ART GALLERY OF NEW SOUTH WALES Sydney Modern 06.09.2012 Masterplan Framework

Johnson Pilton Walker Level 10, Plaza Building, Australia Square 95 Pitt Street Sydney NSW 2000 Australia

ARCHITECTURE URBAN DESIGN LANDSCAPE EXHIBITIONS INTERIORS Contents

Report Structure Acknowledgements

As a museum of art we must be a place 1 Executive summary 4 Abbreviations Acknowledgements of experience and inspiration, and at the Summary AGNSW Art Gallery of New South Wales This report, completed in 2011, has been jointly heart of that lies our collection. AGS Art Gallery Society prepared by the Art Gallery of New South Wales and 2 Introduction 6 Johnson Pilton Walker. A&TSI Aboriginal and Torres Strait Islander Report context Johnson Pilton Walker would like to acknowledge the Edmund Capon, Director, Art Gallery of New South Wales, 2008 AWS Archibald, Wynne and Sulman Prizes Organisational Structure following individuals from the Art Gallery of New South BCA Building Code of Australia Wales who made a significant input to this document, AGNSW Objectives BOH Back of House and with whose assistance this report has been Assets completed: CMP Conservation Management Plan Collections Edmund Capon, Director & Chief Curator, AGNSW CoS City of Sydney Audience EP&A Environment Planning and Assessment Act Anne Flanagan, Deputy Director, AGNSW 3 Site Survey 14 FOH Front of House Trish Kernahan, Manager, Administration and Strategy Context GFA Gross Floor Area AGNSW Board of Trustees Precinct JPW Johnson Pilton Walker Site Conditions LGA Local Government Area Strategy and Development Sub-Committee: Guido Belgiorno-Nettis AM, Chair 4 Building Survey 24 LEP Local Environment Plan Steven Lowy AM Existing Conditions NTS Not to Scale David Baffsky AO FOH & BOH Overview RAN Royal Australian Navy Staff Areas RBG&DT Royal Botanic Gardens and Domain Trust Loading Dock RBG Royal Botanic Gardens Circulation

5 Heritage 28 History Significance & Potential Evolution Existing Fabric

6 Analysis 32 Precinct Planning Precinct Projects Siting Strategies Siting Evaluation Precedent Comparisons Redevelopment Models Redevelopment Options Gallery Typology

7 Recommendations 36 Site Planning Section Opportunities

ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK 2 1 Executive Summary

Summary

This report shows that the Art Gallery of New South Wales is faced with a situation where the physical footprint of the building places serious limitations on the collection galleries and exhibitions, the staff and back of house areas, as well as public space and facilities. In this condition, the Gallery is not able to adequately respond to the demands of a dynamic and rapidly changing world of art, where technology, varied spaces and building services need a high level of sophistication. Meanwhile, the NSW State Government’s NSW State Plan aims to see ‘more people using parks, sporting and recreational facilities and participating in the arts and cultural activities’. As a part of this goal, a specific target is to ‘increase visits to and participation in the arts and cultural activity by 10% by 2016’. To increase audience numbers however, new life must augment the existing activities and the Gallery’s existing activity is, as already mentioned, intensified beyond the means of the building. With about 1 million visitors per annum visiting the Gallery, and this figure being above full-capacity for the current range of activities offered, any increase above this level of visitation will significantly and negatively impact upon the quality of services and the general public’s enjoyment of their art experience. Finally, maintaining the ‘status quo’ will not serve to benefit the Gallery’s footing on an international stage and would more than likely result in a slow death.

JOHNSON PILTON WALKER 3 September 2012 1 Executive Summary

Issues Strategies

NO GROWTH = NO LIFE AND SLOW DEATH GROW THE GALLERY IN TERMS OF VISITORS, COLLECTIONS AND BUILDING

Building Issues Building Strategies The building is beyond its capacity for visitors, public programs and staff >> Plan for additional space and growth The building is small in context of visitor programs, and Australian and international comparisons >> Expand building area with new building in line with the future growth needs of the institution Visitor circulation is unclear, it discriminates against people with disabilities and conflicts with artefacts movement >> Decant functions to new wing and replan Inadequate back of house secure circulation for artefacts and goods >> Replan and create additional area Amenities for the public and staff are inadequate >> Increase area and replan Temporary exhibition space is restrictive >> Improve access and flexibility Inadequate loading dock >> Increase beyond the current upgrade, separate dock for waste and catering >> Improve security Inadequate staff areas, meeting rooms and board room, all of which are inconveniently located >> Build additional space and replan Research Library and Archive access is unclear and discriminatory >> Relocate Inadequate Education and group entry, including cloaking >> Additional space and new entry Lack of storage >> Additional on-site storage for staff functions, public programmes and temporary exhibitions Some building services at end of life and often functioning at less than optimal efficiency due to control limitations >> Major remedial work necessary Building Code of Australia (BCA) compliance issues >> Review and upgrade as necessary concurrent with new work

Exhibition and Gallery Issues Exhibition and Gallery Strategies Galleries spread over 5 levels >> Improve circulation for visitors, staff, collections and general goods Majority of space limited by low ceilings >> Create new gallery spaces Limited galleries with controlled natural light >> Provide diverse, flexible spaces for future exhibition activity Limited large flexible galleries for contemporary art >> Make provision for a large central space for increased audience sizes Limited galleries suitable for temporary exhibitions >> Incorporate improved lighting, AV and IT technologies for better display of collections and exhibitions No galleries with state of the art exhibition services Difficulty in securing galleries from after hours public programs

Site Issues Site Strategies Gallery is cut off from the city >> Implement City of Sydney 2030 vision with Fig Tree Walk Legal boundaries and Gallery activities do not correlate >> Review land under the Gallery’s control Access to the Gallery is restricted by events in the Domain >> Domain Masterplan to allow for clear uninterrupted access to the Gallery Car parking is inadequate and service access is constrained >> Improved access to the Domain Parking Station new northern access point >> Additional parking close to the building for people with disabilities, volunteers and fleet vehicles The surrounding landscape needs improvement >> Co-ordinate with Royal Botanic Gardens and Domain Trust >> Plan for the future of the south fig tree There is inadequate public transport connections to the Gallery >> Include an additional station on the Eastern Suburbs line There is inadequate precinct signage for the Gallery >> Co-ordinate with Royal Botanic Gardens and Domain Trust The land bridge and disused fuel tanks are under-utilised >> Consider in future options The Gallery forecourt is inadequate for Gallery activities, disabled access, while pedestrian and vehicular movement is >> Replan and refurbish in conflict

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at $169M and is a purpose structure. ad-hoc ‘hot-desks’ and projects to either ROA D Gallery’sOSTER development. TREET F T PITT N This setting also tends spaces in the building L B A R L OW PA R K E R S THOMAS S STREE Q UAY T R E E T A N N S BELMORE R AW S O N P L R E S E RVO I R significant asset, There are issues with an encroachment into establish or revitaliseU LT I M O PARK M A RY VA L E N T I N E S T Mission S T R E E T THOMAS to isolate the Gallery are difficult to find (such GEORGE A A L B I Onumber of projects E D DY AV E N U E

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W E L L I N G TO N S held in the Domain. necessary for the Gallery $30M to over $290M.T R E E T EachS T R E E T of these will need Despite being recently Collection Usage Patterns P R I N C E Purpose to function properly (e.g. The Gallery, when to be given careful 0 100 200 Metres NORTH re-configured, the loading A L F R E D Drawn by: D.H.Robinson Certified in accordance with CHALMERS Planning officer: K.Cusack the Environmental Planning The collection is by far The circulation system is the workshops and the REGENT consideration by the Council File No: and Assessment Act 1979 compared to PA R K Department File No: and Regulations as amended. Site dock is still under-sized C L E V E L A N D The Gallery’s core Approved the Gallery’s greatest chaotic and is a result of multimedia offices). other similar sized S T R E E T Gallery. purpose is to maintain when compared to General Manager / / asset: valued at $824M it While the site has the staged expansion of the Minister institutions,Copyright 2005has City of Sydney & Land and Property Information Central Sydney Heritage Map Schedule 8 Part 1 and develop a benefits of views to other institutions. The constitutes almost 80% Gallery; significantly larger rates collection of works of and from the Gallery dock does not provide Existing Fabric Stakeholder of the Gallery’s total Amenities for the public of visitation which art, and to promote with short distances to separate loading areas The existing fabric of the Engagement financial assets. and staff are inadequate; suggests that the understanding and neighbouring cultural for art and general Gallery building limits Any decision making Gallery is undersized appreciation of art. institutions, it is physically Temporary exhibition goods, and is well below access for people with a process will need to Activities with respect to its In order to do this, we bound on four sides by space is at a premium; international standards. disability. involve: The Building must cope number of patrons. challenge ourselves land controlled by the Key public facilities do with a very diverse range No one in a wheelchair > The NSW Premier; to present art in Royal Botanic Gardens not give presence to, or of audience functions Circulation can access the Domain > The NSW Minister for creative, innovative and Domain Trust. have direct access to the International beyond the display of The current layout of Theatre Stage. the Arts; new ways and to foster The Gallery is also Gallery’s entry; Precedents fine art, while managing: the entry, galleries, The fabric also maintains > Trade and Investment, an environment in confronted with issues Staff departments are If the Gallery desires to which everyone feels > The building exhibition space, a small and closed, yet Rural Infrastructure and of parking, signage and divided and scattered public areas and staff powerful, facade to the excel on a global stage, welcome. > The collections; Services; public transport access. across the building; accommodation is entrance. while increasing visitor > The Ministry for Major > The exhibition and Non-collection storage complex and inefficient. numbers, an increase events program; in the amenity of public Events, Tourism and the space is always at a Entrance facilities for facilities as well more Arts; > Venue hire; premium. Education groups are exhibition and gallery > The Department of > Security; inadequate. space is necessary to Transport; > Visitor facilities (Cafe, An accessible ramp bring it into line with > The Royal Botanic The Restaurant, is to be constructed the best institutions of Gardens and Domain Gallery shop, Research at the front entrance the world. Trust; Library and Archive, in late 2011. However, Prints, Drawings and circulation issues for > The City of Sydney Photography Study wheelchairs and prams Council; Room etc.); will still exist in the > Local residents. > Art Gallery Society of heritage vestibule. NSW membership; The circulation strategies > Education programs; and for artefacts and goods are highly problematic > Access programs. and require careful planning to minimise the risk exposure. JOHNSON PILTON WALKER 5 September 2012 2 Introduction

Summary Report Context

While the Gallery has a defined The combination of ever increasing The Need for a Strategic Direction Communication vision, purpose and mission, levels of activity in terms of displays, As the Art Gallery of New South Wales rapidly The Strategic Options report will form an important tool growing collections, exhibitions, public approaches the 150th anniversary of its inauguration as for internal and external communication. It will place the pledge of service and strategic the ‘Academy of Art’ in NSW in 1871, it has recognised Art Gallery of New South Wales in a strong position to direction, it struggles to programs, late openings, evening and that it is faced with a situation where growth is both present a coherent plan for the future to staff, planning weekend events and the whole parade necessary and desirable. authorities, government agencies, statutory authorities, adequately respond to these key stake holders, potential donors and benefactors, of bells and whistles that are now neighbours and the public users. objectives due to the inherent deemed to be part of the life of a public Commissioning JPW was commissioned in April 2008 to work with the physical limitations of the art museum… is placing a huge strain Implementation of the report Gallery to produce a Strategic Options report. existing building. on our resources. The Strategic Options report presents a range of options for further development and consideration in detail. The site and building are Edmund Capon, “Director’s Statement” in 2007 Annual Report. Art A Guiding Document Gallery of New South Wales, Sydney, 2007, p.16. Phasing options, which would allow staged considerable assets, yet they This Strategic Options report sets out a range of implementation of the Gallery’s vision, have been principles that acknowledge the Vision and Strategic broadly identified. However, further detailed study will do not provide enough space Directions of the Gallery. be required to assess detailed briefing, staging and funding implications. for permanent collection or These are the primary drivers for the institution, temporary exhibition displays, and when coupled with physical and functional It is outside the scope of this document to consider requirements, a range of recommendations have been funding options related to the options and opportunities visitor amenities, public developed for both the short and longer term. presented, nor should this document be used to cost programs, staff accommodation any of the recommended options. or back of house support Purpose of a Strategic Options report A Strategic Options report is a planning document rather facilities. than a detailed architectural or functional solution. A Strategic Options report is a high level document which establishes broad principles. When considering the options, opportunities and concepts presented in this document, it should be noted that future detailed studies will be required to assess the implications, impacts and costs.

Short and long term relevance To be effective, and remain relevant in the long term, a Strategic Options report must be a living document. Should key objectives of the organisation change through cultural, technological or other drivers, this Strategic Options report should be reviewed and amended where necessary, to acknowledge such changes. The Strategic Options report will enable decisions about short-term projects to be made efficiently and cost effectively, with a key objective of eliminating planning conflicts. In this respect, it is a primary risk management tool for the institution.

ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK 6 Organisational Structure AGNSW Objectives

Stakeholder Interests - Precinct Relationships Precinct Governance Organisational Structure - AGNSW AGNSW Objectives

New South Wales State Government The Art Gallery of New South Wales is physically The Strategic Options report has been developed in bounded by the Domain on all sides. Therefore, the line with the Gallery’s own Vision, Mission, Purpose, Gallery must be cognisant of the objectives of its Strategic Directions and Pledge of Service. New South Wales New South Wales important neighbour. Department of Premier and Cabinet Ministry for Tourism, Major Events and the Arts Art Gallery These are outlined below as excerpts sourced from the Society of New Interestingly, the Art Gallery of New South Wales South Wales Gallery’s Annual Report, 2009 - 2010. and the Royal Botanic Gardens, are controlled

Art Gallery of New South Wales Trust Brett Whiteley under separate, yet similar, New South Wales State Art Gallery The Centenary Fund Foundation of New Vision To open people’s eyes and minds to the wonder, Government legislation. This sees a Trust charged South Wales The President’s Council Foundation Collection Benefactor Groups the richness and the sheer pleasure of art. with the responsibility of governing their respective Bequests and Special Funds institutional body. VisAsia Council Mission To be one of the great and most enjoyable galleries in the world. A consequence of this is that despite the two bodies Royal Botanic Gardens Art Gallery of New South Library Council of New Purpose Our core purpose as defined by theArt Gallery and Domain Trust Wales Trust South Wales Trust being under separate State Government Ministerial Directorate Director and Chief Curator of New South Wales Act 1980, is to acquire, conserve and departments, the Royal Botanic Gardens and Domain present the finest works of art available, with special emphasis State Librarian and Chief Director and Chief Executive Director and Chief Curator Trust and the Art Gallery of New South Wales Trust Executive on the artistic traditions of Australia. have very mutual public interests and responsibilities Deputy-Director We exist to explore and inspire through our collection and pertinent to nurturing a cultural agenda. The Royal Botanic The Art Gallery of New The State Library of New Building & Security exhibitions the emotional and intellectual resources of our Gardens and Domain South Wales Trust is a South Wales is governed Benefaction Manager Facilities Exhibitions & Gallery Trust is a corporation corporation constituted by the Library Council The State Library of New South Wales has also Management Services audience. Our ambition is to introduce art to new audiences, constituted under the under the Art Gallery of of New South Wales. It to provide new emotional and intellectual journeys for our been included in the diagram at left as it is looking to > Building > Exhibition > Security operates under the Management Royal Botanic Gardens New South Wales Act Library > Mechanical > Gallery Services existing audiences and provide visitors with experiences that and Domain Trust Act 1980. Act 1939. strategically place itself within an increasingly complex > Off-site Storage > Exhibitions Planning group Registration are both enjoyable and enduring. 1980. Under section 7 of the The objectives of the > Installation network of stakeholder interests. > Audio Visual Under section 7 of the Act: Library Council, as > Workshop & In order to do this, we challenge ourselves to present art in Act, the principal objects defined in section 4A of Stores (1) the principal objects of Indeed, each institution is looking to strategically define > Graphics & creative, innovative new ways and to create an environment in of the Trust are: the Library Act 1939 (as Multimedia the Trust are: its future via means of documents listed for each of the Design which everyone feels welcome. (1) to maintain and amended in 1975) are: > Information and (a) to develop and Ticketing improve the Trust lands, (1) to promote, provide respective institutions below left. maintain a collection of Strategic Directions The Art Gallery of NSW has built the National Herbarium works of art, and and maintain library and and the collections of information services a reputation for leadership and excellence based on the living and preserved plant (b) to propagate and for the people of New quality and breadth of our collections, our exhibitions and our life owned by the Trust, increase knowledge and South Wales through the Assistant Director, Curatorial appreciation of art. programs. From a platform of secure and strong governance, (b) to increase and State Library and through Art Gallery of New South Wales Corporate Governance (2) When acting in cooperation with local sound financial base, ambitious recent achievements and disseminate knowledge Australian Art Asian Art Western Art with respect to the plant pursuance of its objects, libraries and information The Art Gallery of New South Wales is governed by record visitor numbers, our strategic directions are focused in life of Australia, and of the Trust shall give agencies; the Art Gallery of New South Wales Trust who operate four broad areas of activity: New South Wales in particular emphasis to the (2) to advise the Minister, > Curator& Special Exhibitions visual art of Australia and under the . > Public Programs particular, and local authorities and, Art Gallery of New South Wales Act,1980 > Research Library and Archive 1 Sharing: to continue to improve access to our collections, Asian or Pacific countries > Registration (c) to encourage the use when the Minister so our resources and our expertise through exhibitions, whose cultural traditions approves, other bodies, The Board of Trustees of the Gallery consists of 11 > Conservation and enjoyment of the Trust are of special interest to > Photography Studio programs and partnerships, and through the effective use lands by the public by on matters of policy and trustees appointed by the NSW Governor on the > Whiteley Studio Australia. > Copyright of new technologies; promoting and increasing administration relating to library services and recommendation of the Minister of the Arts. the educational, historical, 2 Engaging: to continue finding new and better ways of cultural and recreational information services that value of those lands. are or may be provided engaging audiences with the visual arts; through local libraries and (2) When acting in other libraries; and 3 Stewarding: to nurture and develop the Gallery’s people, pursuance of its objects, Structure of the Art Gallery of New South Wales Assistant Director, Finance and Resources resources and assets, and as well as the artistic heritage the Trust shall give (3) to advise the Minister particular emphasis on the provision of The Gallery is led by the Director, and supported by the and life of NSW; and to encouraging and assistance to local libraries > Information Communication Technology or other libraries. Executive Team, who are charged with managing the > Finance 4 Collecting: to strengthen and safeguard our collections advancing the study of > Human Resources systematic botany, and to Gallery’s day-to-day operations. > Venue Management through targeted acquisitions and best practice collection plant conservation. > Gallery Shop > Government Relations management, research and conservation. This team comprises of a: > Corporate Secretariat & Legal Pledge of Service The Art Gallery of New South Wales aims Planning Documents: Planning Documents: Planning Documents: > Deputy Director; Assistant Director, Development and Membership to provide resources and experiences of the highest quality Domain Masterplan, Conservation Strategic Masterplan, to all visitors to the Gallery (both physical and virtual) for the 2001 Management Plan, 2008 2007 > Assistant Director, Curatorial; > Marketing > Tourism enjoyment and study of fine art. (Royal Botanic Gardens and (Art Gallery of New South (The State Library of New > Media Relations Domain Trust) Wales and Michael Bogle) South Wales and JPW) > Assistant Director, Finance and Resources; and > Business Development The Gallery recognises the public has the right to expect that services will be provided without discrimination. Strategic Options report, > Assistant Director, Development and Membership. 2008 The Gallery seeks continuously to improve our service and (Art Gallery of New South Wales and JPW) Each has key operational departments reporting to welcomes feedback, both directly to staff and through regular them. Also reporting to the Director is the Directorate surveys. Corporate Plan, 2010 - 2015 and the Benefaction Manager. (Art Gallery of New South Wales)

JOHNSON PILTON WALKER 7 September 2012 2 Introduction

Assets

The Art Gallery of New South Wales is a key cultural institution within Sydney and NSW which offers a range of benefits to society at large. This part of the report highlights both the tangible physical and collection assets of the Gallery as well as the less tangible assets of staff and intellectual production.

Physical Assets - Land and Building The Site The Building The Art Gallery of NSW is a major service delivery asset owned by the NSW State Government. The physical assets are: 1 The Gallery building consisting of the galleries, public spaces, offices, conservation and photography studios, workshops, plant and other equipment; and 2 The property within the Domain. The land is identified by Lot 102, Deposited Plan No.854472. The extents of the land is defined by the physical boundaries of the building itself on the east, south and western edges while the northern edge is defined as the south edge of the cutting to Cahill Expressway. The value of the existing land and building at the address 3B Art Gallery Road, the Domain, constitutes

about 18% of the Gallery’s total assets and is valued at Aerial Photograph AGNSW Portico South-eastern Elevation Internal Circulation Space AGNSW Vestibule View from function space AU$186.2M (as of June 30 2010). NTS Image: AGNSW Image: AGNSW Image: AGNSW Image: AGNSW Image: JPW The Gallery also owns and/or manages other properties and buildings within Sydney maintained for the purpose > The building contains a number of built elements and architectural stages unified into a > The park setting of the AGNSW within the Domain is unique (noting the building is off-site storage (Lilyfield Collection Store) and museum single purpose built structure; within parkland under the control of the Royal Botanic Gardens and Domain Trust); display (Brett Whiteley Studio), but these are not 2 addressed within the scope of this document. > The current Gross Floor Area is approximately 23,230m ; > The Gallery’s location makes it highly visible from key vantage points around the city, particularly from the harbour, Potts Points and to commuters from the Cahill > The complex of buildings are key elements of NSW’s cultural heritage and provide Staff and Intellectual Production Expressway and Eastern Suburbs rail line. However, the Gallery is not visible to significant examples of 19th, 20th and 21st century art gallery practice; The staff and collective intellectual assets of the Gallery pedestrians from the CBD. > Each of the wings of the Gallery has a specific symbolism that relates directly to the are less tangible than the collection or the physical > The building itself captures unique views of Sydney, particularly the harbour to the respective collections which they accommodate: the Neoclassical Vernon Wing houses assets, yet their intrinsic value is of an equal, if not northeast, and the surrounding parklands and the city on the eastern and southern the European and early Australian works; the Captain Cook and Bicentennial Wings, superior, value. sides of the site. being of the 20th Century International Style, house the modern and contemporary These staff, from the curatorial, conservation and collections; and the lantern of the Asian Wing houses the Asian collection; and exhibition groups who are directly involved in the physical management of the works of art and fine art > Various elements of the building have been assessed as possessing exceptional scholarship, to the business, financial and managerial heritage significance for NSW by virtue of inclusion on the State Heritage Register. staff who facilitate the day-to-day running of a large In particular, the remnants of John Horbury Hunt walls (1885) and the essential scale, internationally significant art gallery, all make a components of the Walter Liberty Vernon wings, exhibition courts and entrance porch, significant and valuable contribution. portico and vestibule (1896-1909). There are also the volunteers guides, task force volunteers, Art Gallery Society members as well as various trustees and other entity board members who donate their time, free of any form of remuneration, to develop and maintain a collection of works of art, run a range of public programs, and to propagate and increase knowledge and appreciation of art.

ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK 8 2 Introduction

Collections

The collection of the Art Gallery of New South Wales “As a museum of art we must be a place of experience and is enormously rich and varied. It can be read as a inspiration, and at the heart of that lies our collection.” barometer for the evolution of taste and style as well as an record of changing social, cultural and political values. Edmund Capon, Director, Art Gallery of New South Wales, 2008 The Gallery arguably possesses the finest and most representative collection of Australian art in the world. The Collections The collections are by far the Gallery’s greatest asset: it constitutes approximately 80% of the Gallery’s total financial assets or AUS$824.8M as( of June 30 2010). The Art Gallery of New South Wales has four main curatorial departments: Australian art, Aboriginal and Torres Strait Islander art, Asian art and International art.

AboriginalAboriginal & Torres & Torres OtherOther 3% Strait IslanderStrait Islander 3% 5%

Asian Asian 12%

Australian Australian42% 42%

AUSTRALIAN COLLECTION ABORIGINAL AND TORRES STRAIT INTERNATIONAL COLLECTION CONTEMPORARY COLLECTION ASIAN COLLECTION RESEARCH LIBRARY AND ARCHIVE International International38% 38% Lloyd Rees (1979) Detail ISLANDER COLLECTION COLLECTION Max Dupain Warmun (Turkey Creek) (1997) Detail Chaucer at the court of Edward III (1851) Superb + solid (1998) Detail Padmapani c1200s, gilt copper, lapis lazuli, Artist correspondence (Detail) Gelatin silver photograph; 35.4 x 31.3cm Queenie McKenzie Balinji Ford Madox Brown Howard Arkley gems and stones AGNSW Collection by Department as at 30 June 2010 Natural pigments on canvas, 90.0 x 120.0cm Polymer paint on canvas; 200.0 x 300.6cm Artist Unknown Oil on canvas; 372.0 x 296.0cm Source: AGNSW Height: 91.4cm

The Australian collection provides an overview of The International collection begins in the old courts The Asian collection The Research Library Department # of % Objects Australian art in all media from early colonial times to with the present of a small but impressive collection is displayed on the and Archive is a AUSTRALIAN ART Paintings 2,104 7% the present. The old courts on the ground floor displays of European art from the 16th century in Italy and the ground floor of the Asian critically important asset Works on paper 9,874 33% the Australian painters and sculptors of the 19th century, Netherlands through to the 19th century, where there gallery built in 2003 for the Gallery. Sculpture & decorative arts 654 2% including national icons such as Roberts, McCubbin and is a very strong holding of British Victorian painting with a more traditional SUB-TOTAL 12,632 42% While it is an asset made Streeton. In the Captain Cook wing, the collection of key and sculpture collected from the earliest days of the gallery directly below it, available (for free) to the works of Australian modernism are presented. foundation of the Gallery. Displayed on lower level 2 is accessible by a stairway ABORIGINAL AND TORRES STRAIT ISLANDER ART SUB-TOTAL 1,573 5% public, the primary role the collection of modern British masters and a small but that provides a vista of The Aboriginal and Torres Strait Islander collection of the Research Library excellent collection of European modernists. a grand fig tree and the INTERNATIONAL ART European paintings pre-1900 397 1% is located in the lower level 3 Yiribana Gallery but also and Archive is to support parklands beyond. European sculpture & decorative art pre-1900 924 3% has a presence in the twentieth century Australian wing. Contemporary art, including Australian contemporary scholarship and research European paintings after 1900 194 1% This display reflects the long history of traditional art art, also hangs on this level and is considered part of the The main strengths within the institution. European sculpture & decorative art after 1900 41 <1% across the continent, and contemporary practice and international collection. There is a very strong holding of the collection lie in Works on paper 3,802 13% The value of the innovation in all media. of international and Australian art after 1965, only a Chinese and Japanese International contemporary 807 3% Research Library Australian contemporary 606 2% fragment of which can be displayed at any time. art from ancient times collection as at February Photography 4,381 15% to the present. It also Lower level 2 also houses the John Kaldor Family 2007 was AU$14.9 SUB-TOTAL 11,152 38% traces the spread of Collection of contemporary art. million (this figure is Buddhism from India ASIAN ART East Asia 2,792 9% included as a part of the Chinese, Korean, Japanese & Mongolian The Photography collection and Twentieth century works across central Asia to on paper are also shown in very small galleries on total collection value). South & South East, Middle East 878 3% China and Japan and into Indian, Himalayan, Thai, Cambodian, Indonesian, etc. lower level 2. International art is categorized according Southeast Asia. SUB-TOTAL 3,670 12% to chronology, for example European art before 1900, This department is Modern, and Contemporary. divided by geographical ART OF OTHER REGIONS Pacific art, Americas, Africa 765 3%

origin, East Asia or AGNSW Collection TOTAL 29,792 100% Southeast Asia, for example.

JOHNSON PILTON WALKER 9 September 2012 2 Introduction

Audience

...one of the very special qualities of this Total Attendance at AGNSW Domain Site Education and Pubic Program Audiences Gallery, its location apart, is the very real sense of public ownership that it enjoys. Year Visitors Programs 2008 - 2009 % 2009 - 2010 % It is an art museum that breathes its Numbers Numbers 1995 - 1996 989,044 role... Art After Hours – celebrity speakers 16,712 7% 18,530 7% 1996 - 1997 1,007,866 Exhibition and collection talks 2,328 1% 3,054 1%

1997 - 1998 922,479 Lectures and symposia 2,954 1% 8,339 3% Edmund Capon, Art Gallery of New South Wales: highlights from the 1998 - 1999 954,428 Open Weekend (commenced in 2009 - 2010) NA 6,612 2% collection, Art Gallery of New South Wales, Sydney, 2008 1999 - 2000 899,793 Film at the Gallery 23,114 9% 33,970 13% 2000 - 2001 955,588 Sunday concerts 7,580 3% 5,740 2% Significance 2001 - 2002 1,001,428 Children and family programs 33,375 14% 33,009 12% Access programs 1,879 1% 1,898 1% The Art Gallery of New South Wales plays a vital role in 2002 - 2003 999,587 Sydney’s cultural life. Adult Tours by volunteer guides 41,250 17% 47,325 18% 2003 - 2004 1,228,001 Courses 16,804 7% 20,493 8% Over a period of roughly 140 years, the Art Gallery 2004 - 2005 1,072,165 Education – Primary School (K-Y6) 29,535 12% 18,511 7% of New South Wales has become more than just a 2005 - 2006 1,257,211 Education – Secondary School (Y7-12) 57,846 23% 61,748 23% destination for viewing works of fine art. 2006 - 2007 1,178,754 Education – Tertiary (University & TAFE) 4,424 2% 4,900 2% It has evolved into a place of extended experiences: 2007 - 2008 1,149,395 Brett Whiteley Studio 8,960 4% 2,487 1% a place to enjoy lectures, films, concerts and 2008 - 2009 1,312,762 TOTAL 246,761 100% 266,616 100% performances, a place to meet friends or take part in 2009 - 2010 1,004,404 education programs or special events. Table: Attendance at the AGNSW Domain Site Table: Education and General Public Audiences The Gallery provides diverse opportunities for the people Source: AGNSW Source: AGNSW of NSW, and visitors to NSW, to participate in world- class and enjoyable arts experiences.

The reputation of the AGNSW nationally and AGNSW Attendance 1995 - 1996 to 2009 - 2010 internationally should not be undervalued. The calibre 1,400,000 of the Gallery’s collections, programming, events and scholarship make a significant contribution to Sydney’s reputation as a truly global city and an international 1,300,000 destination for cultural tourism.

1,200,000

1,100,000

1,000,000

900,000

800,000 1995 - 1996 1996 - 1997 1997 - 1998 1998 - 1999 1999 - 2000 2000 - 2001 2001 - 2002 2002 - 2003 2003 - 2004 2004 - 2005 2005 - 2006 2006 - 2007 2007 - 2008 2008 - 2009 2009 - 2010

Graph: Attendance at the AGNSW Domain Site Source: AGNSW

ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK 10 2 Introduction

Role of a Museum for Art As a ‘Museum for Art’ in the 21st century, the Gallery provides a very diverse range of functions, events and programs. Indeed, the delivery of a broad range of services is expected by Gallery patrons, who total over 1 million visitors per annum. To this end the Gallery needs to successfully and skilfully manage the following: > The building; > The collections; > The program of exhibitions and events; > Venue hire (before and after hours); > Electronic and remote access; > Security; and > Visitor facilities ranging from commercial (Café/ Restaurant and Shop) to educational (theatres, a Research Library and Archive, and specialist Study Rooms).

Hours of Operations While the Gallery’s official public opening hours are Thursday to Tuesday 10am to 5pm and Wednesday 10am to 9pm, in reality the Gallery is in public operation for much long than these periods. In addition to the ‘normal opening hours’ the Gallery is also open: > Before hours (before 10am) for breakfast seminars, private tours, early opening in peak exhibition periods (109 events, servicing 7,253 people: 2009-10); and > After hours (after 5pm, and sometimes until 1am) for many events including formal dinners, cocktail parties, fashion shows, commercial filming and product launches (201 events excluding Art After Hours events on Wednesday nights, servicing 43,633 people: 2009-10).

More than 300 events outside ‘normal opening hours’ attracted over 50,000 visitors in 2009-10 The Gallery attracted more than one million visitors in 2009-10 with over 266,600 participationg in piblic programs and events including more than 85,150 school students On average, the Gallery is visited by almost 20,000 people and delivers more than 60 public program events, each week.

JOHNSON PILTON WALKER 11 September 2012 2 Introduction

Audience

Grand Court Functions

Diversity of use is integral to the culture of the institution, but this creates major operational and security challenges Art After Hours, Celebrity Talks, Grand Court, April 2008 Catering set up for 1000+ guests exhibition opening, Grand Court Formal Dinner, Grand Court Image: AGNSW Image: AGNSW Image: AGNSW

General Functions

The Gallery is working at maximum capacity, 24/7 with no opportunity for additional programs of functions Formal Dinner, Australian Galleries, Ground Floor (GF) After Hours Function Catering Operations, Australian Galleries, GF Formal Dinner, Function Space, Ground Floor Image: AGNSW Image: AGNSW Image: AGNSW

Public Programs

Multicultural appeal Contemporary relevance Integrated school programs Relevant to whole of Sydney Tea Ceremony, Function Space, Ground Floor Puppet Show, School Holidays Program, Old Court, Ground Floor Function Space doubling as Public Programs activity room, GF Image: AGNSW Image: AGNSW Image: AGNSW

ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK 12 2 Introduction

Audience

Dance Performance, Grand Court, Ground Floor Open Weekend for Kaldor Family Gallery Opening, May 2011, LL2 Official Opening,Archibald Prize 2 011 , Grand Court, Ground Floor Official Opening,John Kaldor Family Gallery, 2011, Grand Court, GF Image: AGNSW Image: AGNSW Image: AGNSW Image: AGNSW

Live Music at Cafe Art Bar, Lower Level 1 Bill Viola Grand Opening, Contemporary gallery, Lower Level 2 Official Opening, Chinese New Year 2011, Grand Court, Ground Floor Official OpeningGiacometti , Rudy Komon Gallery, Upper Level Image: AGNSW Image: AGNSW Image: AGNSW Image: AGNSW

Art After Hours, Grand Court, Ground Floor Elaine Russel Story Telling, School Holidays Program, Australian Etcetera Duo, School Holiday Programs, Grand Court, GF Booked Student Group, Public Programs, Asian Galleries, GF Image: AGNSW Galleries, Ground Floor Image: AGNSW Image: AGNSW Image: AGNSW

JOHNSON PILTON WALKER 13 September 2012 3 Site Survey

Summary Context Precinct

While the Gallery has a Geographical Eastern Cultural Precinct Walking Times and Distances Sitting on the ridge that extends from Hyde Park to The eastern edge of the Sydney CBD is defined by the For pedestrian access to and from the Gallery, walking remarkable setting within Mrs Macquarie’s Chair, to the east of the Art Gallery green park lands of the Domain and the Royal Botanic times and distances are approximately: of New South Wales is the predominantly residential Gardens. It is the home to a number of key cultural the Domain, this setting also > The AGNSW is a five minute walk from Macquarie suburbs of Woolloomooloo (sitting on reclaimed land institutions from the Sydney Opera House to the ANZAC Street, Hyde Park and Woolloomooloo; isolates the Gallery from the and in a geographical depression) and Potts Point (on a Memorial. With the exception of the State Library of city. This disconnection from the neighbouring ridge). NSW and the Gallery, each of these institutions enjoys > The AGNSW is at least a 10 minute walk from the direct access from a public forecourt or piazza. central CBD and Circular Quay; city is exacerbated when events Slightly to the north are the waters of Woolloomooloo Bay which is a part of Sydney Harbour. This precinct also hosts the many festival and events > The AGNSW is located midway along the landscape that convey the mood and rhythm of the City of Sydney, parkland corridor stretching from Hyde Park to are held in the Domain and the To the west and south-west is the spur of a peninsular from the start of longer days during the Sydney Good the Domain, the Royal Botanic Gardens and Mrs that is occupied by the CBD and Hyde Park. area is fenced off for security and Food Month to the Domain concerts marking the Macquarie’s Point; and beginning of summer through the New Year with Sydney ticketing. > The AGNSW is connected to the Harbour by an Festival, Good Vibrations, Australia Day, Tropfest, Sydney extended walk through the Royal Botanic Gardens, or a Writers Festival and Australian Fashion Week. This problem is a symptom of very short, but steep, walk to Woolloomooloo Bay. the Gallery’s location as it is completely surrounded by land controlled by the Royal Botanic INSTITUTION KEY STAKEHOLDER Gardens and Domain Trust. Sydney Opera House Sydney Opera House Trust Balmain The Gallery is also confronted Circular Quay Government House Historic Houses Trust

with serious issues of access MCA University of Sydney & Arts NSW

for people with disabilities, and Farm Cove limited parking, signage and Barangaroo Customs House City of Sydney

connections to public transport. Conservatorium of Music University of Sydney Sydney CBD Museum of Sydney Historic Houses Trust

The Royal Bay Botanic Gardens

900m or 10 mins Woolloomooloo State Library of NSW State Library of NSW Trust

450m or 5 mins Potts Point The Art Gallery of NSW The Art Gallery of NSW Trust The Pyrmont Domain Art Space Art Space Visual Arts Centre & Arts NSW

The Mint & Hyde Park Barracks Historic Houses Trust

Hyde Park Woolloomooloo St. Mary’s Cathedral Catholic Archdiocese of Sydney

Australian Museum Australian Museum Trust

Darling Harbour Darlinghurst ANZAC War Memorial City of Sydney & NSWRSL

City Context Not to scale @ A3

ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK 14 3 Site Survey

Precinct Activities

The Domain Events 2011 These events block or reduce access across the Domain parklands to the Gallery. Most are annual events staged across the year. Royal Botanic Gardens Shakespeare Place Administration & Reception > Field Day Concert Plant Sciences & Herbarium January (25,000 tickets) Royal Botanic Gardens > Festival First Night Depot January (750,000 people)

State Library > Jazz in the Domain Mitchell Wing Existing January (>100,000 people) Substation Cahill Expressway > Symphony in the Domain January (>120,000 people) > Opera in the Domain January (>100,000 people) > Australia Day Celebrations Parliament January House > Tropfest Short Film Festival (indicative outline only of above Woolloomooloo Bay February (>100,000 people) ground building) Pavilion on the Park Disused > Mardi Gras Harbour Party Restaurant RAN Fuel February Tanks > Nissan / BRW Corporate Triathlon Appox. Events Fence Area Macquarie Street April (4,600 competitors)

Land-bridge > Mother’s Day Classic - Fun Run/Walk The Inner Domain May (67,000 competitors) Sydney Hospital & ‘Phillip Precinct’ Sydney Eye Hospital > SMH Half Marathon (various institutions) May (6,000 competitors) > Photo Call / Media Event Throughout the year Hospital Road Appox. Rail Line Location > Blackmores Running Festival September ART GALLERY OF Toll Point NEW SOUTH WALES > National Police Remembrance Day The Mint September (Historic Houses Trust) > Twilight Concert - ‘Legs 11’ October

Art Gallery Road > JDRF Walk for a Cure Hyde Park October Barracks Museum > Harbourlife Dance Party (Historic Houses Trust) Pedestrian November (>5,500 people) Bridge > Homebake Concert December (>50,000 people) Land Titles Office > Carols in the Domain December Domain The Outer Domain Depot ‘Crescent Precinct’ > New Year’s Eve Celebrations December Hyde Park

Domain

Parking Station Eastern Distributor Sir JohnCrescent Young

Aerial photograph Not to scale @ A3

JOHNSON PILTON WALKER 15 September 2012 3 Site Survey

Precinct

Boundary, Site ownership and control issues Surrounding Vegetation Visibility from Surroundings Vistas of Surroundings

Woolloomooloo Bay and Sydney Harbour

The Royal Botanic Residential apartments Gardens (RBG&DT) and offices

The Domain and Cahill Expressway Botanic Gardens Land-bridge (RBG&DT) Royal Botanic Gardens LIM IT ED O Inner Domain R N O V (RBG&DT) IEW

Potts Point Potts Point AGNSW Aging Fig Tree

Outer Domain Art Gallery Road (RBG&DT)

Woolloomooloo Woolloomooloo

Residential apartments and offices

Site Ownership Surrounding Vegetation Visibility from Surroundings Vistas of Surroundings Not to scale @ A3 Not to scale @ A3 Not to scale @ A3 Not to scale @ A3

The Gallery’s property boundaries extend to the footprint of the > Art Gallery Road is lined with trees restricting signage for the Gallery > The Gallery is not visible for pedestrians approaching from the CBD > Some of the surrounding vistas have been lost due to the growth of building and the cafe and sculpture terrace to the north east. along this key entry route; and is only visible from tall buildings on the eastern edge of the CBD; nearby trees; The vegetation, land-forms and infrastructure surrounding the Gallery’s > Some of the surrounding vistas have been lost due to the growth of > The Gallery can be viewed when passing along the Cahill Expressway > The Gallery’s restaurant and function space on Ground level are defined legal boundaries are under the management of the Royal nearby trees; and also from the Eastern Suburbs railway; designed to take advantage of the views out over Sydney Harbour, Botanic Gardens and Domain Trust. Woolloomooloo, Potts Point and Kings Cross; > The fig tree adjacent to the south elevation of the Asian gallery is > The Gallery is visible from Potts Point and Kings Cross; and This presents the Gallery with the following issues: approximately 140 years old; and > The new stairs of the Asian gallery provide views of the 140 year old fig > Some vistas of the Gallery are obscured by the large fig trees within the tree adjacent to the building and of the Domain; and > The building physically isolated from its surrounds; > The future planting of the Domain will govern how the park setting Domain. addresses the Gallery (refer to the RBG&DT ‘The Domain Master Plan’ > The Captain Cook Wing provides some views of the Royal Botanic > The legal boundaries do not directly relate to the activities which take 2001). Gardens and Harbour (limited views from public gallery areas and some place around the Gallery; views from staff areas at teh upper level). > The building has no clear connection across the Domain from the CBD and Macquarie Street; and > Access is restricted when major events are held in the Domain.

ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK 16 3 Site Survey

Precinct Conditions

Public Transport Bicycle Path Network Private Vehicle Transport & Car Parks There are a number of factors that impact the legibility, ease of access and connectivity of the Gallery within the precinct. Vistas to and from the Gallery are dependant upon surrounding trees, while trees also contribute beneficially to the parkland setting of the Gallery. Transport, whether it be in the form of bus, train, private vehicle, or on foot is crucial to the visitor experience when accessing the Gallery. At present there is no adequate connections to public transport or car parking. Red Sydney Explorer Gardens and Farm Cove Mrs. Macquarie’s Road bus route Bicycle route 200 metered spaces 2006-2007 Visitor Research Study A visitor research study was undertaken in 2006-07 City Circle rail line Hospital Road to ascertain trends for visitors of the Gallery. Of note 63 metered spaces is Chart 16, Q.9 - Main Form of Transport Used to Get to Gallery. The findings from this survey can be Gallery forecourt 26 metered spaces summarised as follows: 411 bus drop off point > Martin The primary form of transport to the Gallery is by car Place 411 bus pick up only (24%) This can be parked in the Domain Car Park (7%) point Gallery car park or elsewhere (18%); East-west 10 spaces > Other key forms of transport are train (23%), bus (19%), Bicycle route walking from home (10%), walking from hotel (9%); and Hospital car park 380 spaces walk from work (5%). St James

Eastern Suburbs The Domain car park rail line 1144 spaces

St Mary’s Road 23 metered spaces Bus route 441

Museum

Public Transport Bicycle Path Network Private Vehicle Transport & Car Parks Not to scale @ A3 Not to scale @ A3 Not to scale @ A3 25.00%

Rail Network > Proposed bicycle routes are to run directly past the Gallery and through > The number of car parking spaces around the Gallery does not match 20.00% > The nearest train stations are St. James and Martin Place, which are the Domain; the serious demand for parking in this part of the city; approximately 10 minutes walk from the Gallery and on separate lines; > Bicycle racks are situated on either side of the front entrance, although > The Domain car park is often used by city workers and therefore fails 15.00% > The Eastern Suburbs Railway runs directly past the Gallery. there are often not enough to satisfy demand. to adequately service the Gallery. As it closes at 9pm, night time volunteers are not guaranteed parking spaces; % Bus Network > The Gallery car park has minimal spaces and these are reserved for 10.00% > The 441 bus provides a service for people with a disability, departs from disabled parking, fleet vehicles, maintenance contractors and official the York Street side of the Queen Victoria Building on the hour and every visitors. It is not open to the public; 20 minutes during the week and every 30 minutes on weekends and > There are a small number of metered spaces directly outside the front 5.00% public holidays. The bus set-down point is at the entrance to the Botanic of the Gallery, and further space along Art Gallery Road as it heads Gardens, while the pick-up only point is in front of the Gallery proper. towards Mrs. Macquarie’s Point. Anecdotal evidence suggests that this > The Gallery is on the ‘Red’ Sydney Explorer bus route. metered parking is susceptible to high levels of robbery and vandalism; 0.00% Car Walked Walked Car Walked Bus Bus Monorai > Other bus routes stop within 5 minutes walk to the AGNSW. > The Hospital car park is sometimes used by the Gallery for evening Train Bus (other from from (Domain from Ferry Taxi Other (organis (Sydney l functions. parking) home hotel Car work ed tour) Explorer Taxis Value 22.60% 18.70% 17.70% 10.50% 9.00% 6.70% 4.70% 4.40% 2.70% 1.30% 0.80% 0.70% 0.10% Mode of Transport > A taxi pick-up/set-down point is located at the base of the portico stairs Graph: Main Form of Transport Used to Get to Gallery of the Gallery’s forecourt and a courtesy cab-phone is provided by the Gallery at the western end of the Grand Court adjacent to the Vestibule. Source: StollzNow Visitor Report, 2007, AGNSW

JOHNSON PILTON WALKER 17 September 2012 3 Site Survey

Site Conditions: Art Gallery Road

The Art Gallery of New South Wales presents a formal, Walter Liberty Vernon Wing classical entry with a ‘hexastyle’ portico to Art Gallery Road and an axial pedestrian approach from the Domain. The Gallery forecourt and Art Gallery Road do not

convey a civic and public pride which would normally Art Gallery Road Confused forecourt mixed use Temporary exhibition Single, discrete point Existing Entrance Portico - no Confusing and cluttered Equestrian statues obscured by vehicles Outer Domain be associated with an institution of international zone for pedestrians, parking and art work of entry access for visitors with a disability signage and signage significance. drop off

Key identifiable issues are:

> Restricting public access;

> No current access via the main entrance for people with mobility disabilities (a new access ramp will be completed by end of 2011);

> Cluttered and confusing signage;

> A complex shared zone for pedestrians, private vehicles and drop-off area for tour groups;

> Unclear bus set-down and pick-up zone.

VIEW 1 Art Gallery Road Frontage Composite Image: JPW

Walter Liberty Vernon Wing

Art Gallery Road Vegetation screens Wall suggests 4 Bronze Panel Set-down point for Shared path and access road leading Potts Point & Kings Cross Outer Domain Richard Goodwin sculpture parked cars boundary and divides Reliefs 1906-31 people with a disability to Eastern Distributor footbridge and ‘Mobius Sea’ 1986 forecourt from the Gallery rear entrance (not AGNSW collection) Gallery

VIEW 2 VIEW 1

Private Vehicle Transport & Car Parks VIEW 2 Oblique Art Gallery Road Frontage Not to scale @ A3 Composite Image: JPW

ART GALLERY OF NEW SOUTH WALES MASTERPLAN FRAMEWORK 18 3 Site Survey

Southern Facade

South Face of Walter Liberty Vernon Wing, 1897 - 1909 New Asian Wing, 2003 The southern frontage presents an very closed facade to the open space of the ‘Crescent Precinct’ of the Domain.

Crushed granite pedestrian path Vehicular access road to Gallery Loading dock & car park Cross over zone between Fig tree, approx. Eastern Fenced-off Domain Key identifiable issues are: car park & loading dock (dual roadway and entrance and drop-off point pedestrians and delivery 140 years old Distributor railway cutting and rail pedestrian path planned and funded for for people with a disability vehicles footbridge viaduct completion in 2009). > The car park and loading dock entrance doubles as the only staff entrance and public access for people with mobility disabilities; > Road and path geometries are complex and are shared by city commuters, school groups accessing the rear education entry of the Gallery, delivery vehicles and staff; > With the exception of one large very old fig tree and grassed surface there is negligible vegetation nor consideration given to suitable landscaping.

VIEW 3 Southern Facade Composite Image: JPW

Walter Liberty Vernon Wing New Asian Wing (obscured)

Outer Domain New pedestrian access to Gallery Fig tree Fenced-off Domain Potts Point Service access to Eastern Kings Cross from the Domain Car Park planned railway cutting Suburbs rail platform level for completion in early 2009

VIEW 3

VIEW 4

VIEW 4 Oblique Southern Facade Private Vehicle Transport & Car Parks Composite Image: JPW Not to scale @ A3

JOHNSON PILTON WALKER 19 September 2012