Perth City Link Public Art Strategy

PART 1 - MRA STRATEGY

1.1 PUBLIC ART 3

1.2 STRATEGY OVERVIEW 5

1.3 MRA’S PUBLIC ART PROGRAM 6

1.4 LOCATING PUBLIC ART 7

1.5 ARTWORK PROCUREMENT PROCESS 9

1.6 ARTWORK APPROVAL PROCESS 12

1.7 MANAGEMENT OF PUBLIC ART 13

PART 2 - THE PROJECT AREA

2.1 PERTH CITY LINK PROJECT AREA 15

2.2 HISTORICAL CONTEXT 16

2.3 PRECINCTS IN PERTH CITY LINK 16

2.4 PUBLIC ART THEMES 19

2.5 LOCATIONS FOR PUBLIC ART 21

2.6 PUBLIC ART OPPORTUNITIES 23

2.7 MAP 1 - INDICATIVE LOCATIONS FOR PUBLIC ART 25

Public Art Strategy

CONTENTS

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Cover: 1. Parc Güell by Antonio Gaudi 2. Crown Fountain by Jaume Plensa 3. Cloud Gate by Anish Kapoor

1.1 PUBLIC ART

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

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

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

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

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

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

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

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

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

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

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

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PART 1 - MRA STRATEGY

Artwork: 1. Public art Tokyo 2. Urban art by Banksy 3. Light Year by Peter Fink & Anne Bean

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

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

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

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

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

Indigenous Art: cultural, heritage or contemporary artworks which are specifi cally commissioned to be created by indigenous artists and/or to have involvement of locally indigenous people.

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

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

• physically enhancing public places and the public realm, through creating points of interest, animating spaces and providing beauty, character or colour to places;

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

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

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

• creating local or regional landmarks;

• encouraging the increased use and enjoyment of public places;

• encouraging different interpretations and understandings of places;

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

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

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

• providing employment, experience and exposure for local artists, and fl ow on benefi ts to the local economy, such as their suppliers and manufacturers.

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1.2 STRATEGY OVERVIEWThis public art strategy provides the foundation of MRA’s commitment to enhance the Central Perth Redevelopment Area through the appropriate integration of public art. This will be achieved through public and private landowner contributions of public art, on a “percent for art” basis, whereby anyone undertaking signifi cant development of land within the Central Perth Redevelopment Area will be required to provide at least 1% of their construction cost as public art. This will apply to all government and private developers of public and privately owned land.

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

The strategy is provided in two parts:

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

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

Strategy Objectives• To infuse different locations within the Central Perth

Redevelopment Area with a sense of place, vibrancy, and creativity, through the integration of contemporary public art that is appropriate to each location.

• To enhance the design and function of the public realm and public enjoyment and understanding of places, through the integration of public art and the early involvement of artists in the design of public places.

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

• To support professional art practice and the social, cultural, economic and built environment benefi ts that a percent for art program provides.

51. Aurora by Mark di Suvero 2. I See What You Mean by Lawrence Argent 3. Applied artwork New York

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

• To provide direction on the appropriateness of different artwork types and forms that are suitable to different places and precincts.

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

1.3 MRA’S PUBLIC ART PROGRAMMRA has been a leader in the integration of public art in land development projects within Western Australia since the early 1990s. In accordance with the State government Percent for Art Scheme, MRA has been implementing a public art program from the commencement of its fi rst project, Claisebrook Village, and commissioned 27 permanent artworks for this project area to create the “Claisebrook Village public art walk”. MRA has also commissioned public art in other project areas, such as “Nexus” in Plateia Hellas in New Northbridge and new pieces in various parks and urban plaza across the Central Perth Redevelopment Area, as well as regular funding of temporary and ephemeral public art projects.

In 2005 MRA’s public art policy was amended so that it also applied to all public agencies and to private landowners , where all development approvals with a construction cost of $1 million dollars or greater require 1% of construction costs as a public art contribution. The developer has the choice of providing public art as part of their development or paying cash-in-lieu. The policy has been highly successful in delivering public art incorporated onto the public face of new buildings, with over $2 million dollars worth of public art being installed on building facades and development sites within the Central Perth Redevelopment Area.

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

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

As each of MRA’s project areas are developed the public and private collection of public art within the Central Perth Redevelopment Area will continue to grow and enrich the inner city.

6The Impossible Triangle by Brian McKay & Ahmad Abas Nexus by Simon Gauntlett & Russell Kingdom

1.4 LOCATING PUBLIC ART

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

LocationsSome public locations that are most suitable for public art in the redevelopment area are:

• Urban plazas and city squares.• Parks and gardens.• Key street intersections.• Main pedestrian routes.• Gateways between key locations or entries into different project areas.

• Certain laneways that would benefi t from activation and beautifi cation.

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

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

• Site Specifi c - artworks are to be designed specifi cally for the site and are to be responsive to the site context - its surrounds, its use and users, and refl ecting the relevant precinct art themes from this Strategy.

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

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

• Attractors - public art can be used as an “attractor” for visitors and tourists - particularly places with landmark artworks or seasonal art programmes;.

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

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

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Public Art on Privately Owned LandMRA’s Development Policy 4. Providing Public Art requires those undertaking developments with a construction cost of $1 million dollars or greater to provide 1% of the cost as a public art contribution. Usually the developer will choose to meet this requirement by providing public art on the subject development site. This provides benefi t for the developer from the contribution, by enhancing the visual amenity and value of the development.

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

LocationsPublic art on private land needs to be visible or accessible from the public realm, appropriate locations include:

• Applied or integrated into front facades of buildings. • Applied or integrated into walls that would otherwise remain

blank or uninteresting, such as exposed parapet walls.• Integrated or functional art such as unique gates, grilles,

balustrades, fences, or other similar building structures.• Entry statements or stand alone works in front garden or

setback areas.

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

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

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

• Site Specifi c - artworks are to be designed specifi cally for the site and are to be responsive to the site context, including consideration for surrounding buildings and activities, and refl ecting the relevant precinct art themes from this Strategy.

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

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

81. Dance Steps on Broadway by Jack Mackie 2. Infrastructure project, NSW 3. Monument and urban art, Bulgaria

1.5 ARTWORK COMMISSIONING PROCESS

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

Cash in Lieu FundThe public art cash in lieu fund is a special fund held in MRA’s account for the purposes of accumulating cash in lieu contributions provided by developers and land owners under Development Policy 4 Providing Public Art (i.e. where the developer chooses to pay cash in lieu of providing public art as part of a development). The cash in lieu funds are accumulated until a suffi cient amount is collected for a project area to enable commissioning of one or more signifi cant artworks within the same project area as the contributing site/s.

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

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

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

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

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

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

1. Procurement Process - The type of procurement process is selected, based on the objectives of the project, the size of the budget and government procurement requirements. At present, contracts valued at over $150,000 are required to be advertised through a public tender process. Projects between $50,000 to $150,000 currently require a minimum of three proposals to be requested - in this process three artists may be contacted directly for an Expression of Interest (EOI), or MRA may publicly advertise the EOI to gain a wider choice of artists and proposals.

A curated process, where MRA’s public art coordinator selects and invites artists to submit proposals, may be appropriate where a particular type of artwork is desired and artists that work in that medium are directly contacted (such as artists experienced in

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functional artwork, community projects etc). This process may also be chosen for smaller budget projects to reduce timeframes.

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

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

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

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

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

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

Depending on the scale of the project, artists should be give between 4 to 8 weeks to submit the Design Concept, a briefi ng session at the start of the process may also be appropriate. Artists will usually be paid a nominal fee for preparation of the Design Concept ($500 - $2000 - relevant to the overall budget).

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

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

9. Government Approvals - the artist prepares fi nal detailed plans and document that may be required for any government approvals, such as to obtain a development approval, engineering certifi cation or a building licence. If development approval is required for MRA owned land, MRA will prepare and lodge the applicant. The artist will be responsible for obtaining any building licence or other local government approvals, with MRA’s assistance where required.

10. Preparation of Artwork - the artist works to produce the artwork. MRA will pay the progress fee or agreed staged payments when progress updates/images are provided or a visit to the artists studio is arranged.

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

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

Private Commissioning Where a land owner or developer is commissioning public art to meet Development Approval requirements under Development Policy 4 Providing Public Art, the procurement process is the responsibility of the land owner. The land owner may fi nd it benefi cial to engage an art coordinator to assist them with the process, or may wish to contact agencies such as Artsource to gain contact details for artists or for assistance with contracts. MRA is not involved in this procurement process and does not recommend any particular artist or service. MRA can however provide some general advice and direction to the land owner.

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

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

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

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1.6 ARTWORK APPROVAL PROCESS

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

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

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

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

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

• A detailed Public Art Report and plans or a maquette has been submitted for assessment, in accordance with the requirements of MRA’s Development Policy 4. Providing Public Art;

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

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

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

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1.7 MANAGEMENT OF PUBLIC ART

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

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

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

Conservation of Public ArtThe conservation and maintenance of public art is the responsibility of the owner from the time of installation to the point of any removal or disposal, unless arrangement has been made with the artist or an art conservator to manage ongoing conservation. It is important to recognise that different artworks have different conservation requirements and that public art deteriorates at different rates and may change condition over time. It is important for the owner of the artwork to determine the following points with the artist prior to handover:

• Agreement on the ownership and the person responsible for ongoing maintenance.• The expected lifespan of the work. • Details of materials used and the fabricators / companies used.• A written maintenance schedule. • Artists direction should removal or relocation of the artwork be required.

13Charnock Woman, Jenny Dawson, Sandra Hill & Miv Egan Functional art Tokyo

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

• The work is coming to or has met the end of its intended life span.• The maintenance and repair obligations and costs have become excessive in relation to

the value and age of the work.• There is irreparable damage to the artwork either through vandalism or natural decay.• There is a signifi cant threat of damage of the work if left in its current location.• The work has become unsafe, or is affected by changes to health and safety regulations.• The site where the artwork is located is to be redeveloped or physically altered.• The work is no longer relevant or appropriate and the commissioner wishes to commission

new work for the site.• The site changes ownership.

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

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

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

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

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

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

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

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

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

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

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

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2.1 PERTH CITY LINK PROJECT AREAMRA’s vision for the Perth City Link Project Area is to link the Perth city centre and Northbridge with a multi-functional, vibrant and active urban environment that embraces the city’s lifestyle and character, and distinctly refl ects Perth’s 21st century aspirations.

Running east-west across the heart of the city centre, the project will reconnect the CBD with Northbridge for the fi rst time in over 100 years. Linkages and connectivity are central to the project vision - reducing the barrier of the train line and reconnecting the north and south sides of the inner city, as well as providing major public transport connections and improved pedestrian connectivity through the area. Five new cross-city connections will be created by sinking the Wellington Street Bus Station and the Fremantle rail line from Perth station to Lake Street.

Perth City Link will facilitate a diverse range of high density commercial, retail, entertainment, hospitality and residential development. Building heights will range from podiums of up to nine storeys, with taller buildings of between 16 to 30 storeys at strategic locations.

Approximately one third of the project area will be dedicated to shared public space, suitable for everyday use as well as for gathering places for large events. The area will create new destinations for bringing people together, with lively civic places and social events. High quality hard and soft landscaping throughout the area will provide urban plazas, trees and water features, providing a choice of great places to meet friends, celebrate, rest, or enjoy the city. These public places will be important locations for the integration of public art.

Within Perth City Link, streets, piazzas and urban promenades will take pedestrians on a journey through the area. The careful selection and location of street furniture, landscaping, lights, art and colour will allow for enjoyable, unimpeded movement throughout. A strong and robust street furniture palette unique to the site and incorporating local and regional materials will be developed and consistently applied to the public spaces to strengthen the urban character of the site and refl ect the high density and quality of development.

PART 2 - PROJECT AREA

15Indicative form of the Perth City Link Project Area

2.2 HISTORICAL CONTEXTLand encompassing the Perth City Link Project Area was traditionally a hunting and gathering ground of the Noongar people. The chain of wetlands that stretched north from where the Perth Train Station is now located provided important food sources for the Noongar people and were often camping and meeting places. Immediately east of the Perth City Link Project Area, ‘Perth Central Railway Station’ is a Registered Aboriginal Site.

European settlement of the Perth township commenced in 1829. In the early years of settlement the wetland at the future train station site was named Lake Kingsford and formed the northern boundary of the township. During the 1850s Lake Kingsford and other wetlands were drained and land reclaimed to allow for the northerly growth of the city into the area that is now known as Northbridge. The Perth township slowly grew north until 1881 saw the development of the Fremantle-Perth-Guildford rail lines, which ran through the township and divided it in two.

As the gold rush hit Western Australia in the 1890s Perth experienced its fi rst population and construction boom. With construction and population growth blossoming on both sides of the rail line, the area of the Perth City Link Project Area became a central passenger and freight depot. Unconstrained growth saw the area develop into a “great area of yards and squalid sheds of ill-conceived contrivance”. With up to seven sets or rail tracks the area had become very diffi cult and dangerous to cross by horse or on foot. An ingenious engineering solution to this came in 1903 with the construction of horseshoe-shaped bridge. The Horseshoe Bridge is now a signifi cant part of Western Australia’s built heritage.

The railway barrier was not only physical. For some, it represented a social divide and a perception that the area to the north of the line was “the wrong side of the tracks”. The diminished appeal of the area made it accessible to new non-English speaking migrants. From the 1920s through to the post war era the area provided a social, business and residential hub for Chinese, Greek, Italian, and later Vietnamese migrants, among others. The reputation of the area also facilitated more “business freedom”, and saw development such as the Roe Street Brothels which lined the street along the north side of the rail line. The area developed with a distinct character of its own, but was not offi cially named Northbridge until 1982.

The land within the Perth City Link Project Area saw signifi cant redevelopment through the 1960s and 70s. The marshalling yards were relocated out of the city and the area was developed for the Perth Entertainment Centre, which opened in 1974. The derelict Perth Markets site was then redeveloped as the Wellington Street Bus Station. MRA extended its redevelopment area boundary over the project area in 2005 and the Perth City Link Master Plan was adopted in 2008.

2.3 PRECINCTS IN THE LINKThe Perth City Link Project Area consists of three precincts that will each be developed with a slightly different character through different land uses, built form and public spaces.

Perth Arena - Milligan Street Precinct (Precinct 33)The Perth Arena - Milligan Street Precinct is at the western end of the project area, between the Mitchell Freeway and Milligan Street. The key focus of the precinct will be the new Perth Arena sports and entertainment complex, which will provide signifi cant revitalisation of the north-west end of the city. A vibrant public plaza will be developed on the east side of Perth Arena with dining, retail and evening entertainment and a high quality public environment. The plaza will provide a meeting and gathering place before and after events at Perth Arena, which will see large volumes of people gathering in and moving through the area.

16Historical Context taken from Crossing the Lines report by Barry Strickland

The Perth Arena - Milligan Street Precinct will also include new development sites to the north and east of Perth Arena, including opportunities for hotels or short stay apartments, which will bring many tourists to the area. The precinct will also facilitate extension of Milligan Street for pedestrian access through the precinct and partial vehicle access.

King – Lake Street Precinct (Precinct 34)

The King – Lake Street Precinct will be developed as a mixed-use area, with commercial and retail uses at street level creating an active streetscape with high rise residential apartments and offi ces above. The precinct will attract a signifi cant workforce and residential population to the area, activating the precinct by day and night. Commuters moving through the area from the train and bus stations will also bring many people through the area. Kings Square will be the heart of the precinct. It will provide a signifi cant public space framed by dining and retail activities, as well as providing a two way traffi c connection linking King Street in Perth with Lake Street in Northbridge.

17

Perth Arena - Milligan Street Precinct

King - Lake Street Precinct

Horseshoe Bridge Plaza Precinct (Precinct 35)

The Horseshoe Bridge Plaza Precinct at the eastern side of the project area will develop around a central public plaza, the City Square, adjacent to the Horseshoe Bridge and Perth Train Station. City Square will be a signifi cant new public space for central Perth, providing an alternate social and entertainment space to Forrest Place and the Perth Cultural Centre. The area will also act as a major pedestrian and transit hub between the train station, new underground bus station and the major thoroughfare of William Street. The precinct will also include high density residential development, with retail, dining and entertainment activity at street level providing an engaging pedestrian environment.

18

Horseshoe Bridge Plaza Precinct

Artist’s impression of the City Square

2.4 PUBLIC ART THEMES

Public Art AimThe aim for public art in the Perth City Link Project Area is to create a cohesive public art collection that is tied together by common themes that reinforce the project area vision of reconnecting Northbridge and the Perth city centre with vibrant 21st century urbanism.

Consistent with the focus for the whole project, artworks should be leading edge artworks, incorporating innovation and new practices and playing a key role in creating an exciting urban environment. Public art projects in Perth City Link should embrace the use of colour, light, technology, new media and other contemporary art practices to help to create the buzz, excitement and cultural richness of a world class capital city.

Public Art ThemesThe Perth City Link Master Plan includes fi ve key values that should be embraced in the development of the project area, these are:

• Invite • Connect • Innovate • Celebrate • Experience

These values from the Master Plan have been used as the basis for developing appropriate themes for public art for the project area. All public art within the Perth City Link Project Area should address one of the following four themes:

Theme 1 Connections, Creating Links

Explanation: The leading public art theme for Perth City Link will be Connections, Creating Links. The project is reconnecting Northbridge and the Perth city centre and artworks should refl ect this theme of linkages, connection, and reuniting people and places.

Possible Artworks: The theme provides artists with a broad scope for interpretation and contemporary expression. Artworks may incorporate literal “linkage” elements or may provide personal interpretations of “reunifi cation” and “connection”.

Artworks may also respond to Perth as an international city and creating economic and cultural links with other cities, such as international artists, trading partners and sister cities. These should however be quality contemporary artworks, not traditional style memorials.

Theme 2 Transit, Connections, Arrival

Explanation: The project area, both historically and as part of the Perth City Link project, has an important role as a transport hub. With the Perth train station and bus station the area will be a busy transit hub, but importantly, will also will be a place where people fi rst arrive and experience Perth city centre.

Possible Artworks: Artworks may play a role in signifying / welcoming peoples arrival to Perth city centre, such as way fi nding or landmark artworks. Functional and contemporary artworks for commuters are also encouraged, such as bike racks, seats, sound walls or other interactive installations at commuter points. An interpretive heritage project may also be appropriate to refl ect the historical transport role of the area – such as references to the original train tracks, tram lines, or old marshalling yards.

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Theme 3 Celebrate, Experience, Entertainment

Explanation: The project area and surrounds has historical and contemporary importance as an entertainment destination. Northbridge has an established history as an entertainment precinct, yet the Perth Cultural Centre and the central business area are also being redefi ned as nightlife, cultural and tourism destinations. The Perth City Link Project Area will add another dimension to the city centre as a place of entertainment, celebration and experiences.

Possible Artworks: There is broad scope for artist interpretation and expression of this theme, which should result in exciting, contemporary artworks. Interactive and ephemeral works could also be created to provide entertainment. Artworks may respond to the entertainment role of Perth Arena, other public places in Perth City Link, or the wider inner city. An interpretive heritage project may also refl ect former entertainment activities, such as the former Perth Entertainment Centre.

Theme 4 Refl ect, Connect to the Past

Explanation: The project area and surrounds has experienced many waves of development over the past 150 years. The history of the area should not be forgotten as substantial redevelopment takes place. Artwork should provide historical and interpretive references to the natural and social history of the area.

Possible Artworks: It is preferable that one interpretive heritage project is undertaken to collectively address the area’s history, rather than ad hoc historical references in contemporary artworks. An artist could be involved in a heritage marker project, that recognises sites such as the Registered Aboriginal Site at the Perth train station area, the previous wetlands of the area, the former railway yards, Perth Markets site, and other such historic activities.

Public Art Themes for Each Precinct

Appropriate themes for public art have been designated to each Precinct, as follows:

PRECINCT 33 The Perth Arena - Milligan Street Precinct

• Connections, Creating Links

• Celebrate, Experience, Entertainment

PRECINCT 34 King - Lake Street Precinct

• Connections, Creating Links

• Transit, Connections, Arrival

• Refl ect, Connect to the Past

PRECINCT 35 Horseshoe Bridge Plaza Precinct

• Connections, Creating Links

• Transit, Connections, Arrival

• Celebrate, Experience, Entertainment

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2.5 LOCATIONS FOR PUBLIC ART Careful selection of appropriate locations for public art within the project area will be crucial to the success of the Perth City Link Public Art Strategy. Public art should be located to enhance the amenity and the interpretation of the public realm, as well as to provide public visibility and interaction with artwork.

Map 1 on page 25 provides indicative locations for public art across the Perth City Link Project Area. The locations have been selected to enhance key public places, pedestrian thoroughfares, and highly visible locations such as street intersections. The map includes indicative locations for public art on private development sites. All artworks are to be developed in accordance with MRA’s Development Policy 4 Providing Public Art and this Public Art Strategy - including the public art themes allocated to each precinct.

Map 1 identifi es and colour codes the following six different sources of public art for the project area:

1. Major Artwork Piece - City Square The City Square in the Horseshoe Bridge Plaza Precinct is the main public place for the Perth City Link Project Area. A major public art project will therefore be commissioned which will act as a landmark piece for the public place and the inner city generally. A substantial budget will be required from MRA’s public art budget of the Perth City Link capital works budget and from other sources where available.

2. Major Public Places - Queens Square and Kings Square Queens Square and Kings Square are also important public places within the project area. Medium to large scale public art projects are to be integrated into the design and development of these places. These projects will be funded through MRA’s public art cash in lieu fund, in accordance with Development Policy 4 Providing Public Art. This will include a contract of sale requirement for land sold by MRA that developers provide 50% of their public art contribution required under the Policy as cash in lieu to fund these artworks (the remaining 50% of the contribution is to be provided as public art on the development site).

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City Square

Kings Square

3. Small - Medium Integrated Artworks Small to medium scale artworks should also be integrated into other public places and public walkways of the project area. These works should be delivered through an artist working with the design team to successfully integrate meaningful public art into the spaces. These works should be funded jointly through MRA’s public art and landscape budgets of the Perth City Link capital works budget.

4. Heritage Project One of the designated public art themes for Perth City Link is Refl ect, Connect to the Past. There are many layers of cultural heritage within the environs of the project area. There is the opportunity for an artist to produce an interpretive heritage trail through the project area. This could be created along the pedestrian boulevard along Wellington Street.

The artist component of this project is to be funded through MRA’s public art cash in lieu fund, where developers provide cash in lieu of providing art in accordance with Development Policy 4 Providing Public Art. This project provides the opportunity for a collaborative approach from design and heritage professionals, such as working with the Perth City Link landscape design team or connecting with the City of Perth heritage markers program.

5. Major Government Percent for Art Other State Government agencies with major developments within the project area will be required to comply with Development Policy 4 Providing Public Art by providing public art within the development, or cash in lieu. The fi rst major project will be the Perth Arena by Building Management and Works Department where permanent and ephemeral public art works will be provided to activate the Arena Plaza. The second major project will be as part of the underground rail and bus station project by the Public Transport Authority. This project could include a variety of works within the underground bus station and along the length of commuter walkways (refer to “Art Walks” p.24).

6. Public Art on Private DevelopmentsAll development approvals valued at $1 million or greater for privately owned land, including land sold by MRA, will be required to comply with Development Policy 4 Providing Public Art and provide public art within the development or cash in lieu. There are many possibilities for integrating public art into new developments and this Strategy and the Development Policy provide guidance to direct artists, yet provides fl exibility for artistic interpretation and expression. Map 1 provides some indicative locations for artworks, to provide exposure and public realm enhancement without confl icting with other buildings and artworks, however exact locations should be determined during detailed design of each building.

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Wellington Street

2.6 PUBLIC ART OPPORTUNITIESThe Perth City Link Project Area offers many opportunities for highly creative, interactive and engaging public art projects that will help to develop the area as a major destination in inner city Perth for tourists and Perth residents and for arts and entertainment. Some of the opportunities that should be pursued are outlined below:

Temporary and Ephemeral Art

Perth City Link will include a number of important central city public places that will benefi t from the place activation that can be created through temporary and ephemeral public art projects. These projects can create interest and attraction for a place, bringing in visitors and tourists and developing the places as destinations to visit regularly to see the latest project. Temporary and ephemeral art tends to provide opportunities for more adventurous and innovative projects than permanent artworks and therefore adds an important dimension to The Perth City Link Public Art Strategy.

The three main public places of the project area, City Square, Kings Square and the Perth Arena Plaza, should be the primary locations for temporary and ephemeral projects. Other smaller spaces and pedestrian thoroughfares may also be occasionally considered for projects. Temporary and ephemeral public art projects in Perth City Link can be funded through MRA’s capital works budget or cash in lieu funds, where available, and MRA may also seek to sponsor or programme arts events and festivals in the project area.

Interactive Art

Interactive public art can create a special interest and character for a locality and like temporary and ephemeral art, supports a diverse public art programme that can enrich the Perth City Link Project Area. Interactive art is vary varied; it can include whimsical projects, new technology, projects to engage children, and other public art projects designed to engage the public. The image below demonstrates how the Piano Staircase has created human interest in an otherwise utilitarian space and engages the public to use the artwork. In this example from Volkswagen’s Fun Theory artwork series the public are encouraged to be active, take the stairs instead of using the escalator.

Interactive art in Perth City Link may be permanent, temporary or ephemeral. Interactive art can contribute to place activation of the key public places in the project area and could also be used to create interest in areas that otherwise may be lacking in character or human interest. Interactive public art projects in Perth City Link can be funded through MRA’s capital works budget or cash in lieu funds, where available, or could be provided by other State Government agencies or private land developers within the project area.

23Piano Staircase by DDB StockholmHer Secret is Patience by Janet Echelman

Art Walks

Map 1 (p.25) shows three suggested locations for “art walks”. The intent is that a series of artworks could be provided along these pathways to provide an experience for people as they walk through the location. It is not necessarily intended that the three art walks are connected physically or by a common theme. The three suggested art walks are:

1. Underground rail and bus station An art walk is recommended as part of the underground rail and bus station development as this will be a high traffi c pedestrian area. There are many opportunities for types and styles of artworks here, based on the Transit, Connections, Arrival artwork theme.

2. Heritage trail - Wellington Street An interpretative heritage trail is proposed along the pedestrian boulevard of Wellington Street. There are many opportunities for interpreting and refl ecting the area’s rich history, an artist may work collaboratively to produce a heritage marker trail, or produce specifi c artworks that respond to the Refl ect, Connect to the Past artwork theme.

3. Perth Entertainment Centre Site - Wellington GardensIt is recommended that an artwork project is commissioned as part of the Perth Entertainment Centre site redevelopment to commemorate the social heritage of the former venue. Wellington Gardens, an internal road in the King - Lake Street Precinct, would be a suitable location for this. This does not need to be a traditional “walk of the stars”, contemporary, innovative ways to refl ect the site’s history are encouraged.

Street Furniture and Landscape Features

There are opportunities to include artists in the design of some of the hard landscaping and street furniture of the public realm of Perth City Link, to instil a creative and unique character into the project area. Functional artworks may include lighting, seating, bicycle racks, children’s play objects, and similar such features that involve appropriate artists in design and production.

These street furniture and hard landscape features can be provided on public land through MRA’s landscaping budget or may, where appropriate, be provided by other developers through public art contribution requirements under Development Policy 4 Providing Public Art. However, it is important that pieces provided to comply with the Policy are public art, not merely artist style pieces. This requires that an artist experienced in industrial design or street furniture produces the work or works closely with those producing the work.

24Northern Lights by DAP Lighting & Art2Architecture Industrial design seating in London

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