This Document Has Been Prepared to Assist with the Approval Process for the State Significant Development Application for Sydney

Home , Roslyn Packer Theatre, Sydney Theatre Company

This document has been prepared to assist with the approval process for the State Significant Development Application for Sydney Theatre Company’s STC50 Project, located at Wharf 4/5 Walsh Bay.

This architectural report describes the proposed works and coordination items to comprehensively refurbish STC’s tenancy, to maintain and enhance a world class theatre asset for the next 50 years and beyond.

Sydney Theatre Company was founded in December ‘Sydney Theatre Company exists 1978, and has recently celebrated 30 years at The _Stakeholder Consultation Report February 2015 Wharf. The heritage significance of the Wharf and the (HASSELL) to provide first class theatrical adaptive reuse Sulman Award winning architectural _STC50 Masterplan Report February 2013 (HASSELL) entertainment for the people of design by Vivian Fraser are inherently linked to the identity of STC. _Walsh Bay Precinct CMP (Clive Lucas and Partners, Sydney... theatre that is grand, December 1998) When STC moved into the Wharf in 1984 it presented _Wharf 4/5 Walsh Bay Conservation Management vulgar, intelligent, challenging 6 plays a year across two venues: the Drama Theatre Plan (Graham Brooks and Associates, March 2007) and fun’ at Sydney Opera House and the Wharf 1 Theatre. It now sells over 260,000 seats each year, presents up [Masterplanning Reports] to 16 productions across 4 venues, and tours regionally and internationally. All of this theatre is _ Better Theatre Report (Charcoalblue) Richard Wherrett, 1980 made out of the same workshop and production _ Sydney Theatre Company STC50 Master plan facilities as it was 30 years ago, and which are now at Building Services Compliance the end of their life and no longer fit for purpose. (Arup, November 2015) _ Operations Risk Assessment - Renewal Project Pier The growth in production capability has been 4 Walsh Bay matched with growth in administration support (Core, November 2015) functions, including functions that didn’t exist in _ Sydney Theatre Company - Walsh Bay Wharf 4/5 1984 such as marketing, philanthropy and Fire Safety Strategy Report sponsorship. Administration offices that were (Stephen Grubits & Associates, 2015) designed for 16 people currently house 50 in the _ Sydney Theatre Co STC50 Project existing facility. (Hospitality Management Australia, November 2015) _ Sydney Theatre Company STC50 Master plan In addition, audience expectations have changed Accessibility Report considerably over the past 30 years and issues such (Morris Goding Accessibility Consulting, November as access and amenity must be addressed. 2015) _ Sydney Theatre Company - Walsh Bay BCA HASSELL was engaged to address these issues, Feasibility Assessment make spaces fit for purpose and enhance the visitor (Steve Watson and Partners, November 2015) and artistic experience for the next 50 years. In _ STC50 Walsh Bay Master plan Structural Design addition, the architectural and philosophic approach Report to heritage has been developed in close collaboration (TaylorThomsonWhitting November 2015) with Tasman Storey from Tropman and Tropman _ STC50 Heritage Report for Sydney Theatre Architects. Company (Tropman and Tropman Architects, November 2015) This Architectural Report builds on from the _ Walsh Bay Arts Precinct Vision (Arup) HASSELL Master Plan and has been developed on _ Walsh Bay Arts Precinct Heritage Impact ‘Trumpets and Raspberries’, 1980. advice from the STC50 specialist consultant team. It Assessment Directed by Richard Wherrett should be read in the context of the full SSDA (Design 5 Architects June 2014) submission including specialist consultants’ reports, _ STC50 Master plan Order of Cost Report and previous reports including: (MBM, December 2015).

STC50 Architectural Design Report 02 Context PROJECT OVERVIEW

Project Context Key Objectives: _Provide a single service plant location to maximise efficiency of service routes for maintenance. Sydney Theatre Company has secured a 45 year In February and June 2015, HASSELL and _Consider a ‘whole of Wharf’ solution for waste lease from Arts NSW, who lease Wharf 4/5 from Charcoalblue respectively undertook key stakeholder management. Roads and Maritime Services. consultation meetings to determine key objectives in _Consider a carbon neutral future for STC. order to ensure STC facilities can meet the This lease has enabled STC to plan confidently for requirements of STC’s operations and strategic goals. 3. Improve work spaces and enhance workplaces that the future and ensure it is in a strong position at its are safe and loved by staff and artists. 50th Birthday. This is the reason for the project title: Key objectives and how each has been addressed in STC50. the STC50 Project are as follows: _Provide clear and separated paths of travel for public, staff, performers, theatre material and food & 1. Create distinctive theatre of vision and scale and Project Vision beverage supplies. continue to help ensure a strong future for theatre in _Improve occupational health and safety including The STC50 Project must aspire to be a Sulman Award Australia manual handling, ventilation and extraction to the worthy, enduring piece of architecture that allows workshop, scenic and costumes/props making STC to deliver a world class theatre offering that _Co-locate Wharf 1 and Wharf 2 Theatres and spaces. enhances the visitor experience within the precinct. rehearsal spaces for efficient use of space, shared _Increase height of workshop roof to allow working services and acoustic treatment. Create two distinct on a set at full height. Design Intention modern performance spaces that are flexible in _Improve floor structure for fork lift traffic and safe seating configuration and use. STC will continue to match the aspirations of the movement of large material in workshop. _Co-locate two new rehearsal rooms of the same Walsh Bay Arts Precinct. The design process _Provide secure points of entry including a stage size and provide a column-free space with shared balances the heritage significance of the Wharf, the door. support spaces. vision for the Walsh Bay Arts Precinct and the _Locate Administration Mid Wharf and provide a _Improved rehearsal and production spaces functional requirements of STC. flexible working environment. including dressing rooms for artists. It is essential that all architectural, engineering and 4. Create an enhanced visitors’ experience with 2. Ensure a future for theatre and STC’s business construction work is of a quality that meets both the improved site access along The Wharf providing clear operations that considers enhanced revenue aspirations of the precinct and the high standards of entry points that offer a variety of experiences via generation and sustainable models with respect to the existing Vivian Fraser architecture, both in flexible spaces and opportunities for public operational, technological and environmental design, performance and sensitivity. engagement and the community. efficiency _Improve existing entry to establish stronger way _Logical planning and spatial sequencing to increase finding cues off Hickson Road. overall operational efficiency, work flow and reduce _An increase in the number of clear entry points to running costs. Mid Wharf and End of Wharf improving way finding _Increase saleable seating in theatres. and DDA accessibility. _Provide additional multi-function public space that _Increase number of public bathroom facilities at can be used for theatre related workshops, learning End of Wharf and provide new bathrooms to Mid activities, events or functions. Wharf. _Upgrade of technology infrastructure and the digital experience for staff and customers.

Broader Precinct TENANT VOLUME BEYOND The STC50 project is being managed so as to align with the broader Walsh Bay Arts Precinct redevelopment.

It is important for the objectives of each that the works are undertaken in a coordinated manner. TENANT INTERNAL VOLUME FROM: STC VOLUME HASSELL has undertaken coordination meetings with _ TOP OF EXISTING IRONBARK FLOOR the architects of the WBAP redevelopment, Tonkin _INTERNAL FACE OF HERITAGE FACADE Zulaikha Greer [TZG], and a Memorandum of _UNDERSIDE OF PURLINS Understanding has been written to define the scope of each State Significant Development Application.

STC SSDA Scope The tenant volume is contained by: _The underside of the purlins _The internal face of the heritage facade _The top of the ironbark flooring _Modification to two heritage trusses in Workshop And excludes modifcations to the heritage columns

WBAP SSDA Scope

The WBAP scope includes all built elements outside of the tenant volume, including: _Stairs, lifts and gantries _Roof modifications _External balconies _Facade modifications _Lower shed _Wharf apron and piles

In addition, the WBAP scope also includes modificaitons to the heritage columns within the tenant volume

Peer Review BASE BUILD SCOPE INCLUDES:

HASSELL and TZG have agreed to a coordinated peer _ALL BUILT ELEMENTS OUTSIDE OF TENANT VOLUME review process to ensure that the respective SSDAs _HERITAGE STRUCTURE WITHIN TENANT VOLUME _ROOF MODIFICATIONS complement each other and satisfy mutual project _EXTERNAL STAIRS, LIFTS + GANTRIES objectives. _EXTERNAL FABRIC _LOWER SHED

WBAP SCOPE

STC50 Architectural Design Report 03 Site Analysis HISTORY

Walsh Bay History: The Walsh Bay Precinct was the result of an ambitious renewal Much of Walsh Bay (excluding Wharf The Walsh Bay Arts Precinct Master Plan project in 1909. The scheme included a low level roadway and 4/5 and Pier 2/3) was redeveloped was released. The STC50 Project will allow upper level road, providing shoreline access to the wharves as between 1997 and 2004 by the NSW STC to continue to match the world class well as connectivity to the railway yards at Darling Harbour and Government in partnership with the aspirations of ‘one of Sydney’s premier the wharves at the Pyrmont peninsula Walsh Bay Partnership arts and cultural precincts’

1984 1997

2013

1909- 1922 19C

1910

2016

1903

STC moves into Wharf 4/5. Its first season of one As a response to the panic prompted by act plays, called ‘Shorts at the Wharf’, began on Millers Point is an historically mixed the plague, an innovative rat-proof sea 17 January 1985 with ‘Late Arrivals’ directed by residential + industrial maritime wall was constructed from reinforced Wayne Harrison in his directorial debut. It was an 1870 precinct containing buildings from concrete, spanning from the head of important achievement in the adaptive reuse of early 19th century. Darling Harbour to Millers Point. industrial buildings 1844

1984 1922 2013 2058 Leased to Government Line Steamers Sydney Theatre Company Sydneyy y Theatre Companyp y Wharf 4/5 History: Wool, Wheat, and Merchant ships Wharf 4/5 A future lease of 45 years

200m Broader Precinct The Walsh Bay Arts Precinct is located in a historic and cultural destination North of Millers Point, Sydney and is well placed to become ‘a sustainable and activated arts and culture precinct that supports LAVENDER BAY and nurtures Sydney’s home-grown culture and creativity.’ [WBAP Vision Report]

The Precinct is bound by the Sydney Harbour to the North, the new Barangaroo Headland Park to the West, and Dawes Point Park to the East at the base of the Sydney Harbour Bridge. It is also within walking BALLS HEAD POINT distance of the Sydney CBD and major tourist destinations including the Rocks, Circular Quay and the Sydney Opera House.

Access to Views BLUES POINT TOWER MILSONS POINT Views from and to the site include several landmark areas within Sydney, and connect STC to its broader locality. These views and connections should be capitalised as an inherent advantage of STC’s unique position within the precinct.

A History of Innovation SYDNEY HARBOUR BRIDGE

The early construction of both upper and lower level GOAT ISLAND roadways were integral in the operational efficiency and connectivity of the precinct. They provided both shoreline access to the wharves, as well as connectivity to the railway yards at Darling Harbour and the Wharves at the Pyrmont Peninsula. This was critical to the development of the area.

While the usage of Walsh Bay has changed, it continues the legacy set by its history of continual renewal, innovation and adaption.

POTTINGER STREET

THORNTON PARK

OBSERVATORY HILL

SYDNEY CBD

STC50 Architectural Design Report 03 Site Analysis CONNECTIVITY

Pedestrian Movement Walsh Bay forms part of the foreshore walk, a continuous path of travel which connects Barangaroo Headland, Walsh Bay Arts Precinct, the Opera House, Botanic Gardens and beyond. STC is in a key position to benefit from this pedestrian and bicycle traffic that moves along the Wharf

SYDNEY HARBOUR BRIDGE

WHARF 4/5

DAWN POINT PARK

HICKSON ROAD

TOWNS PLACE

DALGETY ROAD POTTINGER STREET

LOWER FORT STREET

HICKSON ROAD

WINDMILL STREET BARANGAROO RESERVE

ARYGLE PLACE

ARYGLE STREET

TO BARANGAROO TO THE OPERA HOUSE

The Walsh Bay Precinct Concept plan, prepared by ‘The vision for Walsh Bay is Bates Smart, 2014 builds on the Government Architect’s Office Master Plan and cements cultural to create a sustainable and attractions that enjoy a rich diversity of people and a sense of place. This is made possible by the overlap activated arts and culture ROSLYN PACKER THEATRE of the historical, cultural and recreational precincts precinct that supports and of Sydney. nurtures Sydney’s home-grown Sydney Theatre Company is a significant asset and culture and creativity. As a attractor for the cultural precinct. PROPOSED TRAMLINE destination, it will be inclusive BARANGAROO RESERVE and accessible to all’ EXISTING BICYCLE LANE

Walsh Bay Arts Precinct Vision Report Prepared for Arts NSW by ARUP EXISTING TAXI STAND PROPOSED COMMERCIAL January 2012

EXISTING BUS STAND STC BOX OFFICE

SDC CAFE

THE ROCKS INTERACTIVE / EDUCATION / EXHIBITION RESTAURANT 1 PUBLIC SPACE

THEATRE LOADING ACCESS RESTAURANT

THE THEATRE BAR AT THE END OF THE WHARF

Wharf Uses: PROPOSED CAFE _Pier 1: Hotel _Pier 2/3: Cultural / Commercial _Pier 4/5: Cultural EVENT SPACE _Pier 6/7: Residential

_Pier 8/9: Mixed Use / Commercial CIRCULAR QUAY _Shoreshed: Mixed Use / Commercial PROPOSED FERRY LINE

STC50 Architectural Design Report 03 Site Analysis WHARF 4/5

Site and Building Analysis Close proximity to Sydney attractions Sun and Wind Southerly Winds External Access Vehicle Access

W E North-Westerly Winds

Programme Theatre Height Restrictions Acoustic Issues

‘U’ CONFIG

WORKSHOP

PIER 5/6 ‘J’ CONFIG

THEATRE WHARF 4/5 6M

PIER 2/3 6M

_Pier 2/3: Cultural / Commercial _Inflexible Theatres with poor sightlines due to _Set height restrictions _Rain _Pier 4/5: Cultural introduced steel truss + valley of roof _Theatre technical zone compromised _Helicopters, Trains, Marine Vessels and Cruise _Pier 6/7: Residential Ships _Shoreshed: Mixed Use / Commercial _Sydney Dance Company _Events in Pier 2/3

Shared Path of Travel Poor Accessibility No Sense of Arrival Views

? ?

THEATRE

PLANT W/C ?

_Crossover between public pathways and movement _Travel distance from theatre to WC for DDA is poor _Poor wayfinding and entrance sequence _Plant room location limits opportunity for of theatre sets + equipment [~300m] connection to views

Response to Heritage CMP [Graham Brooks and 7.4 Principles for Re-use of Building Wherever possible, new spaces pull away from the The current proposal introduces a western back of Associates] heritage shell. This is of mutual benefit to the house path of travel, to pull key internal spaces away 7.4.1 During preparation of future uses for the internal program and heritage, allowing the shell to from the heritage facade, and expose the heritage The heritage Wharf is intrinsic to STC’s identity. From buildings, care should be taken to respect the scale remain unaltered and the internal spaces to be volume along the length of both the eastern and the outset of the STC50 project, HASSELL has worked and character of the existing interior spaces, appropriately detailed to perform thermally and western facades. closely with Tropman and Tropman Architects to external openings and general character of each acoustically. develop an architectural approach that is sensitive to building. This approach to spatial planning allows for the the heritage significance of Wharf 4/5. Inevitably, these insertions will need to connect to theatre and rehearsal spaces to exist separate from Response: the existing structure to transfer loads efficiently. the heritage fabric and to be appropriately The guiding principles of the Conservation The proposed works sensitively conserve and reveal Where junctions with existing roofs and columns are acoustically and thermally treated without the Management Plan [CMP] and Burra Charter have a greater heritage volume, not only for public and required, these have been carefully considered to requirement to upgrade the heritage shell. formed the fundamental tenets and approach to the staff appreciation, but also to enhance the heritage preserve the original context of the heritage proposed works. value and narrative of Wharf 4/5. structure. It also provides new levels of appreciation of the currently inaccessible heritage envelope for both The spatial strategy and logical planning sequence Large workshop spaces are maintained, along with The existing context of the junctions detailed in 1985 visitors and STC staff. has determined the volumetric layout and articulation the Theatre Bar at the End of the Wharf and a new are referenced in 04: Design Approach / Heritage of spaces, by treating the new volumes as Mid Wharf Atrium that allows the scale and volume section of this report In addition, the new Mid Wharf atrium exposes the contemporary insertions that float or suspend within of the original building to be perceived and full width of heritage volume in the east-west the external envelope. appreciated. direction, to coincide with a major pedestrian access 7.4.4 Location and visual presentation of new point. This approach seeks to demonstrate a sensitive services within the building should generally remain response to the envelope, structure and 7.4.2 New uses that are selected for any particular subservient and respectful to the scale, dignity and rationalisation of building services and amenities, in internal space should adopt the principle of “loose presentation of the existing building. 7.6.2 There should be no new or permanent order to minimise impact on the existing heritage fit” whereby the functional and spatial requirements development on the Wharf apron. fabric. of each use are tailored to suit the available space, Response: in contrast to an approach that alters the building to The western back of house [BOH] path of travel is While the new stairs, lifts and gantries are under the The key CMP heritage policies relevant to the Part 2 suit the requirements of the new use. both an operational and services corridor. Services scope of the Walsh Bay Arts Precinct, they are critical tenancy fitout works include: are reticulated along its length in a North -South to STC operationally and for accessibility and egress. _7.4 Principles for Reuse of Building Response: direction, and from there distributed to key internal _7.6 Retention of Significant Space, and The existing linear occupation of the Wharf is areas. The new entries are a contemporary interpretation of _7.7 Conservation of Significant Fabric maintained in the current proposal. This sequence the heritage gantries that at one point would have of ‘manufacture - assemble - finish - rehearse - The consolidation of services reticulation to BOH moved along the length of the Wharf to facilitate The architectural response broadly conforms to the perform - celebrate’ creates a logical approach to areas is a planning strategy that allows the public upper level access. This is referenced already at Pier Wharf 4/5 CMP, and wherever possible proposes spatial planning which enables STC to continue to Walk to remain as free from services as possible. 1. solutions to limit or reduce the impact of the 1984 holistically deliver theatre ‘all under one roof’. intervention. This report demonstrates the proposed This enables a heightened experience of the original The new lifts enable STC to accommodate patrons architectural responses to specific items noted. Wherever possible, the internal planning is cognisant heritage fabric along the full length of the Walk. and staff of varying abilities, and are DDA of the envelope and works within its limitations. In requirement. They will follow the visual precedent situations where enhancements are required, such set by the existing lift. as in the theatre and workshop spaces, the Wharf 7.6 Retention of Significant Spaces building remains a resilient structure that can readily accommodate these enhancements. 7.6.1: There should be no major and permanent partitions introduced on the upper deck of the Wharf 4/5 that would diminish the building’s interpretation 7.4.3 Installation of any new enclosures within the as a former commercial goods warehouse larger internal volumes of Wharf 4/5 should recognise the tradition that such enclosures are Response: clearly expressed as new, self contained elements. The STC50 Project proposes the reorganisation of the existing 1984 scheme to improve operational Response: efficiency and accommodate changes in the Theatre The planning of new spaces as clearly identifiable industry in the last 30 years. This project sits within and separate from the heritage fabric has been a the context of an existing response to a heritage driving principle from the outset of masterplanning. framework. The introduction of the 1984 Scheme is documented in part 03 Site Analysis / Vivian Fraser Intervention.

STC50 Architectural Design Report 03 Site Analysis HERITAGE - RESPONSE TO CONSERVATION MANAGEMENT PLAN

7.7 Conservation of Significant Fabric 7.7.3 Walls - Weatherboard Panelling commencement of each term to plan the next term Wharf locations to facilitate access to both Level 1 All identified significant fabric of Wharf 4/5 should of pile and timber replacement due to termite and 2 of STC, and potentially Sydney Dance Company. 7.7.1: Roof Structure continue to undergo regular maintenance. damage and rot above water and teredo damage and The lifts fall under the scope of the Walsh Bay Arts Where repairs to the buildings are required, the roof Replacement of weatherboard panelling should erosion below water level. Precinct Redevelopment, and will be treated as framing including significant roof trusses should be match existing panelling. Painted finishes should contemporary insertions that follow the precedent of retained where possible. match existing cladding. This falls under the scope of the Walsh Bay Arts the existing lift, but pull away from the heritage Precinct Redevelopment. facade to minimise impact to the heritage fabric, Response: gutter and crane rail. Response: HASSELL support this position, which falls under the 7.7.7 Timber Joinery The significant heritage asset that the Wharf scope of the Walsh Bay Arts Precinct Retain significant timber joinery, including original structure represents has been carefully balanced Redevelopment. It must be noted that the current windows and doors and original internal timber 7.7.10 Air Conditioning against the requirements of a reinvigorated STC. The colour scheme for Wharf 4/5 was altered from the staircase. The provision of air conditioning units for the Wharf original structure is retained in full, wherever original palette in 1984, and now aligns with the Theatres at roof level should be situated so as to possible. Walsh Bay colour scheme. The heritage stair in the STC box office is being minimise the visual impact from recognised retained as a feature of the original building. viewpoints such as between the major roof ventilator Wharf 4/5, Walsh Bay [Arts NSW] However, the current height restriction that the structures. A visual impact assessment should form existing trusses represent is an operational 7.7.4 Walls - Face Brickwork Facade alterations have been confined to areas of part of any proposed works involving the installation limitation to STC that restricts its ability to continue Retain significant unpainted face brickwork on the low heritage significance wherever possible, such as of services to the exterior of the building. to meet its world class aspirations. Hickson Road facades of the shoresheds. to the areas of introduced glazing, however minor alterations to the Northern facade are required to The existing roof contains plant and exhausts at STC manufactures and assembles sets for the Response: facilitate the internal program. This will follow the disparate locations along its length, and generally Roslyn Packer Theatre and Opera House Drama No change is proposed to the Brickwork along rhythm and precedent of the existing facade. located centrally above the roof valley. Theatre, which requires the ability to assemble sets Hickson Road at full height (8m). This cannot be accommodated The minor facade modifications fall under the scope The new proposal sees the mechanical equipment with the current roof structure in the workshop. of the Walsh Bay Arts Precinct Redevelopment. consolidated and rationalised to the north of the 7.7.5 Flooring Wharf in its existing valley location, where it is Through careful planning, the partial alteration of Original timber flooring should be retained in any visually screened by the Theatre roof modification two roof trusses is required to grid lines 63 and 64. future use or modifications to the building. 7.7.8 Building Services and lanterns. The portion of truss in the public Walk is retained in Existing functional fire protection, emergency and situ to maintain the full heritage experience and The original ironbark flooring is a heritage feature of electrical lighting should be maintained as part of rhythm along the Walk. the building. The current proposal will retain the the regular maintenance program. 7.7.11 Environmental Efficiency ironbark flooring in full, and where it cannot be Proposals to upgrade the environmental efficiency Where the roof structure is required to support exposed, it will be protected and preserved. Building services are being maintained or upgraded of the services infrastructure should take into additional load, the existing timber trusses will be as per the advice of STC’s BCA, Fire and Services account a “whole of building” approach and be strengthened by either mild steel flat plate or PFC to The current proposal reveals more of the ironbark consultants. considered for their physical or visual impact on the either side, bolted through, in keeping with the flooring including key public areas and the proposed spatial and architectural integrity of the buildings precedent set elsewhere in Wharf 4/5 and in other new atrium at the Mid Wharf entry. in their own right and as components of Walsh Bay Wharf buildings in the Walsh Bay redevelopment. 7.7.9 Wheelchair Access as a whole. Where programmatic requirements necessitate a The installation of a wheelchair access lift to the STC different floor type, such as wet areas, forklift Wharf Theatres and Restaurant should respect All consultants view the STC50 project holistically, 7.7.2 Roof structure trafficable floor or areas with an acoustic floor build significant fabric and internal layout of the building. and as part of the broader Walsh Bay Arts Precinct. Replacement of corrugated roof panels should up, the ironbark will be retained and protected prior It should be located along the public access to the match existing corrugated roofing material. to the new floor structure being installed. STC and serve both the main level of the STC and the Coordination has been undertaken between mezzanine to provide access to all public areas of consultants of the WBAP and the STC50 project to Response: the STC. It should be designed and treated as a new identify opportunities for efficiencies. While this forms part of the Walsh Bay Arts Precinct 7.7.6 Wharf Sub-structure element, but one that respects the tradition of scope, the STC technical zone above the Theatres Replacement of timber Wharf piles should continue externally mounted services infrastructure. Refer to specialist consultant reports. and Workshops permits a fall of five degrees so that to be part of the cyclical maintenance program the proposed roof can be a similar profile to the arranged in 3 year terms. A detailed pile and New lifts are proposed at Mid Wharf and End of original cladding. structural survey should be undertaken at the

Theatre Response to Heritage CMP their future safe and efficient use, as well as protect 7.4.3 Installation of any new enclosures within the 7.6.2 There should be no new or permanent 7.7.5 Flooring their viability for commercial success for a world larger internal volumes of Wharf 4/5 should development on the Wharf apron. Original timber flooring should be retained in any Charcoalblue have been engaged by Sydney Theatre class producing Theatre company. The proposals recognise the tradition that such enclosures are future use or modifications to the building. Company to advise on the design of the proposed have required the need to increase volume at high clearly expressed as new, self contained elements. This clause does not apply to the proposed Theatre new Theatres and ancillary spaces, as part of the level above the Theatres to deliver new safe access designs which are internal fit-out work. In order to improve the current acoustic issues with STC50 Project. This advice includes specialist walkways for technical staff, which manifests itself Response: noise travel between the ground, mezzanine and planning services as well as the technical facility in the removal of the existing 1980s steel trusses The planning of these new Theatres as clearly level 1 floors, it is proposed to construct new floating design. and roofing over the central valley (the detail of identifiable volumes and self-contained elements 7.7 Conservation of Significant Fabric acoustic floors in the Theatres and Rehearsal Rooms. which is covered in HASSELL’s response). has been a driving force from the beginning of the This requires mass and separating slabs, set over the As an integral part of the concept design, design process, and is demonstrated by their clear 7.7.1: Roof Structure existing timber deck. Careful detailing with Charcoalblue have been working closely with The key CMP Heritage Policies relevant to the part 2 definition as boxes within the external shell. Careful Where repairs to the buildings are required, the roof separating membranes will retain the existing HASSELL and Tropman + Tropman Architects from tenancy fit-out works pertaining to the theatres are consideration of the details required where framing including significant roof trusses should be ironbark strip floor with new construction above. All the masterplan stage, engaging in the design set out as follows: structure, floors and walls meet the existing building retained where possible. new walls to the theatre boxes will have increased process and working within the design philosophies will reinforce this guiding rule. acoustic properties, be of plasterboard construction outlined and led by the Architect. As such, all the Response: and be carefully detailed in conjunction with Theatre design advice and planning has aligned with 7.4 Principles for Re-use of Building The proposed Theatres do not alter or remove the HASSELL to ensure the existing structure is visually the strategy outlined in the HASSELL Response to 7.4.4 Location and visual presentation of new existing roof trusses. Where the functional loading prioritised. the CMP. 7.4.1 During preparation of future uses for the services within the building should generally remain requirements of the STC theatre operation require buildings, care should be taken to respect the scale subservient and respectful to the scale, dignity and strengthening of the timber, carefully detailed steel The two new Theatres, Wharf 1 and Wharf 2, replace and character of the existing interior spaces, presentation of the existing building. PFC channels are proposed in keeping with the spirit the current spaces and are to fulfil similar functions external openings and general character of each of the traditional existing structural details. to their current uses. Wharf 1 Theatre will remain the building. Response: larger space, but be developed as a flexible format The strategy for new services integration has been to auditorium to provide more choices for future Response: develop a services corridor along the western back of 7.7.2 Roof structure production direction and design. Seating capacity The Theatres have been designed as boxes inside the house path of travel for linear distribution. Within Replacement of corrugated roof panels should will vary depending on seating layouts, from outer fabric of the building, and do not touch the the Theatres, where large volumes of air are required match existing corrugated roofing material. approximately 350 to 450. Wharf 2 Theatre will external fabric or affect the external openings. The to be supplied and extracted, a system of carefully remain the smaller space and be capable of more new volumes enhance the visitor and user considered ductwork will be designed around the Response: intimate gatherings of approximately 155 people. experience by further revealing the Wharf structure main structure and set out on grids dictated by the This clause does not apply to the proposed Theatre Both Theatres will be capable of opening up to each and character, on both the east and west internal existing roof trusses. designs which are internal fit-out work. other by the means of operable acoustic walls which circulation routes. subdivide the spaces, and hence create one large ‘warehouse’ volume for even more flexibility of 7.6 Retention of Significant Spaces 7.7.3 Walls - Weatherboard Panelling theatrical use. 7.4.2 New uses that are selected for any particular All identified significant fabric of Wharf 4/5 should internal space should adopt the principle of “loose 7.6.1: There should be no major and permanent continue to undergo regular maintenance. From the outset, the planning of these spaces have fit” whereby the functional and spatial requirements partitions introduced on the upper deck of the Wharf Replacement of weatherboard panelling should taken account of the historical fabric of the existing of each use are tailored to suit the available space, 4/5 that would diminish the building’s interpretation match existing panelling. Painted finishes should Wharf structure, and the two Theatres designed as in contrast to an approach that alters the building to as a former commercial goods warehouse match existing cladding. boxes set within the shell of the building. The suit the requirements of the new use. retention of the eastern public walkway preserves Response: Response: this principle from the original conversion, and the Response: The installation of the new partitions that form the This clause does not apply to the proposed Theatre creation of the new western back of house path of The functional and spatial requirements of the Theatres will be set out within the central zone of the designs which are internal fit-out work. travel reinforces it by setting the box walls inside the Theatres have been dictated by the principles set by original warehouse, set inward of the external timber external fabric. STC have set a guiding principle that the Architects and Heritage Consultants. Wherever Wharf walls, thereby naturally creating the east and the new Theatres retain the feel and ambiance of the possible, the Theatre boxes are designed to fit west circulation routes and enhancing the 7.7.4 Walls - Face Brickwork existing Theatre spaces as unique Wharf venues and, around and be subservient to the existing fabric. experience of walking the length of the Wharf. The Retain significant unpainted face brickwork on the where possible, enhance the quality of the audience clearly expressed and retained structure and floors Hickson Road facades of the shoresheds. perception of ‘Theatre on a Wharf’. Where the functional needs of STC require alteration and walls will preserve the interpretation of the to the fabric, e.g. roof valley modification and column former uses of the building. Response: The proposed new Wharf 1 + 2 Theatres must also removal, these have been treated sensitively and This clause does not apply to the proposed Theatre take account of all new legislation for workplace with respect given to overall aims of the CMP. designs which are internal fit-out work. safety and include a full technical upgrade to ensure

STC50 Architectural Design Report