DOCSLIB.ORG

Building Connections Is a Multi Layered Resource Aimed at Supporting the PART Teaching of Architecture Units As Part 23 of the Visual Arts Syllabus Stage 6

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Building Connections Is a Multi Layered Resource Aimed at Supporting the PART Teaching of Architecture Units As Part 23 of the Visual Arts Syllabus Stage 6 Building Connections is a multi layered resource aimed at supporting the PART teaching of architecture units as part 23 of the Visual Arts Syllabus Stage 6. It is divided into 3 parts – the frames, Practice conceptual framework and practice, & resource and focuses on the architecture of six material art galleries and museums. It explores the connections between architecture and other art forms, investigating ideas and themes through images, text, artmaking activities and links to other information. Two of the galleries are examined in more detail through essays and descriptions of practice, demonstrating how architecture can be considered within broader discussions of the Visual Arts. Part 3 includes video footage and interviews as a way of understanding the practice of Frank Gehry and Paul Berkemeier. DeVeloPeD By object.com.au architects.nsw.gov.au Frank Gehry Practice CoNTeXT INSPIRATIoN SKeTCHING BelIeFS Movement /art /architecture Form replaces decoration … with semi-automatic Fish and their writing ... (he) combined To the south the dialogue is movements the subconsciously–drawn The reason … is to replace with the city … to the north have always pencil sketches with the decoration, to get passion there is empathy with water, been part of my requirements of the building and feeling into the building. undulations, fluid shapes. architectural program. vocabulary. AUDIeNCe MoDellING TeCHNoloGy MATeRIAlS eNGAGeMeNT Cardboard /many iterations Cardboard becomes virtual you want See how this We work back and forth something that unfolds and is between the planning A computer program reflects the welcoming and and the model. used in aviation design light and plays that curve leads helped to solve the with the light. right into it. constructional problems. Interview with Kerry o’Brien Context engagement Practice Questions Inspiration Modelling Frank Gehry in the studio evaluate the significance of strategy and planning to the Sketching Technology successful resolution of works by artists, designers or architects. Beliefs Materials explain how an artist’s knowledge and use of materials have determined the outcome of their practice. Part 3 BUIlDING CoNNeCTIoNS 2 Paul Berkemeier Interview Paul Berkemeier runs a small architecture and that knowledge of The importance of recognise the roles of the public architectural practice in Sydney. He history is important. The original understanding place institution to not only nurture a has had extensive experience in a buildings were designed by the rebirth, but become a focus for broad range of projects, including New South Wales Government the community’. large scale urban design and architect, Walter liberty Vernon, Part of the architect’s job planning, public buildings, single and the earliest one, which was Architecture and narrative and multi-unit housing, schools, built in 1908, is an item of regional is to really drill down into exhibition, design and heritage and architectural significance. understanding the nature The narrative is key to the project buildings. His practice has received Berkemeier enjoyed learning about of the place... ‘because it embeds the whole numerous state and national Vernon during this project. project with meaning beyond the awards for its work. physical space’. once they were awarded the job, For Berkemeier the understanding Architecture as an the architects embarked on a study of place is extremely important. Berkemeier understood the approach not just a plan of endless options for how the new He also believes that outsiders can importance of narrative in building might work on the site, often get a clearer perspective of a designing a new art gallery for Berkemeier received the and how they would adapt and situation. Maitland: ‘the project is a story commission to design the Maitland connect the older buildings. They about the failed ambitions of the Regional Art Gallery (MRAG) needed to balance user-expectation Maitland, which has a long history, original building’. The original through a selection process that with a large brief, a small budget, was once Australia’s second building, an ornate Federation did not involve a plan for the the heritage implications of the largest city. The relationship of structure, was to be an important new gallery, but rather a way of original buildings, and the urban Maitland to the Hunter River is educational centre however it was thinking about the project, what conditions that exist in Maitland important; events such as the not finished due to budgetary Maitland flood of 1955 are deeply the possibilities might be, and today. By the final proposal stage constraints and the stripped-back embedded into psyche of the how his firm would engage with the council and art gallery were on wing of classrooms built a few town. The town’s built heritage is the client. board and understood the project. unique and diverse and Berkemeier years later was disconnected. believes it is one of the best historic ‘We were ready to make a third Berkemeier collaborated with Barry towns in Australia. The economy intervention to highlight the story McGregor, both architects having is now experiencing growth with of civic ambition that didn’t experience in heritage architecture. the development of the Hunter happen.’ The new infill building is Berkemeier strongly believes a simple two-storey box which that heritage is embedded in region and suburban hinterland. Berkemeier states that ‘we can Part 3 BUIlDING CoNNeCTIoNS 3 Paul Berkemeier Interview (cont’d) refers to the older buildings where old met new, highlighting Working as an architect story...’ The new infill building and Berkemeier aimed ‘to make the links as well as giving a sense is set back from the street and is them players in this narrative’. of separation. Berkemeier also quite sculptural. As Berkemeier The architects wanted to ‘put wanted to integrate the grand The thing about architecture points out, ‘if it was built hard up the energy into the places where staircase into the whole experience is how you can get competing against the street, you would need the two older buildings entered by breaking an opening into the a greater sense of frontality.’ needs to work together the dialogue’. Visitors can see historic stairwell. unfinished sections of the older towards a single outcome. “All things are in collaboration…” buildings with the half-completed Methods to think and brick walls, filled openings and make things happen The design and construction of toothed nibs that were ready to The architects working on MRAG was a collaborative effort take another wing. Berkemeier says that he and his MRAG needed to consider between architects, engineers, associates use several models and budget restrictions, community the Maitland Council and Gallery, hundreds of drawings to explore expectations and display builders, and artist lara o’Reilly The idea was to develop the options and resolve issues. Most considerations. energy who created the video “Time architects still draw to help resolve consumption was to be reduced Capture” which sits in the fabric of narrative of the history of the things, and Berkemeier says it is via the thermal mass of concrete the building. place and, practically, to get a often a good idea ‘to use several walls and floors, and the tactical large amount of display space. methodologies simultaneously’. placement of windows and Using language is an effective skylights. Weaving together the Wherever you work the crucial way to work things out, together idea of form-making by using thing is the ability to work Part of the challenge was to with sketching, drawing, computer- materials such as inexpensive resolve the different geometries generated modelling and model- sheet metal, with the energy in collaboration with people where the older buildings met making. agenda and the connections in your own team and with the new building, and to create between the buildings and display the external consultants … openings between the buildings. space, resulted in a fairly bold The fun of being an architect This necessitated the need for form. This was appropriate in the is that you can orchestrate, odd shapes and to distort the way ‘narrative of failed architectural that you can create the the connections occurred. Key ambition with the change from circumstance that allows that glazing in skylights was used the very ornate building to the very pragmatic classroom. The to happen. art gallery coming a century later could then tell a very different Part 3 BUIlDING CoNNeCTIoNS 4 Australian Art flexible spaces for installations and NatioNAl Key elements of the original building exhibitions. From 1968-1972 the that were retained include the Galleries & Museums Gallery was extended by Andrew GAlleRy VICToRIA external bluestone façade, the Andersons of the Government entry arch and the leonard French Art GAlleRy NeW Architect’s Department. The Captain Roy Grounds, stained glass ceiling. As Bellini Cook Wing was opened 1972. The extension Mario Bellini observed, ‘the winning idea was that SoUTH WAleS alterations opened up the traditional of returning this great monument enclosed box of the museum to Description to the citizens of Melbourne allow views to the harbour; creating absolutely intact in its role as an Andrew Andersons a sense of connection to a place via The National Gallery Victoria (NGV) urban symbol, yet, simultaneously, transparency and permeability. is Australia’s oldest and largest art radically rethought and transformed gallery. The Gallery’s collection is in its role as a museum’. Description In 1988, Andrew Andersons was again spread across two buildings to the The Art Gallery of New South commissioned to extend the Gallery. South of Melbourne’s CBD in the NGV Wales (AGNSW) was established in To coincide with the bicentenary International at 180 St Kilda Road References the1870s. It is an art museum whose celebrations the Gallery was doubled and the Ian Potter Gallery at http://www.theage.com.au/ purpose is to maintain and develop in size with the addition of the eastern Federation Square.
Load more

Recommended publications
  • Australia's National Heritage
    High Court–National Gallery Precinct AUSTRALI A N C A PI TA L T E R R ITORY The High Court–National Gallery Precinct is significant as a group of public buildings and landscape conceived as a single entity. The complex is stylistically integrated in terms of architectural forms and finishes, and as an ensemble of freestanding buildings in a cohesive landscape setting. The Precinct occupies a 16-hectare site in the north-east corner of the Parliamentary Zone. It includes the High Court, National Gallery of Australia and the Gallery’s Sculpture Garden. The landscape brief from the National Capital National Gallery of Australia Development Commission required that the High Court, National Gallery and surrounding landscape become a chambers. A waterfall designed by Robert Woodward and single precinct in visual terms, with the High Court as constructed from South Australian speckled granite runs the dominant element to be open to views from Lake the full length of the entry ramp. Burley Griffin. The National Gallery is a complex building of varied The Precinct is a synthesis of design, aesthetic, social and levels and spaces arranged on four floors of approximately environment values with a clear Australia identity. This 23 000 square metres. Like the High Court, much of the is represented in the pattern of functional columns and building is made of reinforced bush-hammered concrete, towers in the architectural elements, the sculptures of the an example of the architect’s philosophy that concrete has national collection in a landscaped setting, and the high as much integrity as stone.
    [Show full text]
  • The Garden of Australian Dreams: the Moral Rights of Landscape Architects
    EDWARD ELGAR THE GARDEN OF AUSTRALIAN DREAMS: THE MORAL RIGHTS OF LANDSCAPE ARCHITECTS DR MATTHEW RIMMER SENIOR LECTURER ACIPA, FACULTY OF LAW, THE AUSTRALIAN NATIONAL UNIVERSITY ACIPA, Faculty Of Law, The Australian National University, Canberra, ACT, 0200 Work Telephone Number: (02) 61254164 E-Mail Address: [email protected] THE GARDEN OF AUSTRALIAN DREAMS: THE MORAL RIGHTS OF LANDSCAPE ARCHITECTS DR MATTHEW RIMMER* * Matthew Rimmer, BA (Hons)/ LLB (Hons) (ANU), PhD (UNSW), is a Senior Lecturer at ACIPA, the Faculty of Law, the Australian National University. The author is grateful for the comments of Associate Professor Richard Weller, Tatum Hands, Dr Kathy Bowrey, Dr Fiona Macmillan and Kimberlee Weatherall. He is also thankful for the research assistance of Katrina Gunn. 1 Prominent projects such as National Museums are expected to be popular spectacles, educational narratives, tourist attractions, academic texts and crystallisations of contemporary design discourse. Something for everyone, they are also self-consciously set down for posterity and must at some level engage with the aesthetic and ideological risks of national edification. Richard Weller, designer of the Garden of Australian Dreams1 Introduction This article considers the moral rights controversy over plans to redesign the landscape architecture of the National Museum of Australia. The Garden of Australian Dreams is a landscaped concrete courtyard.2 The surface offers a map of Australia with interwoven layers of information. It alludes to such concepts as the Mercator Grid, parts of Horton’s Map of the linguistic boundaries of Indigenous Australia, the Dingo Fence, the 'Pope’s Line', explorers’ tracks, a fibreglass pool representing a suburban swimming pool, a map of Gallipoli, graphics common to roads, and signatures or imprinted names of historical identities.3 There are encoded references to the artistic works of iconic Australian painters such as Jeffrey Smart, Sidney Nolan, Arthur Boyd, and Gordon Bennett.
    [Show full text]
  • The Architecture of Scientific Sydney
    Journal and Proceedings of The Royal Society of New South Wales Volume 118 Parts 3 and 4 [Issued March, 1986] pp.181-193 Return to CONTENTS The Architecture of Scientific Sydney Joan Kerr [Paper given at the “Scientific Sydney” Seminar on 18 May, 1985, at History House, Macquarie St., Sydney.] A special building for pure science in Sydney certainly preceded any building for the arts – or even for religious worship – if we allow that Lieutenant William Dawes‟ observatory erected in 1788, a special building and that its purpose was pure science.[1] As might be expected, being erected in the first year of European settlement it was not a particularly impressive edifice. It was made of wood and canvas and consisted of an octagonal quadrant room with a white conical canvas revolving roof nailed to poles containing a shutter for Dawes‟ telescope. The adjacent wooden building, which served as accommodation for Dawes when he stayed there overnight to make evening observations, was used to store the rest of the instruments. It also had a shutter in the roof. A tent-observatory was a common portable building for eighteenth century scientific travellers; indeed, the English portable observatory Dawes was known to have used at Rio on the First Fleet voyage that brought him to Sydney was probably cannibalised for this primitive pioneer structure. The location of Dawes‟ observatory on the firm rock bed at the northern end of Sydney Cove was more impressive. It is now called Dawes Point after our pioneer scientist, but Dawes himself more properly called it „Point Maskelyne‟, after the Astronomer Royal.
    [Show full text]
  • Graham Clifton Southwell
    Graham Clifton Southwell A thesis submitted in fulfilment of the requirement for the degree of Master of Arts (Research) Department of Art History Faculty of Arts and Social Sciences University of Sydney 2018 Bronze Southern Doors of the Mitchell Library, Sydney A Hidden Artistic, Literary and Symbolic Treasure Table of Contents Abstract Acknowledgements Chapter One: Introduction and Literature Review Chapter Two: The Invention of Printing in Europe and Printers’ Marks Chapter Three: Mitchell Library Building 1906 until 1987 Chapter Four: Construction of the Bronze Southern Entrance Doors Chapter Five: Conclusion Bibliography i! Abstract Title: Bronze Southern Doors of the Mitchell Library, Sydney. The building of the major part of the Mitchell Library (1939 - 1942) resulted in four pairs of bronze entrance doors, three on the northern facade and one on the southern facade. The three pairs on the northern facade of the library are obvious to everyone entering the library from Shakespeare Place and are well documented. However very little has been written on the pair on the southern facade apart from brief mentions in two books of the State Library buildings, so few people know of their existence. Sadly the excellent bronze doors on the southern facade of the library cannot readily be opened and are largely hidden from view due to the 1987 construction of the Glass House skylight between the newly built main wing of the State Library of New South Wales and the Mitchell Library. These doors consist of six square panels featuring bas-reliefs of different early printers’ marks and two rectangular panels at the bottom with New South Wales wildflowers.
    [Show full text]
  • R084 National Gallery of Australia RSTCA
    Register of Significant Twentieth Century Architecture RSTCA No: R084 Name of Place: National Gallery of Australia Other/Former Names: Australian National Gallery Address/Location: Parkes Place PARKES 2600 Block B1.5 Section 29 of Parkes Listing Status: Registered Other Heritage Listings: Date of Listing: June 1993 Level of Significance: National Citation Revision No: Category: Educational Citation Revision Date: February 1993 Style: Late Twentieth Century Brutalist Date of Design: 1968-1972 Designer: Colin Madigan of Edwards, Madigan, Torzillo & Briggs Construction Period: 1973-1982 Client/Owner/Lessee: Commonwealth of Australia Date of Additions: Builder: Statement of Significance The National Gallery of Australia is one of the most forthright examples of Australian civic architecture of the 1970's. It is an important and prominent Australian example of Brutalist Architecture, and is the most decisive statement of the Brutalist philosophy as realised by Colin Madigan. It is a finely executed building reflecting great care and attention at all levels of detail throughout. His craft-based attitude to concrete construction is demonstrated in the quality finishes of the building. Madigan, working together with the landscape architect Harry Howard, has provided an outstanding landscape in which the building is sited with the sculpture garden on the lake side of the Gallery continuing the varied, spatial progression established within the building. It is difficult to describe the significance of the National Gallery and not mention the adjacent High Court building designed by the same firm in a similar style. The off form concrete masses, linking pedestrian bridge and strong, vertical elements at the entry of both the Gallery and High Court visually connect the two buildings.
    [Show full text]
  • AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
    AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours.
    [Show full text]
  • From Track to Tarmac
    History Walk Building a Marine Introduction Suburb The name Neutral Bay was given by Governor Phillip who in the early days of Sydney A walking tour of Neutral Bay settlement declared the bay a neutral harbour, isolated from the penal settlement where foreign including the history of the ships could take on water and make repairs. Neutral Bay Land Company The first land grant in this area was acquired by Lt Alfred Thrupp. Distance: 3 km Approximate time: 2-3 hours Thrupp acquired 700 acres as a result of Grading: low to medium marrying the daughter of Captain John Piper who he had met on the ship in 1814 heading for the colony. According to the historical record, Thrupp never lived on the land spending most of his time in Tasmania. However, his name still lives on in the area through Thrupp Street and Thrupps Point. The land went eventually back into the control of Captain Piper. However, Piper was bankrupted in 1826 and the land was sold and purchased by Daniel Cooper Snr and Solomon Levey. Levey returned to England and died 1833. By 1852 Daniel Cooper was the sole owner of the estate. In 1853 he died. In his will Daniel bequeathed the estate to his young nephew John Cooper the elder. According to the historian L F Mann, John Cooper is said to have resided at Neutral Bay for many years. The Cooper family held ownership of the land until the 19th century (1850s) when they started releasing allotments under 99 year leases towards the Neutral Bay foreshore and along Kurraba Point.
    [Show full text]
  • Conservation Management Framework For
    MOSMAN POLICE STATION CONSERVATION MANAGEMENT FRAMEWORK 09.1322 PREPARED FOR: MOSMAN COUNCIL AND NSW POLICE Architectural Projects Pty Ltd . Architects Studio 1, The Foundry, 181 Lawson Street, Darlington, NSW 2008 Ph: +61 (0) 2 9319 1122 Fax: +61 (0) 2 9319 1128 Email: [email protected] 23 December 2009 Version No 4 TABLE OF CONTENTS EXECUTIVE SUMMARY....................................................................................................................1 1 INTRODUCTION .......................................................................................................................7 1.1 BACKGROUND ..................................................................................................................................................7 1.2 SITE LOCATION AND DESCRIPTION....................................................................................................................7 1.3 AUTHORSHIP.....................................................................................................................................................7 1.4 LIMITATIONS .....................................................................................................................................................7 1.5 METHODOLOGY................................................................................................................................................7 1.6 TERMINOLOGY AND DEFINITIONS.....................................................................................................................7
    [Show full text]
  • Sydney Culture
    Sydney 6 C Culture— Galleries and museums Must-see collections Culture — Diving into the arts scene Sydney used to undersell itself when it came to its cultural assets, preferring to talk up its natural beauty rather than its intellectual offering. Not any more. A jam-packed calendar of large-scale public events, a slew of world-beating museums and an artistic community brimming with creativity make the city a delight for the culture hungry. You’ll find a city Australian Museum, Darlinghurst chock-full of galleries, Back to nature live-music venues and independent cinemas. The aim of Australia’s first public As in most cities, some museum, when it was green-lit in of the more interesting 1827, was to gather rare specimens artistic ventures are of natural history and miscellaneous curiosities. Today its collection found in outlying suburbs boasts more than 18 million cultural a few steps off the and scientific exhibits, showcases well-trodden tourist Australian history from Aboriginal track. Carriageworks, archaeology to artefacts from its for instance, a mixed- greatest explorers, and has a world- use cultural space, has leading research programme. brought life to Eveleigh, A 2015 upgrade dramatically an otherwise-sleepy expanded the floorspace. It also added the first new permanent suburb, while previously exhibition space in more than 50 overlooked Waterloo is years: the Wild Planet Gallery now home to several highlights global biodiversity pioneering commercial through the more than 400 animal art galleries. Here’s a specimens on display. For your tight portrait of the best own bird’s-eye view, head up to the museum’s terrace: the balcony this artful city has to I call offers stunning 180-degree this ‘The offer when it comes panoramic views of Hyde Park to culture, from the Strangled and the Woolloomooloo area.
    [Show full text]
  • Annual Report 2014–15
    Annual Report 2014–15 Annual Report 2014–15 Published by the National Gallery of Australia Parkes Place, Canberra ACT 2600 GPO Box 1150, Canberra ACT 2601 nga.gov.au/aboutus/reports ISSN 1323 5192 © National Gallery of Australia 2015 All rights reserved. No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system, without permission in writing from the publisher. Prepared by the Governance and Reporting Department Edited by Eric Meredith Designed by Carla Da Silva Pastrello Figures by Michael Tonna Index by Sherrey Quinn Printed by Union Offset Printers Cover: The 2015 Summer Art Scholars with Senior Curator Franchesca Cubillo in the Indigenous Urban gallery, 14 January 2015. 16 October 2015 Senator the Hon Mitch Fifield Minister for Communications Minister for the Arts Minister Assisting the Prime Minister for Digital Government Parliament House CANBERRA ACT 2600 Dear Minister On behalf of the Council of the National Gallery of Australia, I have pleasure in submitting to you, for presentation to each House of Parliament, the National Gallery of Australia’s annual report covering the period 1 July 2014 to 30 June 2015. This report is submitted to you as required by section 39 of the Public Governance, Performance and Accountability Act 2013. It is consistent with the requirements set out in the Commonwealth Authorities (Annual Reporting) Orders 2011, and due consideration has been given to the Requirements for Annual Reports approved by the Joint Committee of Public Accounts and Audit under subsections 63(2) and 70(2) of the Public Service Act 1999 and made available by the Department of the Prime Minister and Cabinet on 25 June 2015.
    [Show full text]
  • Planning Proposal
    PLANNING PROPOSAL ‘Landsdowne’ - 3 Anderson Street, Neutral Bay 12 August 2015 Planning Proposal – 3 Anderson Street, Neutral Bay 1 INTRODUCTION North Sydney Council (Council) has prepared a Planning Proposal to amend North Sydney Local Environmental Plan 2013 (NSLEP 2013). The primary intent of the Planning Proposal is to identify 3 Anderson Street, Neutral Bay as a heritage item under NSLEP 2013. In particular, the proposed amendment seeks to include a new item within Schedule 5 – Environmental Heritage and identify the subject site as a general heritage item on the Heritage Map to NSLEP 2013. The need for the Planning Proposal has arisen from the recommendations to a heritage assessment of the property prepared in response to the issuing of an Interim Heritage Order (IHO) over the property by the Minister for Environment and Heritage on 21 May 2015. The Planning Proposal has been prepared in accordance with Section 55 of the Environmental Planning and Assessment Act, 1979 (EP&A Act) and the Department of Planning and Environment’s (DPE) document “A guide to preparing planning proposals” (October 2012). 2 Planning Proposal – 3 Anderson Street, Neutral Bay 2 BACKGROUND The potential significance of 3 Anderson Street, Neutral Bay was first identified in 2013 during Council’s assessment of DA 337/13, which sought approval for the erection of a new residential flat building at 3 Raymond Road, Neutral Bay. At the time, the matter was referred to Council’s Strategic Planning division for consideration in a future amendment to NSLEP 2013. On 24 March 2014, the applicant to DA 337/13 informally sought planning advice as to whether Council might favourably consider the amalgamation of 3 Anderson Street with 3 Raymond Road, demolition of the two existing dwellings and the construction of a stepped 4 storey residential flat building across both sites.
    [Show full text]
  • Official Committee Hansard
    COMMONWEALTH OF AUSTRALIA Official Committee Hansard SENATE ENVIRONMENT, COMMUNICATIONS, INFORMATION TECHNOLOGY AND THE ARTS LEGISLATION COMMITTEE ESTIMATES (Budget Estimates) WEDNESDAY, 25 MAY 2005 CANBERRA BY AUTHORITY OF THE SENATE INTERNET The Proof and Official Hansard transcripts of Senate committee hear- ings, some House of Representatives committee hearings and some joint committee hearings are available on the Internet. Some House of Representatives committees and some joint committees make avail- able only Official Hansard transcripts. The Internet address is: http://www.aph.gov.au/hansard To search the parliamentary database, go to: http://parlinfoweb.aph.gov.au Wednesday, 25 May 2005 Senate—Legislation ECITA 1 SENATE ENVIRONMENT, COMMUNICATIONS, INFORMATION TECHNOLOGY AND THE ARTS LEGISLATION COMMITTEE Wednesday, 25 May 2005 Members: Senator Eggleston (Chair), Senator Lundy (Deputy Chair), Senators Bartlett, Con- roy, Santoro and Tchen Senators in attendance: Senators Carr, Eggleston, Fierravanti-Wells, Lundy, Marshall, Moore and Tchen Committee met at 9.07 am COMMUNICATIONS, INFORMATION TECHNOLOGY AND THE ARTS PORTFOLIO Consideration resumed from 24 May. In Attendance Senator Kemp, Minister for the Arts and Sport Department of Communications, Information Technology and the Arts Executive Ms Helen Williams AO, Secretary Ms Fay Holthuyzen, Deputy Secretary, Communications Dr Rod Badger, Deputy Secretary, Information Economy Ms Lynn Bean, Acting Deputy Secretary, Arts and Sport Corporate and Business Mr Frank Nicholas, Chief
    [Show full text]