JUANITA NIELSEN COMMUNITY CENTRE Public Art Curtain Artist Brief Request for Quotation 9515 Index

Request for Quotation Conditions & Forms p3. Invitation p4. Key Conditions of Quotation p5. Artist Brief p19. Schedule of Services p23. Standard Conditions of Quotation p26. Request for Quotation Returnable Schedules Part 1 - Part 12 Attachments Attachment A – Architectural Drawings Attachment B – Curtain Specifications Attachment C – Site History Attachment D – Public Art Commissioning Agreement

2 Juanita Nielsen Community Centre Public Art Curtain Invitation

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

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

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

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

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

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

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

3 Key Conditions of Quotation

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

Closing Time 11:00am Contact Person All enquiries must be directed to the Tendering Officer only. Enquiries may be submitted by either: (i) the online forum accessed at www.tenderlink.com/cityofsydney Or alternatively, (ii) by e-mail to the Council’s Tendering Officer as follows:

Michelle Tisdell

Tendering Officer

Tel: 02 9265 9449

e-mail: [email protected] Lodging a Quote Completed submissions should be lodged electronically in the Electronic Tender Box at www.tenderlink.com/cityofsydney by the closing time on the closing date nominated. Bidders should ensure they allow sufficient time to upload their submission in full to the Etendering portal. We strongly recommend that you begin uploading your submission files at least 60 minutes before the closing time. Bidders will receive a successful submission request that is timed and dated upon completion.

Documents The documents that comprise this Request for Quotation include:

• Request for Quotation Conditions & Forms

• Conditions of Contract

• Attachment A – Architectural Drawings

• Attachment B – Curtain Specifications

• Attachment C – Site History

• Attachment D – City of Sydney Public Art Commission- ing Agreement General Conditions of The general conditions of contract for this request for quo- Contract tation consist of: City of Sydney Public Art Commissioning Agreement

4 City of Sydney Public Art Program

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

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

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

• Public Art Policy Item 4 - Support vibrant places in Village Centres with community art and City Art projects; • Sustainable Sydney 2030 Strategic Direction 6 - Vibrant local communities and economies; • Sustainable Sydney 2030 Strategic Direction 7 - A cultural and creative city.

Garden Royal Island Botanic Road Gardens

Macquaries Cahill Potts Mrs Expressway Point

Grantham St

Macquarie Street St Neot Avenue

Mcdonald St

Hospital Road Road Mcdonald Lane Sydney Elizabeth Road Wharf Challis Avenue CBD Lincoln Crescent Bay Gallery Cowper Art Kings Billyard Avenue Rockwall Cres Bland Street Harnett St Nicholson Street Cross Nesbitt St Wilson Street

Plunkett Street Onslow Ave The Esplanade

Macleay Street

Mcelhone Street Griffiths St Manning St

St Pring Street Ithaca Road Marys Crick Ave

Harmer Street Tusculum St Road Hughes Street Greenknowe Avenue Hyde Brougham Street Park Sydney Pl Elizabeth Sir John Young Crescent Orwell Street Woolloomooloo Bay t Rd ee Holdsworth Ave tr S Windeyer St g Haig Lne Cathedral Street Evans Road an Baroda Street r Bradley Lane e College Street Broughton St m o o Earl Street Barncleuth B Dowling Street Springfield Ave

Victoria Street S Kennedy St quare Waratah Road Gardens Robinson St Suttor Street St William Street Judge Street Mcelhone Street Site Context Plan ( Juanita Nielsen Centre shown inJudge Red) Ln Roslyn Darlinghurst t t e v

5 Background

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

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

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

A brief outline on the history and heritage of Woolloomooloo, the former uses of the site and biographical information about Juanita Nielsen have been included in Attachment C – Site History. A refurbishment of the Centre is currently underway and will provide significant contribution to the community and the public realm in Woolloomooloo.

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

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

6 Juanita Nielsen Community Centre, Refurbishment Works in Progress

Challis Avenue

McElhone Stairs

C owper W harf Roadway

Bland Street Harnett St

Nicholson Street Nesbitt St

e r Wilson Street t S

Dowling Street

m Victoria Street

o r Horderns Place B Manning St Mcelhone Street

Pring Street Street

Tusculum Lane

Tusculum arme The site in Woolloomooloo is bounded by Dowling, Nicholson, Wilson and Maclean Streets tree 7 Artist Brief

Neeson Murcutt Architects in consultation with the Project Delivery Team and the City’s Public Art Advisory Panel have made the recommendation for an innovative, site specific, contemporary and operable artwork curtain to be incorporated into the building design of the Juanita Nielsen Community Hall (the Hall).

This project offers artists an opportunity to integrate high quality, permanent, public art into the building refurbishment.

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

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

As the artwork curtain should be robust and durable enough to withstand the wear and tear of everyday use the City may consider (if required and in consultation with the artist) reproducing the artwork as a digitally printed curtain so the curtain can be easily renewed. However, subject to the artwork satisfying functional requirements the final work produced by the successful artist/s could be a digital file, handmade or a combination of both. The successful artist will engage with the diverse Centre users and local community members through workshops that invite community collaboration, storytelling and public participation in the development of the artwork

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

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

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

8 Existing building

Architecural Impression of proposed refurbishment works

9 Objectives

The City will look forward to a project that will:

• deliver a unique, innovative and contemporary artwork that is integrated into the building refurbishment works and complimentary to the architectural design; • invite community collaboration and public participation in the development and/or fabrication of the artwork; • express a contemporary layer of local narrative that speaks of place, culture, people and community; • meet operational requirements: the artwork curtain will be operable, retractable, and capable of acting as a visual barrier; • use materials that will enable cleaning and maintenance as well as comply with structural load limitations; • ensure the design, media and fabrication are built to be robust and durable ( as required) • meet relevant Design Codes and standards for public safety.

Practical Considerations

Artwork material selection should be carefully considered regarding the following:

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

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

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

10 Corner view of existing building, Nicholson and Maclean St

Architecural Impression of proposed refurbishment works

11 Approach: Community Engagement

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

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

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

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

Selection Process and Criteria

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

• Strength of proposed artistic approach and methodology , innovation and response to the site, context and local community; • Previous experience or demonstrated potential to work collaboratively on site-specific art projects with a focus on community engagement; • Previous practice • Demonstrated understanding of proposed artwork materials; • Capacity to achieve the required project program; and • Capacity to achieve a project within the proposed budget.

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

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

13 Budget

The budget for the Centre artwork curtain is $60,000 (excluding GST) The public art budget includes, but is not limited to the following:

• Artist Fee • Travel Allowances (if required) • Workshop expenditures • Design development & documentation • Prototyping • Materials • Fabrication of artwork • Fabrication of curtain (if distinct to artwork) • All insurances • Transportation • Overseeing installation

Items not to be included in the artwork budget are: • Electronic Curtain Track • Mirror behind • During detailed design development, documentation and fabrication phases of project it may be apparent that the proposed artwork will need to be reproduced as a digitally printed curtain to satisfy the operational requirements of the curtain. Costs associated with this process do not need to be included in the artwork budget

Submission Requirements

For this RFQ artists are required to provide a maximum twelve (12) pages (A4 single-sided) detailing:

• Previous Experience, including Artist curriculum vitae and up to 10 images of recent relevant artworks; • Written description of proposed conceptual approach to the artwork, including how it relates to the site, context and local community and to the artists own practice ( Max 500 words); • Brief outline of the proposed methodology for community collaboration and public participation in the development of the artwork. Identify the number and type of workshops artist will carry out; • Preliminary sketch/concept drawing of approach proposal, including an indication of how communities workshopped ideas will be incorporated into the design; • Brief outline of the proposed project methodology, including proposed materials/ finishes, fabrication techniques and process of artwork creation;

In addition (not included in page limit), please provide: • A cost plan providing a breakdown of all aspects of the project including the artist’s fees, indicating that the project can be delivered for the project budget (Refer to Attachment 5 – Cost Plan Template). Further details to assist with this process regarding the typical tasks and deliverables that artists will be responsible for throughout the project can be found in Section 4 ‘Schedule of services to be supplied by the successful artist’. • Proposed timeline to complete the project indicating all project stages • Statement of commitment to work within the nominated budget and timeframe

14 Works in progress

Works in progress 15 Artist Responsibilities

The City requires the project artist to:

• Work in accordance with the City’s proposed timeframe and program for the Centre upgrade and enter into the City’s Public Art Commissioning Agreement • Deliver the public art in accordance with an agreed set of project delivery milestones. • Co-ordinate with the City’s representative regarding the delivery of the artwork and its integration into the program and staging of the project as required. • Co-ordinate and facilitate an agreed number of community workshops with the users of the Centre and the local community. • Work in close collaboration with the City’s Project Delivery Team and the Project Architect to integrate the artwork into the Community Hall and integrate into the infrastructure of the building. • Liaise with the City throughout the project to clarify, confirm and incorporate Council’s requirements for the artwork including the provision of any necessary services that may be required for the artwork; • Work collaboratively with the relevant contractors and stakeholders; • Work in a manner which is in-keeping with the City’s sustainable Sydney 2030 vision

Insurances

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

Work Health and Safety

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

16 Project Stages and Timeline

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

Stage 1 RFQ opens 25 August 2015 (6 weeks) Submissions close 6 October 2015

Project Development and Refine Stage 2 November 2015 (4 weeks) Artwork Concept

Community Workshops/Design Stage 3 December 2015 - February 2016 (10 weeks) Development and Fabrication

Stage 4 Finalise Technical Requirements March 2016 (2 week)

Stage 5 Fabrication and Installation April 2016 (4 weeks)

Lodging the Completed Submission

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

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

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

Tender Box Town Hall House Level 1, 456 Kent Street SYDNEY NSW 2000 Fax: 02 9265 9697

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

17 Contact

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

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

Michelle Tisdell Tendering Officer Email: [email protected]

18 Schedule of Services

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

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

General • Perform all work and undertake all the services which are necessary to complete the artwork. • Liaise with the City and incorporate the City’s requirements for the project. • Throughout the design process, the artist will amend/refine the content of the developing artistic concept on the basis of feedback regarding the feasibility, durability and safety of the artwork and to meet the project budget from the building design team, the City and any sub-consultants as it becomes available. Changes and improvements to the artistic concept shall be agreed by the City’s representative before being included. • Integrate feedback from the City. • Manage any sub-consultants as necessary. • Attend regular meetings called by the City’s representative. • Submit deliverables at each stage as required for approval and sign off prior to commencement of the subsequent stage. • Co-operate fully and integrate with any contractor appointed to carry out or manage the construction of the project. • Work towards identified project milestones and complete tasks in line with the City’s program for the Centre Refurbishment.

The City will support the artists in:

• Working collaboratively with the building design team in order to integrate the artwork into the Centre refurbishment as required • Consultation with key stakeholders and the community; • Organising workshops – supporting the artist in arranging venues and workshop co-ordination; and • Marketing and promoting the project (including promoting the project to workshop participants) • The completed artwork will become a part of the City of Sydney’s City Art Public Art Collection and the City will maintain the artwork

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

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

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

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

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

19 artwork and its integration into the Community Hall of the Juanita Nielsen Community Centre • Carry out Project Development. Project Development will establish the approach and scope for artist led workshops and define specific timeline and deliverables in regards to the artwork design and documentation

Artist Deliverables in Stage 2 • Material and information to convey the concept development of the artwork for the purposes of workshop preparation, consultation, communication and documentation to the City’s representatives and the community as required. • Format of materials will include a combination of elevations, precedent studies, photomontages, images and material samples as required to fully demonstrate the proposal • Ongoing documentary evidence of the process; outlining options exploration, evolution of artistic concept and development of the proposal. • Details of project methodology, including proposed materials/finishes, artwork dimensions, fabrication techniques and approach to installation method/including curtain construction details. • Details of the artists’ preferred team for design development, documentation and fabrication if required. • Refine timeline to complete the project indicating all project stages • All material is to be in a form of electronic copy suitable for reproduction and to be incorporated into the deliverable submissions

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

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

Tasks typically will include: • Liaising with City Staff and the Centre staff, in conjunction with the Public Art Design Manager to coordinate community participation workshops which through process or outcome will inform the design development of the public art curtain. It is envisaged that the artist will facilitate separate workshops for each of the user groups of the centre. Workshops will be hosted in local community facilities by arrangement with City staff. • Carry out detailed design development and/or fabrication as required, incorporating content from the community workshops and feedback from the City. • Prepare material to convey the development of the artwork design and ideas to the City. This could be in form of sketches, images, sketch plans, prototypes etc. as required. Assist as required by providing materials to the City to articulate the artwork and respond to any feedback through further design development as necessary. • Resolve design details and methodologies for the artwork, fabrication and installation as required for documentation for construction. • Meet with the City and the relevant design team to review the design of the artwork, the incorporation of material from the community workshops, and the integration into the Centre refurbishment. • Attend regular meetings and other meetings called by the City’s representative and the building design team and take necessary follow up action required by each meeting. • If required, revise cost plan. • Agree to project hold points, milestones and sign-offs

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

20 • Documentary evidence of the process; outlining workshop outcomes, evolution of design and development of the proposal. • Material to be collated by the artist in design development drawing packages. Format of materials will include a combination of sketches, plans, perspective sketches, models, photomontages and material samples. • If required, Revised cost plan. • All material is to be in a form of electronic copy suitable for reproduction and to be incorporated into the deliverable submissions.

Stage 4: Finalise Technical Requirements Duration – 2 weeks

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

Tasks will typically include: • The artist will be responsible to prepare all documentation required to have the artwork fabricated. In this stage the artist will work with the City to finalise technical details for reproduction of the artwork (if required) and for detailing curtain fabrication (100% documentation required). • If required, collaborate with the building design team to develop and amend the design in response to technical requirements for curtain operation, integration with electronic track or to install the artwork. • Installation method and coordination will be determined in collaboration with the City, and the building design team. The artist will be expected to review and assist with the preparation of installation documentation for the artwork as a whole as it relates to the building through the provision of materials, drawings and information • Provide information to the City’s representative regarding preparation and checking of estimates and costs, in relation to the cost plan. • Participate in and incorporate the findings of the Design SafetyAssessment process into the artwork design in collaboration with the building design team and the City.

Artist Deliverables in Stage 4 • 100 % Documentation package for artwork issued for review, costing and approval. Package to include all drawings, details, images, specifications, schedules, samples, prototypes etc • Documentary evidence of the Stage 4 process; outlining options exploration • Schedule of any hold points, prototyping, samples or testing required during fabrication/installation • Revised Documentation costplan

Stage 5: Fabrication + Installation Duration – 4 weeks

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

Tasks will typically include: • The artist will be responsible for fabrication, coordination, administration and quality control as required during fabrication of the artwork. Including progress inspections, material samples etc.

21 • If required, upon completion of the fabrication of the works carry out an inspection with the City’s representative to determine any defects. • Coordinate transportation of the completed artwork to a nominated City storage facility. • Provide an artist’s statement and text copy for the artwork plaque to the City. • Develop a maintenance manual with full specifications of the finished artwork.

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

Installation of the artwork will be overseen by the artist and carried out by a contractor. The artist will be responsible for the following: • Advice and supervision of the artwork during fabrication period if required • Advice and supervision of the artwork during installation period if required • Preparing answers for requests for information (“RFI’s”) from the contractor carrying out installation of the work. • Upon completion of the works carry out an inspection with the City’s representative to determine any defects and for achieving practical completion of the building construction. • At the end of the Defects Liability Period (12 months post completion), carry out a defects inspection with the City’s representative on the artwork installation.

22 Standard Conditions of Quotation

1. REQUEST FOR QUOTATION

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

2. QUOTATION PROCEDURE

2.1 Information and Enquiries

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

2.2 Discrepancies, Errors and Omissions

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

2.3 Bidder to Rely on Own Enquiries

In submitting a quotation, bidders will be deemed to have: a) Examined information relevant to the risks, contingencies, and other circumstances having an effect on the quote and which is obtainable by the making of enquiries; b) Satisfied themselves as to the correctness and sufficiency of their quote and that their quote covers the cost of complying with the obligations of the quotation documents, the requirements of the relevant Authorities and of matters and things necessary for the due and proper performance and completion of the work described in the quotation documents; and c) Examined any reports, public utility service diagrams or other information which, not being part of the quotation documents, are nevertheless available to the bidder submitting a quote.

2.4 Bidder Not to Solicit Council Personnel

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

3. COMPLETION OF QUOTATION

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

4. CONFORMING AND ALTERNATIVE QUOTES

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

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

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

5. LODGEMENT OF QUOTATION

Quotes should be lodged to:

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

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

6. QUOTATION VALIDITY PERIOD

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

7. ACCEPTANCE OF QUOTATION

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

8. CONFIDENTIALITY

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

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

9. CONFLICT OF INTEREST

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

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

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

10. ASSESSMENT CRITERIA

Quotations will be examined and evaluated according to the following criteria: • Strength of proposed artistic approach and methodology, innovation and response to the site, context and local community; • Previous experience or demonstrated potential to work collaboratively on site-specific art projects with a focus on community engagement; • Previous Practice; • Demonstrated understanding of proposed artwork materials; • Capacity to achieve the required project program; and • Capacity to achieve a project within the proposed budget.

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

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

Score Rating Description 90-100 No risk, excellent response with added value and innovation 80-89 No risk, excellent response 70-79 Very low risk, good response 60-69 Low risk, good response 50-59 Low risk, acceptable response 40-49 Medium risk, but acceptable response

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

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

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

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

25 Quotation Forms

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

Part 1 Execution by Bidder Part 2 Statement of Conformance and Acknowledgement of Addenda Part 3 Artist Contact Details, Curriculum Vitae and Previous Experience Part 4 Proposed Conceptual Approach for the Artwork Part 5 Proposed Methodology for the Collaborative Approach required for the Delivery of the Artwork Part 6 Sketch/Concept Drawing Part 7 Proposed Project Methodology Part 8 Cost Plan Part 9 Proposed Timeline for the Project Part 10 Insurance and Disability Details Part 11 Environmental Management Part 12 Workplace Health and Safety

26 PART 1 EXECUTION BY BIDDER (RETURNABLE SCHEDULE)

I/We having read, understood and fully informed myself/ourselves of the contents, requirements and obligations of the RFQ, submit this RFQ for the performance by myself/ourselves of the Juanita Nielsen Community Centre Public Art Curtain for the Council of the City of Sydney. I/We hereby offer to supply the goods and/or services described in the quotation within the nominated budget being $...... excluding GST [insert lump sum price] and the project timeframe and upon and subject to the key and standard conditions of quotation and general conditions of contract set out in the request for quotation. This offer remains open for acceptance for 60 calendar days from the quotation closing date.

Name of Bidder

Subsidiary Company (if applicable)

Address of Bidder

Postal Address

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

Phone Number Fax Number

Legal Entity ABN

Signature and Date Official Position Held PART 2 STATEMENT OF CONFORMANCE AND ACKNOWLEDGEMENT OF ADDENDA (RETURNABLE SCHEDULE)

2.1 CONFORMANCE [Delete whichever is not applicable]

• The submission does conform with the RFQ; or

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

Non-Conformance Description/Reason

2.2 ACKNOWLEDGEMENT OF ADDENDA

I / We, acknowledge receipt of the following: [Bidders must list all the addenda numbers which have been received from Council] PART 3 ARTIST/S CONTACT DETAILS (RETURNABLE SCHEDULE)

Artist/s Name/s:

Artist Email Address:

Artist Phone Number:

Artist/s Address:

Artist/s Website if applicable:

PART 3.1 ARTIST/S CV and up to 10 (ten) images of recent work (RETURNABLE SCHEDULE) PART 4 CONCEPTUAL APPROACH FOR THE ARTWORK (RETURNABLE SCHEDULE)

Max 500 words describing proposed conceptual approach to the artwork: including how it relates to the site, context and local community and to the artists own practice PART 5 PROPOSED METHODOLOGY FOR THE COLLABORATIVE APPROACH REQUIRED FOR THE DELIVERY OF THE ARTWORK (RETURNABLE SCHEDULE)

Brief outline proposed methodology for community collaboration and public participation in the development of the artwork. Identify the number and type of workshops artist will carry out PART 6 SKETCH/CONCEPT DRAWING (RETURNABLE SCHEDULE)

Preliminary sketch/concept drawing of approach proposal, including an indication of how communities workshopped ideas will be incorporated into the design (up to 2 single sided A4 pages) PART 7 PROPOSED PROJECT METHODOLOGY (RETURNABLE SCHEDULE)

Outline of the proposed project methodology, including proposed materials/finishes, fabrication techniques and process of artwork creation (up to 1 single sided A4 page in point form) PART 8 COST PLAN (RETURNABLE SCHEDULE)

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

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

Design development & documentation

Prototyping

Materials

Fabrication

Additional Insurances if required

Overseeing Installation

Storage (if required)

Transport to site

Travel (if required)

Contingency

Other (List as required)

TOTAL PART 9 PROPOSED TIMELINE FOR THE PROJECT (RETURNABLE SCHEDULE)

Bidders must confirm they can comply with the project program.

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

STAGE & TASKS TIMELINE ACTION BY Stage 2 Project Development and Refine Artwork Concept Duration: 4 weeks November 2015 Stage 3 Community Workshops/Design Develop- ment and Manufacture (if required) Duration: 10 weeks December 2015 - February 2016 Stage 4 Finalise Technical Requirements Duration: 2 weeks March 2016 Stage 5 Fabrication and Installation Duration: 4 weeks April 2016 PART 10 INSURANCE AND DISABILITY DETAILS (RETURNABLE SCHEDULE)

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

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

PART 11 ENVIRONMENTAL MANAGEMENT (RETURNABLE SCHEDULE)

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

Commitment to environmentally sustainable practices in relation to this quotation

PART 12 WORKPLACE HEALTH AND SAFETY (RETURNABLE SCHEDULE)

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

• Community Workshops and Fabrication;

• Installation;

• Maintenance and repair; and

• Decommissioning.

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

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

• Attachment A – Architectural Drawings

• Attachment B – Curtain Specifications

• Attachment C – Site History

• Attachment D – City of Sydney Public Art Commissioning Agreement

JUANITA NIELSEN COMMUNITY CENTRE PUBLIC ART CURTAIN Attachment A - Architectural drawings B F 02 D H J A3.00 A3.01 A2.00 A3.00 A3.01 A3.02

2b A7.03

SP below SP below SP below 2 A5.08 CA awning over dotted CA awning over dotted CA awning over dotted CA awning over dotted CA awning over dotted CA awning over dotted

W22 W23 W24 W25 W26 W27 W28 W29 W30 W31 W32 W33 BOUNDARY FHR SITE UPPER WI-FI LOUNGE W58 2957 1.01 3 W34 TF-1 3347 C A5.04 02 HA 02 C RL 6.145 Dead tree sculpture, refer to A8.00

A3.00 dotted A3.00 COS notes on A1.01 and A3.00 - over

5644 A8.00 W57 JU22 JU22 D46 MI W35

1450 Gas 23

Opening 9 x movable tables awning Heater SC 22 Panel

floor mounted 1668 GPOs 21 CA Mirror

under JU22'S 20 1727 1185 1105 SC 19 JU22 JU22 18 A Gas

17 .01 Heater COMMUNITY COMMUNITY

16 C

W56 ROOM 1 15 1 HALL 1.05 14 1.02 W36 CONC-1 TF-1 4

13 STAIR TF-1 W74 over grid JU22 JU22 12 dotted 4000

11 5180 on

- - 10 - over

W55 JU wall 2 A6.01 A6.02 9 A6.02 A 5620 21 W37 A B I 8 M Direction

A3.00 grid Gas A C H J L N A3.00 7 awning Heater - K O of 7146 on JU22 JU22 6 Boards CA

wall 5 SC A5.04 void Gas 1405 Heater SC

B W54 1900 Opening D47 W38 03 01 A2.00 JU22 A2.00 dotted

framing Direction Direction 7 of 1690 790 of over W53 A5.04 D44 room Boards

1450 Boards W39

Opening D45 Store 3711 MI D48 awning 5910 Artwork curtain SC SC CA COMMUNITY STORE OSHC STORE JU16 STW 2 7 D49 tank 90

1676 1.07 1350 1.06 . A5.07 with .10 E JU19 JU20 KITCHENETTE LIFT JU24 16 998 E STW TF-1 TF-1 1 tray 90 90 col LDY / CLN A3.01 06 1.09 C.04 STORE A5.05 A3.01 to 1.11 HALL STORE A5.02 Align W78 over Align RF-2 D41 JU25 D53 D52 D51 CT-1 1.03 over W52 2555 D43 W59 TF-1 W40 2

1270 Gas COS 1450

Heater Direction 1862 Hall

Opening HALL 2 COMMUNITY HALL 3 STW awning G C 5 Align of 1.12 Align 1835 G D42 ROOM 2 - 1.13 A5.07 Boards A3.01 TF-1 CA A3.01 D40 TF-1 D34 1.04 A6.01 Direction D32 D33 25 26 27 28 90 TF-1 D D37 Extension of concrete stair and W51 A C of F3/ D39 D38 D36 D35 - CONSULTING STAIR 2 landing in grey. Refer to I Boards OSHC I F2 F1 M3 M2 M1 ROOM C.02 W41 structural eng's drawings A3.02 3280 A3.02 3089 WC 1.19 1.18 1.17 GRNL 1.16 1.15 1.08 2729

14 2624 1.20 D55 CT-1 CT-1 CT-1 CT-1 CT-1 CT-1 RF-1 Gas A8.00

ACCESS JU23 Heater 1.14 New galv steel cyclone wire JU18 JU17 2423 22212019 CT-1 RL 6.870 fence and locked gate Set-out from inside face of brickwall Set-out from inside face of brickwall DP DP DP DP DP DP SITE BOUNDARY W50 W49 W48 W47 W46 W45 W44 W43 W42 New galv handrails and tactile 02 indicators A5.00 - - A4.14 A4.09 brickwall 234 9729 2619 3492 2285 1012 4394 4743 Community Room 2 234 WC's 90 90 WC's 90 230 Consulting Room 90 248 Stair 2

face of 120 7333 2350 1628 3011 2000 815 1621 2146 1810 663 1070 3659 Community Store 90 205 90 Kitchenette 65 150 150 230 JU24 Cup'd 90 90 90 90 Hall Store inside from 4900 4953 4950 4950 4950 4864 Set-out

1 2 3 4 5

B 04 F D H J A3.00 A2.00 A3.01 A3.01 A3.01 A3.02

- FIRST FLOOR PLAN - 1:100

GENERAL NOTES: LEGEND CONSULTANTS TO NEESON MURCUTT ARCHITECTS DATE ISSUE REVISION CHECKED BY STRUCTURAL SIMPSON DESIGN ASSOCIATES PROJECT NAME : JUANITA NIELSEN COMMUNITY CENTRE UPGRADE NEESON MURCUTT ARCHITECTS - COMPLY WITH RELEVANT AUTHORITIES REQUIREMENTS ADJ ADJUSTABLE DWR DRAWER HT HOSE TAP RF RESILIENT FLOORING SP STEEL PAINTED TPH TOILET PAPER HOLDER MECHANICAL FLOTH 07.11.13 A TENDER TJ AF ACOUSTIC FABRIC PANEL ECB EMERGENCY CALL BUTTON IS ISOLATION SWITCH RH RANGE HOOD SR SHOWER TRT TIMBER ROOF TRUSS ELECTRICAL FLOTH L2 9 ROSLYN ST POTTS POINT 2011 T. 8297 3590 F. 8297 3510 LIFT FLOTH 12.11.13 B 100% TENDER TJ PROJECT NO : C18046 - COMPLY WITH THE BUILDING CODE OF AUSTRALIA AL ALUMINIUM EXT EXISTING JU JOINERY UNIT RM RENDERED MASONRY SS STAINLESS STEEL TS TAPSET TRUE HYDRAULIC ARUP BA BASIN F FRIDGE LF LIGHT FITTING RU RUBBER FLOOR MAT MIRROR POLISHED STAINLESS STEEL TX EXISTING TIMBER STRUCTURE - COMPLY WITH ALL RELEVANT AUSTRALIAN STANDARDS SSP FIRE SERVICES ARUP 15.11.13 C 100% TENDER SUBMISSION TJ NOMINATED ARCHITECT : RACHEL NEESON No. 6692 BB BLACKBOARD FB FACE BRICK LP LAMINATE RWH RAINWATER HEAD STONE UR URINAL HERITAGE JOHN OULTRAM HERITAGE + DESIGN NORTH ST FOR - DIMENSIONS IN MILLIMETRES BCT BABY CHANGE TABLE FC FIBRE CEMENT SHEET ME METAL MESH RWO RAINWATER OUTLET STP STEEL PLATE WC TOILET BCA BCA LOGIC - STUART BOYCE 19.11.14 D CONSTRUCTION TJ CITY OF SYDNEY - CITY PROJECTS ACCESS BCA LOGIC - STUART BOYCE - USE FIGURES DIMENSIONS ONLY CA CANVAS AWNING FG FIXED GLASS MI MIRROR SC STEEL COLUMN STW STUD WALL WMC WASHING MACHINE COCKS PLANNING MERSONN CBT CABLE TRAY FHR FIRE HOSE REEL MW MICROWAVE SD SOAP DISPENSER T SOLID TIMBER ZN ZINCALUME ACOUSTICS ARUP NO REV TITLE PHASE SCALE DATE - DO NOT SCALE CF CEILING FAN FP FIXED PANEL OF OVERFLOW SE FOLD DOWN SEAT AS1428 TC SOLID TIMBER CLADDING LANDSCAPE SUE BARNSLEY DESIGN TRAFFIC TRAFFIX - IF DISCREPANCY EXISTS NOTIFY ARCHITECT CH CLOTHES HOOK FS FIXED SHELF OV OVEN SF SHELF TCC SOLID TIMBER CLAD CEILING ESD ARUP CONC CONCRETE FW FLOOR WASTE PH PARTITION HINGE SFD STEEL FRAMED DOOR TD TIMBER DOOR RISK/OH+S ARUP A1.02 D FIRST FLOOR PLAN CONSTRUCTION 1:100 @A1 7 NOVEMBER 2013 - COS - CONFIRM ON SITE CPT CARPET TILE GALV GALVANISED STEEL PLY PLYWOOD SFW STEEL FRAMED WINDOW TE TERRAZZO LIGHTING FLOTH SIGNAGE FROST DESIGN - IF IN DOUBT ASK CT CERAMIC TILE GR GRAB RAIL PM PAINTED MASONRY SI SINK TF TIMBER FLOOR PRIVATE CERTIFIER BM+G - BRIAN MAGUIRE CTP COOKTOP HA HANDLE PT PLUMBING TRAP SJ SILICONE JOINT TI TACTILE INDICATORS Copyright in all documents and drawings prepared by NEESON MURCUTT ARCHITECTS and in any works executed from those documents and drawings shall remain the property of, or on DP DOWNPIPE HD HAND DRYER PRL PRIVACY LATCH SK SKIRTING TMV THERMOSTATIC MIXER VALVE IF ISSUE IS INITIALED AS CHECKED DRAWING CAN BE CONSIDERED APPROVED creation vest in NEESON MURCUTT ARCHITECTS. DW DISHWASHER HE HEATER PTD PAPER TOWEL DISPENSER TP PAINTED TIMBER UNDER NMA QUALITY MANAGEMENT SYSTEM © 5 4 3 2 1 C B A BOUNDARY BOUNDARY

SITE 04 SITE PV Cells mounted A7.00 bracing to corner Clenergy PV-ezRack 02 05 03 05 of parapet to BOUNDARY SolarRoof Longline A7.00 A7.01 A7.00 A7.02 structural engineer's 06 08

interface SITE details A5.04 A5.04 RL12.08 EX. PARAPET RL12.08 EX. PARAPET 01 06 A7.00 01 W77 A7.03 A5.00

50 d. galv steel T-2 vent pipe Line of box gutter W78 shown dashed W73 W74 W78beyond Sprinkler CF CF CF CF RL 9.10 TOP OF WALL distribution RL 9.10 TOP OF WALL pipe and riser MI CONC - 4 RL 8.545 06 D45 D48 A7.01 W51 W52 JU W53 W54 W55 W56 W57 W58 W55 FB-1 W37 COMMUNITY W50 20 D45 COMMUNITY W22 07 COMMUNITY HALL ROOM 1 COMMUNITY A5.00 ROOM 2 4x Rinnai gas 1.02 1.05 ROOM 2 JU 1.04 heaters VOID 1.05 to mechanical L1 FFL 6.145 18 eng's spec's L1 FFL 6.22 L0 RL 5.66 U/S JOISTS CONC - 4 SC W65 W63 W67 W65 08 L0 RL 5.68 U/S JOISTS A7.03 CF CF CF Acoustic supply air ducts W14 W17 D19 insultation RL 4.28 W16 W18 D20 between W20 W21 RL 4.13 existing joists , MI MI D17 JU10a/b beyond W62a W62b D10 W66b W66a OSHC OSHC - KITCHEN OSHC - refer to finishes timber screen over PLAYSPACE EXTERNAL G.08 PLAYSPACE schedule for return air vents FB-1 W1 W8 GYM W60 G.07 STORE JU G.07 details beyond D4 D5 D22 W17 G0.16 G.11 10 JU09 JU SIJU 2 CONC-1 L0 FFL 1.88 14 09 L0 FFL 1.88

Dead Tree Sculpture: - Builder to provide a suitable dead tree; - Cut down branches and smooth edges to 11 approved level; A5.00 - Dead tree to be supported onto new ground floor slab. Provide 900x900x450d thickening in base slab under trunk. Nominally allow for 50dia ms galv dowel epoxy grouted into trunk and slab ( 300mm each) for fixing trunk to base slab . Tree to be tied to first floor structure with A PROPOSED SECTION A blocking between joists for restraint. A1.01 1:100 B PROPOSED SECTION B A1.01 1:100

1 2 3 4 5 C B A

RL13.06 BOUNDARY SITE RL12.08 EXISTING PARAPET RL12.08 EX. PARAPET W77

Bracing of existing parapet to structural FB-1 engineer's details W73 05 T-2 A5.02 W78 W74 CF CF CF CF CF CF RL 9.10 TOP OF WALL RL 9.10 TOP OF WALL CONC RL 8.545 TOP OF WALL W79 W76 RL 8.545 Align underside of 03 OPENING COMMUNITY UPPER COMMUNITY first floor fans with A5.00 ACCESS W76 UPPER ROOM 2 WIFI HALL underside of trusses 1.14 W58 W43 SC SC WI-FI W28 W22 W23 1.05 W24 W25 W26 W27 LOUNGE W28 W29 W30 W31 1.02 W32 W33 as shown HALL 3 SP LOUNGE 1.01 W34 1.13 SM-1 1.01

tree sculpture - L1 FFL 6.145 L1 FFL 6.145 refer to general note on section B RL 5.68 U/S JOISTS SB RL 5.68 U/S EX. JOISTS

CF CF CF W4 CF CF W6 CF RWT W71 RL 4.28 W15 RL 4.28 S D22 D21 W1 SC W2 W3 W5 W7 SC FB-1 ACCESS TANK W4 D21 W60 Ground floor fans GROUND OSHC RECEPTION GYM CHANGE G.06 RECEPTION mounted to LIFT WI-FI S G0.07 G0.16 G0.16 2750mm above FFL G.18 JU03 G.01 C.04 LOUNGE JU01 G.02 L0 FFL 1.88 L0 FFL 1.88

05 A5.01

C PROPOSED SECTION C D PROPOSED SECTION D A1.01 1:100 A1.01 1:100

GENERAL NOTES: LEGEND CONSULTANTS TO NEESON MURCUTT ARCHITECTS DATE ISSUE REVISION CHECKED BY STRUCTURAL SIMPSON DESIGN ASSOCIATES PROJECT NAME : JUANITA NIELSEN COMMUNITY CENTRE UPGRADE NEESON MURCUTT ARCHITECTS - COMPLY WITH RELEVANT AUTHORITIES REQUIREMENTS ADJ ADJUSTABLE DWR DRAWER HT HOSE TAP RF RESILIENT FLOORING SP STEEL PAINTED TPH TOILET PAPER HOLDER MECHANICAL FLOTH 07.11.13 A TENDER TJ AF ACOUSTIC FABRIC PANEL ECB EMERGENCY CALL BUTTON IS ISOLATION SWITCH RH RANGE HOOD SR SHOWER TRT TIMBER ROOF TRUSS ELECTRICAL FLOTH L2 9 ROSLYN ST POTTS POINT 2011 T. 8297 3590 F. 8297 3510 LIFT FLOTH 12.11.13 B 100% TENDER TJ PROJECT NO : C18046 - COMPLY WITH THE BUILDING CODE OF AUSTRALIA AL ALUMINIUM EXT EXISTING JU JOINERY UNIT RM RENDERED MASONRY SS STAINLESS STEEL TS TAPSET TRUE HYDRAULIC ARUP BA BASIN F FRIDGE LF LIGHT FITTING RU RUBBER FLOOR MAT MIRROR POLISHED STAINLESS STEEL TX EXISTING TIMBER STRUCTURE - COMPLY WITH ALL RELEVANT AUSTRALIAN STANDARDS SSP FIRE SERVICES ARUP 15.11.13 C 100% TENDER SUBMISSION TJ NOMINATED ARCHITECT : RACHEL NEESON No. 6692 BB BLACKBOARD FB FACE BRICK LP LAMINATE RWH RAINWATER HEAD STONE UR URINAL HERITAGE JOHN OULTRAM HERITAGE + DESIGN NORTH ST FOR - DIMENSIONS IN MILLIMETRES BCT BABY CHANGE TABLE FC FIBRE CEMENT SHEET ME METAL MESH RWO RAINWATER OUTLET STP STEEL PLATE WC TOILET BCA BCA LOGIC - STUART BOYCE 19.11.14 D CONSTRUCTION TJ CITY OF SYDNEY - CITY PROJECTS ACCESS BCA LOGIC - STUART BOYCE - USE FIGURES DIMENSIONS ONLY CA CANVAS AWNING FG FIXED GLASS MI MIRROR SC STEEL COLUMN STW STUD WALL WMC WASHING MACHINE COCKS PLANNING MERSONN CBT CABLE TRAY FHR FIRE HOSE REEL MW MICROWAVE SD SOAP DISPENSER T SOLID TIMBER ZN ZINCALUME ACOUSTICS ARUP NO REV TITLE PHASE SCALE DATE - DO NOT SCALE CF CEILING FAN FP FIXED PANEL OF OVERFLOW SE FOLD DOWN SEAT AS1428 TC SOLID TIMBER CLADDING LANDSCAPE SUE BARNSLEY DESIGN TRAFFIC TRAFFIX - IF DISCREPANCY EXISTS NOTIFY ARCHITECT CH CLOTHES HOOK FS FIXED SHELF OV OVEN SF SHELF TCC SOLID TIMBER CLAD CEILING ESD ARUP CONC CONCRETE FW FLOOR WASTE PH PARTITION HINGE SFD STEEL FRAMED DOOR TD TIMBER DOOR RISK/OH+S ARUP A3.00 D SECTIONS CONSTRUCTION 1:100 @A1 7 NOVEMBER 2013 - COS - CONFIRM ON SITE CPT CARPET TILE GALV GALVANISED STEEL PLY PLYWOOD SFW STEEL FRAMED WINDOW TE TERRAZZO LIGHTING FLOTH SIGNAGE FROST DESIGN - IF IN DOUBT ASK CT CERAMIC TILE GR GRAB RAIL PM PAINTED MASONRY SI SINK TF TIMBER FLOOR PRIVATE CERTIFIER BM+G - BRIAN MAGUIRE Copyright in all documents and drawings prepared by NEESON MURCUTT ARCHITECTS and in any works executed from those documents and drawings shall remain the property of, or on CTP COOKTOP HA HANDLE PT PLUMBING TRAP SJ SILICONE JOINT TI TACTILE INDICATORS IF ISSUE IS INITIALED AS CHECKED DRAWING CAN BE CONSIDERED APPROVED DP DOWNPIPE HD HAND DRYER PRL PRIVACY LATCH SK SKIRTING TMV THERMOSTATIC MIXER VALVE creation vest in NEESON MURCUTT ARCHITECTS. DW DISHWASHER HE HEATER PTD PAPER TOWEL DISPENSER TP PAINTED TIMBER UNDER NMA QUALITY MANAGEMENT SYSTEM © 5 4 3 2 1 A B C BOUNDARY BOUNDARY 01 02 03

SITE 35° SITE BOUNDARY BOUNDARY A7.01 A7.01 A7.01 SITE SITE

RL12.08 EX. PARAPET 1m x 1.5m PV Cells RL12.08 EXISTING PARAPET mounted to roof using Clenergy PV-ezRack Solaroof EXT FB Longline interface High level sprinklers as required

PLANT 2x 50 d. 316 grade SSO/F beyond Plant drainage beyond W74 W73 W80 W79 RL 9.10 TOP OF WALL shown dashed RL 9.10 TOP OF WALL RL 8.545 FB-1 RL 8.545

W49 W50 W34 W35 W36 W37 W38 W39 Suspended PB ceiling COMMUNITY CONSULTING W42 ROOM 1 W52 W31 HALL 2 STAIR 2 W43 W44 W45 W46 W47 W48 06 COMMUNITY ROOM W42 1.04 1.12 C.02 A7.02 HALL 1.08 1.02 Motorised curtain CONSULTING ROOM JU M1 M2 M3 ACCESS F1 F2 F3 JU17 JU18 1.08 23 WC2 1.15 1.16 1.17 1.14 1.18 1.19 1.20 L1 FFL 6.145 Mechanical riser L1 FFL 6.145 beyon shown dashed

14 W10 W15 W12 W13 W14 L0 RL 5.68 U/S JOISTS FB-1 RL 5.68 U/S JOISTS FB A5.00 SW SW SW SW Acoustic insultation LF LF LF LF LF LF W10 W70 W11 between existing Mechanical ductwork RL 4.28 joists, refer to RL 4.28 beyond finishes schedule D11 D15 D16 for details AC equipment above W5 MALE CHANGE HALL 1 ACCESS JU STAFF OFFICE OSHC- OSHC- OSHC- OSHC- FEMALE MALE G.19 D19 GYM CHANGE D6 G.21 CHANGE 06 G.04 ACCESS HAND INTERNAL EXTERNAL CHANGE D14 G.16 G.18 JU07 G.12 WASH STORE STORE G.20 G.19 G.15 G.10 G.11 L0 FFL 1.88 L0 FFL 1.88

01 A5.02

I PROPOSED SECTION I J PROPOSED SECTION J A1.01 1:100 A1.01 1:100

TCC-1 TCC-1 TRT-1 TRT-1 TRT-1 TRT-1 TRT-1 TRT-1 W74 W75

SP-2 Dark Grey FB-2

FB-1 FB-1 FB-1 FB-2 FB-2 W26 W27 W28 W29 W28 FB-1 FB-1 FB-1 FB-1 FB-1 D43 D44 D43 W48 UPPER WI-FI LOUNGE UPPER 1.01 WI-FI LOUNGE 1.01

FB-1 FB-1 4 3 2 H UPPER WI-FI LOUNGE INTERNAL ELEVATION I UPPER WI-FI LOUNGE INTERNAL ELEVATION A1.02 1:50 A1.02 1:50

TCC-1

W73 TCC-1 TCC-1 TCC-1 Timber trusses. TRT Timber trusses. TRT TCC-1 W73 W74 TRT-1 TRT-1 TRT-1 TRT-1 TRT-1 TRT-1

SP-2 Dark Grey 717 1208 FB-1 FB-2 FB-1 FB-2 FB-1 FB-1 FB-1 FB-1 600 FB-2 CONC-4

Signage SID06_01_01 D47 Refer to signage documents W43 W30 fan 1850 switch OPENING light switch 1290

+ dimmer 920 SS Lift doors 2400 FHR

CONC-4 850

Concrete detail to lift door opening to be J UPPER WI-FI LOUNGE INTERNAL ELEVATION K UPPER WI-FI LOUNGE INTERNAL ELEVATION confirmed with Lift A1.02 1:50 A1.02 1:50 Manufacturer

FB-1 TCC-1

TRT-1 TRT-1 W73 TRT-1 TRT-1 TRT-1

SP-2 Dark Grey

Artwork Curtain track. SIlent Gliss 5300 motorised system. FB-1 FB-1

FB-1 FB-1 FB-1 W30 W31 FB-1 W32 W33 FB-1 D47

W30 Refer to A2.02 for internal shutter details Refer to A2.02 for internal shutter details W34

COMMUNITY Sill. TP-2a HALL 1.02 COMMUNITY HALL FB-1 FB-1 1.02

L COMMUNITY HALL INTERNAL ELEVATION M COMMUNITY HALL INTERNAL ELEVATION A1.02 1:50 A1.02 1:50

FB-1

Timber battens to acoustic louvres FB-1 FB-1 FB-1 FB-1 FB-1 TRT TCC-1 W73

Artwork Curtain track. SIlent Gliss 5300 motorised system. COS

MI MI MI 707 MI

MI MI MI MI FB-1 FB-1 FB-1 FB-1 FB-1 D48

W33 Refer to A2.02 for internal shutter details Refer to A2.02 for internal shutter details Refer to A2.02 for internal shutter details COMMUNITY COMMUNITY HALL HALL HALL STORE 1.02 1.02 1.03 Sill 2400

FB-1 FB-1 FB-1

N COMMUNITY HALL INTERNAL ELEVATION O COMMUNITY HALL INTERNAL ELEVATION A1.02 1:50 A1.02 1:50

GENERAL NOTES: LEGEND CONSULTANTS TO NEESON MURCUTT ARCHITECTS DATE ISSUE REVISION CHECKED BY STRUCTURAL SIMPSON DESIGN ASSOCIATES PROJECT NAME : JUANITA NIELSEN COMMUNITY CENTRE UPGRADE NEESON MURCUTT ARCHITECTS - COMPLY WITH RELEVANT AUTHORITIES REQUIREMENTS ADJ ADJUSTABLE DWR DRAWER HT HOSE TAP RF RESILIENT FLOORING SP STEEL PAINTED TPH TOILET PAPER HOLDER MECHANICAL FLOTH 07.11.13 A TENDER TJ AF ACOUSTIC FABRIC PANEL ECB EMERGENCY CALL BUTTON IS ISOLATION SWITCH RH RANGE HOOD SR SHOWER TRT TIMBER ROOF TRUSS ELECTRICAL FLOTH L2 9 ROSLYN ST POTTS POINT 2011 T. 8297 3590 F. 8297 3510 LIFT FLOTH 12.11.13 B 100% TENDER SUBMISSION TJ PROJECT NO : C18046 - COMPLY WITH THE BUILDING CODE OF AUSTRALIA AL ALUMINIUM EXT EXISTING JU JOINERY UNIT RM RENDERED MASONRY SS STAINLESS STEEL TS TAPSET TRUE HYDRAULIC ARUP BA BASIN F FRIDGE LF LIGHT FITTING RU RUBBER FLOOR MAT MIRROR POLISHED STAINLESS STEEL TX EXISTING TIMBER STRUCTURE 15.11.13 c 100% TENDER SUBMISSION TJ - COMPLY WITH ALL RELEVANT AUSTRALIAN STANDARDS SSP FIRE SERVICES ARUP NOMINATED ARCHITECT : RACHEL NEESON No. 6692 BB BLACKBOARD FB FACE BRICK LP LAMINATE RWH RAINWATER HEAD STONE UR URINAL HERITAGE JOHN OULTRAM HERITAGE + DESIGN NORTH ST FOR - DIMENSIONS IN MILLIMETRES BCT BABY CHANGE TABLE FC FIBRE CEMENT SHEET ME METAL MESH RWO RAINWATER OUTLET STP STEEL PLATE WC TOILET BCA BCA LOGIC - STUART BOYCE CITY OF SYDNEY - CITY PROJECTS ACCESS BCA LOGIC - STUART BOYCE - USE FIGURES DIMENSIONS ONLY CA CANVAS AWNING FG FIXED GLASS MI MIRROR SC STEEL COLUMN STW STUD WALL WMC WASHING MACHINE COCKS PLANNING MERSONN CBT CABLE TRAY FHR FIRE HOSE REEL MW MICROWAVE SD SOAP DISPENSER T SOLID TIMBER ZN ZINCALUME ACOUSTICS ARUP NO REV TITLE PHASE SCALE DATE - DO NOT SCALE CF CEILING FAN FP FIXED PANEL OF OVERFLOW SE FOLD DOWN SEAT AS1428 TC SOLID TIMBER CLADDING LANDSCAPE SUE BARNSLEY DESIGN TRAFFIC TRAFFIX - IF DISCREPANCY EXISTS NOTIFY ARCHITECT CH CLOTHES HOOK FS FIXED SHELF OV OVEN SF SHELF TCC SOLID TIMBER CLAD CEILING ESD ARUP CONC CONCRETE FW FLOOR WASTE PH PARTITION HINGE SFD STEEL FRAMED DOOR TD TIMBER DOOR RISK/OH+S ARUP A6.02 C INTERNAL ELEVATIONS TENDER 1:20 @A1 7 NOVEMBER 2013 - COS - CONFIRM ON SITE CPT CARPET TILE GALV GALVANISED STEEL PLY PLYWOOD SFW STEEL FRAMED WINDOW TE TERRAZZO LIGHTING FLOTH SIGNAGE FROST DESIGN - IF IN DOUBT ASK CT CERAMIC TILE GR GRAB RAIL PM PAINTED MASONRY SI SINK TF TIMBER FLOOR PRIVATE CERTIFIER BM+G - BRIAN MAGUIRE Copyright in all documents and drawings prepared by NEESON MURCUTT ARCHITECTS and in any works executed from those documents and drawings shall remain the property of, or on CTP COOKTOP HA HANDLE PT PLUMBING TRAP SJ SILICONE JOINT TI TACTILE INDICATORS IF ISSUE IS INITIALED AS CHECKED DRAWING CAN BE CONSIDERED APPROVED DP DOWNPIPE HD HAND DRYER PRL PRIVACY LATCH SK SKIRTING TMV THERMOSTATIC MIXER VALVE creation vest in NEESON MURCUTT ARCHITECTS. DW DISHWASHER HE HEATER PTD PAPER TOWEL DISPENSER SM STEEL MESH TP PAINTED TIMBER UNDER NMA QUALITY MANAGEMENT SYSTEM © JUANITA NIELSEN COMMUNITY CENTRE PUBLIC ART CURTAIN Attachment B - Preliminary Curtain Specifications Purpose made Double glazing untit, 12.38mm clear Double glazing untit, 12.38mm clear Zincalume flashing on lam, 6mm air gap, 6.38mm clear lam 08 lam, 6mm air gap, 6.38mm clear lam 18 marine grade ply on GJames aluminium 400 series suite - subtrate with KDHW on GJames aluminium 400 series suite blocking as required 50 x 25 x 3 aluminium box section Purpose made Zincalume capping Purpose made Zincalume Existing parapet GJames Aluminium section 400-014 capping beyond 3mm thick aluminium support on Isolation tape to separate steel and isolation tape Air gap at top of aluminium components boards 3mm thick aluminium dead load angle 19mm painted bracket set in sealant and screw fixed spotted gum T&G to mullions cladding boards. Ensure 3mm expansion Steel support tabs beyond between each board . Screw-fix through 19mm marine grade plywood tongue into 35mm Continuous timber blocking substrate KDHW fixing battens notched to allow air flow to rear of boards Sprinkler pipes - refer to fire engineer's drawings and specifications for further 300 x 110mm box gutter. 1.6mm thick information Breathable sarking & 5052 grade folded aluminium on insulation 19mm marine ply gutter boards supported on adjustable gutter straps

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

Air gap at bottom of The Artist should generally note the following information when formulating their conceptual approach. boards

This information should be considered indicative only and may be subject to change during the project Saw cut notch into peak of existing parapet, embed development process. Details of the integration of artwork curtain into the building refurbishment works flashing into notch, and the final selection of the electric curtain track system will be resolved with the successful artist in silicone seal conjunction with the project design team during design development. This may result in adjustment of the motorised track system preliminarily specified. 03 SECTION DETAIL 90 x 8mm galv EA shelf welded to A3.02 1:5 beam

Galv steel structure to engineer's details. Stud bolts shop welded to fix • Artwork curtain will be hung from a motorised curtain track system (see indicative illustration) Motor will all timber framing be concealed behind curtain. 75 x 50h x 8mm galv UA bolted to Purpose made Zincalume shelf at 300mm ctrs capping Provide fixing studs to rear of acoustic louvre

Purpose made galvanised steel Existing parapet beyond flashing

05 SECTION DETAIL 05 SECTION DETAIL 19mm marine grade plywood substrate A3.00 1:5 A3.00 1:5 Black painted acoustic louvre. Refer Purpose made Zincalume to acoustic consultant's report for capping specification. Provide shop drawings for approval including all fixings. 12mm thick horizontal battens over internal blades fixed with invisible mechanical fixings

45 x 5 MS EA. SP-2 grey finish . Provide return at south end 90x45 F5 pine studwork over D47 to hide curtain track between galvanised steel Double glazing untit, 12.38mm clear columns to structural lam, 6mm air gap, 6.38mm clear lam engineer's drawings on GJames aluminium 400 series suite Black silicone on closed-cell backing rod GJames Aluminium section 400-014

Isolation tape to separate steel and GJames aluminium profile 400-012 trimmed. Silent Gliss 5300 Electric curtain aluminium components Isolation tape under track 05 Form mullions by welding a 75x20mm flat to a 150 x 6 flat. Epoxy fill all gaps in weld to - 150 x12 mild steel EA welded to make weld appear continuous. Paint finish Stainless steel insect wire screens to UC. Cap return back to flange SP-2 - grey all opening sashes. Colour black. Acoustic insulation of UC. SP-2 grey finish. • 127 x 51 x 6 galvanised RHS mullions Track will be fixed to the wall with a bracket support ( see indicative detail below) Mirror Finish • Beyond There is a double track with capacity to support up to two parallel curtains if desired Concrete hob the structural 12mm FC sheet cladding engineer's details

PLANT PLANT UPPER COMMUNITY WI-FI Flashing 100mm overflow beyond HALL LOUNGE

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

150 details Paint-on membrane to Paint-on membrane to 06 SECTION DETAIL specification specification A3.00 1:5 230

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

45 x 5 EA galv steel cover piece, SP-2 paint finish. 150 x12 mild steel EA welded to UC. Cap return back to flange of UC. SP-2 grey finish. Silent Gliss 5300 Electric curtain track , 20mm Proactive Technology fixed as required by manufacturer to Australia, Polastic insulation support shelf above Silent Gliss 5300 Electric curtain boards/vapour barrier fixed track directly to underside of slab 150 x 12 EA galv steel support shelf , Flange of UB SP-2 grey paint finish. Fix through to 08 SECTION DETAIL framing behind with countersunk bugle headed bolts painted to match - 1:5 100mm inside radius

Align with line of 150UC eaves tie beyond Rockwool insulation COMMUNITY HALL COMMUNITY HALL

Curtain to schedules

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

80 x 12mm spotted gum T&G ceiling lining

01 SECTION DETAIL 02 SECTION DETAIL 07 REFLECTED PLAN DETAIL A3.02 1:5 A3.02 1:5 - 1:5

GENERAL NOTES: LEGEND 2 CONSULTANTS TO NEESON MURCUTT ARCHITECTS DATE ISSUE REVISION CHECKED BY STRUCTURAL SIMPSON DESIGN ASSOCIATES PROJECT NAME : JUANITA NIELSEN COMMUNITY CENTRE UPGRADE NEESON MURCUTT ARCHITECTS - COMPLY WITH RELEVANT AUTHORITIES REQUIREMENTS ADJ ADJUSTABLE DWR DRAWER HT HOSE TAP RF RESILIENT FLOORING SP STEEL PAINTED TPH TOILET PAPER HOLDER MECHANICAL FLOTH 07.11.13 A TENDER TJ AF ACOUSTIC FABRIC PANEL ECB EMERGENCY CALL BUTTON IS ISOLATION SWITCH RH RANGE HOOD SR SHOWER TRT TIMBER ROOF TRUSS ELECTRICAL FLOTH L2 9 ROSLYN ST POTTS POINT 2011 T. 8297 3590 F. 8297 3510 LIFT FLOTH 12.11.13 B 100% TENDER TJ PROJECT NO : C18046 - COMPLY WITH THE BUILDING CODE OF AUSTRALIA AL ALUMINIUM EXT EXISTING JU JOINERY UNIT RM RENDERED MASONRY SS STAINLESS STEEL TS TAPSET TRUE NORTH HYDRAULIC ARUP BA BASIN F FRIDGE LF LIGHT FITTING RU RUBBER FLOOR MAT MIRROR POLISHED STAINLESS STEEL TX EXISTING TIMBER STRUCTURE - COMPLY WITH ALL RELEVANT AUSTRALIAN STANDARDS SSP FIRE SERVICES ARUP 15.11.13 C 100% TENDER SUBMISSION TJ NOMINATED ARCHITECT : RACHEL NEESON No. 6692 BB BLACKBOARD FB FACE BRICK LP LAMINATE RWH RAINWATER HEAD STONE UR URINAL HERITAGE JOHN OULTRAM HERITAGE + DESIGN ST FOR - DIMENSIONS IN MILLIMETRES BCT BABY CHANGE TABLE FC FIBRE CEMENT SHEET ME METAL MESH RWO RAINWATER OUTLET STP STEEL PLATE WC TOILET BCA BCA LOGIC - STUART BOYCE 17.11.14 D CONSTRUCTION TJ CITY OF SYDNEY - CITY PROJECTS ACCESS BCA LOGIC - STUART BOYCE - USE FIGURES DIMENSIONS ONLY CA CANVAS AWNING FG FIXED GLASS MI MIRROR SC STEEL COLUMN STW STUD WALL WMC WASHING MACHINE COCKS PLANNING MERSONN CBT CABLE TRAY FHR FIRE HOSE REEL MW MICROWAVE SD SOAP DISPENSER T SOLID TIMBER ZN ZINCALUME ACOUSTICS ARUP NO REV TITLE PHASE SCALE DATE - DO NOT SCALE CF CEILING FAN FP FIXED PANEL OF OVERFLOW SE FOLD DOWN SEAT AS1428 TC SOLID TIMBER CLADDING LANDSCAPE SUE BARNSLEY DESIGN TRAFFIC TRAFFIX - IF DISCREPANCY EXISTS NOTIFY ARCHITECT CH CLOTHES HOOK FS FIXED SHELF OV OVEN SF SHELF TCC SOLID TIMBER CLAD CEILING ESD ARUP CONC CONCRETE FW FLOOR WASTE PH PARTITION HINGE SFD STEEL FRAMED DOOR TD TIMBER DOOR RISK/OH+S ARUP A7.01 D GENERAL DETAILS CONSTRUCTION 1:5 @A1 7 NOVEMBER 2013 - COS - CONFIRM ON SITE CPT CARPET TILE GALV GALVANISED STEEL PLY PLYWOOD SFW STEEL FRAMED WINDOW TE TERRAZZO LIGHTING FLOTH SIGNAGE FROST DESIGN - IF IN DOUBT ASK CT CERAMIC TILE GR GRAB RAIL PM PAINTED MASONRY SI SINK TF TIMBER FLOOR PRIVATE CERTIFIER BM+G - BRIAN MAGUIRE CTP COOKTOP HA HANDLE PT PLUMBING TRAP SJ SILICONE JOINT TI TACTILE INDICATORS Copyright in all documents and drawings prepared by NEESON MURCUTT ARCHITECTS and in any works executed from those documents and drawings shall remain the property of, or on DP DOWNPIPE HD HAND DRYER PRL PRIVACY LATCH SK SKIRTING TMV THERMOSTATIC MIXER VALVE IF ISSUE IS INITIALED AS CHECKED DRAWING CAN BE CONSIDERED APPROVED creation vest in NEESON MURCUTT ARCHITECTS. DW DISHWASHER HE HEATER PTD PAPER TOWEL DISPENSER TP PAINTED TIMBER UNDER NMA QUALITY MANAGEMENT SYSTEM © Preliminary Curtain Specifications

• Curtain is attached to the track with curtain hooks.which insert into the curtain header • Artwork curtain will need to include fabrication of curtain header suitable for track installation. The Artist should consider the way the curtain folds or pleats and how this may impact on the artwork when the curtain is open. There may be a range of header styles that can integrate with a track mounted curtain. Some examples are included below

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

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

• Curtain wil be retractable through remote control system

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

3 JUANITA NIELSEN COMMUNITY CENTRE PUBLIC ART CURTAIN Attachment C - Site history

CONSERVATION

MANAGEMENT

PLAN

JUANITA NIELSEN COMMUNITY CENTRE

31 Nicholson Street, Woolloomooloo

FOR CITY OF SYDNEY

April 2013

Late c1970s, City of Sydney Archives_SRC8321

March 2012_CPH

1949 aerial photo of Woolloomooloo, City of Sydney Archives

JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

3.0 HISTORICAL EVIDENCE

3.1 ABORIGINAL WOOLLOOMOOLOO The original inhabitants of the area were the Gadigal people. The importance of Woolloomooloo to the Gadigal people as a hunting ground and sedentary residential space is referred to in various early records.

The word 'Woolloomooloo' was historically used for an area located between South Head and Botany Bay that Governor Phillip, in charge of the colony up to 1792, had marked out as a reserve for Aborigines. It was known as Walla-Mulla, meaning “young male kangaroo”, because it was the haunt of the rare black kangaroo.5 The Metropolitan Local Aboriginal Land Council is the custodian of Aboriginal culture and heritage within the Sydney region and more information regarding the significance of the area can be obtained from contact with that organisation.

Figure 3.1: Painting by Joseph Lycett, 1825, of Woolloomooloo Bay. (Source: 'The residence of Edward Riley Esq, Woolloomooloo near Sydney NSW, Joseph Lycett, National Library of Australia, nla.pic-an7690833-v)

Publications that describe Aboriginal life in the Sydney region rely heavily on the historical descriptions by early colonists who arrived with Captain Arthur Phillip and the First Fleet in 1788. They include fewer details about the period before the British arrival, because much less is known about that time. Much of the earlier archaeological works undertaken around Port Jackson were not systematic in fieldwork or reporting when judged by today's standards.6 1895 is the earliest registration date in the Australian Museum's registers for a stone artefact collected from the Sydney region. The artefact, which was a ground-edged axe

5 Pollon, F.(ed.), 'History of Woolloomooloo', The Book of Sydney Suburbs, Harper Collins, Sydney, 1998, p275 6 Attenbrow, V. Sydney's Aboriginal Past, University of NSW Press, 2002, p1

CITY PLAN HERITAGE FINAL 20 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE head, was collected from a road-cutting near St Mary's Cathedral and had been originally collected in 1876 before being presented to the Museum’s collections.7 It is from these historical sources and an understanding of the original coastline of Woolloomooloo Bay that we can determine a historical Aboriginal presence for Woolloomooloo Bay and the types of activities that took place there.

3.1.1 NATURAL RESOURCES In May 1770 Caption Cook named Botany Bay after the profusion of plant species around the bay. Over 250 plants in the Sydney region have been identified as having edible fruits, berries, tubers/rhizomes/roots, leaves and nectars or wood, timber resin and fibre used in making tools and weapons. The waters of Port Jackson are vast estuarine areas with freshwater tributaries. They have a great range of variation in their inter-tidal and non-tidal shorelines, which include extensive rock platforms, sandy beaches and mudflats as well as mangrove forests and seagrass beds. These were habitats which had feeding grounds for a wide range of fish, shellfish, marine mammals, tortoises and water birds.8 For Woolloomooloo Bay, the early shoreline was dry and swampy at low tide and included sandy beaches and mudflats. The type of vegetation that grew in this kind of area would have included estuarine saltmarsh and mangrove communities on the flat valley and Bay, with eucalypt forests and woodlands on the higher areas of land around the Bay. There were no rainforests, closed forests, in the area.9

The pre-1788 Sydney region fauna was typical of that of eastern New South Wales. The presence of particular animal species and abundance of that species for a specific area was more influenced by vegetation type. In 1789 Watkin Tench, another reliable historical source, wrote that, the natives of Port Jackson and Botany Bay, "wholly depend for food on the few fruits they gather; the roots they dig up in the swamps; and the fish they pick up along shore, or contrive to strike from their canoes with spears. Fishing, indeed, seems to engross nearly the whole of their time, probably from its forming the chief part of a subsistence..."1011

In 1802 Sir John Franklin (who was serving as a midshipman under Matthew Flinders, his uncle by marriage, in the Investigator, during its voyage of discovery in 'New Holland' in 1801- 0412) wrote "Kanguroo [sic], opossums, fish, parrots, and parroquests, [sic] all of which are in abundance at Port Jackson"13 were eaten.14

7 Attenbrow, V. 2002, p5 8 Ibid, p.41 9 Ibid, p.40 10 Ibid, p.63 11 Ibid. 12 Fitzpatrick, Kathleen, 'Franklin, Sir John (1786–1847)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/franklin-sir-john-2066/text2575 13 V. Attenbrow, 2002, p62 14 Ibid.

CITY PLAN HERITAGE FINAL 21 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

The historical sources note that from about 1810 to the early 1820s, Woolloomooloo was a favourite place for corroborees and other activities. Large parties of Aboriginals visiting Sydney and its vicinity rested during the night near a house called 'Woolloomooloo'.15 The documentary sources for corroborees being held at Woolloomooloo include the 1825 painting by Joseph Lycett, Figure 3.1, above. This painting shows the view from the Domain of Woolloomooloo House and fenced grounds with a group of Aboriginals down at the foreshore and in a small canoe. A small area of sandy beach or possibly mudlfats is also shown at the shoreline. The place Palmer chose to build on was thought to have been an important Aboriginal ceremonial ground, and though it became a centre of fashionable entertaining for the elite of the Sydney community, local Aboriginal people continued to congregate there.16The location of Palmer’s house is also shown in an 1833 painting as being in an area set back from the original shoreline. The 1844 and survey plan puts its location as being between Cathedral and William Streets, which is an area south and west of the subject site.

On land that was part of Sydney's Domain, and located just west of Woolloomooloo Bay, Aboriginal explorer Bowen Bungaree, his mother Cora Gooseberry and their extended family camped at a spot near Centipede Rock (this location not identified) at Woolloomooloo Bay, through to the 1840s. They were regularly seen at the wharves at nearby Circular Quay, selling their fish and oyster catches, and demonstrating how to throw boomerangs.17 The Fig Tree Baths, a natural sheltered swimming place on the northern side of Woolloomooloo Bay, adjacent to the Domain, was an early bathing place for colonists who wished to relax away from the stresses of the town. In the first decades of the nineteenth century it was very probably also a place that was shared with the local Gadigal who had used it for centuries.18

There was nothing specific about the subject site that would suggest it is specifically associated with Aboriginal cultural heritage significance or that any items may be located on the site. While it would have seen Aboriginal pedestrian and possibly canoe hunting and fishing it was swampy mudflats with no firm ground surfaces, rock shelters, or possibly any plant types that would warrant it being a location of specific activities. An Aboriginal Heritage Information Management search was undertaken to see whether any previously identified Aboriginal sites were located on or within an area including a 200 metres buffer to the current location, based on Lot and DP numbers for the subject site. This search (AHIMS letter is provided at Attachment E of this CMP) resulted in no previous sites being identified for the area.

15 Attenbrow, V. Sydney's Aboriginal Past, p138 16 Pollen, F., http://dictionaryofsydney.org/entry/woolloomooloo 17 The Domain and Botanical Gardens Aboriginal sites, http://www.cityofsydney.nsw.gov.au/AboutSydney/documents/VisitorGuidesInformation/4212_FA4_BaraniBarrabugu Walk_Brochure_WEB_v2.pdf 18 F. Pollen, ed. http://dictionaryofsydney.org/entry/woolloomooloo

CITY PLAN HERITAGE FINAL 22 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

3.2 LAND GRANTS The subject site was originally part of John Palmer’s 100 acre grant at the head of Garden Island Cove which was allocated to him by Lieutenant-Governor Francis Grose who took over after Governor Phillip in February 1793. Palmer was born in England in 1760, and arrived in New South Wales with the First Fleet in 1788. Soon afterwards, he was appointed commissary on 2 June 1791. His 100 acre grant at Garden Island Cove was named Woolloomooloo Farm, and became one of the colony’s first permanent residences Palmer's grant extended well into what is now called East Sydney and Darlinghurst, and as late as the 1840s the name Woolloomooloo was applied fairly indiscriminately to these places, as well as to the valley and the heights beyond. 19

Figure 3.2: 19th century map of the Parish of Alexandria showing the land granted to John Palmer at Woolloomooloo Bay and the land grants in the area later known as Potts Point. (Source: Land and Property Management Authority, Parish Map No. 14066301)

Palmer built Woollamoola House, also known as Woolloomooloo Farm, and set within an extensive orchard. It was one of the colony's first permanent residences, see paintings in this section at Figures 3.1 & 3.3. It was approached via a foot-track around the rim of the valley, which the colony's surveyor Mitchell formed into the Woolloomooloo Road (now identified as William Street) in 1831.

Palmer settled on Woollamoola House as the name of the residence. He built it beside the creek close to the shore, called Yurong Creek, and eventually the name for the whole area became Woolloomooloo.

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

CITY PLAN HERITAGE FINAL 23 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Figure 3.3: Painting dated 1833 by Charles Rodius of Woolloomooloo, with Palmer's House, Woollamoola, shown fenced here at right. (Source: Painting by Charles Rodius, NSW State Library, Call No. PXA 997)

By 1814 Palmer had financial difficulties and the estate of Woolloomooloo had been mortgaged for over £13,000. In May 1822 it was sold to Edward Riley for only £2,290. He too is said to have accepted Aboriginal people as nightly residents in the areas surrounding the house. The Woolloomooloo Estate was later subdivided into small lots and sold after Riley’s death in February 1825.

In 1826 Governor Ralph Darling chose the area east of the town to create 'a high status area … which would serve as both example and chastisement to the debased populace of Sydney town'. He made land grants to his colleagues and friends (see parish map at Figure 3.2) and required them to build grand houses and landscape them to approved standards. One of the first of these land grants was made to Sir John Wylde, Judge Advocate, in 1822, Director of the Bank of NSW. The grant was for eleven acres and situated at the end of Potts Point. The largest of the grants was made to Alexander Macleay, then Colonial Secretary, who received 54 acres in 1826 from Governor Darling. By 1831 seventeen grants of land had been made on Woolloomooloo Hill to a selection of the most politically and economically powerful men in the colony. Residences were to be erected on the properties within three years, the house was to cost in excess of £1,000 and it had to face Government House, across the bay. The fine houses were built on the elevated Woolloomooloo Heights, appropriately renamed Darlinghurst Heights (now Potts Point), but several of the land grants included low land in the valley as well as higher ground on the ridge and at the top of the escarpment. This lower ground was the first to be subdivided in the 1840s. By then there were also some cottages on the eastern edge of the valley near Woolloomooloo Bay. 20

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

CITY PLAN HERITAGE FINAL 24 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Figure 3.4: This 1849 painting by George Edwards Peacock, titled 'Sydney from Woolloomooloo' and is taken from the tops of the mansions lining Brougham or Victoria Streets, now in Potts Point. (Source: State Library of NSW, George Edwards Peacock Digital image a2413001)

During these early years, c.1840s, Woolloomooloo enjoyed a brief heyday as a desirable address. With picturesque outlooks and very little industry, it was separate from the grime of the centre of town. George French Angas commented in 1845 that Woolloomooloo was a 'very pretty' place of villas and gardens.21

In the 1850s Woolloomooloo House was demolished to make way for smaller dwellings. Other large mansions were being turned into boarding houses. When the authorities carried out an extensive house-to-house inspection of the city's worst housing in 1876, they only took a cursory look at Woolloomooloo towards the end of their survey, but concluded that they should have paid it more attention. They were surprised at the number of dilapidated and unsanitary houses in the area next to the bay that had seen better days, one apparently with the floor boards gone and a ceiling of brown paper, but with remnant oil paintings still on the walls.22

The catalyst for the social decline of Woolloomooloo was the expansion of the wharfage. There had been some small-scale maritime activities along the bay since the 1820s, but things got much more serious when the mangrove swamps were drained in the 1850s and a new semi-circular wharf was constructed in 1866. Behind the new Cowper Wharf Road there was now space for several new streets, and over the next few decades the area became crowded with small houses, pubs, brothels and billiard rooms servicing a maritime-focussed population.23

21 Ibid. 22 Ibid. 23 Fitzgerald, S., op cit.

CITY PLAN HERITAGE FINAL 25 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

3.3 LAND RECLAIMATION From the 1850s it was planned to reclaim the area of Woolloomooloo Bay from the swampy mangrove area it originally was. The survey map shown in detail overleaf, Figure 3.5, was prepared by the surveyor Peter Lewis Bemi in 1844.

This plan shows the original shoreline of Woolloomooloo Bay, the location of Palmer's Woollomooloo House, marked 'Old House' and the alignment of streets and other buildings in the area. The location of the subject site is indicated in an area of Dowling Street that was then underwater, at least at high tide. As noted in the previous section and shown on the plans overleaf, the original Woolloomooloo Bay had a more narrow head and a number of creeks with a sandy beach located alongside the Domain. The eastern side is not as well documented and therefore the first description of the subject site is as a swamp, possibly with mangroves.

Another official survey of the area, dating to 1853, shows the area of Woolloomooloo Bay near the shore marked as 'Dry at low tide', see Figure 3.6.

Work for the reclamation of the Bay and associated wharf was designed by the Colonial Architect's office and work began in 1861 by private contractors. During 1863, a stone breakwater was completed and this was used by the local population as a bridge across the flats. Reclamation and construction work commenced on the eastern side. The wharf was named Cowper Wharf in honour of the State Premier. The wharf consisted of a sandstone wall behind which were layers of rock, ballast and sand. The adjacent cliffs of the Outer Domain and Darlinghurst provided the stone and crushed rock. When the bay was dredged, its sand and silt was deposited behind the breakwater.24

With the establishment of the wharves at Woolloomooloo Bay the development of the area intensified. The Plunkett Street School was opened in 1855, at a location two blocks west of its current location, behind the subject site. At first, Cowper Wharf was used predominantly by small coastal shippers, particularly timber traders, and so the adjoining land became dotted with sawmills and timber yards and small-time boatbuilding.

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

CITY PLAN HERITAGE FINAL 26 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Figure 3.5: Plan of the Riley Estate (Woolloomooloo) dating to 1844 by surveyor Peter Lewis Bemi, with original shoreline and creek lines, sandy beach also apparent. The street alignments and development are also shown. The subject site is indicated, in area that was originally under water or part of the mangroves. (Source: Plan of Riley Estate, P.L. Bemi, State Library of NSW, ZMB2 811.18111/1844/1)

CITY PLAN HERITAGE FINAL 27 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Figure 3.6: The Trigonometrical Survey Plan dated 1853 of Woolloomooloo Bay, shows its topography and development details including roads and buildings. This survey predates the Reclamation Works for Cowper Wharf, which is shown in the Plan for the land sale, 1865, below. (Source: 1853 Trigonometric Survey of Port Jackson, State Library of NSW, ZM4 811.15.1853.1)

Figure 3.7: The Plan of Woolloomooloo Bay as reclaimed, showing the allotments to be offered for sale in 1866. (Source: State Library of NSW, Plan of Woolloomooloo Bay Reclaimed, ZM4 811.18112/1866/1)

CITY PLAN HERITAGE FINAL 28 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Figure 3.8: This 1873 photograph does not appear to include the subject site, but does include the 1871 Fish Market Building at the corner of Forbes, Wilson and Plunkett Streets in the far left side. The use of the area as combination residential and storage is most apparent and comparable with the c.1880 photograph below. (Source: State Library of NSW, a089985)

Figure 3.9: This photograph taken c.1880 from the Domain of Woolloomooloo Bay was by August Tronier who created an album of photographic views of Sydney between 1879 and 1884. The development of the area has intensified (Source: NSW State Library Call No. PXA 411)

Woolloomooloo was also at that time the centre of Sydney's fishing trade, with the catch coming from the coastal waters north and south of Sydney, as well as from places closer to home, such as La Perouse. At first the fish were washed in the waters of the bay, located

CITY PLAN HERITAGE FINAL 29 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE near a major sewer outlet. The produce was sold directly from the wharf until 1872, when the city council opened a fine fish markets building, called the Eastern Markets, located at the corner of Plunkett and Forbes Streets. This building served the fish trade until it was sold in 1911, and operations moved away from Woolloomooloo, the building was subsequently demolished. But from the 1870s fisher folk had moved into the area, including a small community of Maltese and Italian families.25

Figure 3.10: The elaborate fish markets building, constructed 1871 and located at the corner of Forbes and Plunkett Streets, one block south west of the subject site. (Source: American & Australasian Photographic Company, City of Sydney Archives, on4_40243)

By the 1880s the suburb was firmly orientated towards wharves, fish markets and similar activities. The maps and photographs of the time clearly display the intensified development in the area. Woolloomooloo was one of the most popular and distinct divisions within the Sydney local government area. The streets were highly packed with modest worker’s cottages interspersed with a few earlier mansions.

Social decline of the area was evident by the 1890s and continued through the first half of the twentieth century. It was at this time that the Free Kindergarten was established and operated from the subject site. The free kindergartens were set up in poor urban areas to attend to the health of preschool age children.

The development of the area of course included a number of hotels around the wharf, with the Frisco, the Tilbury, Bells and the former Macquarie Hotels (now Woolloomooloo Bay Hotel) still located within a block of each other and around the wharf area. The Frisco Hotel was originally known as the Dowling Street Wharf Hotel when the subject site was first sold in 1865. Nesbitt Street was formerly known as Mill Street, as there were mills located in that block, and shown on the 1866 land sale plan, at Figure 3.7.

25 S. Fitzgerald, Woolloomooloo suburb history, Dictionary of Sydney

CITY PLAN HERITAGE FINAL 30 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Figure3.11: The Frisco Hotel at the corner of Dowling and Nesbitt Streets, Woolloomooloo, opposite the subject site. Photograph is dated 16 July 1912 and the Occupants of the site are Mick Hogan, Frisco Hotel and J Muscat, Grocer. (Source: City of Sydney Archives, demolition books, NSCA CRS 51/2758)

3.4 SUBJECT SITE - LAND TITLES AND USES The first Land Title for the area incorporating the subject site is the Town Lot Sale dated 26 September 1865 when William Roberts of Sydney, a solicitor, purchased Allotments 1, 2, 3 and 4 of Section 7, located at the corner of Nicholson and Dowling Streets. The land had been advertised for sale on 22nd August 1865 and this land sale was a result of the former mentioned land reclamations in Woolloomooloo Bay. The land sale plans were shown in Figure 3.7.

Figure3.12: Excerpt from later Parish Map showing William Roberts land ownership in Woolloomooloo and the subject sites of Lots 1, 2, 3 and 4 indicated. (Source: Parish of Alexandria, Map 14011402 dated 1912)

CITY PLAN HERITAGE FINAL 31 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

The streets around the site after reclamation were named in honour of Sydney’s notable citizens of the period. Nicholson Street was named in honour of Sir Charles Nicholson, a doctor who promoted education and was one of the founding members of Sydney University. He was also its Vice Chancellor in 1853 and Chancellor in 1854.26

Figure 3.13: The 1865 Trigonometric plan of Sydney shows the subject site divided into four allotments. (Source: City of Sydney Historical Maps, 1865 Trig Series, Sheet N2)

Figure 3.14: A plan prepared in c.1887 of Woolloomooloo showed the subject site was being used as a storage yard with an iron shed. The colour coding applied is blue for metal, pink for masonry and yellow for timber. (Source: Rygate & West 1887 Sheet One, Historical Atlas of Sydney, City of Sydney Archives)

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

CITY PLAN HERITAGE FINAL 32 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

The first documented use for the subject site was obtained from Sands Directory (see Attachment A for full listing) in 1880. At that time the land appears to have been used by Joseph Notting, a wood and coal merchant. The 1887 plan (see Figure 3.14) shows the subject site with a storage yard and metal shed on the Wilson Street side of the property. At that time according to the plan it was used for storage of sanitary ware.

The subject site landowner William Roberts transferred Lots 1, 2, 3 and 4 in November 1882 to Alfred Branch Campbell, Charles Jackson Campbell, William Webb Campbell and Henry Campbell. On the same date the land was mortgaged to David Henry Davis of Sydney, a merchant, with the mortgage being discharged in September 1886.27

In March 1885 the land was transferred from the Campbell's to William Webb Campbell of Sydney, who was described as a warehouseman. He may have been part of the Campbell Stores family for which Campbell Cove is named, however this has not been ascertained. In August 1886 Webb transferred the land to George Evans of Sydney, a solicitor and a new Certificate of Title was issued.28 This new Certificate dated 11 October 1886 noted that George Evans of the city of Sydney, solicitor was now the proprietor of those pieces of land at Woolloomooloo Bay containing 6-1/4 perches (approx. 155 sqm) each, Allotments 1 to 4 inclusive of Section 7, as originally granted to William Roberts by Crown Grants dated 12.9.1866.29

In January 1888, a letter was written to the Mayor Sydney by R. Hardy & Son (Builders?) regarding the property, as follows: Will you kindly grant us permission to take in footpaths out to kerb line for erection of six stores bounding on Nicholson, Dowling, Wilson & McLean Streets, Woolloomooloo as there is very little traffic. I hope you will favour us with above and oblige.30 On the reverse of the letter is written: City Surveyor 1/2/88 The practice of granting the whole width of footways is very objectionable I think if granted in the case of Wilson and Mclean Streets; 8 feet of footways of other streets will be sufficient for any building operations proposed. To this extent I would recommend that they be allowed. 8 ft to be allowed, 7/2/8831 This information gives us a construction year of 1888 for the building, when it was owned by George Evans. The building was constructed as a two-storey warehouse containing six

27 Australian Dictionary of Biography 28 Ibid. 29 LTO, Vol 808 Fol 104 dated 11.10.1886 30 Correspondence dated 31.1.1888 R Hardy & Son to Your Worshipful, Council Correspondence File for 1888 31 Ibid.

CITY PLAN HERITAGE FINAL 33 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE stores. These are six bays that are still apparent from the Wilson Street elevation of the building and run over both levels of the building.

On 11.10.1888 the Land Titles listed that George Evans leased the property to George Eccles Kelso King of Sydney, an insurance company manager. King, who was knighted in 1929 and became Sir Kelso was a prominent businessman and Anglican in Sydney during the 1890s and early twentieth century. In December 1877, he had become secretary, with a salary of £350, of the new Mercantile Mutual Insurance Co. Ltd which opened for business in Pitt Street on 10 January 1878. During its first six months, he was the company's only employee. In 1880-81 King managed the Anglo-Australian Investment Finance & Land Co. Ltd at a salary of £400.32

In December 1889, Kelso King, wrote a letter to Council, see below, querying the assessment of the property and saying that out of the 6 stores of the property, 4 were vacant and "always have been". At that stage the building would have been in use for a year. He asked for a re- assessment of the value of the property, although no reply is noted.33

Figure 3.15: The 1889 complaint by Kelso King regarding 4 vacant stores on the subject site. (Source: Letter to Council from Kelso King, City of Sydney Archives 1889 correspondence file)

32 King, Hazel, 'King, Sir George Eccles Kelso (1853–1943)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/king-sir-george-eccles-kelso- 6957/text12083 33 Correspondence dated 10.12.1889 Kelso King, secretary Mercantile Mutual Insurance Co Ltd. Held in Council Correspondence File for 1889

CITY PLAN HERITAGE FINAL 34 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Kelso King's lease on the subject site was surrendered in February 1890,34 however, in 1891, the Council Assessment Books still had Kelso King as the owner of the property at Nos. 21 and 23 Dowling Street, listed as 'Stores', with a value of £150.35

On 22.12.1910 George Evans transferred the property (and possibly mortgaged it) to Permanent Trustee Co. of NSW Ltd. In March 1911 that Company transferred it to Archibald Fitzgerald Evans of Pilton, in the State of Queensland, a grazier. He may have been a descendant of George Evans; however, the Land Titles do not list that information.

A. F Evans retained the land until in March 1940 it was transferred (back) to The Union Trustee Co. of Australia Ltd. That company held on to the property until May 1963, when they transferred the land to a Mr Leslie Barber of East Sydney, a company director. Mr Barber mortgaged it that month to the Bank of NSW and then on 16th October 1964 leased it to United Tyre Service (Sydney) with the consent of the Bank. 36

The building continued to be used for a variety of purposes, and the six stores over two levels were used independently, as the Assessment Books attest. During the period from 1896 to the 1960s, uses such as Stores, which were either unidentified or associated with companies such as the Wattle Brand Eucalyptus Oil Company, factory use, such as the Konker Factory, as a paint shop and as a brass foundry. From 1897 until 1921, one bay, or store of the building, was used for the Free Kindergarten and, for a short time, another store was used as a lodging house by the Central Methodist Mission (1921). The Free Kindergarten continued to operate from Woolloomooloo at a different site as the numbers of local residents in the area continued to grow.

3.4.1 FREE KINDERGARTEN The Free Kindergarten was established in Sydney in conjunction with the Kindergarten Union of NSW in1895. Friedrich Wilhelm August Froebel, 1782-1852, was a German educator and the founder of the kindergarten system; 'kindergarten' being a German word. In 1837 he designed the kindergarten to provide an educational situation less formal than that of the elementary school but one in which children's creative play instincts would be organized constructively.37 The idea took hold also in England and the United States before coming to Australia. In 1895 the Kindergarten Union of NSW was formed and free kindergartens were set up in busy urban areas including that of the subject site. The Kindergarten Union of NSW 1930s publication notes: "The first Kindergarten was opened in Sussex Street [Sydney city] ...In the same year the depot was moved to Charles Street, Woolloomooloo as it was in that area that the

34 LTO, Volume 808 Fol 104 35 COS, Assessment Book No. 1179, Fitzroy Ward, 1891 36 LTO Transfers listed on Vol 808 Fol 104 11.10.1886 37 Froebel and the kindergarten, http://encyclopedia2.thefreedictionary.com/kindergarten

CITY PLAN HERITAGE FINAL 35 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

greatest work would have to be done. Almost immediately after this move the enrolments increased to twenty and it was not long before the voices of no less than 65 kiddies resounded throughout the honest modest building. This becoming too small another move was made to larger premises in Dowling Street, Woolloomooloo, where 82 children were taken care of. By the year 1895 there were 169 children under the sheltering wing of the Dowling Street Kindergarten ... It will be recalled that during the period of which we write Woolloomooloo was the home of the famous 'pushes'. These wild young men occasioned considerable worry to the Police Force but to show that underneath their rough exterior there beat many a kindly heart, there are related many instances where they gave practical assistance to the Kindergarten."38

In 1897, an article in the Sydney Morning Herald of April in that year described events at the Free Kindergarten on the occasion of a celebration of Froebel's birthday. Excerpts describing the building, activities etc are quoted below: "The name of Froebels is not new but is every day looming larger in circles devoted to the education of young children, for to him we owe the Kindergarten School. A devoted band of ladies have undertaken in Woolloomooloo what is known as the Free Kindergarten ... yesterday in honour of the birthday of Froebel, a number of those interested gathered at the school... There were between fifty and sixty children, their ages averaging about two years, and under the able leadership of Fraulein Scheer this diminutive company went through a delightful course of modelling with clay, weaving strips of coloured paper, etc... The singing that followed was a feature of the proceedings. ....The building in which the school is carried on is situated in Dowling- street Woolloomooloo, close to the fish markets. The Kindergarten has been in existence 18 months, and at present there are 70 names on the roll. At the close of the school the children were feasted (a 'party' they called it) by the ladies of Mrs Dane's Sewing Society. The teachers associated with Fraulein Scheer are Miss Bruuu, Miss Caper, Miss Hitchcock, Miss Rowland and Mrs Dane."39

The children were part of a daily program which operated between 9am and 3.30pm and included provision of milk, food including fruit and rest time. The parents were described an 'invariably handicapped by circumstances'. The operation of the Free Kindergartens was by public subscription to the Kindergarten Union and Government and Council grants as well as private donations of money, food, milk, toys and clothes.40

38 Kindergarten Union Early History, The Work of the free kindergartens, The Kindergarten Union of NSW (booklet), c.1930s 39 Available via Trove.nla.gov.au - The Sydney Morning Herald, Friday 16 April 1897, p2. Note: Fraulein Scheer is no relation to the author of this CMP. 40 The Work of the free kindergartens, The Kindergarten Union of NSW (booklet), c.1930s

CITY PLAN HERITAGE FINAL 36 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Figure 3.16: The 1903 Map of the City of Sydney does not even show the subject site within the buildings of Woolloomooloo – the block is left off. It does show the context of the subject site at the time with the public school, metal depot, fish markets and gas holders located to its west. The jetties and baths lining the Domain within Woolloomooloo Bay are also still in use at this time (Source: City of Sydney Map of 1903, City of Sydney historical maps collection)

In 1911 the premises of 21 Dowling Street, the property known as the Woolloomooloo Kindergarten were inspected by the City Health Officer. He filed a minute paper and letter with the Town Clerk stating that: "The closet accommodation is considered to be insufficient. A notice has been served upon the owner to provide additional closet and urinal accommodation."41 He also noted that "In regard to the walls of the building, the internal surfaces are in want of renovation, but are not in such a condition as to constitute a nuisance under the Public Health Act ..."42

There was no response or action described in relation to the above inspection and the Free Kindergarten continued to operate from the site for the next ten years, before moving to another location in Woolloomooloo.

3.5 LATER OWNERSHIP AND USE 15 December 1953 development permission was sought and granted from Council to use the premises of No. 11 Nicholson Street, Woolloomooloo, for bottling wine and spirits from Bond

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

CITY PLAN HERITAGE FINAL 37 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Storage. As the 1950s plan below shows, the building was still divided into different street numbers.43

Figure 3.17: A 1950s plan of the area, note the numbering of the subject site which is reflected in the Council Assessment Books, see Attachment A. Note also the layout of Maclean Street at the time and Plunkett Street Public School, which was located a few blocks west. (Source: City of Sydney Historical Maps, The City Building Surveyors' Detail Sheets, ca 1956 - sheet 7) There were building plans approved by Council on 15.5.1964 for a concrete ramp to be constructed within the warehouse building at 21 Dowling Street. The plans were prepared for Mr. L. Barber and were drawn by Macdonald Wagner & Priddle Consulting Engineers. Leslie Barber remained the owner when the lease was cancelled in 1965. He transferred it to Jesselton Pty Limited on 30.11.1971.44

In March 1968 development permission was sought to use the first floor of Nos. 1-11 Nicholson Street, 21 Dowling Street, Wilson Street and Maclean Street (covering all the bases) for the manufacturing of furniture. The equipment to be installed was one handsaw, one circular saw, one jointer and one boring machine. This was a change of use DA 202/68 dated 18.3.1968 applied for by Deric Deane Pty Ltd, of 173 New South Head Road, Edgecliff with the authority of the owner L. Barber, of 65 Queen Street, Ashfield. The building was described in that year, 1968, as; a two storey industrial type building, 99 feet x 70 feet, ground floor used for various industrial and commercial purposes and the first floor which has access from Dowling

43 COS Property File No. 202 1376/53 44 COS Property File No. 202 1376/53

CITY PLAN HERITAGE FINAL 38 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Street was previously used from before 1951 for the storage and distribution of oils but is present unoccupied.45 The historical notes for the Woolloomooloo Heritage Conservation area listing also note for 1968 that a decision to prepare a comprehensive planning scheme for the whole of Sydney was made by the Councils of the time. An ‘intensive, integrated, multi-level development’ was proposed for Woolloomooloo. The road system was to be totally reorganised by removing lesser roads and amalgamating sites for large scale development. The port was to be redeveloped and residential buildings were to be restricted to the edge of the domain and on Victoria Street. The Woolloomooloo Redevelopment Central Plan was adopted in 1969.46

Dissent in the local community grew and in 1972 the Woolloomooloo Resident Action Group was formed, see section 3.6.3. This group suggested the acquisition of land in Woolloomooloo for medium density housing development as an alternative to the high density commercial development that was being approved. The resident group approached the Builders Labourers Federation to ban demolition. These protests were effective and in May 1974, the Minister announced that the Housing Commission would build medium density housing in Woolloomooloo.47

In 1975, the Housing Commission began resuming property. Some terrace housing was restored and new dwellings were constructed. By 1979, 68 dwellings were completed, with construction continuing through to the 1990s. The battle to save the finger wharf at Woolloomooloo Bay also continued into the 1990s. The wharf was retained and its redevelopment completed in 2000.48

The NSW Land and Housing Corporation resumed the property (No. P299888) dating to 1974 and as the new owner of the property, a new Certificate of Title Vol 11766 Folio 117 was issued.49

In November 1981, Minutes of the (Council) Woolloomooloo Technical Liaison Committee meeting held on 25.11.1981, point 2, noted That the report by the Director of Parks dated 24.11.1981 regarding transfer of the 'Firestone' building, Nos. 1-11 Nicholson Street, Woolloomooloo from the Housing Commission to Council be received and noted that Council resolved on 25.5.1981 that the building be renamed after Juanita Nielsen."50 Point 14 of the Minutes further noted; "That arising consideration of a request from Mr. J. Mulvenna, President,

45 DA 202/68 18.3.1968, Property File No. 202 46 NSW Heritage Inventory Sheet for Woolloomooloo Heritage Conservation Area, http://www.heritage.nsw.gov.au/07_subnav_04_2.cfm?itemid=2421506 47 Ibid. 48 Ibid. 49 LTO Vol 11766 Fol 117 issued due to loss dated 28.1.1972 50 Meeting Minutes of the Woolloomooloo Technical Liaison Committee meeting held on 25.11.1981, Property File No. 27030001, 1/11 Nicholson Street, Firestone Building

CITY PLAN HERITAGE FINAL 39 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

W.R.A.G. in letter dated 9.7.1980 requesting Council give consideration to the naming of the Firestone Building, Nos. 1-11 Nicholson Street, Woolloomooloo after Juanita Nielsen.51

In there was a Development Application (DA) lodged for the property described as 1-11 Nicholson Street, DA 44.83.0049. At that stage the ground floor was operating as a tyre sales and fitting workshop and a store for builders. The first floor was a furniture manufacturer and included a ramp in the bay adjoining Dowling Street and the machinery noted above. The DA was to alter the building from its workshop state and to turn the building into the Juanita Nielsen Leisure Centre / Recreation Centre on behalf of the Council. From May 1983 extensive works were carried out and the Community Centre was opened in 1984.

Figure 3.18: May 1983 photograph of the building, viewed from Dowling Street, when it was known as the Firestone building - at 1-11 Nicholson Street. (Source: City of Sydney Archives, CRS 422/1/493)

Figure 3.19: Photograph dated 4 May 1983, prior to works commencing on the site. (Source: City of Sydney Archives, CRS 422/1/491) The demolition plans for the building dating to 1983 and prepared by Goodwin and Southwell Architects are on file at City of Sydney. These plans are shown in Section 4.1 of this CMP.

51 Ibid.

CITY PLAN HERITAGE FINAL 40 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Figure 3.20: April 1983 photograph of the Nicholson and Maclean Street section of the building. (Source: City of Sydney Archives, CRS 422/1/489)

Figure 3.21: The building under reconstruction, photograph dated 8th August 1983 (Source: City of Sydney Archives, CRS 422/1/549)

3.6 PERSONS ASSOCIATED WITH THE BUILDING 3.6.1 LAND GRANTS John Palmer with the establishment of his house and farm Woollamoola and the subsequent sub-division of his original 100 acre (40 hectares) land grant is a significant figure associated with the origins of the suburb of Woolloomooloo and by this association, with the subject site itself.

William Roberts was the original purchaser of the subject site but did not develop the site. He was a solicitor who owned a number of other allotments of land in Woolloomooloo and elsewhere in Sydney city. However he was not included in the Australian Dictionary of Biography listings and therefore does not appear to be a person of importance.

Roberts sold the land to six Campbells in 1882, who may have been members of the original Campbells of Sydney Cove, warehouse family, although this has not been proven. They transferred the land in 1885 to William Webb Campbell who may also have been part of the family and he is identified as a Sydney based warehouseman. However, the building itself

CITY PLAN HERITAGE FINAL 41 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE was constructed under the ownership of George Evans, solicitor of Sydney, in 1888. It was constructed as a warehouse with six stores and Evans leased the building almost immediately for a variety of uses. The first lease was to Kelso King, who was a prominent citizen. It would appear that the ownership and leasing of the subject site was a very small part of his business enterprise. In 1911 the property was transferred to a Queensland grazier and possibly a descendent of George Evans, Arthur Fitzgerald Evans. The building was associated with numerous persons and companies between 1891 and the Council acquiring it in 1981.

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

The 1960s architects associated with the building were Spencer Hanson & Partners Architects, 62 Margaret Street Sydney. The 1983 architects associated with the works to renovate the building for its current use, as a Community Centre with single access, were J N C Goodwin & Southwell Architects, of which nothing has been documented.

3.6.3 WOOLLOOMOOLOO RESIDENT ACTION GROUP The Woolloomooloo Resident Action Group was a community organisation and action group originally formed in 1972. At the time, the community saw an urgent need to fight the massive commercial development proposed for Woolloomooloo by private developers and also by city planners. The historian Shirley Fitzgerald in her history of Woolloomooloo notes: While the story of planning in the 'Loo is long and complicated, for many locals it began in earnest on the morning of Sunday 8 October, 1972, on the corner of Forbes and Cathedral streets, where the Woolloomooloo Resident Action Group (WRAG) was formed. Long-term local resident John Mulvena became president and honorary local Father Edmund Campion, who looked after the congregation at St Columbkille's, was made secretary. Organised resistance began to supplant random anger, and a different idea had been gaining momentum against the redevelopment plans. It involved recognition that between them, the state and federal governments owned quite a lot of land in Woolloomooloo.

The WRAG was largely successful with the support of the Green Bans imposed by the Builders Labourers Federation. These were also instrumental in founding heritage protection and legislation in Sydney and for the whole State.52

52 S. Fitzgerald, Woolloomooloo, as before.

CITY PLAN HERITAGE FINAL 42 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

3.6.4 JUANITA NIELSEN The following biographical information is taken from the Australian Dictionary of Biography entry prepared by Richard Morris. She is most famous for her work as a publisher and as an urban conservationist.

Figure 3.22: A 1970s photograph of Juanita Nielsen outside her Victoria Street terrace with copies of her newspaper 'Now". (Source: framed image hanging in the foyer at the Juanita Nielsen Centre)

Juanita Joan Nielsen (1937-1975), was born Juanita Joan Smith on 22 April 1937 at New Lambton, Newcastle. She was the daughter of Neil Donovan Smith, English-born heir to the fortune of Kathleen Sophia Foy, and his wife Vilma Grace, née Meares, who was born in Sydney. Juanita was a great-granddaughter of Mark Foy, famous for establishing the Mark Foy Department Stores in Sydney. Her father was a major shareholder in Mark Foy's Ltd. Her parents separated soon after her birth and she was raised by her mother at Killara, Sydney. Educated at various schools, including Presbyterian Ladies' College, Pymble, she obtained her Intermediate [school] certificate in 1952 and worked at Mark Foy's as a glove model before leaving Australia in 1959.

While abroad, she married Jorgen Fritz Nielsen, a Danish merchant seaman. They solemnized their union in 1962 in a Shinto ceremony at Kobe City, Japan, but were to be divorced in 1967. After living in Morocco and Denmark, Juanita returned alone to Sydney in 1965 and opened the 'Gear Box' fashion boutique in Mark Foy's city store. She was briefly estranged from her father for leading an unsuccessful shareholders' revolt against a takeover offer ($4 million) by McDowell's Ltd for Mark Foy's in 1968. Following their reconciliation, her

CITY PLAN HERITAGE FINAL 43 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE father bought her a terrace house in Victoria Street, Kings Cross, and a local newspaper, Now, which she published from her home.

Wearing distinctive clothes and a 'beehive' wig, Juanita modelled fashions and hair styles for her newspaper's feature pages. She also conducted a vigorous editorial campaign in support of the 'green ban' movement against the redevelopment of Victoria Street by F. W. Theeman's real-estate company, Victoria Point Pty Ltd. With her neighbour and trade-union activist Jack ('Mick') Fowler, she played a prominent role in mobilizing local residents against the demolition of Potts Point's Victoria Street's historic terraces and the eviction of their tenants. Juanita vanished on 4 July 1975 after visiting the Carousel (previously Les Girls)—a transvestite nightclub and underworld haunt at Kings Cross—on advertising business for Now. Attempts to find her or her corpse proved fruitless. Despite public outcry, the mystery remained a major case in the annals of unsolved Australian crimes. Over the years some information about the circumstances of her presumed abduction and murder came to light. Two persons connected with the Carousel nightclub were convicted (one in 1981, the other in 1983) on charges of conspiracy to abduct Juanita on an earlier occasion. The trials did not directly involve events on the day she vanished.

It was not until 10 November 1983 that a coroner and jury of six declared that Juanita had died 'on or shortly after 4 July 1975'. They were unable to name 'the place of death or the manner and cause of death', but found 'evidence to show that the police inquiries were inhibited by an atmosphere of corruption, real or imagined, that existed at the time'. In 1994 the Commonwealth Parliamentary Joint Committee on the National Crime Authority further castigated investigative ineptitude in the case and emphasized links between her presumed murder, property developers and the criminal milieu at Kings Cross.

In July 1983 the Sydney City Council opened a recreation centre in the Juanita Nielsen Building, located near her former residence at Woolloomooloo.53

3.7 HISTORICAL SUMMARY To summarise the history of the subject site, prior to the 1861 land reclamations of Woolloomooloo Bay the property was either under water or part of the swampy, muddy foreshore area. After reclamation the land comprising the subject site was subdivide into four allotments of Section 7, bounded by the present day streets of Nicholson, Dowling, Wilson and Maclean. The allotments were purchased by William Roberts in 1865 who also purchased other allotments in its vicinity. The first documented use for the subject site, as evidenced in the 1887 map (Figure 3.14), was as a storage yard and shed. The shed appears to be a metal construction located at the rear of site, backing onto Wilson Street. The property

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

CITY PLAN HERITAGE FINAL 44 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE has only had a small number of owners, six in total up to the Housing Commission acquisition in the 1970s.

In 1888 the current building, a two storey masonry warehouse, in the Victorian Regency style, was constructed and it comprised six stores over the two levels. The building retained its separate six stores throughout its use from the 1888 construction through to the 1980s. This was reflected in the Assessment Book listings with six different street addresses. The six different uses were reflected in the six bays visible only in the rear elevation of the building, facing Wilson Street. Major uses of the building historically are associated with stores, workshops and as the Woolloomooloo Free Kindergarten. This is the most historical association for the site as this was a new initiative, c.1895, and was designed to assist families in poor, urban areas. The first Free Kindergartens were in Sussex Street, Sydney city, then Woolloomooloo and Newtown. It operated from the subject site, in the store area bordered by Dowling Street from the 1890s until 1921, a period of some 24 years.

From 1921 until the building became known as the Firestone Building in the 1980s, the six bays were used variously as a factory, workshops and stores for different businesses and individuals. Many of the store uses noted in the Assessment Books do not go into details for the store use. However, as an indicator, for the year 1921 the various uses were as follows; No. 1-3 Nicholson Street (bordering Dowling Street) was used by the Kindergarten School, No. 5 Nicholson was used as an Electrical workshop, No. 7 was used by the Central Methodist Mission as a lodging house, No. 9 Nicholson Street was used by the Wattle Brand Eucalyptus Oil Co as a store and no 11 which bordered Maclean Street was also a store used by J C Williamson Ltd.

In 1968 the DA lodged for 1-11 Nicholson Street (DA 44.83.0049) noted that the ground floor was then operating as a tyre sales and fitting workshop and as a store for builders and the first floor was a furniture manufacturer.

The building is therefore associated with the historical development of Woolloomooloo. From its early use associated with goods which would have arrived via the newly established wharf, to its community health use as the Free Kindergarten which is reflected in the current use of the site as a Community Centre incorporating after school care.

CITY PLAN HERITAGE FINAL 45 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

3.8 CHRONOLOGY

Date Event c1793 Original 100 acre land grant to John Palmer at Garden Island named as “Woolloomooloo Farm” 1931 Woolloomooloo Road (now William Street) formed by the colony’s surveyor Mitchell 1814 Palmer mortgaged Woolloomooloo Estate May 1822 Woolloomooloo Estate was sold to Edward Riley February 1825 Edward Riley dies c1825 Woolloomooloo Estate was subdivided into small lots and sold 1831 Seventeen land grants had been made on Woolloomooloo Hill 1831-1834 Fine houses were erected – cost in excess of £1,000 and it had to face Government House, across the bay c1834 Woolloomooloo Heights, appropriately renamed Darlinghurst Heights (now Potts Point) 1840s Lower ground of Darlinghurst Heights was the first to be subdivided 1850s Woolloomooloo House was demolished Reclamation of the Woolloomooloo Bay area 1855 The Plunkett Street School was opened 1863 A stone breakwater was completed 1866 New semi-circular wharf was constructed 1872 The city council opened a fine fish markets building 1865 The subject site was first sold 1880 first documented use by Joseph Notting, a wood and coal merchant November 1882 The subject site landowner William Roberts transferred Lots 1, 2, 3 and 4 to Alfred Branch Campbell March 1885 the land was transferred from the Campbell's to William Webb Campbell of Sydney August 1886 Webb transferred the land to George Evans of Sydney, a solicitor 1888 The subject building was constructed during the ownership of George Evans. 22.12.1910 George Evans transferred the property (and possibly mortgaged it) to Permanent Trustee Co. of NSW Ltd March 1911 Company transferred the site to Archibald Fitzgerald Evans of Pilton March 1940 Evans transferred (back) to The Union Trustee Co. of Australia Ltd May 1963 The Union transferred the land to a Mr Leslie Barber of East Sydney, a company director 16th October Barber leased the building to United Tyre Service (Sydney) 1964 from 1896 to the Building used as Stores, which were either unidentified or associated 1960s with companies such as the Wattle Brand Eucalyptus Oil Company, factory use, such as the Konker Factory, as a paint shop and as a brass foundry 1897 until 1921 One bay, or store of the building, was used for the Free Kindergarten and, for a short time, another store was used as a lodging house by the Central Methodist Mission (1921). 1911 The premises of 21 Dowling Street, the property known as the Woolloomooloo Kindergarten were inspected by the City Health Officer 15.5.1964 Plans approved by Council for the construction of a concrete ramp. The plans were prepared for Mr. L. Barber and were drawn by Macdonald Wagner & Priddle Consulting Engineers 30.11.1971 Leslie Barber transferred the ownership to Jesselton Pty Limited March 1968 A development permission was sought to use the first floor of Nos. 1-11 Nicholson Street, 21 Dowling Street, Wilson Street and Maclean Street (covering all the bases) for the manufacturing of furniture 1968 A decision to prepare a comprehensive planning scheme for the whole

CITY PLAN HERITAGE FINAL 46 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Date Event of Sydney was made by the Councils of the time 1969 The Woolloomooloo Redevelopment Central Plan was adopted 1972 The Woolloomooloo Resident Action Group was formed 1974 The NSW Land and Housing Corporation resumed the property 1975 The Housing Commission began resuming property By 1979 68 dwellings were completed, with construction continuing through to the 1990s. 1983 The DA to alter the building from its workshop state and to turn it into the Juanita Nielsen Leisure Centre / Recreation Centre was lodged on behalf of the Council From May 1983 extensive works were carried out 1984 The Community Centre was opened 1990s The battle to save the finger wharf at Woolloomooloo Bay continued 2000 The wharf was retained and its redevelopment completed 2011 Design Feasibility Study has been prepared by Cracknell & Lonergan for the City of Sydney, which examined options for the redevelopment of the Centre February 2012 City Plan Heritage has been engaged by the City of Sydney to prepare a Conservation Management Plan.

3.9 HISTORICAL THEMES The NSW Heritage Branch developed a thematic framework for use in heritage assessment and management. It was thought that thinking about a place in terms of themes can help understand its significance. The organising principle for the thematic framework is the dynamism of human activity. This Framework identifies thirty-eight principal themes.54

The historical development of an area or item can be understood as occurring in a thematic way, with different layers representing progressively earlier themes.55 In the case of the Juanita Nielsen Centre, there are numerous State themes reflected at the local level which relate to its foundation and development. They are Health, Commerce, Industry, Labour, Education, Social Institutions and Leisure. These themes are referred to within this CMP to guide future research questions, to interpret the history, and structure the narrative of the development within the context of the local area.

Historical Themes associated with the Juanita Nielsen Community Centre:

Australian Theme NSW Theme Local Theme and Notes 3 Developing local, Health Activities associated with preparing and providing regional and medical assistance and/or promoting or maintaining national economies the well being of humans - the free kindergarten and Central Methodist Lodging House. Current use of the site as a gymnasium. Commerce Activities relating to buying, selling and exchanging goods and services - store, bond store.

54 Both the Australian Heritage Commission (national) and the NSW Heritage Office (state) have identified themes for research relating to places of heritage significance. www.heritage.nsw.gov.au 55 NSW Heritage Office, Heritage Information Series, Historical Research for Heritage, Baskerville, Bruce, (2000) p. 2.

CITY PLAN HERITAGE FINAL 47 APRIL 2013 /CH12-023 JUANITA NIELSEN COMMUNITY CENTRE CONSERVATION MANAGEMENT PLAN 31 NICHOLSON STREET, WOOLLOOMOOLOO HISTORICAL EVIDENCE

Industry Activities associated with the manufacture, production and distribution of goods; the former factory and workshops use 5 Working Labour Activities associated with work practices and organized and unorganized labour in the former factory and workshops and for the community of Woolloomooloo. 6 Educating Education Activities associated with teaching and learning by children and adults, formally and Informally - the free kindergarten and the current after school care for school children. 8 Developing Social Activities and organisational arrangements for the Australia’s cultural institutions provision of social activities, such as the community life centre. Leisure Activities associated with recreation and relaxation

CITY PLAN HERITAGE FINAL 48 APRIL 2013 /CH12-023