Report including plans (and a maquette where appropriate) has been submitted for assessment, in accordance with the requirements of MRA’s Central Perth Development Policy 4 Providing Public Art;

• The proposal complies with the ‘Performance Standards for Development Approval’ of MRA’s Central Perth Development Policy 4 Providing Public Art;

• The proposal meets the ‘Principles for Public Art on Public Land / Privately Owned Land’ (as appropriate) of this Public Art Strategy; and

• The proposal is consistent with the ‘Public Art Themes’ of the Public Art Strategy and any other requirements in the Strategy for the precinct or location

1.7 MANAgEMENT OF Public ARTCopyright and Recognition of Artists

The Copyright Amendment (Moral Rights) Act 2000 provides protection of an artist’s moral rights in relation to copyright, attribution and protection of work. The legislation requires all original public art to be attributed to the artist. The commissioner and artist therefore must liaise to install a name plaque next to the artwork or provide other attribution. The legislation also requires that artists be acknowledged when images of their work are published.

The legislation provides that an artist’s moral rights may be infringed through destruction or alteration of their work, including relocation of artworks. Artworks should not be modified by anyone but the artist, unless the artist has given consent for conservation or restoration reasons. MRA and any other owners of public art must make reasonable efforts to contact the artist for permission and advice before any alteration or relocation of an artwork.

Ownership of Public Art

Ownership of public art is defined by the commissioning process and contract and the land on which it is located. Through the contract with the artist the artwork usually becomes the property of the commissioning body once the art is supplied and paid for. However, the contract may enable the commissioner and the artist to own joint copyright of the artwork. Artwork located on private property is owned and maintained by the landowner/s. Artwork located on public land is the responsibility of the managing authority, which is usually MRA or the local government. Where MRA has commissioned artwork for public land and that land is subsequently handed back to the control of the local government (such as through the “Normalisation” process at the completion of a redevelopment project), the artwork then comes under the ownership and maintenance of the local government.

Conservation of Public Art

The conservation and maintenance of public art is the responsibility of the owner from the time of installation to the point of any removal or disposal, unless arrangement has been made with the artist or an art conservator to manage ongoing conservation. It is important to

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recognise that different artworks have different conservation requirements and that public art deteriorates at different rates and may change condition over time. It is important for the owner of the artwork to determine the following points with the artist prior to handover:

• Agreement on the ownership and the person responsible for ongoing maintenance.

• The expected lifespan of the work.

• Details of materials used and the fabricators / companies used.

• A written maintenance schedule.

• Artist’s direction should removal or relocation of the artwork be required.

Decommissioning Public Art

It may become necessary for MRA or the owner of an artwork to consider removing or relocating public art for any one of the following reasons:

• The work is coming to or has met the end of its intended life span.

• The maintenance and repair obligations and costs have become excessive in relation to the value and age of the work.

• There is irreparable damage to the artwork either through vandalism or natural decay.

• There is a significant threat of damage of the work if left in its current location.

• The work has become unsafe, or is affected by changes to health and safety regulations.

• The site where the artwork is located is to be redeveloped or physically altered.

• The work is no longer relevant or appropriate and the commissioner wishes to commission new work for the site.

• The site changes ownership.

A formal review process should be implemented if the artwork becomes subject to any of the above points. The review should be conducted with the following guiding principles:

• Firstly seek to protect the continued presence and integrity of any public work, in accordance with the intention of the artist.

• Make a reasonable attempt to contact the artist at least 28 days ahead of any relocation, sale, alteration or removal of an artwork.

• The artist, owner, commissioners, maintenance contractors and professional assessors should be consulted. The review should also be sensitive to the views of the general public and to any community groups who were involved in the original commission and to any other culturally sensitive matters with regard to the artwork or its location.

• The review should examine the artwork’s maintenance file, as well as any contractual agreements between the artist and the commissioner regarding the maintenance or decommissioning of the work.

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• The artist’s intention for the lifespan of the work should be taken into account, the intended longevity having been agreed with the commissioner at an early stage. Changes to its lifespan should only be made with the consent of the artist.

• If the artwork was commissioned as a permanent piece, then all reasonable effort should be made to avoid permanent removal within 10 years of its installation.

• If the artwork is to be permanently removed from the site, the artist should have first right to acquire or purchase the work, otherwise all reasonable effort should be made to find it a suitable “retirement home” such as inside a public building.

• Preparation of a documented archival record of the artwork prior to its removal.

• The destruction of a work should only be considered when all other alternatives have been exhausted.

• The opportunity to commission a new artwork for the site should be examined. It may or may not be considered appropriate to invite the artist who created the original work to put forward a proposal for the new commission.

2.1 PERTH WATERFRONT PROJEcT AREAVision

The vision for the Perth Waterfront Project Area is to create a seamless extension of Perth city’s north-south axis with an exciting new urban development that connects the city centre to the Swan River. Perth Waterfront is an important step in the evolution of Perth from a functional centre of commerce and trade, to a more diverse, international centre for living, visiting, business, entertainment and culture. It will be a primary visitor and tourist destination and therefore must provide a high quality public realm and experience befitting of Perth. The site will make a significant contribution to the city’s public domain, with over five hectares of public space catering for a variety of recreational and social needs.

Establishment of the Perth Waterfront Project Area will include creation of a new river inlet, framed by a continuous public promenade and a new island within the inlet that will provide a unique location for recreation and public events. Built form surrounding the inlet will be of a scale and quality befitting Perth as a capital city and adding to the critical mass of the city through multi-storey buildings providing new residences and workplaces. The project area will be a major transit oriented hub of development that is directly serviced by train, bus and ferry, with excellent pedestrian connectivity through to the wider Perth city area. Opportunities exist for public artwork of international quality and significance within the Perth Waterfront Project Area which reflect the high profile of the area within the Perth central city context.

The Perth Waterfront Project

PART 2 - PROJEcT AREA

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2.2 HiSTORicAl cONTEXTThe land encompassing the Perth Waterfront Area has a long and significant history in the development of Perth. Being located on the edge of the Swan River, the area formed part of the early development of Perth and was significant to local Aboriginal people prior to this. The original Swan River shoreline has been significantly modified over time by reclamation and development.

The Swan River is a Registered Aboriginal Site (known as Derbal Yarragan or Warndoolie) and is very significant to many Aboriginal groups, including the Yellagonga people. Aboriginal people have had a long and continuing association with the land, an association dramatically altered by European settlement and European laws limiting rights and enforcing places of habitation. Over time, development of the waterfront has changed from a natural riverbank into a constructed landscape.

The place was the site of the first major reclamation project on the Swan River. It was developed as Perth City’s first dedicated recreational zone and has been the site of many recreational uses and community gatherings since its inception. Since Europeans first settled there, the waterfront has been the subject of numerous development schemes and continual human intervention.

2.3 WATERFRONT PREciNcTS Precinct 38: Riverfront

The Riverfront Precinct is intended to be the home of a major cultural, arts and learning centre focused on Australian Indigenous culture. This Indigenous Cultural Centre is proposed to sit over the Swan River at the foot of William Street and act as a centrepiece for Aboriginal art, performance, history and knowledge-sharing. This major new civic and tourism facility will be a focal point for the Perth Waterfront project, both as a public destination and as a distinct piece of architecture.

It is envisaged that a cable car from the Riverfront Precinct to Kings Park will be developed to enhance connectivity between the city’s unique natural assets of the Swan River and Kings Park, and to enhance the Perth waterfront as a key Perth city destination.

The Perth Waterfront Project Vision

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Precinct 39: Inlet

The Inlet Precinct will be Perth’s southern hub of urban mixed-use development, extending the city centre down to the river’s edge. Building and public realm development will be focused around the newly created Waterfront inlet. New development will overlook generous promenades, community gathering points and the shared use zone incorporating a new shared street connection between William Street and Barrack Street.

The Precinct will have a high quality public realm with various landscaped settings. A split-level continuous pedestrian promenade will wrap around the inlet and a newly created island within the inlet will form the green heart of the Precinct. A new park will be developed at the north-west entry to the Precinct, opposite the train station, and soft and paved landscaped areas will be provided throughout.

The Inlet Precinct will include a mix of residential, commercial, retail, dining and entertainment land uses. The scale and intensity of development will capitalise on the central city location, excellent public transport and pedestrian connectivity and the beautiful views across the Swan River. Buildings will be of high quality architecture, focused on sustainable design and will provide an activated, human scale interface to the public realm.

Precinct 40: Barrack Square

Central to the development of Perth Waterfront is the objective of providing a more vibrant and connected context for Barrack Square and the Bell Tower. These icons of Perth will be an integrated component of the broader Waterfront project and will benefit from the critical mass of visitors that the redevelopment will bring.

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PERTH WATERFRONT Proposed Precinct Boundaries.

38 - Riverfront

39 - Inlet 40 - Barrack Square

The Perth Waterfront Project Precincts

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Barrack Square will continue to be a focal node for visitors and the wider community, as well as the key embarking point for commercial boating activities. An active mix of uses will be fostered in the Precinct, focused primarily on hospitality, retail and short stay accommodation.

A high quality public realm, mirroring that of the redevelopment of the Inlet Precinct, will add to the existing popularity of the Barrack Square Precinct.

2.4 EXiSTiNg Public ARTThe Waterfront Project Area, specifically Precinct 40: Barrack Square contains several public artworks that were developed in the project area prior to the preparation of this Strategy. The location, theming and scale of these existing artworks should be considered when designing new artworks within the same precinct. The existing artworks include the Swans sculpture the community tile project and the Vlamingh memorial.

2.5 Public ART THEMESPublic Art Aim

Public art in the Waterfront Project Area is to contribute positively to the creation of a vibrant contemporary public domain that explores and celebrates the waterfront – its natural features and rich social history - through the development and integration of contemporary artworks. Public art in the project area must be of a high quality, contemporary design that reinforces the quality of the redevelopment project and strengthens and celebrates its identity as the city centre by the river’s edge.

Public art should seek to engage with the public through interactive and legible works that contribute to the creation of a sense of place.

As a multi-use high profile project area, the Waterfront will have a number of different audiences for public art:

• Residential (residents living on site)

• Workers (office workers and retail workers based on site)

• Tourists (metropolitan, interstate, international)

• Recreational (riverfront walkers, runners, and cyclists)

• Community (audiences gathering for particular events held in public spaces in the area)

Public Art Themes

Both the future vision for the Waterfront Project Area and its natural and social heritage were used to identify appropriate themes for public art within the project area. All public art within the Waterfront Project Area should address one of the following four themes:

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Theme 1: River Life

The Swan River has been highly valued by past and present communities and will undoubtedly be much loved by the new community developing in the project area. The river has always been valued by Aboriginal people and also played an important role in the early development of Perth, particularly for freight transport. Today the river and foreshore are highly valued for recreational use and for its beauty and environmental value.

Artworks responding to the ‘River Life’ theme may explore the natural history of the Swan River, its natural beauty and unique qualities at various times of the day and night, as well as its ecology and flora and fauna. The importance of water to human life and its many attributes may also be explored.

Theme 2: City and River Connection

The Waterfront Project Area design is an extension of the city grid down to the river and will transform Perth into ‘a city on the river’. It will anchor the city along an axis that links Northbridge, the Cultural Centre and the CBD to the waterfront. Increased development and public space activation in the project area is important to creating a stronger overall city centre and defining the edge or arrival point of the city.

Strategically located and at times integrated public art projects should be developed to help define and reinforce the project area as a vibrant waterfront precinct of Perth city. These artworks should provide strong landmarks in a contemporary urban form, and provide a sense of arrival to the water’s edge. Artworks may respond to working near to, living along, utilising, travelling along, conserving or enjoying the river and foreshore area.

Theme 3: Indigenous Culture: Past, Present and Future

The significance of the river to Aboriginal people warrants a specific public art theme. Public art should be commissioned to record and share this important history and social value. Key story lines include: general occupation of the south-west, Swan River, water source and camping ground and continuing use after European settlement.

In accordance with the project vision of a vibrant urban community, the project area should include contemporary artworks by Aboriginal artists and not be limited to historical pieces.

Theme 4: European Settlement and City Development

Integrated public art is a suitable vehicle for heritage interpretation in the Waterfront Project Area. There are many stories that may be researched and told. These have been identified in the Perth Waterfront Project Heritage Interpretation Strategy and key storylines include:

• Foundation of the colony of WA and the establishment of Perth town site;

• Bazaar, river trade (and its decline after 1881 railway construction);

• Jetties – William Street, Barrack Street, and Barrack Square;

• Land reclamation – between William and Barrack Streets – 1873 – 1885, and Barrack Square;

• Recreation – including Esplanade Reserve;

• Perth Yacht Club clubhouse; and

• Perth Baths, Public functions, Memorials, and Swan Bells.

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Public Art Themes for Each Precinct

Appropriate public art themes have been designated for each precinct within the Waterfront Project Area as follows:

2.6 Public ART OPPORTuNiTiESLocating Public Art

Careful selection of appropriate locations for public art within the public open space of the project area will be fundamental to the success of the Waterfront Public Art Strategy. Public art should be located in or integrated with other landscape features to enhance the visual and cultural amenity of the location, providing both larger scale legible landmarks and smaller scale interpretive artworks.

The following map shows the various areas where public art may be located throughout the Waterfront Project Area. The identification of more specific locations for public art will be undertaken as a part of the further design development of the Waterfront Precincts.

Public art is an important part of ‘place making’ - developing the unique qualities that turn a space into a place, and it is also a popular part of place activation - enlivening a place and engaging the public. Permanent artworks, temporary installations and ephemeral events are all important to place making and activation in the key public places of the Waterfront Project. Integrated and functional artwork, such as unique seating and lighting is also appropriate as it would enhance the experience of visitors.

All artworks are to be developed in accordance with the Authority’s policy on providing public art and this Public Art Strategy - including the public art themes allocated to each precinct.

The Landing

The northern edge of The Inlet has a major urban element ‘The Landing’ which is the site of Perth’s colonial origin. It is located adjacent the mid-point of New Riverside Drive, and is a major node within the Perth Waterfront public domain. It is inspired by the idea of the original edge of the Swan River, an undulating and organic experience offering the opportunity to get right down to the water’s edge. The landing incorporates a series of terraces that step down from New Riverside Drive to meet the water level while a stage can be floated on the water to the south of The Landing for events and performances.

Precinct Public realm design elements Themes

Precinct 38: Riverfront William Street Landing River Life; or

Indigenous Culture: Past, Present and Future

Precinct 39: Inlet The Promenade, William Lane, The Ferry

Terminal, Station Park, The Landing,

Riverside Lane, The Island, The Edge

River Life; or

City and River Connection; or

European Settlement and City Development; or

Indigenous Culture: Past, Present and Future

Precinct 40: Barrack

Square

Barrack Square, Barrack Lane River Life; or

City and River Connection; or

European Settlement and City Development

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There is an opportunity to create a major public artwork of International significance in this location to celebrate ‘The Landing’ as a key destination point within the Waterfront Project to meet, socialise or gather for major events and performances.

The Island

The Island is predominantly a passive garden space that is a destination within the overall circuit of the promenade and will be of international significance. Pedestrians can access The Island from both the western and eastern promenades and access for service vehicles is provided from the eastern bridge.

The Island will be designed as an engaging space providing a unique experience for both children and adults to view the city from a new perspective and to interact with the water in a landscaped setting.

There are opportunities for small, medium and large scale public art on The Island. Artworks may be designed as interactive works while place making through island based events is also encouraged.

William Street Landing

This is where the pedestrian bridge takes off from, and where the planned Indigenous Cultural Centre may be located in the future. There is an opportunity here for both small scale integrated artworks and a landmark artwork exploring the themes of River Life and Indigenous Culture: Past, Present and Future.

Station Park

Station Park is located opposite the Esplanade Train Station and provides a gateway into the new Perth Waterfront. It marks the meeting point of the water, promenade, William Street, Esplanade Station, and the new east-west street connection, and is the location for a major water feature, ‘the water skin’ which represents a recurring wet/dry lake. It is a gateway area and a meeting place designed to encourage people to occupy it for longer periods. The park receives lunchtime sun all year round and is protected from strong southerly winds. It is framed by figs with tall palms and planting to frame the water feature. The water feature is able to operate as a plaza when it is dry and doesn’t read as a water body.

Small and medium scale artworks (freestanding and integrated) may be located in Station Park, particularly in the areas adjacent to William Street and across the road from the Esplanade Train Station. There are terrace walls around the water feature itself that will have integrated seating. These walls and associated seating and shading provide an opportunity for integrated and interactive artworks expressing one or more of the themes: River Life, City and River Connection, Indigenous Culture: Past, Present and Future and European Settlement and City Development.

The Promenade

The Promenade forms the outer edge of the inlet and allows for continuous pedestrian access along its entire length. It provides a generous amount of open space for public use. The promenade on the west side and the east side of the inlet, in conjunction with the Landing to the north, is the primary public open space of the waterfront. It enables a circulatory walk with universal access around the whole development including a connection point to the island.

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The paving, planting and furnishing of The Promenade will demarcate the Waterfront as public open space with pedestrian priority. Although one continuous public open space, The Promenade’s character differs subtly throughout its length by virtue of altering its width, tree locations and the inclusion of the Ferry Terminal on the west side and a kiosk and jetty on the east side. The variations in The Promenade experience are designed to accord appropriately with the surrounding urbanism and different public space functions.

The Promenade will be split into two distinct levels with the lower level pedestrian promenade providing a greater sense of connection with the water while the wider upper level promenade will be framed by buildings and localised promenade tree plantings to provide shade for alfresco dining. The Promenade includes bespoke furnishings and a strong definitive ‘ribbon of trees’. The transition area between the upper and lower promenades provides informal seating opportunities.

There are opportunities for integrated and small scale artworks along these promenades, drawing on examples and expressing the themes identified in the Perth Waterfront Project: Heritage Interpretation Strategy. The Precinct themes for public art are: River Life, City and River Connection, Indigenous Culture: Past, Present and Future, and European Settlement and City Development.

Consulting Artist for The Promenade and Station Park: It is recommended that a consulting Artist be engaged to develop a Design Concept for a series of related small to medium scale integrated and/or free standing public artworks that explore and express the themes and messages outlined in the Heritage Interpretation Strategy for the promenade around the inlet, and Station Park.

The Ferry Terminal: West Promenade

There is an opportunity here for the integration of public art works as a part of the Ferry Terminal Project. The artwork needs to express the themes identified for Precinct 39 in this strategy document.

The public art project and the selected Design Concept is to be submitted to the Authority for final approval.

The Edge

The Edge refers to the edge of the promenade that frames the inlet. There is an opportunity to create an interesting edge detailing the vertical section that meet the water. The Edge will be highly visible from all around the promenade and there is also an opportunity to incorporate lighting to create a vibrant night-time presence.

Consulting Artist for the Edge: It is recommended that a consulting Artist be engaged to develop a Design Concept for the Edge treatment around the inlet.

The Water Body of the Inlet: There is an opportunity to develop an annual event/festival where artists are invited to create temporary artworks such as floating sculptures for the inlet.

The Bridge

The Bridge is an important part of the public circuit of the Waterfront providing a link for pedestrians and cyclists between the Western Promenade and The Island. The Bridge will

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be a significant element in the public domain, designed as a landmark structure that will provide a unique public vantage point across the water to the south and towards the city and the inlet to the north while accommodating access for ferries and smaller private craft.

Consulting Artist for the Bridge: It is recommended that a consulting Artist be engaged to collaborate on the development of a Design Concept for this new pedestrian/cycle bridge.

Barrack Square

Barrack Square is located on the southern side of the intersection of Barrack Street and Riverside Drive and provides a flexible space that can accommodate various events such as markets and parades while promoting activation through the commissioning of temporary artworks.

It is envisaged that a new road layout and landscaping setting will complement the Bell Tower and visually connect the project area to the river. The de Vlamingh memorial will be relocated to the meeting place of the Barrack Street axis with the river, evoking the early exploration of the Swan River landscape.

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* Note – Developers may make a cash contribution to the Authority’s Perth Waterfront Public Art Fund in lieu of providing public art on their development site. Funds collected will be spent on procuring public art for the Perth Waterfront Project in accordance with this strategy and the Authority’s Development Policy 4 Providing Public Art.

Major Landmark Artworks

Key.

Small/Medium Scale Artworks

Temporary Public Art and Place Activation Opportunities

Key Locations for Public Art on Private Developments*

Existing Public Art

The Island

The Bridge

Station

Park

The Landing

William Street

Landing

Ferry

Terminal William Lane

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Figure 1. Perth Waterfront Project Area - indicative locations for Public Art