Cultural Precincts
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Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword
Arts and Culture Unnumbered Sparks: Janet Echelman, TED Sculpture Foreword Imagine a world without performing or visual arts. Imagine – no opera houses, no theatres or concert halls, no galleries or museums, no dance, music, theatre, collaborative arts or circus – and in an instant we appreciate the essential, colourful, emotive and inspiring place that creative pursuits hold in our daily life. Creating opportunities for arts to flourish is vital, and this includes realising inspiring venues which are cutting edge, beautiful, functional, sustainable, have the right balance of architecture, acoustics, theatrical and visual functionality and most importantly are magnets for artists and audiences, are enjoyable spaces and places, and allow the shows and exhibitions to go on. 4 Performing Arts Bendigo Art Gallery 5 Performing Arts Arts and Culture Performing and Visual Arts 03 08 – 87 88 – 105 Foreword Performing Musicians, Arts Artists, Sculptors and Festivals 106 – 139 140 – 143 144 Visual Arup Services Photography Arts Clients and Credits Collaborators Contents Foreword 3 Victoria Theatre and Concert Hall 46 Singapore South Bank Studio, Queensland Symphony Orchestra 50 Australia Performing Marina Bay Sands Theatres 52 Arts 8 Singapore Elisabeth Murdoch Hall Federation Concert Hall 56 Melbourne Recital Centre 10 Australia Australia Chatswood Civic Place 58 Sydney Opera House 14 Australia Australia Carriageworks 60 Glasshouse Arts, Conference and Australia Entertainment Centre 16 Australia Greening the Arts Portfolio 64 Australia Melbourne -
Kelson Nor Mckernan
Vol. 5 No. 9 November 1995 $5.00 Fighting Memories Jack Waterford on strife at the Memorial Ken Inglis on rival shrines Great Escapes: Rachel Griffiths in London, Chris McGillion in America and Juliette Hughes in Canberra and the bush Volume 5 Number 9 EURE:-KA SJRE:i:T November 1995 A magazine of public affairs, the arts and th eology CoNTENTS 4 30 COMMENT POETRY Seven Sketches by Maslyn Williams. 9 CAPITAL LETTER 32 BOOKS 10 Andrew Hamilton reviews three recent LETTERS books on Australian immigration; Keith Campbell considers The Oxford 12 Companion to Philosophy (p36); IN GOD WE BUST J.J.C. Smart examines The Moral Chris McGillion looks at the implosion Pwblem (p38); Juliette Hughes reviews of America from the inside. The Letters of Hildegard of Bingen Vol I and Hildegard of Bingen and 14 Gendered Theology in Ju dea-Christian END OF THE GEORGIAN ERA Tradition (p40); Michael McGirr talks Michael McGirr marks the passing of a to Hugh Lunn, (p42); Bruce Williams Melbourne institution. reviews A Companion to Theatre in Australia (p44); Max T eichrnann looks 15 at Albert Speer: His Battle With Truth COUNTERPOINT (p46); James Griffin reviews To Solitude The m edia's responsibility to society is Consigned: The Journal of William m easured by the code of ethics, says Smith O'BTien (p48). Paul Chadwick. 49 17 THEATRE ARCHIMEDES Geoffrey Milne takes a look at quick changes in W A. 18 WAR AT THE MEMORIAL 51 Ja ck Waterford exarnines the internal C lea r-fe Jl ed forest area. Ph oto FLASH IN THE PAN graph, above left, by Bill T homas ructions at the Australian War Memorial. -
FEDERATION SQUARE REVIEW Background Information
FEDERATION SQUARE REVIEW Background Information 1 CONTENTS Federation Square review forward 3 1. How is the review being conducted? 4 1.1 Consultation Process 5 1.2 Key facts about Federation Square today and how it is run 6 2 Background and History 7 2.1 Activities and events at Federation Square 7 2.2 Visitation at Federation Square 8 2.3 History of Federation Square 9 2.4 What we need to know in Stage 1 of the consultation 10 2.5 How to get involved 10 FEDERATION SQUARE REVIEW FORWARD Since its opening in 2002, Federation Square has become one of Melbourne’s most iconic landmarks. A meeting place for all Melburnians in the centre of our city and home to some of Victoria’s leading cultural institutions, it welcomes approximately 10 million visitors every year. The Square is going through a period of change We invite key stakeholders, members of the public and challenge, and we want to make sure this key and tour operators from across Victoria to tell us piece of infrastructure continues to be an exciting, firsthand about why they come to visit Federation appealing and attractive place to visit. Square and how it can be improved. Key projects already underway to enhance the We look forward to your feedback and insights area in and around Federation Square, include to help identify and explore the actions the state the redevelopment of the Australian Centre for government can take to benefit Federation the Moving Image, the construction of the Metro Square now and into the future. -
The Australian Theatre Family
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him. -
MINERVA THEATRE Feasibility Study – Executive Summary
MINERVA THEATRE Feasibility Study – Executive Summary MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Create NSW City of Sydney Minerva Theatre Feasibility Study – Executive Summary December 2020 Hawkridge Entertainment Services Tim Long Managing Director Nick Tobin Managing Director, Networked Urban Solutions Disclaimer This report (Study) has been produced independently by Hawkridge Entertainment Services (HES) on the request of Create NSW and the City of Sydney. The information, statements, statistics and commentary (together the ‘Information’) contained in this study have been prepared by HES from publicly available material and from discussions held with stakeholders. HES does not express an opinion as to the accuracy or completeness of the information provided, the assumptions made by the parties that provided the information or any conclusions reached by those parties. HES have based this Report on information received or obtained, on the basis that such information is accurate and, where it is represented to HES as such, complete. The Information contained in this Report has not been subject to an audit. Hawkridge Entertainment Services Specialist consultants in the entertainment, sports, arts and venue industries Sydney | Melbourne | Perth | Singapore Page | 2 MINERVA THEATRE – FEASIBILITY STUDY EXECUTIVE SUMMARY Executive Summary The Minerva Theatre Feasibility Study was jointly commissioned by the City of Sydney Council and Create NSW, with the principal aim of investigating whether: 1. a refurbished Minerva Theatre would be a viable performance space in the Sydney market; and 2. there is market interest in reinstating the Minerva as a theatre. The study indicates that reinstatement of the Minerva as a commercially operated theatre is a viable proposition. -
SOH-Annual-Report-2016-2017.Pdf
Annual Report Sydney Opera House Financial Year 2016-17 Contents Sydney Opera House Annual Report 2016-17 01 About Us Our History 05 Who We Are 08 Vision, Mission and Values 12 Highlights 14 Awards 20 Chairman’s Message 22 CEO’s Message 26 02 The Year’s Activity Experiences 37 Performing Arts 37 Visitor Experience 64 Partners and Supporters 69 The Building 73 Building Renewal 73 Other Projects 76 Team and Culture 78 Renewal – Engagement with First Nations People, Arts and Culture 78 – Access 81 – Sustainability 82 People and Capability 85 – Staf and Brand 85 – Digital Transformation 88 – Digital Reach and Revenue 91 Safety, Security and Risk 92 – Safety, Health and Wellbeing 92 – Security and Risk 92 Organisation Chart 94 Executive Team 95 Corporate Governance 100 03 Financials and Reporting Financial Overview 111 Sydney Opera House Financial Statements 118 Sydney Opera House Trust Staf Agency Financial Statements 186 Government Reporting 221 04 Acknowledgements and Contact Our Donors 267 Contact Information 276 Trademarks 279 Index 280 Our Partners 282 03 About Us 01 Our History Stage 1 Renewal works begin in the Joan 2017 Sutherland Theatre, with $70 million of building projects to replace critical end-of-life theatre systems and improve conditions for audiences, artists and staf. Badu Gili, a daily celebration of First Nations culture and history, is launched, projecting the work of fve eminent First Nations artists from across Australia and the Torres Strait on to the Bennelong sail. Launch of fourth Reconciliation Action Plan and third Environmental Sustainability Plan. The Vehicle Access and Pedestrian Safety 2016 project, the biggest construction project undertaken since the Opera House opened, is completed; the new underground loading dock enables the Forecourt to become largely vehicle-free. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. -
SYDNEY RACK 2010:Template 5/3/10 4:49 PM Page 3
SYDNEY RACK_2010:Template 5/3/10 4:49 PM Page 3 Imaginative. Illuminated. Iconic. Inspired. SYDNEY RACK_2010:Template 5/3/10 4:49 PM Page 4 SYDNEY RACK_2010:Template 9/3/10 9:50 AM Page 1 Welcome to Hilton Sydney Hilton Sydney is a fond Sydney landmark and the premier venue for food, wine, conferences, events and a guest room experience unlike any other. For work, relax and play, Hilton Sydney is located right in the heart of the city with magnificent views and convenient access to Sydney's favourite destinations, offering a truly inspired experience. Local Attractions Queen Victoria Building and shopping precinct, Sydney Harbour Bridge and BridgeClimb, Opera House, The Rocks, Sydney Aquarium and Maritime Museum, AMP Tower, Darling Harbour, and Bondi Beach. hilton.com GDS CODES - Sabre: EH 9317 Galileo: EH 4963 World Span: EH 05878 Amadeus: EH SYD203 SYDNEY RACK_2010:Template 5/3/10 4:49 PM Page 5 Work Australia’s largest hotel convention and meeting place Hilton Sydney offers something unheard of in event facilities in Australia: space, and lots of it. Here you’ll find 4,000sqm of flexible floor space, with enough room to accommodate up to 3,000 delegates across four dedicated floors. There’s ballroom seating for up to 1,000 guests, extensive exhibition space and our unique Hilton Meetings product. Delegates will also enjoy plenty of natural light throughout the four level conference and function centre; function room views over Sydney’s bustling streetlife; Australasia’s most advanced audiovisual, sound and display technology; and authentic freshly prepared cuisine to suit delegates from around the world. -
REVISED Participating Organisations Fact Sheet May
AUDIENCE OUTLOOK MONITOR Fact Sheet: Participating Organisations Audience Outlook Monitor, Australia, May 2020 Introduction Baseline data for the Audience Outlook Monitor was collected in May 2020 in collaboration with 159 arts and culture organisations, including museums, galleries, performing arts organisations and festivals. Researchers at Patternmakers and WolfBrown worked with the Australia Council and arts agencies in every State/Territory to invite a sample of organisations to participate. The goal was to ensure a balance of organisations sent the survey to a sample of organisations, so that the Audience Outlook Monitor would provide reliable insights about all artforms, regions and organisation sizes. Organisations from all States and Territories are participating The table below displays a State/Territory breakdown of organisations that are participating in the study. Table 1: State breakdown of participating organisations State/Territory No. of organisations Australian Capital Territory 8 New South Wales 30 Northern Territory 3 Queensland 32 South Australia 16 Tasmania 4 Victoria 44 Western Australia 22 Total participating organisations 159 Most organisations are small-to-medium The majority of organisations participating are small, with 5 to 19 staff members, or medium- sized with 20 to 199 staff members. 1 AUDIENCE OUTLOOK MONITOR Around one-fifth of organisations are ‘micro’, with 0 to 4 staff members, and one-quarter are ‘large’, with 200 or more staff members. Table 2: Size breakdown of participating organisations State Micro (0-4 Small (5-19 Medium (20-199 staff) Large (200+ Total staff) staff) staff) ACT 5 1 2 8 NSW 3 11 10 6 30 NT 2 1 3 QLD 3 8 14 7 32 SA 4 4 7 1 16 TAS 1 1 2 4 VIC 3 14 19 8 44 WA 4 8 9 1 22 Grand Total 18 53 63 25 159 This study is hearing from organisations across a range artforms Participating organisations represent a range of artforms. -
UNSTUDIO, NH ARCHITECTURE, OCULUS, LAB ARCHITECTURE STUDIO, ARUP Van Berkel En Bos U.N
EVALUATION CRITERIA 67 - UNSTUDIO, NH ARCHITECTURE, OCULUS, LAB ARCHITECTURE STUDIO, ARUP Van Berkel en Bos U.N. Studio B.V. EVALUATION CRITERIA OCULUS landscape architecture THE TEAM VISION DESIGN OCULUS is a design based urban design and landscape architecture studio LINE N BE focused on creating great public spaces. The studio has a commitment RO BO ISH LY OOTH LD BA VA RK A S M O B R NA TE N E C A N N O O S E Complimentary H A Y D L to projects that: bolster social interaction; are based on achieving public E D B D amenity; are inclusive; are delightfully individual; and respond sensitively and & Connected cleverly to their particular environmental setting. The experience of collaborating on the Museum of Old and New Art in Hobart, Tasmania will be crucial in developing a spatial logic out of the UNStudio existing accreted development on the site and working towards the ambitions architecture – urban design – infrastructure – lighting for the exciting Artscape UNStudio, as a world-class iconic place-making design firm is a Hobart Waterfront // Victoria Harbour // MONA practice fully focused on understanding local contexts to develop inspired - and inspiring - integrated designs. UNStudio, founded in 1988 by Ben van Berkel and Caroline Bos, works all over the NH Architecture Material Thinking world with a range of partners, understanding that current practice LAB architecture studio cultural heritage + production – public planning requires a collaborative approach of peer firms that is responsive Material Thinking is a lab for analogical thinking, specialising in place to the needs of each set of conditions. -
Lab Architecture Studio Site
Federation Square Overview Jodie Misiak Day 14 Project Evaluation (1.011) 1997 International Design Competition for redevelopment of Melbourne Waterfront !London-based Lab architecture studio !Melbourne-based Bates Smart Finance for project from State of Victoria (lead), City of Melbourne, Commonwealth Government, and private investors ! Initial Cost Estimate (1997) : 128 million Australian dollars ! Actual Final Costs (2002): 450 million Australian dollars + Jodie Misiak Day 14 Federation Square Overview Project Evaluation (1.011) Major Project Components: Deck, Square, Atrium / Labyrinth Climate Control System, Buildings Major Issues: ! Highly ambitious project (create useable space over rail yard, international prestige for Melbourne, highlight sustainable design, etc.) ! Controversial process (many political battles, delays, cost increases, etc.) Jodie Misiak Day 14 Federation Square Overview Project Evaluation (1.011) Site Details: -between Yarra River and Melbourne’s Central Business District -3.6 hectares - deck constructed over operational commuter rail yard Jodie Misiak Day 14 Federation Square Overview Project Evaluation (1.011) -Federation Square Site: http://www.federationsquare.com.au/ -Lab Architecture Studio site: -The Age news site (Victoria newspaper) (various links to specific articles) -Sydney Morning Herald news site (various links to specific articles) -2002 Architecture Biennale de Venezia site: -State of Victoria site (Government Projects Page) http://www.mpv.vic.gov.au/web3/majorproj.nsf/allDocs/RWP2FE2BBBDDDF8 FC7BCA256C29000BF924?OpenDocument&Expand=3.1.2& -Maddocks Infrastructure and Major Projects Update http://www.maddocks.com.au/download/inf-pro-july-2002.pdf Jodie Misiak Day 14 Federation Square Overview Project Evaluation (1.011). -
Based Procurement at the National Museum of Australia
Reframing the Dynamics: A Case Study of the Interaction between Architectural Computing and Relationship- Based Procurement at the National Museum of Australia. A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. John Paul Swift School of Architecture, Landscape Architecture and Urban Design University of Adelaide, South Australia. Table of Contents LIST OF FIGURES ....................................................................................................... III LIST OF TABLES..........................................................................................................V ABSTRACT .................................................................................................................VII DECLARATION............................................................................................................IX ACKNOWLEDGEMENTS ............................................................................................XI DEDICATIONS ...........................................................................................................XIII PREFACE....................................................................................................................XV 1 INTRODUCTION ................................................................................................... 1 2 CONTEXTUALISING THE NATIONAL MUSEUM OF AUSTRALIA ................. 11 2.1 POLITICAL CONTEXT....................................................................................... 11 2.2 INSPIRATIONS