juanita nielsen community centre public art...

JUANITA NIELSEN COMMUNITY CENTREPublic Art CurtainArtist Brief Request for Quotation 9515

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IndexRequest for Quotation Conditions & Forms

p3. Invitation p4. Key Conditions of Quotation p5. Artist Brief p19. Schedule of Services p23. Standard Conditions of Quotation p26. Request for Quotation Returnable Schedules Part 1 - Part 12

Attachments Attachment A – Architectural DrawingsAttachment B – Curtain SpecificationsAttachment C – Site HistoryAttachment D – Public Art Commissioning Agreement

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Juanita Nielsen Community Centre Public Art Curtain Invitation

The City of Sydney invites artists to submit a quotation to design and create an innovative functional, site-specific artwork to be included in the refurbishment of the Juanita Nielsen Community Centre in Woolloomooloo, Sydney.

The artwork opportunity identified within the building refurbishment is for an artwork curtain or textile piece to be integrated into the Community Hall of the Juanita Nielsen Community Centre.

The City of Sydney encourages emerging, mid-career and established artists with experience in community engagement and artists with experience or an interest in textiles to apply.

Deadline for submissions is 11am (AEST) Tuesday 6 October

This is a one stage open invitation for artists to submit a quotation for the design and creation of the artwork curtain for the Juanita Nielsen Community Centre.

The submission should include a conceptual approach, a methodology, an indication of proposed materials and a confirmation of the timeline and budget for its execution and installation.

The successful artist will be required to enter into the City of Sydney Public Art Commissioning Agreement for the project (refer to Attachment D - Public Art Commissioning Agreement).

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Key Conditions of Quotation

Name of Quote Juanita Nielsen Community Centre Public Art CurtainQuotation Number 9515Closing Date

Closing Time 11:00amContact Person All enquiries must be directed to the Tendering Officer only.

Enquiries may be submitted by either:(i) the online forum accessed at www.tenderlink.com/cityofsyd-ney Or alternatively,(ii) by e-mail to the Council’s Tendering Officer as follows:

Michelle Tisdell

Tendering Officer

Tel: 02 9265 9449

e-mail: [email protected] Lodging a Quote Completed submissions should be lodged electronically in the

Electronic Tender Box at www.tenderlink.com/cityofsydney by the closing time on the closing date nominated. Bidders should ensure they allow sufficient time to upload their sub-mission in full to the Etendering portal. We strongly recom-mend that you begin uploading your submission files at least 60 minutes before the closing time. Bidders will receive a successful submission request that is timed and dated upon completion.

Documents The documents that comprise this Request for Quotation include:

• Request for Quotation Conditions & Forms

• Conditions of Contract

• Attachment A – Architectural Drawings

• Attachment B – Curtain Specifications

• Attachment C – Site History

• Attachment D – City of Sydney Public Art Commission-ing Agreement

General Conditions of Contract

The general conditions of contract for this request for quo-tation consist of: City of Sydney Public Art Commissioning Agreement

http://www.tenderlink.com/cityofsydney


mailto:[email protected]


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City of Sydney Public Art Program

Through the Sustainable Sydney 2030 Vision the City has recognised its role in the creation of a sustainable, liveable, creative, vibrant city, and public art is an important way of achieving these goals.

The City’s Public Art Program encourages artists to contribute to enhancing, defining and re-defining its built and natural environment. Public Art expresses Sydney’s dynamic culture and unique identity in the public realm.

This project aligns with both the City’s Public Art Policy and the City’s Sustainable Sydney 2030 Strategic Directions. Specific policy items and Strategic Directions include:

• Public Art Policy Item 4 - Support vibrant places in Village Centres with community art and City Art projects;

• Sustainable Sydney 2030 Strategic Direction 6 - Vibrant local communities and economies;• Sustainable Sydney 2030 Strategic Direction 7 - A cultural and creative city.

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Site Context Plan ( Juanita Nielsen Centre shown in Red)

Background The Sydney suburb of Woolloomooloo is part of the densely populated City East precinct. Home to a multilayered and complex community, a distinctive characteristic of the area is the contrasting socio economic backgrounds of its residents.

The Juanita Nielsen Community Centre ( the Centre) is located on the lands of the Cadigal band of the “Eora people”, which was the name given to the coastal Aborigines around Sydney. This subject site was originally located within the swampy foreshore areas of Woolloomooloo Bay and was not developed until the land was reclaimed in 1861 with the formation of Cowper Wharf.

The area of Woolloomooloo has been proclaimed a heritage conservation area and is historically significant as one of the earliest residential districts of Sydney. The Centre is housed in a former warehouse building of six stores which was constructed in 1888 and associated with the shipping trade of Cowper Bay Wharf and industry in the area. It was also historically associated with the Free Kindergarten and was the second site in Woolloomooloo used for this purpose. In July 1983, the Centre was opened by the Sydney City Council and named in honour of Juanita Nielsen - a publisher, urban conservationist and Woolloomooloo resident.

A brief outline on the history and heritage of Woolloomooloo, the former uses of the site and biographical information about Juanita Nielsen have been included in Attachment C – Site History.

A refurbishment of the Centre is currently underway and will provide significant contribution to the community and the public realm in Woolloomooloo. The building refurbishment works see the Centre increase its role as a multi-purpose inter-generational recreation centre with infrastructure to support expanded programs for over 55’s, meals for the elderly and people with disabilities, children’s services (Outside of School Hours Care for children aged 5 to 12 years) with dedicated and compliant outdoor play space, a gym and increased community hire spaces. The design by Neeson Murcutt Architects re-interprets the heritage building by revealing and enhancing the original building fabric. The layout improves accessibility, street activation, provisions for natural light and maximises community use.

The City consulted with local community members regarding the Centre Upgrade. Through the consultation process requests were made for the inclusion of public art in this project

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Juanita Nielsen Community Centre, Refurbishment Works in Progress

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The site in Woolloomooloo is bounded by Dowling, Nicholson, Wilson and Maclean Streets

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Artist Brief

Neeson Murcutt Architects in consultation with the Project Delivery Team and the City’s Public Art Advisory Panel have made the recommendation for an innovative, site specific, contemporary and operable artwork curtain to be incorporated into the building design of the Juanita Nielsen Community Hall (the Hall). This project offers artists an opportunity to integrate high quality, permanent, public art into the building refurbishment.

The artwork curtain will be a focal point of the Hall, add a unique layer of texture and act as a visual screen. There are mirrors lining the wall behind the curtain that will require covering when not in use (refer Attachment A - Architectural Drawings)

The large, retractable artwork curtain (3 x 10m) is proposed to incorporate but is not limited to fabric, woven and non-woven textile applications, natural or synthetic materials, lightweight alloys and fabricated materials, printed applications, embroidery, pieced or stitched, dyed textiles or other innovative materials and applications.

As the artwork curtain should be robust and durable enough to withstand the wear and tear of everyday use the City may consider (if required and in consultation with the artist) reproducing the artwork as a digitally printed curtain so the curtain can be easily renewed. However, subject to the artwork satisfying functional requirements the final work produced by the successful artist/s could be a digital file, handmade or a combination of both.

The successful artist will engage with the diverse Centre users and local community members through workshops that invite community collaboration, storytelling and public participation in the development of the artwork

Artist led workshops will offer opportunities for community input, either through involvement in fabrication of elements of the artwork itself or through the artists’ process of documenting, collating and interpreting a range of stories from the many users of the Centre. The local area, local community and the building site are all made up of layered and rich histories. By involving a diverse cross section of the community in the development of the artwork the Juanita Nielson artwork curtain could provide a canvas for story-telling, a tool for place making and capture the cultural importance of the past, present and future generations.

The artist will also closely liaise with the Project Delivery Team to create a work that is both integrated with the refurbishment works and complimentary to the architectural design.

Artists are advised to refer to the Schedule of Services for a breakdown of the typical tasks and deliverables of each stage of the project.

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Existing building

Architecural Impression of proposed refurbishment works

Objectives

The City will look forward to a project that will:

• deliver a unique, innovative and contemporary artwork that is integrated into the building refurbishment works and complimentary to the architectural design;

• invite community collaboration and public participation in the development and/or fabrication of the artwork;

• express a contemporary layer of local narrative that speaks of place, culture, people and community;• meet operational requirements: the artwork curtain will be operable, retractable, and capable of acting as

a visual barrier;• use materials that will enable cleaning and maintenance as well as comply with structural load

limitations;• ensure the design, media and fabrication are built to be robust and durable ( as required) • meet relevant Design Codes and standards for public safety.

Practical Considerations

Artwork material selection should be carefully considered regarding the following:

• Structural load (refer Attachment B - Curtain Specifications)• UV fading• Meeting operational requirements • Cleaning and maintenance• Longevity (required to be a minimum of 5 years) • Meeting relevant Design Codes and standards for public safety• Environmental sustainability where practicable

For practical considerations, the City may consider (if required and in consultation with the artist) reproducing the artwork as a digitally printed curtain. If the Artwork installed is a reproduction ( as distinct to the original work) the original work will be acquired into the City Civic collection.

Artists are responsible for the design, fabrication and overseeing installation of the artwork curtain. Due to the high level of integration required into the building, consultation and coordination with the Project Delivery Team is essential.

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Corner view of existing building, Nicholson and Maclean St

Architecural Impression of proposed refurbishment works

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Approach: Community Engagement

The successful artist will engage with the Centre users and local community members through community participation workshops which will be led by the artist and facilitated by City Staff and the Centre staff. Whilst the Centre is closed for refurbishment works, the Centre user groups have dispersed and continued to meet in different venues. It is envisaged that the artist will collaborate with each of the different groups and that through the workshop process the voices of the community, their narratives, values and spirit will be metaphorically stitched together prior to their return to the upgraded building

The user groups of the Centre are representative of the diversity of the Woolloomooloo community and include:

• Out of School Hours (OOSH) care users (children 5-12 years) and their parents • At-Risk Youth ( 13-18 years)• The Seniors Community• Gym members• Outreach clients• Existing community art groups (e.g. sewing group/knitting group)• Local Aboriginal and Torres Strait Islander communities

Artists are to nominate the necessary number of workshops required and outline their methodology for community engagement in the request for quotation (RFQ) submission.

Selection Process and Criteria

A Selection Panel made up of a subcommittee of the City of Sydney Public Art Advisory Panel and City staff will evaluate the RFQ submissions based on the following criteria:

• Strength of proposed artistic approach and methodology , innovation and response to the site, context and local community;

• Previous experience or demonstrated potential to work collaboratively on site-specific art projects with a focus on community engagement;

• Previous practice• Demonstrated understanding of proposed artwork materials;• Capacity to achieve the required project program; and• Capacity to achieve a project within the proposed budget.

Please note there will be no fee for RFQ. The City does not expect detailed concepts at this stage.

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Works in progress (Top) Architectural Impression of the Interior, the Centre (Bottom)

Budget

The budget for the Centre artwork curtain is $60,000 (excluding GST) The public art budget includes, but is not limited to the following:• Artist Fee• Travel Allowances (if required)• Workshop expenditures• Design development & documentation• Prototyping • Materials• Fabrication of artwork• Fabrication of curtain (if distinct to artwork) • All insurances• Transportation• Overseeing installation

Items not to be included in the artwork budget are:• Electronic Curtain Track• Mirror behind• During detailed design development, documentation and fabrication phases of project it may be

apparent that the proposed artwork will need to be reproduced as a digitally printed curtain to satisfy the operational requirements of the curtain. Costs associated with this process do not need to be included in the artwork budget

Submission Requirements

For this RFQ artists are required to provide a maximum twelve (12) pages (A4 single-sided) detailing:• Previous Experience, including Artist curriculum vitae and up to 10 images of recent relevant artworks;• Written description of proposed conceptual approach to the artwork, including how it relates to the

site, context and local community and to the artists own practice ( Max 500 words); • Brief outline of the proposed methodology for community collaboration and public participation

in the development of the artwork. Identify the number and type of workshops artist will carry out;• Preliminary sketch/concept drawing of approach proposal, including an indication of how

communities workshopped ideas will be incorporated into the design; • Brief outline of the proposed project methodology, including proposed materials/ finishes, fabrication

techniques and process of artwork creation;

In addition (not included in page limit), please provide:• A cost plan providing a breakdown of all aspects of the project including the artist’s fees, indicating

that the project can be delivered for the project budget (Refer to Attachment 5 – Cost Plan Template). Further details to assist with this process regarding the typical tasks and deliverables that artists will be responsible for throughout the project can be found in Section 4 ‘Schedule of services to be supplied by the successful artist’.

• Proposed timeline to complete the project indicating all project stages• Statement of commitment to work within the nominated budget and timeframe

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Works in progress

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Works in progress

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Artist Responsibilities

The City requires the project artist to:

• Work in accordance with the City’s proposed timeframe and program for the Centre upgrade and enter into the City’s Public Art Commissioning Agreement

• Deliver the public art in accordance with an agreed set of project delivery milestones.• Co-ordinate with the City’s representative regarding the delivery of the artwork and its integration into the

program and staging of the project as required. • Co-ordinate and facilitate an agreed number of community workshops with the users of the Centre and

the local community.• Work in close collaboration with the City’s Project Delivery Team and the Project Architect to integrate

the artwork into the Community Hall and integrate into the infrastructure of the building.• Liaise with the City throughout the project to clarify, confirm and incorporate Council’s requirements for

the artwork including the provision of any necessary services that may be required for the artwork;• Work collaboratively with the relevant contractors and stakeholders;• Work in a manner which is in-keeping with the City’s sustainable Sydney 2030 vision

Insurances

If successful, artists/teams will be required to hold a public liability insurance policy ( typically minimum AU $20,000,000) and personal accident insurance if sole trader or appropriate workers’ compensation insurance for any team members. If required, the City of Sydney may provide Public Liability cover to artists under the City’s Community Engagement Policy.

Work Health and Safety

All selected parties will have to abide by the City’s WHS Policy

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http://www.sydney2030.com.au

http://www.cityofsydney.nsw.gov.au/council/about-council/careers/working-for-thecity/conditions-of-employment

Project Stages and Timeline

The timing of Stage 2-5 is indicative only and will be defined in conjunction with the artist once the content of the artwork is known. When co-ordinating workshops for OOSH care users their preference is for programming not to align with School Holiday periods. The artwork must be fully fabricated and ready for installation by April 2016 to align with practical completion of the Centre Refurbishment works

Stage 1 (6 weeks)

RFQ opens 25 August 2015

Submissions close 6 October 2015

Stage 2 (4 weeks)

Project Development and Refine Artwork Concept November 2015

Stage 3 (10 weeks)

Community Workshops/Design Development and Fabrication December 2015 - February 2016

Stage 4 (2 week) Finalise Technical Requirements March 2016

Stage 5 (4 weeks) Fabrication and Installation April 2016

Lodging the Completed Submission

Completed submissions should be lodged electronically in the Electronic Tender Box at www.tenderlink.com/cityofsydney by 11am (AEST), Tuesday 6 October

Artists should ensure they allow sufficient time to upload their submission in full to the E-tendering portal. Respondents will receive a successful submission receipt timed and dated upon completion.

Alternatively RFQs marked RFQ 9515 – Juanita Nielsen Community Centre Public Art Curtain can also be lodged with Council by 11am (AEST), Tuesday 6 October at the following address or fax:

Tender BoxTown Hall HouseLevel 1, 456 Kent StreetSYDNEY NSW 2000Fax: 02 9265 9697

If lodging to the Tender Box City of Sydney requests, one original and three hard copies of the EOI and attachments, signed as required must be submitted. The front page of each copy (including all supporting information) must be endorsed by the bidder as a true copy. The Tender box is accessible between 8am and 6pm, Monday to Friday.

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Contact

If you have any questions about this invitation or the information provided in this document, please feel free to contact the Tendering Officer, City of Sydney who may be accessed either by:

• the online forum accessed at www.tenderlink.com/cityofsydney • or by email:

Michelle TisdellTendering OfficerEmail: [email protected]

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Schedule of Services

The following information is provided to artists for the purpose of providing an accurate cost plan as part of their RFQ.

For each stage below the artist is to allow for the provision of the services outlined. The artist’s RFQ can outline additional services or alternative services to suit the artistic concept if required.

General• Perform all work and undertake all the services which are necessary to complete the artwork.• Liaise with the City and incorporate the City’s requirements for the project.• Throughout the design process, the artist will amend/refine the content of the developing artistic concept

on the basis of feedback regarding the feasibility, durability and safety of the artwork and to meet the project budget from the building design team, the City and any sub-consultants as it becomes available. Changes and improvements to the artistic concept shall be agreed by the City’s representative before being included.

• Integrate feedback from the City.• Manage any sub-consultants as necessary.• Attend regular meetings called by the City’s representative.• Submit deliverables at each stage as required for approval and sign off prior to commencement of the

subsequent stage.• Co-operate fully and integrate with any contractor appointed to carry out or manage the construction of

the project.• Work towards identified project milestones and complete tasks in line with the City’s program for the

Centre Refurbishment.

The City will support the artists in:

• Working collaboratively with the building design team in order to integrate the artwork into the Centre refurbishment as required

• Consultation with key stakeholders and the community;• Organising workshops – supporting the artist in arranging venues and workshop co-ordination; and• Marketing and promoting the project (including promoting the project to workshop participants)• The completed artwork will become a part of the City of Sydney’s City Art Public Art Collection and the

City will maintain the artwork

Stage 1: Request for Quotation Preparation of a conceptual approach. Completed.

The following stages are typical and are given here as a guideline. They will be reviewed to align with the selected artist’s proposal and practice.

Stage 2: Project Development and Refine Artwork Concept Duration - 4 weeks

Once engaged, the selected artist will move onto Stage 2 to undertake Project Development and refine their artwork concept. It is anticipated that Stage 2 of the project will be carried out in November 2015

Tasks typically may include:• Meet with the City and the relevant design teams to review, develop and refine the concept of the

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artwork and its integration into the Community Hall of the Juanita Nielsen Community Centre• Carry out Project Development. Project Development will establish the approach and scope for artist

led workshops and define specific timeline and deliverables in regards to the artwork design and documentation

Artist Deliverables in Stage 2• Material and information to convey the concept development of the artwork for the purposes of workshop

preparation, consultation, communication and documentation to the City’s representatives and the community as required.

• Format of materials will include a combination of elevations, precedent studies, photomontages, images and material samples as required to fully demonstrate the proposal

• Ongoing documentary evidence of the process; outlining options exploration, evolution of artistic concept and development of the proposal.

• Details of project methodology, including proposed materials/finishes, artwork dimensions, fabrication techniques and approach to installation method/including curtain construction details.

• Details of the artists’ preferred team for design development, documentation and fabrication if required.• Refine timeline to complete the project indicating all project stages• All material is to be in a form of electronic copy suitable for reproduction and to be incorporated into the

deliverable submissions

Stage 3: Community Workshops/ Design Development/ Fabrication if relevantDuration - 10 weeks

The successful artist will engage with the Centre users and local community members through community participation workshops which will be held by the artist in coordination with City Staff and the Centre staff. The artist will use the workshops to develop the artwork design and/or fabricate elements of the artworkIt is anticipated that Stage 3 of the project will be carried out in December 2015 – February 2016The commencement of Stage 3 will be subject to the approval of works carried out in Stage 2.

Tasks typically will include:• Liaising with City Staff and the Centre staff, in conjunction with the Public Art Design Manager to co-

ordinate community participation workshops which through process or outcome will inform the design development of the public art curtain. It is envisaged that the artist will facilitate separate workshops for each of the user groups of the centre. Workshops will be hosted in local community facilities by arrangement with City staff.

• Carry out detailed design development and/or fabrication as required, incorporating content from the community workshops and feedback from the City.

• Prepare material to convey the development of the artwork design and ideas to the City. This could be in form of sketches, images, sketch plans, prototypes etc. as required. Assist as required by providing materials to the City to articulate the artwork and respond to any feedback through further design development as necessary.

• Resolve design details and methodologies for the artwork, fabrication and installation as required for documentation for construction.

• Meet with the City and the relevant design team to review the design of the artwork, the incorporation of material from the community workshops, and the integration into the Centre refurbishment.

• Attend regular meetings and other meetings called by the City’s representative and the building design team and take necessary follow up action required by each meeting.

• If required, revise cost plan.• Agree to project hold points, milestones and sign-offs

Artist Deliverables in Stage 3• Programming and delivery of Community participation workshops for the Centre User groups.• Material to convey detailed design development to the City’s representatives in the form of sketch plans,

elevations, perspectives or models, prototype/s and research.

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• Documentary evidence of the process; outlining workshop outcomes, evolution of design and development of the proposal.

• Material to be collated by the artist in design development drawing packages. Format of materials will include a combination of sketches, plans, perspective sketches, models, photomontages and material samples.

• If required, Revised cost plan.• All material is to be in a form of electronic copy suitable for reproduction and to be incorporated into the

deliverable submissions.

Stage 4: Finalise Technical RequirementsDuration – 2 weeks

In Stage 4, the Documentation will be finalised and completed ready for fabrication of the artworkIt is anticipated that Stage 4 of the project will be carried out over March 2016The commencement of Stage 5 will be subject to the approval of works carried out in Stage 4.

Tasks will typically include:• The artist will be responsible to prepare all documentation required to have the artwork fabricated. In

this stage the artist will work with the City to finalise technical details for reproduction of the artwork (if required) and for detailing curtain fabrication (100% documentation required).

• If required, collaborate with the building design team to develop and amend the design in response to technical requirements for curtain operation, integration with electronic track or to install the artwork.

• Installation method and coordination will be determined in collaboration with the City, and the building design team. The artist will be expected to review and assist with the preparation of installation documentation for the artwork as a whole as it relates to the building through the provision of materials, drawings and information

• Provide information to the City’s representative regarding preparation and checking of estimates and costs, in relation to the cost plan.

• Participate in and incorporate the findings of the Design Safety Assessment process into the artwork design in collaboration with the building design team and the City.

Artist Deliverables in Stage 4• 100 % Documentation package for artwork issued for review, costing and approval. Package to include

all drawings, details, images, specifications, schedules, samples, prototypes etc • Documentary evidence of the Stage 4 process; outlining options exploration• Schedule of any hold points, prototyping, samples or testing required during fabrication/installation• Revised Documentation costplan

Stage 5: Fabrication + InstallationDuration – 4 weeks

Stage 5 incorporates the fabrication and installation of the artwork. It is anticipated that Stage 5 of the project will be carried out over April 2016. The commencement of Stage 5 will be subject to the approval of works carried out in Stage 4.All associated costs to install the artwork will be covered within the overall budget for the building refurbishment. However any additional costs for the specific fabrication and installation documentation of the artwork must be covered in the artwork budget of $60,000+ GSTStage 5 incorporates the fabrication of the artwork. Artists are responsible for fabrication and overseeing the installation of the artwork curtain. The artist will be responsible for quality control and administration during this stage.

Tasks will typically include:• The artist will be responsible for fabrication, coordination, administration and quality control as required

during fabrication of the artwork. Including progress inspections, material samples etc.

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• If required, upon completion of the fabrication of the works carry out an inspection with the City’s representative to determine any defects.

• Coordinate transportation of the completed artwork to a nominated City storage facility.• Provide an artist’s statement and text copy for the artwork plaque to the City.• Develop a maintenance manual with full specifications of the finished artwork.

Artist Deliverables in Stage 5• The fabricated artwork.• Plaque text copy and artist’s statement.• Maintenance manual detailing full specifications for the artwork.• Provide information to allow the artwork to be entered into the City of Sydney’s asset management

system for ongoing maintenance of the artwork as part of the City of Sydney’s City Art Public Art Collection.

Installation of the artwork will be overseen by the artist and carried out by a contractor.The artist will be responsible for the following:• Advice and supervision of the artwork during fabrication period if required • Advice and supervision of the artwork during installation period if required • Preparing answers for requests for information (“RFI’s”) from the contractor carrying out installation of

the work.• Upon completion of the works carry out an inspection with the City’s representative to determine any

defects and for achieving practical completion of the building construction.• At the end of the Defects Liability Period (12 months post completion), carry out a defects inspection

with the City’s representative on the artwork installation.

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Standard Conditions of Quotation1. REQUEST FOR QUOTATION

This request for quotation (RFQ) consists of the documents identified in the key conditions of quotation. Where there is any doubt about the meaning of this RFQ, the rules governing the interpretation of the Contract will apply to resolve the ambiguity.

2. QUOTATION PROCEDURE

2.1 Information and Enquiries

Where a bidder has any doubt about the meaning of any aspect of the RFQ, the bidder must make enquiries about and clarify matters with Council’s contact person. All enquiries about the RFQ must be referred through the Tenderlink online forum or in writing to the Council’s contact person.

2.2 Discrepancies, Errors and Omissions

Bidders must carefully and thoroughly consider and check the RFQ and must notify Council’s contact person in writing of any errors, ambiguities, discrepancies, inconsistencies or omissions in the RFQ. Council will not be liable for any such error, ambiguity, discrepancy, inconsistency or omission.

2.3 Bidder to Rely on Own Enquiries

In submitting a quotation, bidders will be deemed to have: a) Examined information relevant to the risks, contingencies, and other circumstances having an effect on

the quote and which is obtainable by the making of enquiries; b) Satisfied themselves as to the correctness and sufficiency of their quote and that their quote covers

the cost of complying with the obligations of the quotation documents, the requirements of the relevant Authorities and of matters and things necessary for the due and proper performance and completion of the work described in the quotation documents; and

c) Examined any reports, public utility service diagrams or other information which, not being part of the quotation documents, are nevertheless available to the bidder submitting a quote.

2.4 Bidder Not to Solicit Council Personnel

Bidders (or any representative of a Bidder) must not at any time before Council makes a final decision to accept a Quotation, interview or attempt to interview or to discuss or to attempt to discuss with Council members, employees, authorised representatives other than Council’s Tendering Officer in accordance with the RFQ, any matter about the Quotation or any other Quotation submitted in response to the RFQ. Council reserves the right to reject any Quotation submitted by a Bidder which contravenes this condition. Council reserves the right to pass over any quotation, quote or tender if it has reasonable grounds for considering that a bidder or a bidder’s representative has breached this clause either in the current procurement process or in any previous procurement process.

3. COMPLETION OF QUOTATION

Unless indicated otherwise in the RFQ, a bidder must complete all parts of the quotation forms and submit an offer to carry out the work under the Contract in accordance with the RFQ.

4. CONFORMING AND ALTERNATIVE QUOTES

A bidder may also submit an alternative non-conforming quotation. Any alternative non-conforming

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quotation must satisfy the objectives of Council in issuing the RFQ, the requirements of the specifications and contract.

Failure to comply with any condition of quotation may render the quotation non-conforming.

5. LODGEMENT OF QUOTATION

Quotes should be lodged to:

The Electronic Tender Box at www.tenderlink.com/cityofsydney by the closing time and closing date nominated. Bidders should ensure they allow sufficient time to upload their submission in full to the Etendering portal. We strongly recommend that you begin uploading your submission files at least 60 minutes before the closing time. Respondents will receive a Successful Submission Receipt timed and dated upon completion. Should assistance be required please use the online manual on the portal under Support/Online Manuals/Making a Submission or contact Tenderlink Customer Support on 1800 233 533. Tenderlink’s instructions on how to make an electronic response and a list of common submission problems are available through the following link.

If the above conditions are not met, the quotation may not be considered a “conforming quotation”.

6. QUOTATION VALIDITY PERIOD

Any quote will be an irrevocable offer by the bidder to carry out the work under the Contract subject to the conditions set out in the RFQ. The offer will remain open for acceptance by Council for a period of 60 calendar days from the closing date.

7. ACCEPTANCE OF QUOTATION

The Council is not bound to accept the lowest or any quotation. Council at its absolute discretion reserves the right to reject the offer of any Bidder who has any unresolved disputes with the City.A quotation will not be deemed to have been accepted unless and until a letter of acceptance is issued by Council to the successful bidder. The formal contract must be executed and Council will issue a purchase order before any works or services are undertaken. The purchase order number must be quoted on all relevant documentation.

8. CONFIDENTIALITY

Information provided in this RFQ or imparted to any bidder as part of the quotation process must only be used for the purpose of preparing and submitting a quotation response. Receipt of this document implies acceptance of this condition.

Information supplied by a bidder will not be treated as commercially sensitive or confidential unless specifically requested by the bidder. Information received by Council may be subject to disclosure to the public under the Government Information (Public Access) Act 2009 and regulations unless it has been provided in confidence, relates to commercially sensitive information or falls within an exemption from disclosure under that Act.

9. CONFLICT OF INTEREST

In this clause “conflict of interest” means an actual or potential pecuniary or non-pecuniary conflict of interest (see the Council’s Code of Conduct at under Governance for further explanation of these terms). Bidders must disclose any conflict of interest in undertaking the requirements of the specifications and contract. Where a Bidder has a conflict of interest, the Bidder must provide Council in writing with detailed

24


http://www.tenderlink.com/tenderers/2744.548/resources/Making%20a%20submission%20to%20an%20electronic%20tenders%20box_COS.pdf

http://www.cityofsydney.nsw.gov.au/Council/FormsPoliciesPublication/Policies.asp

information about the nature and scope of the conflict of interest and include details of any arrangements proposed to resolve or manage the conflict of interest should the Bidder be awarded the contract. Based on the information provided by the Bidder, Council will make the final decision regarding the Bidders conflict of interest. If a conflict of interest is not disclosed by a Bidder and Council then becomes aware of the conflict, Bidders may be excluded from this Quotation and/ or any future process by which Council is seeking the provision of goods or services.

Additional information relating to the City’s requirements of Bidders regarding how to tender, frequently asked questions and ethical business conduct can be found on the website at http://www.cityofsydney.nsw.gov.au/Business/TendersEOIQuotes/default.asp

10. ASSESSMENT CRITERIA

Quotations will be examined and evaluated according to the following criteria: • Strength of proposed artistic approach and methodology, innovation and response to the site, context

and local community;• Previous experience or demonstrated potential to work collaboratively on site-specific art projects with a

focus on community engagement;• Previous Practice; • Demonstrated understanding of proposed artwork materials; • Capacity to achieve the required project program; and • Capacity to achieve a project within the proposed budget.

Each of the mandatory evaluation criteria listed above is considered to be critical to this quotation. They are not of equal weight for evaluation and are not listed in order of priority.

Bidders compliance on each of the mandatory evaluation criteria will be separately evaluated using the Evaluation Rating Scale below:

Score Rating Description90-100 No risk, excellent response with added value and innovation80-89 No risk, excellent response70-79 Very low risk, good response60-69 Low risk, good response50-59 Low risk, acceptable response40-49 Medium risk, but acceptable response

If a bidder receives a score of less than 40 in any one mandatory assessment criteria, that bidder will be deemed non-compliant and will not be recommended for acceptance by Council.

The City may undertake financial assessments of bidders to determine their financial capacity to undertake the works under the contract. This may be undertaken by a third party appointed by the City.

On request the bidder must provide recent years financial information which may include financial statements (P&L, Balance sheets and notes) and Management accounts / Financial statements.

Bidders must complete all parts of the quotation forms. Council may reject any quotation which does not provide all the required information.

25

http://www.cityofsydney.nsw.gov.au/Business/TendersEOIQuotes/default.asp

http://www.cityofsydney.nsw.gov.au/Business/TendersEOIQuotes/default.asp

Quotation FormsThe following Quotation forms must be completed as part of this RFQ. Artists may submit forms in a custom layout/document

Part 1 Execution by Bidder Part 2 Statement of Conformance and Acknowledgement of Addenda Part 3 Artist Contact Details, Curriculum Vitae and Previous Experience Part 4 Proposed Conceptual Approach for the Artwork Part 5 Proposed Methodology for the Collaborative Approach required for the Delivery of the

Artwork Part 6 Sketch/Concept DrawingPart 7 Proposed Project Methodology Part 8 Cost Plan Part 9 Proposed Timeline for the Project Part 10 Insurance and Disability Details Part 11 Environmental Management Part 12 Workplace Health and Safety

26

PART 1EXECUTION BY BIDDER(RETURNABLE SCHEDULE)

I/We having read, understood and fully informed myself/ourselves of the contents, requirements and obligations of the RFQ, submit this RFQ for the performance by myself/ourselves of the Juanita Nielsen Community Centre Public Art Curtain for the Council of the City of Sydney.

I/We hereby offer to supply the goods and/or services described in the quotation within the nominated budget being $..................excluding GST [insert lump sum price] and the project timeframe and upon and subject to the key and standard conditions of quotation and general conditions of contract set out in the request for quotation. This offer remains open for acceptance for 60 calendar days from the quotation closing date.

Name of Bidder

Subsidiary Company (if applicable)

Address of Bidder

Postal Address

Refer enquiries to: (name, telephone number and email address)

Phone Number Fax Number

Legal Entity ABN

Signature and Date Official Position Held

PART 2STATEMENT OF CONFORMANCE AND ACKNOWLEDGEMENT OF ADDENDA(RETURNABLE SCHEDULE)

2.1 CONFORMANCE [Delete whichever is not applicable]

• The submission does conform with the RFQ; or

• The submission does not conform with the RFQ. The areas in which the submission does not conform and the reasons for this non-conformance are as follows:

Non-Conformance Description/Reason

2.2 ACKNOWLEDGEMENT OF ADDENDA

I / We, acknowledge receipt of the following: [Bidders must list all the addenda numbers which have been received from Council]

PART 3ARTIST/S CONTACT DETAILS(RETURNABLE SCHEDULE)

Artist/s Name/s:

Artist Email Address:

Artist Phone Number:

Artist/s Address:

Artist/s Website if applicable:

PART 3.1ARTIST/S CV and up to 10 (ten) images of recent work(RETURNABLE SCHEDULE)

PART 4CONCEPTUAL APPROACH FOR THE ARTWORK(RETURNABLE SCHEDULE)

Max 500 words describing proposed conceptual approach to the artwork: including how it relates to the site, context and local community and to the artists own practice

PART 5PROPOSED METHODOLOGY FOR THE COLLABORATIVE APPROACH REQUIRED FOR THE DELIVERY OF THE ARTWORK(RETURNABLE SCHEDULE)

Brief outline proposed methodology for community collaboration and public participation in the development of the artwork. Identify the number and type of workshops artist will carry out

PART 6SKETCH/CONCEPT DRAWING(RETURNABLE SCHEDULE)

Preliminary sketch/concept drawing of approach proposal, including an indication of how communities workshopped ideas will be incorporated into the design (up to 2 single sided A4 pages)

PART 7PROPOSED PROJECT METHODOLOGY(RETURNABLE SCHEDULE)

Outline of the proposed project methodology, including proposed materials/finishes, fabrication techniques and process of artwork creation (up to 1 single sided A4 page in point form)

PART 8COST PLAN(RETURNABLE SCHEDULE)

A cost plan is to be submitted providing a breakdown of all aspects of the project including the artist’s fees, other consultant fees engaged by the artist, design development, documentation and fabrication costs indicating that the project can be delivered for the project budget; See attached template. As a minimum provide a budget breakdown for the following:

ITEM COST (ex GST)Artist Fees, design support, project management, consultant fees, meet-ings, (List as required)Expenditures for Community Workshops

Design development & documentation

Prototyping

Materials

Fabrication

Additional Insurances if required

Overseeing Installation

Storage (if required)

Transport to site

Travel (if required)

Contingency

Other (List as required)

TOTAL

PART 9PROPOSED TIMELINE FOR THE PROJECT(RETURNABLE SCHEDULE)

Bidders must confirm they can comply with the project program.

Bidders must prepare a proposed timeline to complete the project indicating all project stages. The dates and duration of Stages 2-5 in left hand column is indicative only and can be adjusted by the artists to reflect their project proposal and practice. The artwork must be fully fabricated and ready for installation by mid April 2015.

STAGE & TASKS TIMELINE ACTION BYStage 2

Project Development and Refine Artwork Concept

Duration: 4 weeks

November 2015Stage 3

Community Workshops/Design Develop-ment and Manufacture (if required)

Duration: 10 weeks

December 2015 - February 2016Stage 4

Finalise Technical Requirements

Duration: 2 weeks

March 2016Stage 5

Fabrication and Installation

Duration: 4 weeks

April 2016

PART 10INSURANCE AND DISABILITY DETAILS(RETURNABLE SCHEDULE)

The successful artist insurance policies must be for the amounts required under the contract and the City must be noted as an interested party on the public liability policy certificate of currency.

PART 11ENVIRONMENTAL MANAGEMENT(RETURNABLE SCHEDULE)

The City is committed to supporting the principles of environmental sustainability and ensuring sustainable practices are incorporated into daily work practices.

Commitment to obtain public liability insurance to the value of $20million per incident, personal accident and disability insurance and appropriate workers compensation insurance for any staff or team (for the duration of the contract)

Commitment to environmentally sustainable practices in relation to this quotation

PART 12WORKPLACE HEALTH AND SAFETY(RETURNABLE SCHEDULE)

The artist is required to consider safe design and employ safe systems of work so that the art works are, as far as reasonably practicable, without risk to the health and safety of workers and members in the public during the following stages of the art work:

• Community Workshops and Fabrication;

• Installation;

• Maintenance and repair; and

• Decommissioning.

CONDITIONS OF CONTRACTThe general conditions of contract for this request for quotation consist of: City of Sydney Public Art Commissioning Agreement

Artists are to demonstrate that they have considered safe systems of design during the Design Development Stage and if successful they will consider all safety practices in relation to their artwork and the following stages of the project.

Attachments• Attachment A – Architectural Drawings

• Attachment B – Curtain Specifications

• Attachment C – Site History

• Attachment D – City of Sydney Public Art Commissioning Agreement

JUANITA NIELSEN COMMUNITY CENTREPUBLIC ART CURTAINAttachment A - Architectural drawings

tankwithtray

W37

D47

LDY / CLN1.11CT-1

I

KH J

A6.02-

D

-A C

A6.01-

CONSULTINGROOM

1.08RF-1

COMMUNITY STORE1.06TF-1

COMMUNITYROOM 2

1.04TF-1

Artwork curtainMI

SP below

JU18 JU17

9 x movable tablesfloor mounted

GPOsunder JU22'S

SP below SP below

OSHC STORE1.07TF-1

SITE BOUNDARY

COMMUNITYROOM 1

1.05TF-1

DP DP DP DP DP DP

HALL STORE1.03TF-1

KITCHENETTE1.09RF-2

HALL 31.13TF-1

COMMUNITYHALL1.02TF-1

SC

UPPERWI-FI LOUNGE

1.01TF-1

RL 6.145

SC

MI

W74

ove

r

STA

IR 1

C.0

1C

ON

C-1

void

67

8

9

10

1112

13

14

15

1617

18

19

20

2122

23

ACCESS1.14

F3/OSHC

WC1.20

M21.16

F21.19

F11.18

LIFTC.04 ST

ORE

21.

10

JU16

STAIR 2C.02GRNL

SCSC

1105

2555

to

co

l.

SC

Directionof

Boards

Directionof

Boards

Directionof

Boards

M11.15

M31.17

Directionof

Boards

JU19 JU20

JU21

JU22

JU22

JU22

JU22

JU22

JU22

JU22

JU22 JU22

JU25

JU23

JU24

W78 over

A5.0002

A5.0206

B

-A C

M

OL N

A6.01-

A6.02-

Set-out from inside face of brickwall

A8.0002

CA awning over dotted CA awning over dottedCA awning over dottedCA awning over dottedCA awning over dottedCA awning over dotted

CA

aw

nin

g o

ver d

ott

ed

CA

aw

nin

g o

ver d

ott

ed

CA

aw

nin

g o

ver d

ott

ed

CA

aw

nin

g o

ver

HALL 21.12TF-1

A8.00-

STW

STW

STW

1835

CO

S

Ha

ll 2

2729

3711

1900

1727

4000

A4.09-

A4.14-

Set-out from inside face of brickwall

Op

en

ing

1270

3280

5910

5620

5644

CO

S

1350

90

Set-

ou

t fr

om

insid

e f

ac

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f b

rickw

all

4900 4953 4950 4950 4950

7901690

Op

en

ing

SITE

BO

UN

DA

RY

Extension of concrete stair and landing in grey. Refer to structural eng's drawings

New galv steel cyclone wire fence and locked gate

FH

R

1405

SC

GasHeater

GasHeater

GasHeater

CT-1CT-1 CT-1

CT-1

CT-1CT-1CT-1

New galv handrails and tactile indicators

2423 22212019

25 26 27 28

RL 6.870

A8.0014

A7.032b

Dead tree sculpture, refer to notes on A1.01 and A3.00

Directionof

Boards

GasHeater

GasHeater

GasHeater

A5.047

A5.082

A5.043

A5.045

A5.075

A5.0516

W33W32W31W30W29W28

W34

W35

W36

W38

W39

W40

W41

D55

W42

D49

W43W44W45W46W47W48W49

D45

W50

W51

W52

W53

W54

W55

W56

W57

W58

W22 W23 W24 W25 W26 W27

D36 D35D37

D34

D39 D38

D40

A5.077

W59D41

D42

D43

D53 D52 D51

D48

D32D33

HA 0214

5011

85

D46

D44

7146

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1450

1676

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1450

3089

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rid 2

733390

2350205

162890

301165

120

1502000

150815 1621

2302146

901810

90663

901070

903659

4864

Community Store Kitchenette Hall StoreJU24 Cup'd

9729234

261990 90

3492 228590 230

1012 439490

234

2484743

Community Room 2 WC's WC's Consulting Room Stair 2

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AlignAlign

Align Align

A

A3.00

B

A3.00

A

A3.00

C

A3.01

FA3.00

DA3.02

JA3.01

H

A3.01

G

A3.00

A

A3.00

C

A3.01

G

A3.02

IA3.02

I

A3.00

BA3.01

FA3.01

DA3.02

JA3.01

H

A3.01

EA3.01

E

A2.00

01A2.00

03

A2.00

02

A2.00

04

B

C

1 2 3 4 5

LEGEND CONSULTANTS TO NEESON MURCUTT ARCHITECTSSTRUCTURAL SIMPSON DESIGN ASSOCIATESMECHANICAL FLOTHELECTRICAL FLOTHLIFT FLOTHHYDRAULIC ARUPFIRE SERVICES ARUPHERITAGE JOHN OULTRAM HERITAGE + DESIGNBCA BCA LOGIC - STUART BOYCEACCESS BCA LOGIC - STUART BOYCEPLANNING MERSONNACOUSTICS ARUPLANDSCAPE SUE BARNSLEY DESIGNTRAFFIC TRAFFIXESD ARUPRISK/OH+S ARUPLIGHTING FLOTHSIGNAGE FROST DESIGNPRIVATE CERTIFIER BM+G - BRIAN MAGUIRE

GENERAL NOTES:- COMPLY WITH RELEVANT AUTHORITIES REQUIREMENTS

- COMPLY WITH THE BUILDING CODE OF AUSTRALIA

- COMPLY WITH ALL RELEVANT AUSTRALIAN STANDARDS

- DIMENSIONS IN MILLIMETRES

- USE FIGURES DIMENSIONS ONLY

- DO NOT SCALE

- IF DISCREPANCY EXISTS NOTIFY ARCHITECT

- COS - CONFIRM ON SITE

- IF IN DOUBT ASK

TRUE N

ORTH

IF ISSUE IS INITIALED AS CHECKED DRAWING CAN BE CONSIDERED APPROVED UNDER NMA QUALITY MANAGEMENT SYSTEM

ADJAFALBABB

BCTCACBTCFCH

CONCCPT

CTCTPDP

DW

ADJUSTABLEACOUSTIC FABRIC PANELALUMINIUMBASINBLACKBOARDBABY CHANGE TABLECANVAS AWNINGCABLE TRAYCEILING FANCLOTHES HOOKCONCRETECARPET TILECERAMIC TILECOOKTOPDOWNPIPEDISHWASHER

DWRECBEXT

FFBFCFG

FHRFPFS

FWGALV

GRHAHDHE

DRAWEREMERGENCY CALL BUTTONEXISTINGFRIDGEFACE BRICKFIBRE CEMENT SHEETFIXED GLASSFIRE HOSE REELFIXED PANELFIXED SHELFFLOOR WASTEGALVANISED STEELGRAB RAILHANDLEHAND DRYERHEATER

HTIS

JULFLP

MEMI

MWOFOVPH

PLYPMPT

PRLPTD

HOSE TAPISOLATION SWITCHJOINERY UNITLIGHT FITTINGLAMINATEMETAL MESHMIRRORMICROWAVEOVERFLOWOVENPARTITION HINGEPLYWOODPAINTED MASONRYPLUMBING TRAPPRIVACY LATCHPAPER TOWEL DISPENSER

RFRHRMRU

RWHRWO

SCSDSESF

SFDSFW

SISJSK

RESILIENT FLOORING RANGE HOODRENDERED MASONRYRUBBER FLOOR MATRAINWATER HEADRAINWATER OUTLETSTEEL COLUMNSOAP DISPENSERFOLD DOWN SEAT AS1428SHELFSTEEL FRAMED DOORSTEEL FRAMED WINDOWSINKSILICONE JOINTSKIRTING

SPSRSS

SSPST

STPSTW

TTC

TCCTDTETFTI

TMVTP

STEEL PAINTED SHOWERSTAINLESS STEELMIRROR POLISHED STAINLESS STEELSTONESTEEL PLATESTUD WALLSOLID TIMBERSOLID TIMBER CLADDINGSOLID TIMBER CLAD CEILINGTIMBER DOORTERRAZZOTIMBER FLOOR TACTILE INDICATORSTHERMOSTATIC MIXER VALVEPAINTED TIMBER

TPHTRTTSTXUR

WCWMC

ZN

TOILET PAPER HOLDERTIMBER ROOF TRUSSTAPSETEXISTING TIMBER STRUCTUREURINALTOILETWASHING MACHINE COCKSZINCALUME

Copyright in all documents and drawings prepared by NEESON MURCUTT ARCHITECTS and in any works executed from those documents and drawings shall remain the property of, or on creation vest in NEESON MURCUTT ARCHITECTS.

NEESON MURCUTT ARCHITECTS

DATETITLE SCALENO PHASE

FOR

A1.02 D 7 NOVEMBER 2013FIRST FLOOR PLAN CONSTRUCTION 1:100 @A1

©

REV

PROJECT NAME :

PROJECT NO :

JUANITA NIELSEN COMMUNITY CENTRE UPGRADE

C18046

CITY OF SYDNEY - CITY PROJECTSNOMINATED ARCHITECT : RACHEL NEESON No. 6692

L2 9 ROSLYN ST POTTS POINT 2011 T. 8297 3590 F. 8297 3510

DATE REVISIONISSUE CHECKED BY

FIRST FLOOR PLAN-- 1:100

TJ07.11.13 A TENDERTJ12.11.13 B 100% TENDERTJ15.11.13 C 100% TENDER SUBMISSIONTJ19.11.14 D CONSTRUCTION

AWalsh1

Rectangle

L0 FFL 1.88

GYMG0.16

OSHCPLAYSPACE

G.07

MI

MI

CONC - 4

CONC - 4

JU09

JU10a/b beyond

RL 4.28

RL12.08 EX. PARAPET

SITE

BO

UN

DA

RY

RL 9.10 TOP OF WALL

L1 FFL 6.145

L0 RL 5.68 U/S JOISTS SC

RL 8.545

A7.0004

A7.0001

12345

COMMUNITYHALL1.02 COMMUNITY

ROOM 21.05VOID

MI

A5.0011

A7.0306

timber screen overreturn air vents

beyond

supply air ducts

A7.0105

CONC-1

A7.0003

beyond

A7.0002

PV Cells mountedClenergy PV-ezRack

SolarRoof Longlineinterface

SITE

BO

UN

DA

RY

50 d. galv steel vent pipe

A7.0308

A7.0205

A7.0106

W8 D4 D5 W60

D48

W37

W73

W77

W63

W62a W62b D10

D22

W66b W66a

W67 W65

D17

W17

W55

W78

D45

W74

SITE

BO

UN

DA

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L0 FFL 1.88

RL 4.13

RL12.08 EX. PARAPET

RL 9.10 TOP OF WALL

L1 FFL 6.22

L0 RL 5.66 U/S JOISTS

JU18

T-2

KITCHENG.08

OSHC -PLAYSPACE

G.07

COMMUNITYROOM 1

1.05

C B A

Line of box guttershown dashed

A5.0408

A5.0406

COMMUNITYROOM 2

1.04

A5.0007

bracing to cornerof parapet tostructural engineer'sdetails

FB-1

FB-1

A5.0001

Sprinkler distributionpipe and riser

4x Rinnai gas heatersto mechanicaleng's spec's

JU20

SI 2

JU10

JU09

OSHC -EXTERNAL

STOREG.11

JU14

Acoustic insultationbetween existing joists, refer to finishes schedule for details

Dead Tree Sculpture:- Builder to provide a suitable dead tree;- Cut down branches and smooth edges to approved level;- Dead tree to be supported onto new ground floor slab. Provide 900x900x450d thickening in base slab under trunk. Nominally allow for 50dia ms galv dowel epoxy grouted into trunk and slab ( 300mm each) for fixing trunk to base slab. Tree to be tied to first floor structure with blocking between joists for restraint.

CF CF CF CF

CFCFCF

W22

W1

W21

W58W57

W20

W56

D20W18

W55W54

W17

W53

D45

W78

W52W51

W50

W14D19

W65

W16


GENERAL NOTES:

- COMPLY WITH RELEVANT AUTHORITIES REQUIREMENTS





- DO NOT SCALE



- IF IN DOUBT ASK

TRUE N

ORTH


ADJAFALBABB

BCTCACBTCFCH

CONCCPT

CTCTPDP

DW


DWRECBEXT

FFBFCFG

FHRFPFS

FWGALV

GRHAHDHE


HTIS

JULFLP

MEMI

MWOFOVPH

PLYPMPT

PRLPTD


RFRHRMRU

RWHRWO

SCSDSESF

SFDSFW

SISJSK


SPSRSS

SSPST

STPSTW

TTC

TCCTDTETFTI

TMVTP


TPHTRTTSTXUR

WCWMC

ZN





FOR

A3.00 D 7 NOVEMBER 2013SECTIONS CONSTRUCTION 1:100 @A1

©

REV

PROJECT NAME :

PROJECT NO :


C18046




S

S

L0 FFL 1.88

RL 4.28

RL12.08 EXISTING PARAPET

RL 9.10 TOP OF WALL

L1 FFL 6.145

RL 5.68 U/S JOISTS

1 2 3 4 5

RL 8.545 TOP OF WALL

GYMG0.16

COMMUNITYROOM 2

1.05

RECEPTIONG0.16

OSHCG0.07

UPPERWIFI

LOUNGE1.01

COMMUNITYHALL1.02

A5.0205

CF CF CF CF CF CF

CF CF CF CF CF CF

FB-1

FB-1

tree sculpture -refer to general

note on section B

Align underside of first floor fans with underside of trusses as shown

Ground floor fans mounted to 2750mm above FFL

W34

W7

W33W32

W6

W31W30

W73

W5

W60

W29W28

W4

W27

W74

W26

W3

D21

W2

W25W24

W78

W23

W1

W22W58

OPENING

SITE

BO

UN

DA

RY

L0 FFL 1.88

RL 4.28

RL12.08 EX. PARAPET

RL 9.10 TOP OF WALL

L1 FFL 6.145

RL 5.68 U/S EX. JOISTS

JU01

SM-1

SP

ACCESSCHANGE

G.18

RWT

GROUNDWI-FI

LOUNGEG.02

UPPERWI-FI

LOUNGE1.01

ACCESS1.14

CONC

LIFTC.04

RL 8.545

C B A

RL13.06

TANKG.06

SB

SC SC

SCSC

RECEPTIONG.01

HALL 31.13

A5.0105

JU03

Bracing of existing parapet to structural engineer's details

T-2

A5.0003

W28

W4

D21D22

W71

W77

W76

W76

W79

W43

W15

PROPOSED SECTION AAA1.01 1:100

PROPOSED SECTION BBA1.01 1:100

PROPOSED SECTION CCA1.01 1:100

PROPOSED SECTION DDA1.01 1:100

TJ07.11.13 A TENDERTJ12.11.13 B 100% TENDERTJ15.11.13 C 100% TENDER SUBMISSIONTJ19.11.14 D CONSTRUCTION

AWalsh1

Rectangle

W49 W50

SW

W15

STAFF OFFICEG.04

JU06

FB

STAIR 2C.02

MALE CHANGEG.19

ACCESSCHANGE

G.18

OSHC-ACCESS

G.12

D15

OSHC-HANDWASHG.15

OSHC-INTERNAL

STOREG.10

OSHC-EXTERNAL

STOREG.11

D14

SITE

BO

UN

DA

RY

SITE

BO

UN

DA

RY

12345

L0 FFL 1.88

RL 4.28

RL12.08 EX. PARAPET

RL 9.10 TOP OF WALL

L1 FFL 6.145

L0 RL 5.68 U/S JOISTS

RL 8.545

D6

W11

HALL 1G.21

JU07

W70

D11

SW SW

W14

SW

W13W12W10

D16

W52

JU18JU17JU23

W73

W42

CONSULTING ROOM1.08

W74

W43 W44 W45 W46 W47 W48

M11.15

ACCESS1.14

M31.17

F11.18

F21.19

F31.20

D19

COMMUNITYROOM 1

1.04

A5.0201

W80 W79

M21.16 W C 2


GENERAL NOTES:






- DO NOT SCALE



- IF IN DOUBT ASK

TRUE N

ORTH


ADJAFALBABB

BCTCACBTCFCH

CONCCPT

CTCTPDP

DW


DWRECBEXT

FFBFCFG

FHRFPFS

FWGALV

GRHAHDHE


HTIS

JULFLP

MEMI

MWOFOVPH

PLYPMPT

PRLPTD


RFRHRMRU

RWHRWO

SCSDSESF

SFDSFW

SISJSKSM

RESILIENT FLOORING RANGE HOODRENDERED MASONRYRUBBER FLOOR MATRAINWATER HEADRAINWATER OUTLETSTEEL COLUMNSOAP DISPENSERFOLD DOWN SEAT AS1428SHELFSTEEL FRAMED DOORSTEEL FRAMED WINDOWSINKSILICONE JOINTSKIRTINGSTEEL MESH

SPSRSS

SSPST

STPSTW

TTC

TCCTDTETFTI

TMVTP


TPHTRTTSTXUR

WCWMC

ZN





FOR

A3.02 C 7 NOVEMBER 2013SECTIONS TENDER 1:100 @A1

©

REV

PROJECT NAME :

PROJECT NO :


C18046




FB-1

SITE

BO

UN

DA

RY

SITE

BO

UN

DA

RY

GYMG.16

HALL 21.12

PLANT

EXT FB

FB-1

CONSULTINGROOM

1.08

2x 50 d. 316 grade SSO/F beyond

L0 FFL 1.88

RL 4.28

RL12.08 EXISTING PARAPET

RL 9.10 TOP OF WALL

L1 FFL 6.145

RL 5.68 U/S JOISTS

RL 8.545

Plant drainage beyond shown dashed

CBA

W5

W34 W35 W36 W37 W38 W39

W42W31

COMMUNITYHALL1.02

FEMALECHANGE

G.20

MALECHANGE

G.19

W10A5.0014

A7.0206

Suspended PB ceiling

High level sprinklersas required

LFAcoustic insultationbetween existing

joists, refer tofinishes schedule

for details

1m x 1.5m PV Cellsmounted to roofusing Clenergy

PV-ezRack SolaroofLongline interface

35° A7.0101

A7.0103

Mechanical ductworkbeyond

Mechanical riserbeyon shown dashed

LFLFLFLFLF

A7.0102

Motorised curtain

AC equipment above

PROPOSED SECTION IIA1.01 1:100

PROPOSED SECTION JJA1.01 1:100

TJ07.11.13 A TENDERTJ12.11.13 B 100% TENDERTJ15.11.13 C 100% TENDER SUBMISSION

AWalsh1

Rectangle


GENERAL NOTES:






- DO NOT SCALE



- IF IN DOUBT ASK

TRUE N

ORTH


ADJAFALBABB

BCTCACBTCFCH

CONCCPT

CTCTPDP

DW


DWRECBEXT

FFBFCFG

FHRFPFS

FWGALV

GRHAHDHE


HTIS

JULFLP

MEMI

MWOFOVPH

PLYPMPT

PRLPTD


RFRHRMRU

RWHRWO

SCSDSESF

SFDSFW

SISJSKSM

RESILIENT FLOORING RANGE HOODRENDERED MASONRYRUBBER FLOOR MATRAINWATER HEADRAINWATER OUTLETSTEEL COLUMNSOAP DISPENSERFOLD DOWN SEAT AS1428SHELFSTEEL FRAMED DOORSTEEL FRAMED WINDOWSINKSILICONE JOINTSKIRTINGSTEEL MESH

SPSRSS

SSPST

STPSTW

TTC

TCCTDTETFTI

TMVTP


TPHTRTTSTXUR

WCWMC

ZN



D48

W73

COMMUNITYHALL1.02

MI

MI

MI

MI

MI

MI

MI

MI

Artwork Curtain track. SIlent Gliss 5300 motorised system.

2400

707

CO

S

Timber battens to acoustic louvres

TRT TCC-1

FB-1 FB-1 FB-1

Sill

COMMUNITYHALL1.02

W33

FB-1

FB-1

FB-1 FB-1FB-1

FB-1 FB-1 FB-1 FB-1 FB-1

FB-1

Refer to A2.02 for internal shutter details Refer to A2.02 for internal shutter details Refer to A2.02 for internal shutter detailsHALLSTORE1.03

W43

W73

W30

D47

FB-1

TCC-1

FHR

fan switchlight switch + dimmer

FB-2

SignageSID06_01_01Refer to signage documents

600

2400

FB-2FB-2 FB-1 FB-1 FB-1 FB-1 FB-1

TCC-1

TRT-1

SP-2 Dark Grey

TRT-1TRT-1TRT-1TRT-1TRT-1

COMMUNITYHALL1.02

W73

W30

D47FB-1

TCC-1

TRT-1

SP-2 Dark Grey

TRT-1 TRT-1 TRT-1 TRT-1

FB-1 FB-1

Artwork Curtain track. SIlent Gliss 5300 motorised system.

UPPERWI-FI

LOUNGE1.01

FB-1

FB-1

FB-1 FB-1

W26 W27 W28 W29FB-1 FB-1 FB-1FB-1

W34

FB-1

COMMUNITYHALL1.02

FB-1 FB-1

FB-1 FB-1

FB-1W30 W31 W32 W33

Sill. TP-2a

FB-1

Refer to A2.02 for internal shutter detailsRefer to A2.02 for internal shutter details

W73 W74

234

Timber trusses. TRT

CONC-4

SS Lift doors

Concrete detail to liftdoor opening to beconfirmed with Lift

Manufacturer

850

92012

90

1850

717 1208

CONC-4

Timber trusses. TRT

TCC-1

TCC-1TCC-1

OPENING

W28

UPPERWI-FI

LOUNGE1.01

W74W75

W48

D43 D44 D43

FB-1

TCC-1 TRT-1

SP-2 Dark Grey

TCC-1

FB-1 FB-1

TRT-1 TRT-1 TRT-1 TRT-1 TRT-1

FB-2FB-2

FB-2

UPPER WI-FI LOUNGE INTERNAL ELEVATIONHA1.02 1:50

UPPER WI-FI LOUNGE INTERNAL ELEVATIONIA1.02 1:50

UPPER WI-FI LOUNGE INTERNAL ELEVATIONJA1.02 1:50

UPPER WI-FI LOUNGE INTERNAL ELEVATIONKA1.02 1:50

COMMUNITY HALL INTERNAL ELEVATIONLA1.02 1:50

COMMUNITY HALL INTERNAL ELEVATIONMA1.02 1:50

COMMUNITY HALL INTERNAL ELEVATIONNA1.02 1:50

COMMUNITY HALL INTERNAL ELEVATIONOA1.02 1:50




FOR

A6.02 C 7 NOVEMBER 2013INTERNAL ELEVATIONS TENDER 1:20 @A1

©

REV

PROJECT NAME :

PROJECT NO :


C18046


L2 9 ROSLYN ST POTTS POINT 2011 T. 8297 3590 F. 8297 3510TJ07.11.13 A TENDERTJ12.11.13 B 100% TENDER SUBMISSIONTJ15.11.13 c 100% TENDER SUBMISSION

AWalsh1

Rectangle

JUANITA NIELSEN COMMUNITY CENTREPUBLIC ART CURTAINAttachment B - Preliminary Curtain Specifications

Preliminary Curtain SpecificationsThe Artist should generally note the following information when formulating their conceptual approach. This information should be considered indicative only and may be subject to change during the project development process. Details of the integration of artwork curtain into the building refurbishment works and the final selection of the electric curtain track system will be resolved with the successful artist in conjunction with the project design team during design development. This may result in adjustment of the motorised track system preliminarily specified.

• Artwork curtain will be hung from a motorised curtain track system (see indicative illustration) Motor will be concealed behind curtain.

2

• Track will be fixed to the wall with a bracket support ( see indicative detail below)• There is a double track with capacity to support up to two parallel curtains if desired


GENERAL NOTES:- COMPLY WITH RELEVANT AUTHORITIES REQUIREMENTS





- DO NOT SCALE



- IF IN DOUBT ASK

TRUE N

ORTH


ADJAFALBABB

BCTCA

CBTCFCH

CONCCPTCT

CTPDP

DW


DWRECBEXT

FFBFCFG

FHRFPFS

FWGALV

GRHAHDHE


HTIS

JULFLP

MEMI

MWOFOVPH

PLYPMPT

PRLPTD


RFRHRMRU

RWHRWO

SCSDSESF

SFDSFW

SISJSK


SPSRSS

SSPST

STPSTW

TTC

TCCTDTETFTI

TMVTP


TPHTRTTSTXUR

WCWMC

ZN






FOR

A7.01 D 7 NOVEMBER 2013GENERAL DETAILS CONSTRUCTION 1:5 @A1

©

REV

PROJECT NAME :

PROJECT NO :


C18046



Black painted acoustic louvre. Refer to acoustic consultant's report for specification. Provide shop drawings for approval including all fixings. 12mm thick horizontal battens over internal blades fixed with invisible mechanical fixings

Galv steel structure to engineer's details. Stud bolts shop welded to fix all timber framing

Purpose made galvanised steel flashing

90 x 8mm galv EA shelf welded to beam

75 x 50h x 8mm galv UA bolted to shelf at 300mm ctrs

Purpose made Zincalume capping

19mm marine grade plywood substrate

Zincalume Longline 305 wall cladiing on 35mm KDHW fixing battens, breathable sarking and rockwool insulation

Provide fixing studs to rear of acoustic louvre

Stainless steel insect wire screens to all opening sashes. Colour black.

COMMUNITYHALL

PLANT

Silent Gliss 5300 Electric curtain track, fixed as required by manufacturer to support shelf above

100mm overflow beyond

Concrete hob the structural engineer's details

150

150 x 12 EA galv steel support shelf, SP-2 grey paint finish. Fix through to framing behind with countersunk bugle headed bolts painted to match

45 x 5 EA galv steel cover piece, SP-2 paint finish.

Curtain to schedules

Align with line of 150UC eaves tie beyond

6mm silver backed mirror on 6mm FC sheet backing. Ensure installation is warp-free

80 x 12mm spotted gum T&G ceiling lining

20mm Proactive Technology Australia, Polastic insulation boards/vapour barrier fixed directly to underside of slab

Rockwool insulation

Paint-on membrane to specification

SECTION DETAIL01A3.02 1:5

Hob for steel posts beyond.Refer to structural engineer'sdetails

12mm FC sheet cladding

Flashing

230

Paint-on membrane to specification

PLANT

Acoustic insulation

19mm marine grade plywood substrate


Existing parapet beyond

90x45 F5 pine studwork between galvanised steel columns to structural engineer's drawings



Purpose made Zincalume flashing on 18 marine grade ply subtrate with KDHW blocking as required

Existing parapet beyond

Air gap at top of boards

19mm painted spotted gum T&G cladding boards. Ensure 3mm expansion between each board. Screw-fix through tongue into 35mm KDHW fixing battens notched to allow air flow to rear of boards

Breathable sarking & insulation

Saw cut notch into peak of existing parapet, embed flashing into notch, silicone seal

Air gap at bottom of boards


Double glazing untit, 12.38mm clear lam, 6mm air gap, 6.38mm clear lam on GJames aluminium 400 series suite


3mm thick aluminium support on isolation tape

Steel support tabs beyond

Continuous timber blocking

Sprinkler pipes - refer to fire engineer's drawings and specifications for further information



300 x 110mm box gutter. 1.6mm thick5052 grade folded aluminium on19mm marine ply gutter boards

supported on adjustable gutter straps

50 x 25 x 3 aluminium box section

GJames Aluminium section 400-014

3mm thick aluminium dead load angle bracket set in sealant and screw fixed to mullions

Isolation tape to separate steel and aluminium components

08-



GJames Aluminium section 400-014

127 x 51 x 6 galvanised RHS mullions

Isolation tape to separate steel and aluminium components

Form mullions by welding a 75x20mm flat to a 150 x 6 flat. Epoxy fill all gaps in weld to make weld appear continuous. Paint finish SP-2 - grey

GJames aluminium profile 400-012 trimmed. Isolation tape under

Black silicone on closed-cell backing rod

150 x12 mild steel EA welded to UC. Cap return back to flange of UC. SP-2 grey finish.

45 x 5 MS EA. SP-2 grey finish. Provide return at south end over D47 to hide curtain track

Silent Gliss 5300 Electric curtain track

Mirror FinishBeyond

UPPERWI-FI

LOUNGECOMMUNITY

HALL

05-

SECTION DETAIL08- 1:5


45 x 5 MS EA. SP-2 grey finish. Provide return at south end over D47 to hide curtain track

Silent Gliss 5300 Electric curtain track

100mm inside radius

COMMUNITYHALL

150 x12 mild steel EA welded to UC. Cap return back to flange of UC. SP-2 grey finish.

Flange of UB

REFLECTED PLAN DETAIL07- 1:5

TJTJ07.11.13 A TENDERTJ12.11.13 B 100% TENDERTJ15.11.13 C 100% TENDER SUBMISSIONTJ17.11.14 D CONSTRUCTION

• Curtain is attached to the track with curtain hooks.which insert into the curtain header• Artwork curtain will need to include fabrication of curtain header suitable for track installation.

The Artist should consider the way the curtain folds or pleats and how this may impact on the artwork when the curtain is open. There may be a range of header styles that can integrate with a track mounted curtain. Some examples are included below

Preliminary Curtain Specifications

3

• Curtain size is 3 x 10m. Curtain can have a central opening ( stack at either end of track) or be a continuous piece (stack at one end of track). If required, the curtain can be seamed together from multiple panels

• Track will be designed to support a maximum curtain weight. The City will consider proposals for the artwork curtain which comply with an indicative curtain weight in the range of approximately 40-60kg in accordance with the preliminary curtain track specification.

• Curtain wil be retractable through remote control system

• There is no material constraints for the curtain as long as it satisfies weight loading, operational and durability requirements

JUANITA NIELSEN COMMUNITY CENTREPUBLIC ART CURTAINAttachment C - Site history

CONSERVATION

MANAGEMENT

PLAN

JUANITA NIELSEN COMMUNITY

CENTRE 31 Nicholson Street,

Woolloomooloo

FOR CITY OF SYDNEY

April 2013

March 2012_CPH

Late c1970s, City of Sydney Archives_SRC8321

1949 aerial photo of Woolloomooloo, City of Sydney Archives

AWalsh1

Text Box

EXTRACT pp 20 - 48

JUANITA NIELSEN COMMUNITY CENTRE 31 NICHOLSON STREET, WOOLLOOMOOLOO

CONSERVATION MANAGEMENT PLAN HISTORICAL EVIDENCE

CITY PLAN HERITAGE FINAL 20 APRIL 2013 /CH12-023

3.0 HISTORICAL EVIDENCE

3.1 ABORIGINAL WOOLLOOMOOLOO

The original inhabitants of the area were the Gadigal people. The importance of

Woolloomooloo to the Gadigal people as a hunting ground and sedentary residential space is

referred to in various early records.

The word 'Woolloomooloo' was historically used for an area located between South Head and

Botany Bay that Governor Phillip, in charge of the colony up to 1792, had marked out as a

reserve for Aborigines. It was known as Walla-Mulla, meaning “young male kangaroo”,

because it was the haunt of the rare black kangaroo.5 The Metropolitan Local Aboriginal Land

Council is the custodian of Aboriginal culture and heritage within the Sydney region and more

information regarding the significance of the area can be obtained from contact with that

organisation.

Publications that describe Aboriginal life in the Sydney region rely heavily on the historical

descriptions by early colonists who arrived with Captain Arthur Phillip and the First Fleet in

1788. They include fewer details about the period before the British arrival, because much

less is known about that time. Much of the earlier archaeological works undertaken around

Port Jackson were not systematic in fieldwork or reporting when judged by today's

standards.6 1895 is the earliest registration date in the Australian Museum's registers for a

stone artefact collected from the Sydney region. The artefact, which was a ground-edged axe

5 Pollon, F.(ed.), 'History of Woolloomooloo', The Book of Sydney Suburbs, Harper Collins, Sydney, 1998, p275

6 Attenbrow, V. Sydney's Aboriginal Past, University of NSW Press, 2002, p1

Figure 3.1: Painting by Joseph Lycett, 1825, of Woolloomooloo Bay. (Source: 'The residence of Edward Riley Esq, Woolloomooloo near Sydney NSW, Joseph Lycett,

National Library of Australia, nla.pic-an7690833-v)




head, was collected from a road-cutting near St Mary's Cathedral and had been originally

collected in 1876 before being presented to the Museum’s collections.7 It is from these

historical sources and an understanding of the original coastline of Woolloomooloo Bay that

we can determine a historical Aboriginal presence for Woolloomooloo Bay and the types of

activities that took place there.

3.1.1 NATURAL RESOURCES

In May 1770 Caption Cook named Botany Bay after the profusion of plant species around the

bay. Over 250 plants in the Sydney region have been identified as having edible fruits,

berries, tubers/rhizomes/roots, leaves and nectars or wood, timber resin and fibre used in

making tools and weapons. The waters of Port Jackson are vast estuarine areas with

freshwater tributaries. They have a great range of variation in their inter-tidal and non-tidal

shorelines, which include extensive rock platforms, sandy beaches and mudflats as well as

mangrove forests and seagrass beds. These were habitats which had feeding grounds for a

wide range of fish, shellfish, marine mammals, tortoises and water birds.8 For Woolloomooloo

Bay, the early shoreline was dry and swampy at low tide and included sandy beaches and

mudflats. The type of vegetation that grew in this kind of area would have included estuarine

saltmarsh and mangrove communities on the flat valley and Bay, with eucalypt forests and

woodlands on the higher areas of land around the Bay. There were no rainforests, closed

forests, in the area.9

The pre-1788 Sydney region fauna was typical of that of eastern New South Wales. The

presence of particular animal species and abundance of that species for a specific area was

more influenced by vegetation type. In 1789 Watkin Tench, another reliable historical source,

wrote that, the natives of Port Jackson and Botany Bay,

"wholly depend for food on the few fruits they gather; the roots they dig up in the

swamps; and the fish they pick up along shore, or contrive to strike from their canoes

with spears. Fishing, indeed, seems to engross nearly the whole of their time,

probably from its forming the chief part of a subsistence..."1011

In 1802 Sir John Franklin (who was serving as a midshipman under Matthew Flinders, his

uncle by marriage, in the Investigator, during its voyage of discovery in 'New Holland' in 1801-

0412

) wrote "Kanguroo [sic], opossums, fish, parrots, and parroquests, [sic] all of which are in

abundance at Port Jackson"13

were eaten.14

7 Attenbrow, V. 2002, p5

8 Ibid, p.41

9 Ibid, p.40

10 Ibid, p.63

11 Ibid.

12 Fitzpatrick, Kathleen, 'Franklin, Sir John (1786–1847)', Australian Dictionary of Biography, National Centre of

Biography, Australian National University, http://adb.anu.edu.au/biography/franklin-sir-john-2066/text2575 13

V. Attenbrow, 2002, p62 14

Ibid.




The historical sources note that from about 1810 to the early 1820s, Woolloomooloo was a

favourite place for corroborees and other activities. Large parties of Aboriginals visiting

Sydney and its vicinity rested during the night near a house called 'Woolloomooloo'.15

The

documentary sources for corroborees being held at Woolloomooloo include the 1825 painting

by Joseph Lycett, Figure 3.1, above. This painting shows the view from the Domain of

Woolloomooloo House and fenced grounds with a group of Aboriginals down at the foreshore

and in a small canoe. A small area of sandy beach or possibly mudlfats is also shown at the

shoreline. The place Palmer chose to build on was thought to have been an important

Aboriginal ceremonial ground, and though it became a centre of fashionable entertaining for

the elite of the Sydney community, local Aboriginal people continued to congregate

there.16

The location of Palmer’s house is also shown in an 1833 painting as being in an area

set back from the original shoreline. The 1844 and survey plan puts its location as being

between Cathedral and William Streets, which is an area south and west of the subject site.

On land that was part of Sydney's Domain, and located just west of Woolloomooloo Bay,

Aboriginal explorer Bowen Bungaree, his mother Cora Gooseberry and their extended family

camped at a spot near Centipede Rock (this location not identified) at Woolloomooloo Bay,

through to the 1840s. They were regularly seen at the wharves at nearby Circular Quay,

selling their fish and oyster catches, and demonstrating how to throw boomerangs.17

The Fig

Tree Baths, a natural sheltered swimming place on the northern side of Woolloomooloo Bay,

adjacent to the Domain, was an early bathing place for colonists who wished to relax away

from the stresses of the town. In the first decades of the nineteenth century it was very

probably also a place that was shared with the local Gadigal who had used it for centuries.18

There was nothing specific about the subject site that would suggest it is specifically

associated with Aboriginal cultural heritage significance or that any items may be located on

the site. While it would have seen Aboriginal pedestrian and possibly canoe hunting and

fishing it was swampy mudflats with no firm ground surfaces, rock shelters, or possibly any

plant types that would warrant it being a location of specific activities. An Aboriginal Heritage

Information Management search was undertaken to see whether any previously identified

Aboriginal sites were located on or within an area including a 200 metres buffer to the current

location, based on Lot and DP numbers for the subject site. This search (AHIMS letter is

provided at Attachment E of this CMP) resulted in no previous sites being identified for the

area.

15

Attenbrow, V. Sydney's Aboriginal Past, p138 16

Pollen, F., http://dictionaryofsydney.org/entry/woolloomooloo 17

The Domain and Botanical Gardens Aboriginal sites, http://www.cityofsydney.nsw.gov.au/AboutSydney/documents/VisitorGuidesInformation/4212_FA4_BaraniBarrabuguWalk_Brochure_WEB_v2.pdf 18

F. Pollen, ed. http://dictionaryofsydney.org/entry/woolloomooloo




3.2 LAND GRANTS

The subject site was originally part of John Palmer’s 100 acre grant at the head of Garden

Island Cove which was allocated to him by Lieutenant-Governor Francis Grose who took over

after Governor Phillip in February 1793. Palmer was born in England in 1760, and arrived in

New South Wales with the First Fleet in 1788. Soon afterwards, he was appointed

commissary on 2 June 1791. His 100 acre grant at Garden Island Cove was named

Woolloomooloo Farm, and became one of the colony’s first permanent residences Palmer's

grant extended well into what is now called East Sydney and Darlinghurst, and as late as the

1840s the name Woolloomooloo was applied fairly indiscriminately to these places, as well as

to the valley and the heights beyond. 19

Palmer built Woollamoola House, also known as Woolloomooloo Farm, and set within an

extensive orchard. It was one of the colony's first permanent residences, see paintings in this

section at Figures 3.1 & 3.3. It was approached via a foot-track around the rim of the valley,

which the colony's surveyor Mitchell formed into the Woolloomooloo Road (now identified as

William Street) in 1831.

Palmer settled on Woollamoola House as the name of the residence. He built it beside the

creek close to the shore, called Yurong Creek, and eventually the name for the whole area

became Woolloomooloo.

19

Steven, Margaret, 'Palmer, John (1760–1833)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/palmer-john-2533/text3437

Figure 3.2: 19th century map of the Parish of Alexandria showing the land granted to John Palmer at Woolloomooloo Bay and the land grants in the area later known as Potts Point.

(Source: Land and Property Management Authority, Parish Map No. 14066301)




By 1814 Palmer had financial difficulties and the estate of Woolloomooloo had been

mortgaged for over £13,000. In May 1822 it was sold to Edward Riley for only £2,290. He too

is said to have accepted Aboriginal people as nightly residents in the areas surrounding the

house. The Woolloomooloo Estate was later subdivided into small lots and sold after Riley’s

death in February 1825.

In 1826 Governor Ralph Darling chose the area east of the town to create 'a high status area

… which would serve as both example and chastisement to the debased populace of Sydney

town'. He made land grants to his colleagues and friends (see parish map at Figure 3.2) and

required them to build grand houses and landscape them to approved standards. One of the

first of these land grants was made to Sir John Wylde, Judge Advocate, in 1822, Director of

the Bank of NSW. The grant was for eleven acres and situated at the end of Potts Point. The

largest of the grants was made to Alexander Macleay, then Colonial Secretary, who received

54 acres in 1826 from Governor Darling. By 1831 seventeen grants of land had been made

on Woolloomooloo Hill to a selection of the most politically and economically powerful men in

the colony. Residences were to be erected on the properties within three years, the house

was to cost in excess of £1,000 and it had to face Government House, across the bay. The

fine houses were built on the elevated Woolloomooloo Heights, appropriately renamed

Darlinghurst Heights (now Potts Point), but several of the land grants included low land in the

valley as well as higher ground on the ridge and at the top of the escarpment. This lower

ground was the first to be subdivided in the 1840s. By then there were also some cottages on

the eastern edge of the valley near Woolloomooloo Bay. 20

20

This history is quoted from Shirley Fitzgerald, Woolloomooloo, 2008 Dictionary of Sydney entry, http://dictionaryofsydney.org/entry/woolloomooloo?zoom_highlight=woolloomooloo

Figure 3.3: Painting dated 1833 by Charles Rodius of Woolloomooloo, with Palmer's House, Woollamoola, shown fenced here at right.

(Source: Painting by Charles Rodius, NSW State Library, Call No. PXA 997)




During these early years, c.1840s, Woolloomooloo enjoyed a brief heyday as a desirable

address. With picturesque outlooks and very little industry, it was separate from the grime of

the centre of town. George French Angas commented in 1845 that Woolloomooloo was a

'very pretty' place of villas and gardens.21

In the 1850s Woolloomooloo House was demolished to make way for smaller dwellings.

Other large mansions were being turned into boarding houses. When the authorities carried

out an extensive house-to-house inspection of the city's worst housing in 1876, they only took

a cursory look at Woolloomooloo towards the end of their survey, but concluded that they

should have paid it more attention. They were surprised at the number of dilapidated and

unsanitary houses in the area next to the bay that had seen better days, one apparently with

the floor boards gone and a ceiling of brown paper, but with remnant oil paintings still on the

walls.22

The catalyst for the social decline of Woolloomooloo was the expansion of the wharfage.

There had been some small-scale maritime activities along the bay since the 1820s, but

things got much more serious when the mangrove swamps were drained in the 1850s and a

new semi-circular wharf was constructed in 1866. Behind the new Cowper Wharf Road there

was now space for several new streets, and over the next few decades the area became

crowded with small houses, pubs, brothels and billiard rooms servicing a maritime-focussed

population.23

21

Ibid. 22

Ibid. 23

Fitzgerald, S., op cit.

Figure 3.4: This 1849 painting by George Edwards Peacock, titled 'Sydney from Woolloomooloo' and is taken from the tops of the mansions lining Brougham or Victoria

Streets, now in Potts Point. (Source: State Library of NSW, George Edwards Peacock Digital image a2413001)




3.3 LAND RECLAIMATION

From the 1850s it was planned to reclaim the area of Woolloomooloo Bay from the swampy

mangrove area it originally was. The survey map shown in detail overleaf, Figure 3.5, was

prepared by the surveyor Peter Lewis Bemi in 1844.

This plan shows the original shoreline of Woolloomooloo Bay, the location of Palmer's

Woollomooloo House, marked 'Old House' and the alignment of streets and other buildings in

the area. The location of the subject site is indicated in an area of Dowling Street that was

then underwater, at least at high tide. As noted in the previous section and shown on the

plans overleaf, the original Woolloomooloo Bay had a more narrow head and a number of

creeks with a sandy beach located alongside the Domain. The eastern side is not as well

documented and therefore the first description of the subject site is as a swamp, possibly with

mangroves.

Another official survey of the area, dating to 1853, shows the area of Woolloomooloo Bay

near the shore marked as 'Dry at low tide', see Figure 3.6.

Work for the reclamation of the Bay and associated wharf was designed by the Colonial

Architect's office and work began in 1861 by private contractors. During 1863, a stone

breakwater was completed and this was used by the local population as a bridge across the

flats. Reclamation and construction work commenced on the eastern side. The wharf was

named Cowper Wharf in honour of the State Premier. The wharf consisted of a sandstone

wall behind which were layers of rock, ballast and sand. The adjacent cliffs of the Outer

Domain and Darlinghurst provided the stone and crushed rock. When the bay was dredged,

its sand and silt was deposited behind the breakwater.24

With the establishment of the wharves at Woolloomooloo Bay the development of the area

intensified. The Plunkett Street School was opened in 1855, at a location two blocks west of

its current location, behind the subject site. At first, Cowper Wharf was used predominantly by

small coastal shippers, particularly timber traders, and so the adjoining land became dotted

with sawmills and timber yards and small-time boatbuilding.

24

D. Mider, Archaeological Assessment Wharf 11 and Cowper Wharf Road, Woolloomooloo, August 1997, p4.




Figure 3.5: Plan of the Riley Estate (Woolloomooloo) dating to 1844 by surveyor Peter Lewis Bemi, with original shoreline and creek lines, sandy beach also apparent. The street

alignments and development are also shown. The subject site is indicated, in area that was originally under water or part of the mangroves.

(Source: Plan of Riley Estate, P.L. Bemi, State Library of NSW, ZMB2 811.18111/1844/1)




Figure 3.6: The Trigonometrical Survey Plan dated 1853 of Woolloomooloo Bay, shows its topography and development details including roads and buildings. This survey predates

the Reclamation Works for Cowper Wharf, which is shown in the Plan for the land sale, 1865, below.

(Source: 1853 Trigonometric Survey of Port Jackson, State Library of NSW, ZM4 811.15.1853.1)

Figure 3.7: The Plan of Woolloomooloo Bay as reclaimed, showing the

allotments to be offered for sale in 1866.

(Source: State Library of NSW, Plan of

Woolloomooloo Bay Reclaimed, ZM4

811.18112/1866/1)




Woolloomooloo was also at that time the centre of Sydney's fishing trade, with the catch

coming from the coastal waters north and south of Sydney, as well as from places closer to

home, such as La Perouse. At first the fish were washed in the waters of the bay, located

Figure 3.9: This photograph taken c.1880 from the Domain of Woolloomooloo Bay was by August Tronier who created an album of photographic views of Sydney between 1879 and

1884. The development of the area has intensified (Source: NSW State Library Call No. PXA 411)

Figure 3.8: This 1873 photograph does not appear to include the subject site, but does include the 1871 Fish Market Building at the corner of Forbes, Wilson and Plunkett Streets in the far left side. The use of the area as combination residential and storage is most apparent

and comparable with the c.1880 photograph below. (Source: State Library of NSW, a089985)




near a major sewer outlet. The produce was sold directly from the wharf until 1872, when the

city council opened a fine fish markets building, called the Eastern Markets, located at the

corner of Plunkett and Forbes Streets. This building served the fish trade until it was sold in

1911, and operations moved away from Woolloomooloo, the building was subsequently

demolished. But from the 1870s fisher folk had moved into the area, including a small

community of Maltese and Italian families.25

By the 1880s the suburb was firmly orientated towards wharves, fish markets and similar

activities. The maps and photographs of the time clearly display the intensified development

in the area. Woolloomooloo was one of the most popular and distinct divisions within the

Sydney local government area. The streets were highly packed with modest worker’s

cottages interspersed with a few earlier mansions.

Social decline of the area was evident by the 1890s and continued through the first half of the

twentieth century. It was at this time that the Free Kindergarten was established and operated

from the subject site. The free kindergartens were set up in poor urban areas to attend to the

health of preschool age children.

The development of the area of course included a number of hotels around the wharf, with the

Frisco, the Tilbury, Bells and the former Macquarie Hotels (now Woolloomooloo Bay Hotel)

still located within a block of each other and around the wharf area. The Frisco Hotel was

originally known as the Dowling Street Wharf Hotel when the subject site was first sold in

1865. Nesbitt Street was formerly known as Mill Street, as there were mills located in that

block, and shown on the 1866 land sale plan, at Figure 3.7.

25

S. Fitzgerald, Woolloomooloo suburb history, Dictionary of Sydney

Figure 3.10: The elaborate fish markets building, constructed 1871 and located at the corner of Forbes and Plunkett Streets, one block south west of the subject site.

(Source: American & Australasian Photographic Company, City of Sydney Archives, on4_40243)




3.4 SUBJECT SITE - LAND TITLES AND USES

The first Land Title for the area incorporating the subject site is the Town Lot Sale dated 26

September 1865 when William Roberts of Sydney, a solicitor, purchased Allotments 1, 2, 3

and 4 of Section 7, located at the corner of Nicholson and Dowling Streets. The land had

been advertised for sale on 22nd August 1865 and this land sale was a result of the former

mentioned land reclamations in Woolloomooloo Bay. The land sale plans were shown in

Figure 3.7.

Figure3.11: The Frisco Hotel at the corner of Dowling and Nesbitt Streets, Woolloomooloo, opposite the subject site. Photograph is dated 16 July 1912 and the Occupants of the site are

Mick Hogan, Frisco Hotel and J Muscat, Grocer. (Source: City of Sydney Archives, demolition books, NSCA CRS 51/2758)

Figure3.12: Excerpt from later Parish Map showing William Roberts land ownership in Woolloomooloo and the subject sites of Lots 1, 2, 3 and 4 indicated.

(Source: Parish of Alexandria, Map 14011402 dated 1912)




The streets around the site after reclamation were named in honour of Sydney’s notable

citizens of the period. Nicholson Street was named in honour of Sir Charles Nicholson, a

doctor who promoted education and was one of the founding members of Sydney University.

He was also its Vice Chancellor in 1853 and Chancellor in 1854.26

26

Australian History of biography online at http://adb.anu.edu.au/biography/nicholson-sir-charles-2508

Figure 3.13: The 1865 Trigonometric

plan of Sydney shows the subject

site divided into four allotments.

(Source: City of Sydney Historical Maps, 1865 Trig

Series, Sheet N2)

Figure 3.14: A plan prepared in c.1887 of Woolloomooloo showed the subject site was being used as a storage yard with an iron shed. The colour coding applied is blue for

metal, pink for masonry and yellow for timber. (Source: Rygate & West 1887 Sheet One, Historical Atlas of Sydney, City of Sydney Archives)

http://adb.anu.edu.au/biography/nicholson-sir-charles-2508




The first documented use for the subject site was obtained from Sands Directory (see

Attachment A for full listing) in 1880. At that time the land appears to have been used by

Joseph Notting, a wood and coal merchant. The 1887 plan (see Figure 3.14) shows the

subject site with a storage yard and metal shed on the Wilson Street side of the property. At

that time according to the plan it was used for storage of sanitary ware.

The subject site landowner William Roberts transferred Lots 1, 2, 3 and 4 in November 1882

to Alfred Branch Campbell, Charles Jackson Campbell, William Webb Campbell and Henry

Campbell. On the same date the land was mortgaged to David Henry Davis of Sydney, a

merchant, with the mortgage being discharged in September 1886.27

In March 1885 the land was transferred from the Campbell's to William Webb Campbell of

Sydney, who was described as a warehouseman. He may have been part of the Campbell

Stores family for which Campbell Cove is named, however this has not been ascertained. In

August 1886 Webb transferred the land to George Evans of Sydney, a solicitor and a new

Certificate of Title was issued.28

This new Certificate dated 11 October 1886 noted that

George Evans of the city of Sydney, solicitor was now the proprietor of those pieces of land at

Woolloomooloo Bay containing 6-1/4 perches (approx. 155 sqm) each, Allotments 1 to 4

inclusive of Section 7, as originally granted to William Roberts by Crown Grants dated

12.9.1866.29

In January 1888, a letter was written to the Mayor Sydney by R. Hardy & Son (Builders?)

regarding the property, as follows:

Will you kindly grant us permission to take in footpaths out to kerb line for erection of

six stores bounding on Nicholson, Dowling, Wilson & McLean Streets,

Woolloomooloo as there is very little traffic. I hope you will favour us with above and

oblige.30

On the reverse of the letter is written:

City Surveyor 1/2/88

The practice of granting the whole width of footways is very objectionable I think if

granted in the case of Wilson and Mclean Streets; 8 feet of footways of other streets

will be sufficient for any building operations proposed. To this extent I would

recommend that they be allowed.

8 ft to be allowed, 7/2/8831

This information gives us a construction year of 1888 for the building, when it was owned by

George Evans. The building was constructed as a two-storey warehouse containing six

27

Australian Dictionary of Biography 28

Ibid. 29

LTO, Vol 808 Fol 104 dated 11.10.1886 30

Correspondence dated 31.1.1888 R Hardy & Son to Your Worshipful, Council Correspondence File for 1888 31

Ibid.




stores. These are six bays that are still apparent from the Wilson Street elevation of the

building and run over both levels of the building.

On 11.10.1888 the Land Titles listed that George Evans leased the property to George Eccles

Kelso King of Sydney, an insurance company manager. King, who was knighted in 1929 and

became Sir Kelso was a prominent businessman and Anglican in Sydney during the 1890s

and early twentieth century. In December 1877, he had become secretary, with a salary of

£350, of the new Mercantile Mutual Insurance Co. Ltd which opened for business in Pitt

Street on 10 January 1878. During its first six months, he was the company's only employee.

In 1880-81 King managed the Anglo-Australian Investment Finance & Land Co. Ltd at a

salary of £400.32

In December 1889, Kelso King, wrote a letter to Council, see below, querying the assessment

of the property and saying that out of the 6 stores of the property, 4 were vacant and "always

have been". At that stage the building would have been in use for a year. He asked for a re-

assessment of the value of the property, although no reply is noted.33

32

King, Hazel, 'King, Sir George Eccles Kelso (1853–1943)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/king-sir-george-eccles-kelso-6957/text12083 33

Correspondence dated 10.12.1889 Kelso King, secretary Mercantile Mutual Insurance Co Ltd. Held in Council Correspondence File for 1889

Figure 3.15: The 1889 complaint by Kelso King

regarding 4 vacant stores on the subject site.

(Source: Letter to Council from Kelso King, City of Sydney

Archives 1889 correspondence file)




Kelso King's lease on the subject site was surrendered in February 1890,34

however, in 1891,

the Council Assessment Books still had Kelso King as the owner of the property at Nos. 21

and 23 Dowling Street, listed as 'Stores', with a value of £150.35

On 22.12.1910 George Evans transferred the property (and possibly mortgaged it) to

Permanent Trustee Co. of NSW Ltd. In March 1911 that Company transferred it to Archibald

Fitzgerald Evans of Pilton, in the State of Queensland, a grazier. He may have been a

descendant of George Evans; however, the Land Titles do not list that information.

A. F Evans retained the land until in March 1940 it was transferred (back) to The Union

Trustee Co. of Australia Ltd. That company held on to the property until May 1963, when they

transferred the land to a Mr Leslie Barber of East Sydney, a company director. Mr Barber

mortgaged it that month to the Bank of NSW and then on 16th October 1964 leased it to

United Tyre Service (Sydney) with the consent of the Bank. 36

The building continued to be used for a variety of purposes, and the six stores over two levels

were used independently, as the Assessment Books attest. During the period from 1896 to

the 1960s, uses such as Stores, which were either unidentified or associated with companies

such as the Wattle Brand Eucalyptus Oil Company, factory use, such as the Konker Factory,

as a paint shop and as a brass foundry. From 1897 until 1921, one bay, or store of the

building, was used for the Free Kindergarten and, for a short time, another store was used as

a lodging house by the Central Methodist Mission (1921). The Free Kindergarten continued to

operate from Woolloomooloo at a different site as the numbers of local residents in the area

continued to grow.

3.4.1 FREE KINDERGARTEN

The Free Kindergarten was established in Sydney in conjunction with the Kindergarten Union

of NSW in1895. Friedrich Wilhelm August Froebel, 1782-1852, was a German educator and

the founder of the kindergarten system; 'kindergarten' being a German word. In 1837 he

designed the kindergarten to provide an educational situation less formal than that of the

elementary school but one in which children's creative play instincts would be organized

constructively.37

The idea took hold also in England and the United States before coming to

Australia. In 1895 the Kindergarten Union of NSW was formed and free kindergartens were

set up in busy urban areas including that of the subject site. The Kindergarten Union of NSW

1930s publication notes:

"The first Kindergarten was opened in Sussex Street [Sydney city] ...In the same year

the depot was moved to Charles Street, Woolloomooloo as it was in that area that the

34

LTO, Volume 808 Fol 104 35

COS, Assessment Book No. 1179, Fitzroy Ward, 1891 36

LTO Transfers listed on Vol 808 Fol 104 11.10.1886 37

Froebel and the kindergarten, http://encyclopedia2.thefreedictionary.com/kindergarten




greatest work would have to be done. Almost immediately after this move the

enrolments increased to twenty and it was not long before the voices of no less than

65 kiddies resounded throughout the honest modest building. This becoming too

small another move was made to larger premises in Dowling Street, Woolloomooloo,

where 82 children were taken care of. By the year 1895 there were 169 children

under the sheltering wing of the Dowling Street Kindergarten ... It will be recalled that

during the period of which we write Woolloomooloo was the home of the famous

'pushes'. These wild young men occasioned considerable worry to the Police Force

but to show that underneath their rough exterior there beat many a kindly heart, there

are related many instances where they gave practical assistance to the

Kindergarten."38

In 1897, an article in the Sydney Morning Herald of April in that year described events at the

Free Kindergarten on the occasion of a celebration of Froebel's birthday. Excerpts describing

the building, activities etc are quoted below:

"The name of Froebels is not new but is every day looming larger in circles devoted to

the education of young children, for to him we owe the Kindergarten School. A

devoted band of ladies have undertaken in Woolloomooloo what is known as the Free

Kindergarten ... yesterday in honour of the birthday of Froebel, a number of those

interested gathered at the school... There were between fifty and sixty children, their

ages averaging about two years, and under the able leadership of Fraulein Scheer

this diminutive company went through a delightful course of modelling with clay,

weaving strips of coloured paper, etc... The singing that followed was a feature of the

proceedings. ....The building in which the school is carried on is situated in Dowling-

street Woolloomooloo, close to the fish markets. The Kindergarten has been in

existence 18 months, and at present there are 70 names on the roll. At the close of

the school the children were feasted (a 'party' they called it) by the ladies of Mrs

Dane's Sewing Society. The teachers associated with Fraulein Scheer are Miss

Bruuu, Miss Caper, Miss Hitchcock, Miss Rowland and Mrs Dane."39

The children were part of a daily program which operated between 9am and 3.30pm and

included provision of milk, food including fruit and rest time. The parents were described an

'invariably handicapped by circumstances'. The operation of the Free Kindergartens was by

public subscription to the Kindergarten Union and Government and Council grants as well as

private donations of money, food, milk, toys and clothes.40

38

Kindergarten Union Early History, The Work of the free kindergartens, The Kindergarten Union of NSW (booklet), c.1930s 39

Available via Trove.nla.gov.au - The Sydney Morning Herald, Friday 16 April 1897, p2. Note: Fraulein Scheer is no relation to the author of this CMP. 40

The Work of the free kindergartens, The Kindergarten Union of NSW (booklet), c.1930s




In 1911 the premises of 21 Dowling Street, the property known as the Woolloomooloo

Kindergarten were inspected by the City Health Officer. He filed a minute paper and letter with

the Town Clerk stating that: "The closet accommodation is considered to be insufficient. A

notice has been served upon the owner to provide additional closet and urinal

accommodation."41

He also noted that "In regard to the walls of the building, the internal

surfaces are in want of renovation, but are not in such a condition as to constitute a nuisance

under the Public Health Act ..."42

There was no response or action described in relation to the above inspection and the Free

Kindergarten continued to operate from the site for the next ten years, before moving to

another location in Woolloomooloo.

3.5 LATER OWNERSHIP AND USE

15 December 1953 development permission was sought and granted from Council to use the

premises of No. 11 Nicholson Street, Woolloomooloo, for bottling wine and spirits from Bond

41

Minute paper dated 26.12.1911 and letter dated 31.10.1911 to Town Clerk from City Health Officer, City of Sydney Archives 42

Ibid.

Figure 3.16: The 1903 Map of the City of Sydney does not even show the subject site within the buildings of Woolloomooloo – the block is left off. It does show the context of the subject site at

the time with the public school, metal depot, fish markets and gas holders located to its west. The jetties and baths lining the Domain within Woolloomooloo Bay are also still in use at this

time (Source: City of Sydney Map of 1903, City of Sydney historical maps collection)




Storage. As the 1950s plan below shows, the building was still divided into different street

numbers.43

There were building plans approved by Council on 15.5.1964 for a concrete ramp to be

constructed within the warehouse building at 21 Dowling Street. The plans were prepared for

Mr. L. Barber and were drawn by Macdonald Wagner & Priddle Consulting Engineers. Leslie

Barber remained the owner when the lease was cancelled in 1965. He transferred it to

Jesselton Pty Limited on 30.11.1971.44

In March 1968 development permission was sought to use the first floor of Nos. 1-11

Nicholson Street, 21 Dowling Street, Wilson Street and Maclean Street (covering all the

bases) for the manufacturing of furniture. The equipment to be installed was one handsaw,

one circular saw, one jointer and one boring machine. This was a change of use DA 202/68

dated 18.3.1968 applied for by Deric Deane Pty Ltd, of 173 New South Head Road, Edgecliff

with the authority of the owner L. Barber, of 65 Queen Street, Ashfield. The building was

described in that year, 1968, as;

a two storey industrial type building, 99 feet x 70 feet, ground floor used for various

industrial and commercial purposes and the first floor which has access from Dowling

43

COS Property File No. 202 1376/53 44

COS Property File No. 202 1376/53

Figure 3.17: A 1950s plan of the area, note the numbering of the subject site which is reflected in the Council Assessment Books, see Attachment A. Note also the layout of Maclean Street at the time and Plunkett Street Public School, which was located a few

blocks west. (Source: City of Sydney Historical Maps, The City Building Surveyors' Detail Sheets, ca 1956 -

sheet 7)




Street was previously used from before 1951 for the storage and distribution of oils

but is present unoccupied.45

The historical notes for the Woolloomooloo Heritage Conservation area listing also note for

1968 that a decision to prepare a comprehensive planning scheme for the whole of Sydney

was made by the Councils of the time. An ‘intensive, integrated, multi-level development’ was

proposed for Woolloomooloo. The road system was to be totally reorganised by removing

lesser roads and amalgamating sites for large scale development. The port was to be

redeveloped and residential buildings were to be restricted to the edge of the domain and on

Victoria Street. The Woolloomooloo Redevelopment Central Plan was adopted in 1969.46

Dissent in the local community grew and in 1972 the Woolloomooloo Resident Action Group

was formed, see section 3.6.3. This group suggested the acquisition of land in

Woolloomooloo for medium density housing development as an alternative to the high density

commercial development that was being approved. The resident group approached the

Builders Labourers Federation to ban demolition. These protests were effective and in May

1974, the Minister announced that the Housing Commission would build medium density

housing in Woolloomooloo.47

In 1975, the Housing Commission began resuming property. Some terrace housing was

restored and new dwellings were constructed. By 1979, 68 dwellings were completed, with

construction continuing through to the 1990s. The battle to save the finger wharf at

Woolloomooloo Bay also continued into the 1990s. The wharf was retained and its

redevelopment completed in 2000.48

The NSW Land and Housing Corporation resumed the property (No. P299888) dating to 1974

and as the new owner of the property, a new Certificate of Title Vol 11766 Folio 117 was

issued.49

In November 1981, Minutes of the (Council) Woolloomooloo Technical Liaison Committee

meeting held on 25.11.1981, point 2, noted

That the report by the Director of Parks dated 24.11.1981 regarding transfer of the

'Firestone' building, Nos. 1-11 Nicholson Street, Woolloomooloo from the Housing

Commission to Council be received and noted that Council resolved on 25.5.1981

that the building be renamed after Juanita Nielsen."50

Point 14 of the Minutes further

noted; "That arising consideration of a request from Mr. J. Mulvenna, President,

45

DA 202/68 18.3.1968, Property File No. 202 46

NSW Heritage Inventory Sheet for Woolloomooloo Heritage Conservation Area, http://www.heritage.nsw.gov.au/07_subnav_04_2.cfm?itemid=2421506 47

Ibid. 48

Ibid. 49

LTO Vol 11766 Fol 117 issued due to loss dated 28.1.1972 50

Meeting Minutes of the Woolloomooloo Technical Liaison Committee meeting held on 25.11.1981, Property File No. 27030001, 1/11 Nicholson Street, Firestone Building




W.R.A.G. in letter dated 9.7.1980 requesting Council give consideration to the

naming of the Firestone Building, Nos. 1-11 Nicholson Street, Woolloomooloo after

Juanita Nielsen.51

In there was a Development Application (DA) lodged for the property described as 1-11

Nicholson Street, DA 44.83.0049. At that stage the ground floor was operating as a tyre sales

and fitting workshop and a store for builders. The first floor was a furniture manufacturer and

included a ramp in the bay adjoining Dowling Street and the machinery noted above. The DA

was to alter the building from its workshop state and to turn the building into the Juanita

Nielsen Leisure Centre / Recreation Centre on behalf of the Council. From May 1983

extensive works were carried out and the Community Centre was opened in 1984.

The demolition plans for the building dating to 1983 and prepared by Goodwin and Southwell

Architects are on file at City of Sydney. These plans are shown in Section 4.1 of this CMP.

51

Ibid.

Figure 3.19: Photograph dated 4 May 1983, prior to works commencing on the site. (Source: City of Sydney Archives, CRS 422/1/491)

Figure 3.18: May 1983 photograph of the building, viewed from Dowling Street, when it was known as the Firestone building - at 1-11 Nicholson Street.

(Source: City of Sydney Archives, CRS 422/1/493)




3.6 PERSONS ASSOCIATED WITH THE BUILDING

3.6.1 LAND GRANTS

John Palmer with the establishment of his house and farm Woollamoola and the subsequent

sub-division of his original 100 acre (40 hectares) land grant is a significant figure associated

with the origins of the suburb of Woolloomooloo and by this association, with the subject site

itself.

William Roberts was the original purchaser of the subject site but did not develop the site. He

was a solicitor who owned a number of other allotments of land in Woolloomooloo and

elsewhere in Sydney city. However he was not included in the Australian Dictionary of

Biography listings and therefore does not appear to be a person of importance.

Roberts sold the land to six Campbells in 1882, who may have been members of the original

Campbells of Sydney Cove, warehouse family, although this has not been proven. They

transferred the land in 1885 to William Webb Campbell who may also have been part of the

family and he is identified as a Sydney based warehouseman. However, the building itself

Figure 3.21: The building under reconstruction, photograph

dated 8th August 1983 (Source: City of Sydney Archives,

CRS 422/1/549)

Figure 3.20: April 1983 photograph of the Nicholson and

Maclean Street section of the building.

(Source: City of Sydney Archives, CRS 422/1/489)




was constructed under the ownership of George Evans, solicitor of Sydney, in 1888. It was

constructed as a warehouse with six stores and Evans leased the building almost immediately

for a variety of uses. The first lease was to Kelso King, who was a prominent citizen. It would

appear that the ownership and leasing of the subject site was a very small part of his

business enterprise. In 1911 the property was transferred to a Queensland grazier and

possibly a descendent of George Evans, Arthur Fitzgerald Evans. The building was

associated with numerous persons and companies between 1891 and the Council acquiring it

in 1981.

3.6.2 ARCHITECTS

Original architect or designer is unknown. The builders are believed to be Messrs R. Hardy &

Son.

The 1960s architects associated with the building were Spencer Hanson & Partners

Architects, 62 Margaret Street Sydney. The 1983 architects associated with the works to

renovate the building for its current use, as a Community Centre with single access, were J N

C Goodwin & Southwell Architects, of which nothing has been documented.

3.6.3 WOOLLOOMOOLOO RESIDENT ACTION GROUP

The Woolloomooloo Resident Action Group was a community organisation and action group

originally formed in 1972. At the time, the community saw an urgent need to fight the massive

commercial development proposed for Woolloomooloo by private developers and also by city

planners. The historian Shirley Fitzgerald in her history of Woolloomooloo notes:

While the story of planning in the 'Loo is long and complicated, for many locals it

began in earnest on the morning of Sunday 8 October, 1972, on the corner of Forbes

and Cathedral streets, where the Woolloomooloo Resident Action Group (WRAG)

was formed. Long-term local resident John Mulvena became president and honorary

local Father Edmund Campion, who looked after the congregation at St Columbkille's,

was made secretary. Organised resistance began to supplant random anger, and a

different idea had been gaining momentum against the redevelopment plans. It

involved recognition that between them, the state and federal governments owned

quite a lot of land in Woolloomooloo.

The WRAG was largely successful with the support of the Green Bans imposed by

the Builders Labourers Federation. These were also instrumental in founding heritage

protection and legislation in Sydney and for the whole State.52

52

S. Fitzgerald, Woolloomooloo, as before.




3.6.4 JUANITA NIELSEN

The following biographical information is taken from the Australian Dictionary of Biography

entry prepared by Richard Morris. She is most famous for her work as a publisher and as an

urban conservationist.

Juanita Joan Nielsen (1937-1975), was born Juanita Joan Smith on 22 April 1937 at New

Lambton, Newcastle. She was the daughter of Neil Donovan Smith, English-born heir to the

fortune of Kathleen Sophia Foy, and his wife Vilma Grace, née Meares, who was born in

Sydney. Juanita was a great-granddaughter of Mark Foy, famous for establishing the Mark

Foy Department Stores in Sydney. Her father was a major shareholder in Mark Foy's Ltd. Her

parents separated soon after her birth and she was raised by her mother at Killara, Sydney.

Educated at various schools, including Presbyterian Ladies' College, Pymble, she obtained

her Intermediate [school] certificate in 1952 and worked at Mark Foy's as a glove model

before leaving Australia in 1959.

While abroad, she married Jorgen Fritz Nielsen, a Danish merchant seaman. They

solemnized their union in 1962 in a Shinto ceremony at Kobe City, Japan, but were to be

divorced in 1967. After living in Morocco and Denmark, Juanita returned alone to Sydney in

1965 and opened the 'Gear Box' fashion boutique in Mark Foy's city store. She was briefly

estranged from her father for leading an unsuccessful shareholders' revolt against a takeover

offer ($4 million) by McDowell's Ltd for Mark Foy's in 1968. Following their reconciliation, her

Figure 3.22: A 1970s photograph of Juanita Nielsen outside her Victoria

Street terrace with copies of her newspaper 'Now".

(Source: framed image hanging in the foyer at the Juanita Nielsen Centre)




father bought her a terrace house in Victoria Street, Kings Cross, and a local newspaper,

Now, which she published from her home.

Wearing distinctive clothes and a 'beehive' wig, Juanita modelled fashions and hair styles for

her newspaper's feature pages. She also conducted a vigorous editorial campaign in support

of the 'green ban' movement against the redevelopment of Victoria Street by F. W. Theeman's

real-estate company, Victoria Point Pty Ltd. With her neighbour and trade-union activist Jack

('Mick') Fowler, she played a prominent role in mobilizing local residents against the

demolition of Potts Point's Victoria Street's historic terraces and the eviction of their tenants.

Juanita vanished on 4 July 1975 after visiting the Carousel (previously Les Girls)—a

transvestite nightclub and underworld haunt at Kings Cross—on advertising business for

Now. Attempts to find her or her corpse proved fruitless. Despite public outcry, the mystery

remained a major case in the annals of unsolved Australian crimes. Over the years some

information about the circumstances of her presumed abduction and murder came to light.

Two persons connected with the Carousel nightclub were convicted (one in 1981, the other in

1983) on charges of conspiracy to abduct Juanita on an earlier occasion. The trials did not

directly involve events on the day she vanished.

It was not until 10 November 1983 that a coroner and jury of six declared that Juanita had

died 'on or shortly after 4 July 1975'. They were unable to name 'the place of death or the

manner and cause of death', but found 'evidence to show that the police inquiries were

inhibited by an atmosphere of corruption, real or imagined, that existed at the time'. In 1994

the Commonwealth Parliamentary Joint Committee on the National Crime Authority further

castigated investigative ineptitude in the case and emphasized links between her presumed

murder, property developers and the criminal milieu at Kings Cross.

In July 1983 the Sydney City Council opened a recreation centre in the Juanita Nielsen

Building, located near her former residence at Woolloomooloo.53

3.7 HISTORICAL SUMMARY

To summarise the history of the subject site, prior to the 1861 land reclamations of

Woolloomooloo Bay the property was either under water or part of the swampy, muddy

foreshore area. After reclamation the land comprising the subject site was subdivide into four

allotments of Section 7, bounded by the present day streets of Nicholson, Dowling, Wilson

and Maclean. The allotments were purchased by William Roberts in 1865 who also

purchased other allotments in its vicinity. The first documented use for the subject site, as

evidenced in the 1887 map (Figure 3.14), was as a storage yard and shed. The shed appears

to be a metal construction located at the rear of site, backing onto Wilson Street. The property

53

Morris, Richard, 'Nielsen, Juanita Joan (1937–1975)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/nielsen-juanita-joan-11241/text20047




has only had a small number of owners, six in total up to the Housing Commission acquisition

in the 1970s.

In 1888 the current building, a two storey masonry warehouse, in the Victorian Regency style,

was constructed and it comprised six stores over the two levels. The building retained its

separate six stores throughout its use from the 1888 construction through to the 1980s. This

was reflected in the Assessment Book listings with six different street addresses. The six

different uses were reflected in the six bays visible only in the rear elevation of the building,

facing Wilson Street. Major uses of the building historically are associated with stores,

workshops and as the Woolloomooloo Free Kindergarten. This is the most historical

association for the site as this was a new initiative, c.1895, and was designed to assist

families in poor, urban areas. The first Free Kindergartens were in Sussex Street, Sydney

city, then Woolloomooloo and Newtown. It operated from the subject site, in the store area

bordered by Dowling Street from the 1890s until 1921, a period of some 24 years.

From 1921 until the building became known as the Firestone Building in the 1980s, the six

bays were used variously as a factory, workshops and stores for different businesses and

individuals. Many of the store uses noted in the Assessment Books do not go into details for

the store use. However, as an indicator, for the year 1921 the various uses were as follows;

No. 1-3 Nicholson Street (bordering Dowling Street) was used by the Kindergarten School,

No. 5 Nicholson was used as an Electrical workshop, No. 7 was used by the Central

Methodist Mission as a lodging house, No. 9 Nicholson Street was used by the Wattle Brand

Eucalyptus Oil Co as a store and no 11 which bordered Maclean Street was also a store used

by J C Williamson Ltd.

In 1968 the DA lodged for 1-11 Nicholson Street (DA 44.83.0049) noted that the ground floor

was then operating as a tyre sales and fitting workshop and as a store for builders and the

first floor was a furniture manufacturer.

The building is therefore associated with the historical development of Woolloomooloo. From

its early use associated with goods which would have arrived via the newly established wharf,

to its community health use as the Free Kindergarten which is reflected in the current use of

the site as a Community Centre incorporating after school care.




3.8 CHRONOLOGY

Date Event

c1793 Original 100 acre land grant to John Palmer at Garden Island named as “Woolloomooloo Farm”

1931 Woolloomooloo Road (now William Street) formed by the colony’s surveyor Mitchell

1814 Palmer mortgaged Woolloomooloo Estate

May 1822 Woolloomooloo Estate was sold to Edward Riley

February 1825 Edward Riley dies

c1825 Woolloomooloo Estate was subdivided into small lots and sold

1831 Seventeen land grants had been made on Woolloomooloo Hill

1831-1834 Fine houses were erected – cost in excess of £1,000 and it had to face Government House, across the bay

c1834 Woolloomooloo Heights, appropriately renamed Darlinghurst Heights (now Potts Point)

1840s Lower ground of Darlinghurst Heights was the first to be subdivided

1850s Woolloomooloo House was demolished Reclamation of the Woolloomooloo Bay area

1855 The Plunkett Street School was opened

1863 A stone breakwater was completed

1866 New semi-circular wharf was constructed

1872 The city council opened a fine fish markets building

1865 The subject site was first sold

1880 first documented use by Joseph Notting, a wood and coal merchant

November 1882 The subject site landowner William Roberts transferred Lots 1, 2, 3 and 4 to Alfred Branch Campbell

March 1885 the land was transferred from the Campbell's to William Webb Campbell of Sydney

August 1886 Webb transferred the land to George Evans of Sydney, a solicitor

1888 The subject building was constructed during the ownership of George Evans.

22.12.1910 George Evans transferred the property (and possibly mortgaged it) to Permanent Trustee Co. of NSW Ltd

March 1911 Company transferred the site to Archibald Fitzgerald Evans of Pilton

March 1940 Evans transferred (back) to The Union Trustee Co. of Australia Ltd

May 1963 The Union transferred the land to a Mr Leslie Barber of East Sydney, a company director

16th October 1964

Barber leased the building to United Tyre Service (Sydney)

from 1896 to the 1960s

Building used as Stores, which were either unidentified or associated with companies such as the Wattle Brand Eucalyptus Oil Company, factory use, such as the Konker Factory, as a paint shop and as a brass foundry

1897 until 1921 One bay, or store of the building, was used for the Free Kindergarten and, for a short time, another store was used as a lodging house by the Central Methodist Mission (1921).

1911 The premises of 21 Dowling Street, the property known as the Woolloomooloo Kindergarten were inspected by the City Health Officer

15.5.1964 Plans approved by Council for the construction of a concrete ramp. The plans were prepared for Mr. L. Barber and were drawn by Macdonald Wagner & Priddle Consulting Engineers

30.11.1971 Leslie Barber transferred the ownership to Jesselton Pty Limited

March 1968 A development permission was sought to use the first floor of Nos. 1-11 Nicholson Street, 21 Dowling Street, Wilson Street and Maclean Street (covering all the bases) for the manufacturing of furniture

1968 A decision to prepare a comprehensive planning scheme for the whole




Date Event

of Sydney was made by the Councils of the time

1969 The Woolloomooloo Redevelopment Central Plan was adopted

1972 The Woolloomooloo Resident Action Group was formed

1974 The NSW Land and Housing Corporation resumed the property

1975 The Housing Commission began resuming property

By 1979 68 dwellings were completed, with construction continuing through to the 1990s.

1983 The DA to alter the building from its workshop state and to turn it into the Juanita Nielsen Leisure Centre / Recreation Centre was lodged on behalf of the Council From May 1983 extensive works were carried out

1984 The Community Centre was opened

1990s The battle to save the finger wharf at Woolloomooloo Bay continued

2000 The wharf was retained and its redevelopment completed

2011 Design Feasibility Study has been prepared by Cracknell & Lonergan for the City of Sydney, which examined options for the redevelopment of the Centre

February 2012 City Plan Heritage has been engaged by the City of Sydney to prepare a Conservation Management Plan.

3.9 HISTORICAL THEMES

The NSW Heritage Branch developed a thematic framework for use in heritage assessment

and management. It was thought that thinking about a place in terms of themes can help

understand its significance. The organising principle for the thematic framework is the

dynamism of human activity. This Framework identifies thirty-eight principal themes.54

The historical development of an area or item can be understood as occurring in a thematic

way, with different layers representing progressively earlier themes.55 In the case of the

Juanita Nielsen Centre, there are numerous State themes reflected at the local level which

relate to its foundation and development. They are Health, Commerce, Industry, Labour,

Education, Social Institutions and Leisure. These themes are referred to within this CMP to

guide future research questions, to interpret the history, and structure the narrative of the

development within the context of the local area.

Historical Themes associated with the Juanita Nielsen Community Centre:

Australian Theme NSW Theme Local Theme and Notes

3 Developing local, regional and national economies

Health Activities associated with preparing and providing medical assistance and/or promoting or maintaining the well being of humans - the free kindergarten and Central Methodist Lodging House. Current use of the site as a gymnasium.

Commerce

Activities relating to buying, selling and exchanging goods and services - store, bond store.

54

Both the Australian Heritage Commission (national) and the NSW Heritage Office (state) have identified themes for research relating to places of heritage significance. www.heritage.nsw.gov.au 55

NSW Heritage Office, Heritage Information Series, Historical Research for Heritage, Baskerville, Bruce, (2000) p. 2.




Industry Activities associated with the manufacture, production and distribution of goods; the former factory and workshops use

5 Working Labour Activities associated with work practices and organized and unorganized labour in the former factory and workshops and for the community of Woolloomooloo.

6 Educating Education Activities associated with teaching and learning by children and adults, formally and

Informally - the free kindergarten and the current after school care for school children.

8 Developing Australia’s cultural life

Social institutions

Activities and organisational arrangements for the provision of social activities, such as the community centre.

Leisure Activities associated with recreation and relaxation