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.

All information supplied to Urbis in order to conduct this research has been treated in the strictest confidence. It shall only be used in this context and shall not be made available to third parties without client authorisation. Confidential information has been stored securely and data provided by respondents, as well as their identity, has been treated in the strictest confidence and all assurance given to respondents have been and shall be fulfilled. © Urbis Pty Ltd 50 105 256 228 All Rights Reserved. No material may be reproduced without prior permission. You must read the important disclaimer appearing within the body of this report. urbis.com.au

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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_

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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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




▪ 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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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ SITE DESCRIPTION AND SUBMITTED DEVELOPMENT 17

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


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.


Figure 15 – The Sydney Harbour Bridge from level 11 of the Sirius building.


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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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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ HISTORICAL OVERVIEW 23

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

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.


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.


Figure 32 – Floor plan of the Sirius building.



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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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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ ARCHAEOLOGICAL ASSESSMENT AND POTENTIAL 35

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.

36 ARCHAEOLOGICAL ASSESSMENT AND POTENTIAL

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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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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ HERITAGE INTERPRETATION PLAN 37

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




▪ 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)

38 HERITAGE INTERPRETATION PLAN

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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)


▪ Educational/ community

programs developed with

PACE team

▪ Public Art developed in

consultation with

PMNSW and their Public

Art Coordinator

Theme (in

report)


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)


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)


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)


▪ 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)


Registered Aboriginal Parties



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)


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


should be contemporary and

allow for technological innovation,

including digital media.

Section 7.3.

Interpretation

signage


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)


(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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▪ 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


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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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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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


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.


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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undesirable residents in the eyes of

society?

Convict society in Sydney as a living

entity, not just as gaols and road

gangs.


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?


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.



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.



NSW: Environment

Altering the environment by

reclaiming land

Reclamations of the harbour

foreshore occurred from the earliest

period of European settlement in The

Rocks.



NSW: Commerce

Marketing and retailing in The Rocks The Rocks has had a continuing

commercial aspect since the earliest

phase.



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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accommodate transient people, short

term stayers, sailors etc.

Many newlyweds spend a night in

The Rocks exclusive boutiques

hotels.



NSW: Leisure

Catering for tourists The Rocks as a tourist destination.



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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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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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.


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.


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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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ INTERPRETATION MEDIA 65

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.


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.


Figure 43 – ‘Cave art’ or ‘Unidentified Running Objects’ in the Phillip Room.



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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.

84 IMPLEMENTATION PLAN

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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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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ IMPLEMENTATION PLAN 85

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


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


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


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

86 IMPLEMENTATION PLAN

URBIS


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


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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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ CONCLUSION 87

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.

88 BIBLIOGRAPHY AND REFERENCES

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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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P0014663_48CUMBERLANDST_HERITAGE INTERPRETATION PLAN_04_ DISCLAIMER 89

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.

90 APPENDIX A – WORKSHOP PRE-READING PACKAGE

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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

28/07/2021

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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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

https://libsoc-wiki.fandom.com/wiki/Green_Bans

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

https://interpretivedesign.com.au/portfolio/signage/aboriginal-interpretive-signage/

https://millerspointcommunity.com.au/the-march-and-the-rally/

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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INDIGENOUS HISTORY

This is considered in the Strategy as one of the most prominent


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


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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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

28/07/2021


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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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


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


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

https://www.pinterest.com.au/pin/537546905507707093/




https://www.lump.com.au/projects/samford-village/?doing_wp_cron=1627517143.6628839969635009765625

WORKSHOPAGENDA

28/07/2021


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?

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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.

28/07/2021


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?

3

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

4

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


1

Meggan Walker

ANGEL PLACE, LEVEL 8, 123 PITT STREET SYDNEY, NSW 2000, AUSTRALIA T +61 2 8233 9900



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



Documents

HERITAGE INTERPRETATION PLAN