Public Art Plan – Waterloo Estate (South) – Land and ...

Attachment B32

Public Art Plan – Waterloo Estate (South) – Land and Housing Corporation

Waterloo S

outh Renew

al 1

Produced by G

reg Stonehouse from

Milne and S

tonehouse with S

ue Boaden C

ultural Planner

Waterloo

SoUtH reNeW

al W

aterlooe State

Pu

BliC

A

Rt P

l An

March 2020

•••

SoUtH

Waterloo S

outh Renew

al 2

lead consultant – Milne &

Stonehouse

Report A

uthor: Greg S

tonehouse

Dis

tr

ibu

tio

n Lis

t

nam

e, Po

sition

Date

Greg S

tonehouse, M

&S

, lead Consultant

March 23

2020n

icole Gerschel

Senior D

evelopment M

anager, C

omm

unities Plus

March 23

2020

re

Po

rt

Ve

rs

ion

Date

March 23 2020

Descrip

tion

Draft P

ublic Art P

lan for Waterloo

South R

enewal

Waterloo S

outh Renew

al 3

Waterlo

o s

outh r

enewal M

arch 2020

1.0 intro

ductio

n and e

xecutive sum

mary ...............4

1.1 R

edevelopment V

ision ...........................................6

2.0 W

aterloo South ......................................................7

2.1 the W

aterloo Estate ...............................................8

3.0 P

ublic A

rt req

uirements ....................................8

3.1 W

aterloo

so

uth Planning

Pro

po

sal ...................9

3.2 P

roposed indicative Concept P

roposal ..................9

3.3 P

roposed land Allocation ....................................10

3.4 W

aterloo South M

asterplan ..................................10

4.0 b

aseline investigatio

ns ....................................11

4.1 M

apping ..............................................................11

4.2 D

efinition of Culture in W

aterloo ...........................11

4.3 W

aterloo themes and stories ................................11

4.4 C

omm

unity & stakeholder engagem

ent ..................13

4.5 C

urrent constraints and opportunities ................14

4.6 E

xisting Public A

rt ................................................15

5.0 P

ublic A

rt Plan

...................................................17

5.1 introduction ..........................................................17

5.2 D

efining public art ................................................17

5.3 P

ublic art principles ..............................................19

5.4 P

ublic art’s role ....................................................20

5.5 P

ublic art objectives .............................................20

6.0 C

uratorial narrative P

ublic Art

in Waterlo

o s

outh

..............................................21

6.1 introduction ..........................................................21

6.2 C

oncepts .............................................................22

7.0 s

ite analysis.......................................................23

7.1 S

ite Opportunities ................................................24

7.2 P

ublic Art S

ite Plan opportunities .........................25

7.3 P

ublic Art O

pportunities for Waterloo S

outh

urban and green spaces ......................................26

7.31 P

ublic Art P

recedents in the green spaces ...........27

7.31 P

ublic Art P

recedents in the urban spaces ...........28

7.4 S

ite constraints ....................................................31

7.5 S

taging ................................................................31

7.6 Funding ...............................................................31

7.7 P

artnerships and collaborations ...........................32

7.8 im

plementation ....................................................32

7.9 C

oordination .......................................................32

7.10 C

riteria for acquiring new w

ork .............................33

7.11 A

rtist Com

missioning G

uidelines ..........................33

7.12 Artw

ork Maintenance and D

ecomm

ission ..............34

8.0 C

onclusio

n .........................................................35

9.0 A

pp

endices ........................................................35

9.1 S

umm

ary of policies .............................................35

9.2 A

rts and culture related policy review ...................35

9.3 O

ther relevant policies and strategies ...................40

9.4 P

ublic Dom

ain Objectives ....................................41

CoNteNtS

Figures

Fig 1 location and site plan of the P

recinct .................... 6

Fig 2 A

erial photograph .................................................. 6

Fig 3 indicative C

oncept proposal .................................. 15

Tables

table 1 Alignm

ent with the C

oS checklist for P

ublic Art .....

5

table 2 land Allocation B

reakdown ...................................

14

table 3 Policy review

summ

ary .......................................... 37

table 4 City of S

ydney Developm

ent Control P

lan, 2012 ......... 41

Waterloo S

outh Renew

al 4

1.0the G

reater Sydney R

egion Plan and E

astern City D

istrict Plan

seek to align growth w

ith infrastructure, including transport, social and green infrastructure. W

ith the catalyst of Waterloo

Metro S

tation, there is an opportunity to deliver urban renewal

to Waterloo E

state that will create great spaces and places for

people to live, work and visit.

the proposed rezoning of Waterloo E

state is to be staged over the next 20 years to enable a coordinated renew

al approach that m

inimises disruption for existing tenants and allow

s for the up-front delivery of key public dom

ain elements such as public

open space. Aligned to this staged approach, W

aterloo Estate

comprises three separate, but adjoining and inter-related stages:

•W

aterlooSouth;

•W

aterlooCentral;

•W

aterlooNorth.

Waterloo S

outh has been identified as the first stage for renewal.

the lower num

ber and density social housing dwellings spread

over a relatively large area, makes W

aterloo South ideal as a first

sub-precinct, as new housing can be provided w

ith the least disruption for existing tenants and early delivery of key public dom

ain elements, such as public open space.

A planning proposal for W

aterloo South is being led by n

SW

l and and H

ousing Corporation (lA

HC

). this will set out the

strategic justification for the proposal and provide an assessment

of the relevant strategic plans, state environmental planning

policies, ministerial directions and the environm

ental, social and econom

ic impacts of the proposed am

endment. the outcom

e of this planning proposal w

ill be a revised planning framew

ork that w

ill enable future

development applications for the redevelopm

ent of Waterloo

South. the proposed planning fram

ework that is subject of this

planning proposal, includes:

•A

mend

ments to

the syd

ney Local e

nvironm

entalP

lan 2012 – this will include am

endments to the zoning

and development standards (i.e. m

aximum

building heightsand floor space ratio) applied to W

aterloo South. P

recinct-specific local provisions m

ay also be included.

••

A D

evelop

ment C

ontro

l Plan (D

CP

) – this will be

a new part inserted into ‘S

ection 5: Specific A

reas’ of theS

ydney DC

P 2012 and include detailed controls to inform

future development of W

aterloo South.

••

An infrastructure co

ntributio

ns framew

ork – in

depth needs analysis of the infrastructure required to servicethe needs of the future com

munity including open space,

comm

unity facilities and servicing infrastructure.

iNtrodUCtio

N

Waterloo S

outh Renew

al 5

this Plan outlines a fram

ework for future public art w

orks in the Waterloo S

outh precinct and both responds to and has helped inform

the development of the preferred m

asterplan proposal. i t outlines the proposal, the current context for public art, and m

aps a way

forward as a fram

ework to influence the public art process for W

aterloo South. it

has been informed through com

munity and stakeholder consultation, responds to unique

characteristics and stories of the area and aligns with the C

ity of Sydney G

uidelines and P

olicy for public art.

Purpose

the purpose of this Plan is to:

1.A

ddress the Public A

rt requirements set out by the C

ity of Sydney

2.P

rovide a Public A

rt Plan consistent w

ith the project timefram

e and planningprinciples

3.P

romote an integrated approach to public art that can be readily supported and

implem

ented by key stakeholders

4.C

ontribute to a high quality, connected public domain

5.D

evelop comm

issioning processes for artists as an important part of the developm

entprocess

6.Establish a fram

ework to guide future detailed public art plans and projects

7.Establish an overarching curatorial vision and system

atic approach to public artprojects to w

hich artists and curators can respond during the development of the

precinct

8.B

e consistent with other relevant studies to support positive placem

akingoutcom

es

objectives

•B

uild partnerships through an ongoing public art and activation program

•Enhance the spirit of place through a program

of distinctive public art projects

•M

ake placemaking connections through public art projects

•Ensure public art and design program

s contribute to comm

unity well-being.

exeCUtive SUmm

ary

stud

y requirem

entsW

aterloo

so

uth PAP

co

mp

liances

tudy req

uirements

Waterlo

o s

outh PA

P

com

pliance

Co

nsideratio

n of C

os

p

lanning d

ocum

ents p

ertaining to

the DC

P

and p

ublic art

the PAP aligns with these

planning documents by

reinforcing their intent and processes

Clarifi

es the lifespan

and d

ecom

missio

ning

pro

cess for p

ublic art

the PAP

sets out guidelines in accordance w

ith the CoS

policies

25.1 Prep

are a pub

lic art p

lan that:

Autho

red b

y a p

rofessio

nal curator

Satisfies this criteria

Develo

ped

in co

nsultation w

ith the C

os

, the P

ublic A

rt A

dviso

ry Panel

Prior iterations regarding

the Estate w

ere presented to the panel, consulted w

ith and inform

ed revisions

Allo

ws fo

r one o

n one

consultatio

n with the

gro

ups

these consultations have taken place for the E

state and Metro and

have informed the PA

P for

Waterloo S

outh

identifi

es op

po

rtunities, curato

rial app

roach

PAP

outines a strategic intent and curatorial narrative in section 6

25.2 Dem

onstrate ho

w it

is consistent w

ith:

Co

nsistent with the

Central to

eveleig

h u

rban transfo

rmatio

n s

trategy as w

ell as the C

os

pub

lic art po

licies

the C

ity of s

ydney’s

Pub

lic Art s

trategy,

Pub

lic Art P

olicy,

Guid

elines for P

ublic A

rt in rivate D

evelop

ments

and G

uidelines fo

r A

cquisitio

ns and

Deaccessio

ns

the PAP

aligns with these

documents in its processes

for public art and the wider

connections of Waterloo

South

t he PAP

closely aligns with

all of these policies and sets out the processes in the PA

P w

ith reference to the C

oS policies throughout

the plan

Pro

po

ses a sound

m

ethod

olo

gy fo

r the d

elivery and

com

missio

ning ap

pro

ach to

pub

lic art

in section 7, the PAP

sets these out w

ithin the CoS

P

ublic Art planning policies

ensures checks and

b

alances are in place fo

r b

est practice

PAP

ensures best practice through curatorial narrative, principles and alignm

ent w

ith CoS

planning

outlines a b

udg

etthis is m

easured by future D

etailed Public A

rt Plans

and discussed in the PAP

in section 7.6

table 1 Alignm

ent with the checklist outlined by the C

ity of Sydney

as part of their development approval process

Waterloo S

outh Renew

al 6

1.1 redeveloPm

eNt viSioN

the transition of Waterloo S

outh will occur over

a 10-year timefram

e, with the E

state over 20 years, replacing and providing fit for purpose social (affordable rental) housing as w

ell as private housing to create a new

integrated and inclusive m

ixed-tenure comm

unity. this aligns w

ith Future Directions for S

ocial Housing in

nS

W – the n

SW

Governm

ent’s vision for social housing. it also aligns w

ith lAH

C’s C

omm

unities Plus

program, w

hich is tasked with achieving three

key objectives:1.

Pr ovide m

ore social housing

2.P

rovide a better social housingexperience

3.P

r ovide more opportunities and

support for social housing tenants

the following is lA

HC

’s Redevelopm

ent Vision

for Waterloo E

state, which w

as derived from

extensive consultation and technical studies:

Culture and

Heritag

e

•R

ecognise and celebrate the significance ofW

aterloo’s Aboriginal history and heritage across the

built and natural environments.

•M

akeWaterlooanaffordableplaceform

oreA

boriginal people to live and work.

•Fosterconnectiontoculturebysupporting

authentic storytelling and recognition of artistic,cultural and sporting achievem

ents.

Co

mm

unal and o

pen s

pace

•C

reate high quality, accessible and safeopen spaces that connect people to nature and caterto different needs, purposes and age groups.

•C

reateopenspacesthatbringpeopletogether and contribute to com

munity cohesion and

wellbeing.

Mo

vement and

Co

nnectivity

•M

ake public transport, walking and cycling

the preferred choice with accessible, reliable and safe

connections and amenities.

•M

akeWaterlooadesireddestinationw

iththe new

Waterloo S

tation at the heart of the Precinct’s

transport network – serving as the gatew

ay to aw

elcoming, safe and active com

munity.

Character o

f Waterlo

o

•S

trengthen the diversity, inclusiveness andcom

munity spirit of W

aterloo.

•R

eflectthecurrentcharacterofWaterlooin

the new built environm

ent by mixing old and new

.

Local e

mp

loym

ent op

po

rtunities

•E

ncourage a broad mix of businesses and

social enterprise in the area that provides choice forresidents and creates local job opportunities.

Co

mm

unity services, includ

ing s

upp

ort fo

r t

hose W

ho A

re Vulnerable

•E

nsure that social and human services

support an increased population and meet the

diverse needs of the comm

unity, including the most

vulnerable residents.

•P

rovideflexiblecomm

unalspacestosupportcultural events, festivals and activities that strengthencom

munity spirit.

Accessib

le services

•D

eliver improved and affordable services that

support the everyday needs of the comm

unity, such ashealth and w

ellbeing, grocery and retail options.

Desig

n excellence

•E

nsure architectural design excellenceso that buildings and surrounds reflect com

munity

diversity, are environmentally sustainable &

peoplefriendly – contributing to lively, attractive and safeneighbourhoods.

•R

ecogniseandcelebrateWaterloo’shistory

and culture in the built environment through artistic and

creative expression.

•C

reate anintegrated,inclusivecomm

unityw

her e existing residents and newcom

ers feelw

elcome, through a thoughtfully designed m

ix ofprivate, affordable and social housing.

Waterloo S

outh Renew

al 7

Figure 1 location and plan of W

aterloo Estate and

Waterloo S

outh

Source: turner S

tudio

Figure 2 A

erial photograph of Waterlloo

South and its boundaries

Source: E

thos urban &

nearm

ap

Waterloo P

recinct

Metro Q

uarter

Estate

Waterloo M

etro Station

Proposed S

ydney Metro A

lignment

Private P

roperties

M

2.0W

aterloo South includes land

bounded by Cope, R

aglan, George,

Wellington, G

ibson, Kellick, P

itt and M

cEvoy Streets, and has an

approximate gross site area of 12.32

hectares (approximately 65%

of the total Estate).

Waterloo S

outh currently comprises

749 social housing dwellings ow

ned by lA

HC

, 125 private dwellings,

and comm

ercial properties on the south-east corner of C

ope and W

ellington Streets. Existing social

housing within W

aterloo South is

predominantly w

alk up flat buildings constructed in the 1950s and ‘60s, and m

id-rise residential flat buildings (D

rysdale, Dobell & 76 W

ellington S

treet) constructed in the 1980s. listed H

eritage items w

ithin Waterloo

South include the D

uke of Wellington

Hotel, Electricity S

ubstation 174 on the corner of G

eorge and McEvoy

Streets, the terrace houses at

229-231 Cope S

treet and the Form

er Waterloo P

re-School at

225-227 Cope S

treet. the State

Heritage listed ‘P

otts Hill to W

aterloo P

ressure tunnel and Shafts’ passes

underneath the precinct.

A m

ap of Waterloo S

outh and relevant boundaries is illustrated in Figure 2.

Waterlo

o So

UtH

Waterloo S

outh Renew

al 8

3.02.1 tHe W

aterloo

eStatePUbliC art req

UiremeNtS

Waterloo E

state is located approximately

3.3km south-south-w

est of the Sydney

CB

D in the suburb of W

aterloo (refer to Figure 1). it is located entirely w

ithin the C

ity of Sydney local governm

ent area (lG

A). W

aterloo Estate is situated

approximately 0.6km

from R

edfern train station and 0.5km

from A

ustralia technology P

ark. the precinct adjoins the new

Waterloo M

etro Station, scheduled

to open in 2024.

the Waterloo M

etro Quarter adjoins

Waterloo E

state and includes the station and over station developm

ent, and w

as rezoned in 2019. Waterloo E

state com

prises land bounded by Cope, P

hillip, P

itt and McE

voy Street, including an

additional area bounded by Wellington,

Gibson, K

ellick and Pitt S

treets. it has an approxim

ate gross site area of 18.98 hectares (14.4 hectares excluding roads).

Waterloo E

state currently comprises

2,012 social housing dwellings ow

ned by lA

HC

, 125 private dwellings, a sm

all group of shops and com

munity uses

on the corner of Wellington and G

eorge S

treets, and comm

ercial properties on the south-east corner of C

ope and Wellington

Streets.

this report relates to the Waterloo

South planning proposal. W

hile it provides com

prehensive baseline investigations for W

aterloo Estate, it

only assesses the proposed planning fram

ework am

endments and indicative

Concept P

roposal for Waterloo S

outh.

the Public A

rt Plan m

akes reference to the E

state where principles,

opportunities and curatorial direction w

ill contribute to a coherent art landscape for the w

hole estate.

the focus for this Public A

rt Plan

should be upon Waterloo S

outh w

here the staged development

for the estate will com

mence.

the alignment of the C

ity of S

ydney with lA

HC

for this public art includes the follow

ing requirements

as part of the planning approvals for public art:

1.Vision

, strategic

context an

d ju

stification

1.5 Consideration of C

ity of S

ydney planning documents,

strategies and policies including, but not lim

ited to:

•C

ity Art – P

ublic Art

Strategy 2011

•C

reative City | C

ulturalP

olicy and Action P

lan 2014

•Interim

Guidelines for the

City of S

ydney Public art in

private Developm

ents 2014

25.Pu

blic art

25.1. Prepare a public

art plan that:

•is authored by aprofessional curatorw

ith experience andknow

ledge of the area

•is developed in consultationw

ith the City of S

ydney,the C

ity’s Public A

rtA

dvisory Panel, key

cultural stakeholdersand the com

munity

•allow

s for individual,m

eaningful and iterative

one on one consultation w

ith the above groups

•identifies opportunities andan overarching conceptualapproach/curatorialrationale for the precinct

•proposes a soundm

ethodology for theselection, com

missioning

and delivery of public art aspart of future developm

entapplications in a w

ay thatensures the strategic intent,vision, artistic integrityand quality of all publicartw

orks is maintained

throughout this process

•ensures that adequatechecks and balances arein place to achieve bestpractice outcom

es

•outlines a budget for publicart that allow

s for bestpractice outcom

es thatw

ill contribute to the futurepublic life in W

aterloo, and

•clarifies the lifespan of theartw

ork and process fordecom

missioning as w

ellas ow

nership, funding andresponsibility for ongoingm

aintenance of all artworks.

25.2. Dem

onstrate h

ow

it is consisten

t with

:

•an overall curatorial strategyand urban design strategyfor the area covered bythe C

entral to EveleighU

rban Transformation

Strategy, and

•the C

ity of Sydney’s

Public A

rt Strategy, P

ublicA

rt Policy, G

uidelinesfor P

ublic Art in P

rivateD

evelopments and

Guidelines for A

cquisitionsand D

eaccessions.

2.2 rePort PUrPo

Se

Waterloo S

outh Renew

al 9

3.1 Waterlo

o So

UtH PlaNNiNG Pro

PoSal

the indicative Concept P

roposal for the W

aterloo South com

prises:

•A

pproximately 2.57 hectares of public

open space representing 17.8% of the total

Estate (proposed to be dedicated to the C

ity of Sydney C

ouncil), comprising:

•Village G

reen – a 2.25 hectare park located next to the W

aterloo Metro S

tation; and

•W

aterloo Com

mon and adjacent – a 0.32

hectares located in the heart of the W

aterloo South precinct.

•the 2.57 hectares all fall w

ithin the W

aterloo South P

lanning Proposal

representing 32.3% of public open space

(Gross W

aterloo South area – proposed roads)

•R

etention of 52% of existing high and

moderate value trees (including existing fig

trees) and the planting of three trees to replace each high and m

oderate tree rem

oved.

•C

overage of 30% of W

aterloo South by

tree canopy.

•A

pproximately 257,000 sqm

of GFA

on the lA

HC

land, comprising:

•A


GFA

of residential accom

modation, providing for

approximately 3,048 dw

ellings comprising

a mix of m

arket, social (affordable rental) housingdw

ellings;

•A


of GFA

for com

mercial prem

ises, including, but not

limited to, superm

arkets, shops, food &

drinkpremisesandhealthfacilities;and

•A


of comm

unityfacilities and early education and child carefacilities.

the key features of the indicative Concept

Proposal are:

•it is a design and open space ledapproach.

•C

reation of two large parks of high

amenity by ensuring good sunlight access.

•C

reation of a pedestrian priority precinctw

ith new open spaces and a netw

ork ofroads, lanes and pedestrian links.

•C

onversion of George S

treet into alandscaped pedestrian boulevard andcreation of a w

alkable loop designed tocater to the needs of all ages.

•A

new local retail hub located centrally

within W

aterloo South to serve the needs

of the local comm

unity.

•A

target of 80% of dw

ellings to have localretail services and open space w

ithin200m

of their building entry.

•A

chievement of a 6 S

tar Green S

tarC

omm

unities rating, with m

inimum

5-starG

reen Star – D

esign & A

s-Built (D

esignR

eview certified).

•A

range of Water S

ensitive urban D

esign(W

Su

D) featur es.

the planning proposal will establish new

land use planning controls for W

aterloo S

outh, including zoning and development

standards to be included in Sydney lE

P

2012, a new section in P

art 5 of DC

P

2012, and an infrastructure contributions fram

ework. turner S

tudio and turf has prepared an u

rban Design and P

ublic D

omain S

tudy which establishes an

indicative Concept P

roposal presenting an indicative renew

al outcome for W

aterloo S

outh. the urban D

esign and Public

Dom

ain Study provides a com

prehensive urban design vision and strategy to guide future developm

ent of Waterloo S

outh and has inform

ed the proposed planning fram

ework. the indicative C

oncept Proposal

has also been used as the basis for testing, understanding and com

municating the

potential development outcom

es of the proposed planning fram

ework.

3.2 iNdiCative Co

NCePt ProPo

Sal

Waterloo S

outh Renew

al 10

3.3 ProPo

Sed laNd allo

CatioN

the proposed land allocation for the Waterloo

South P

recinct is described in table 1.

Figure 3 –indicative Concept P

roposal S

ource: turner Studio

Land allo

cation

e

xisting

Pro

po

sed

ro

ads

3.12ha / 25.3%

4.38ha / 35.5%

Develo

ped

area (Private sites)

0.86ha / 6.98%

0.86ha / 7%

Develo

ped

area (LAH

C p

rop

erty) 8.28ha / 67.2%

4.26ha / 34.6%

Pub

lic op

en space

(pro

po

sed to

be d

edicated

to the C

ity of s

ydney)

nil / 0%

2.57ha / 20.9%

(32.3%exclud

ing ro

ads

other p

ublicly accessib

le op

en space

(including

form

er road

s and p

rivate/LAH

C land

) 0.06ha / 0.5%

0.25ha / 2%

to

tAL

12.32ha12.32ha

table 2 Breakdow

n of allocation of land within the W

aterloo South

3.4 Waterlo

o So

UtH maSterPlaN

Waterloo S

outh Renew

al 11

A W

aterloo Arts and C

ultural Baseline R

eport produced in 2017 provided a com

prehensive analysis of the arts and cultural ecology across the W

aterloo Estate and M

etro Quarter

and an initial investigation of the existing constraints and opportunities. it required a desk top analysis of existing arts and cultural conditions, on-site visits and interview

s with

key stakeholders. A stakeholder w

orkshop provided opportunities to share ideas on W

aterloo’s creative future including feedback on public art and activation. the R

eport provided a basis for future planning and in particular presented a robust foundation to inform

the development of both the M

etro Q

uarter Public A

rt Plan, the W

aterloo Estate

Public A

rt Plan and the P

ublic Art P

lan for W

aterloo South.

A sum

mary analysis of the W

aterloo Arts and

Cultural B

aseline Report is presented below

.

4.1 maPPiNG

the Baseline R

eport identified and assessed existing conditions providing a foundation to

better understand arts and culture in the area.

4.0baSeliNe iNveStiGatio

NS

the City of S

ydney’s definition of culture has been adopted and refined to specifically express culture in W

aterloo:

in Waterloo, culture is expressed through

the production, distribution and participation in creativity by W

aterloo’s comm

unity and is the reflection and expression of its custom

s, traditions, heritage and social character. this includes the arts broadly defined, local creativity and the idea of W

aterloo’s sense of identity. the culture in W

aterloo is represented by its heritage and history including its rich A

boriginal culture and contem

porary practice. this is represented in architecture and public space, public art and m

emorials, festivals and events (m

arkets and fairs) as w

ell as aspects of leisure including gardening, the natural environm

ent (tree canopy, water

and topography) as well as education and

lifelong learning.

A prelim

inary overview drew

on previous work

and research from the C

entral to Eveleigh

project. A num

ber of important them

es and concepts associated w

ith Aboriginal culture

and heritage as well as w

ith post-settlement

history have informed the curatorial narrative

and development of the W

aterloo Estate

Public A

rt Plan. W

hile key points in the W

aterloo”s development are sum

marised

below, it is not intended to be a historic record

of the area.

Although there are gaps in the archaeological

evidence following tw

o centuries of settlement

and development, the pre-contact tangible

and intangible Aboriginal heritage of W

aterloo is w

idely respected and understood as an im

portant aspect of Waterloo’s culture.

Waterloo’s natural resources, diverse

comm

unity, history of industry and social m

ovements alongside its enduring im

portance to A

boriginal comm

unities have all influenced the developm

ent and identity of the area.

the natural environment of W

aterloo consisted of a dune system

and network of sw

amps,

pools and creeks that provided natural m

edical remedies, daily m

aterials and an abundance of food for the G

adigal people of the E

ora nation before early settlem

ent in 1788. the arrival of the E

uropeans also saw

the introduction of small pox that

decimated the A

boriginal comm

unity alongside ongoing displacem

ent caused by the expanding colony.

During the early 1800’s factories m

oved into the area to take advantage of the local w

ater supply including tanneries, w

ool washing,

soap and candle factories. the arrival of the rail connections and the opening of the original R

edfern Station in 1850 signalled further

change, with a grow

ing number of industries

including the Eveleigh R

ailway W

orkshops and the continued grow

th of worker housing in the

area. By the early 19th C

entury 100 different industries w

ere registered in Waterloo and

a growing num

ber of diverse comm

unities w

ere attracted to the area, including Chinese,

lebanese and irish families.

By the early 20th C

entury unplanned and chaotic grow

th alongside poor living conditions resulted in the suburb becom

ing know

n as a slum, w

ith high rates of infant m

ortality. there was also a grow

th in the area of social gathering spaces, w

ith businesses ow

ned by diverse comm

unities including G

reek Cafes, C

hinese Grocers and lebanese

restaurants alongside a multitude of pubs.

the arrival of the War and D

epression and ongoing hardship saw

the comm

unity form

strong bonds and resilience in the face of adversity.

4.2 defiNitioN o

f CUltUre iN W

aterloo

4.3 Waterlo

o tHem

eS aNd Sto

rieS

Waterloo S

outh Renew

al 12

the 1940s saw the first low

rise social housing apartm

ents constructed, followed in the

1970’s by the Waterloo tow

ers built as social housing for the elderly. B

y the 1970s the area’s A

boriginal Population w

as increasing and ongoing advocacy led to the founding of local com

munity-controlled services in the area,

including medical and legal, established by the

Aboriginal com

munity.

the 1970s also saw the start of

de-industrialization and at times hardship

for the comm

unity. in the last 20 years the story of W

aterloo has continued as a strong and resilient com

munity, w

ith increasing social infrastructure, a grow

ing and diverse com

munity and grassroots social m

ovements.

Draw

n from the history, topography and

comm

unity, the below cultural narratives have

helped to inform the W

aterloo Estate P

ublic A

rt Plan.

Ab

orig

inal cultural narratives: Histo

ric custo

dianship

, contem

po

rary practice

and an active p

op

ulation

•P

re-1788 Aboriginal cultural history

•S

ignificant events and leaders in consultation w

ith local comm

unities

•the transition from

rural to urban

•A

hub for Aboriginal protest and social

movem

ents

•W

ellbeing and economic sustainability

Po

st-settlement cultural narratives

•P

roductive and adaptive landscape layered elem

ents of water, greenery, topography

and productive land uses

•W

orking life in Waterloo alongside

A culture of m

aking embedded in industry,

craftmanship, business and production

•P

ubs and comm

unity life where spaces

to gather, share and comm

unicate were

created inside and outside

•W

aterloo’s industrial landscape where

factories, rail transport and labour were

important both to the developm

ent of the com

munity and the type of buildings in

the area.

•C

ycles of renewal: P

rovision of rail, electricity, im

proved housing and amenity

over time

•B

attlers and protesters: A supportive

social network

•A

comm

unity of cultural diversity: C

ulturally diverse comm

unity bonded through adversity, resilience and active engagem

ent.

•A

resilient comm

unity which adapted and

flourished within these renew

al cycles

the Waterloo S

outh Public A

rt Plan draw

s on previous w

ork and acknowledges the area’s

broader context. the stories from W

aterloo are threaded through its neighbouring areas as shared experiences and com

mon histories.

this enables a cohesive storyline to be told across the precinct. W

hile Waterloo’s stories

are distinct, they also connect and relate to surrounding areas including G

reen Square

and the City.

in novem

ber 2016, following extensive

comm

unity consultation, urbanG

rowth

released the Central to E

veleigh urban

transformation S

trategy. the strategy set out an am

bition for growth and change for

precincts of government-ow

ned land, in and around the R

ail Corridor from

Central S

tation to M

acdonaldtown and E

rskineville Stations.

Key objectives w

ithin the Strategy included,

creating centres of activity around stations to celebrate the area’s rich diversity, and to also create great places w

ith a unique character, supporting the developm

ent of Sydney’s

newest hub of contem

porary art. A C

reative P

lace Strategy w

as drafted for the Central

to Eveleigh area, as a fram

ework to em

bed culture and creativity w

ithin the fibre of the area. this identified A

boriginal and industrial heritage, invention and m

aking, learning and know

ledge, contemporary art and expression

as key to achieving positive creative and cultural outcom

es.

the Waterloo S

outh precinct also sits at the intersection of the C

ity of Sydney’s E

ora Journey, and the em

erging precinct of Green

Square. W

aterloo South shares the stories of

Aboriginal C

omm

unities, and is connected to the C

ity of Sydney’s E

ora Journey from the

City to R

edfern. it also lies within the context

of Green S

quare and shares this precinct’s relationship w

ith water as a key narrative

element.

4.3.3 Waterlo

o s

outh co

ntext

Waterloo S

outh Renew

al 13

4.4 Com

mUNity aNd

StakeHolder eNGaGem

eNt S

takeholder and comm

unity engagement w

ere critical to inform

ing the research, analysis and findings of the B

aseline Report.

Engagem

ent included extensive comm

unity consultation, presentations and discussions w

ith the City of S

ydney, and City of S

ydney’s P

ublic Art A

dvisory Panel. D

iscussions also took place w

ith Sydney M

etro and other governm

ent agencies, and a workshop w

ith creative producers and cultural policy leaders. S

pecific feedback from the com

munity,

creative producers and cultural leaders w

orkshop are expanded on below.

Engagem

ent included a workshop w

ith cultural stakeholders held in O

ctober 2017, w

ith the aim for creative producers and

policy makers to help share ideas that

could shape Waterloo’s creative future.

the following key w

ords and phrases were

used by participants to describe visioning for m

emorable cultural places w

hich encouraged creative production:

•D

esign excellence which encourages a

sense of place, through the integration of local heritage w

ith new or m

ore contem

porary urban cultural environments.

•Festivals and events that transform

everyday places that value and connect to local stories.

•im

aginative arts programm

ing that celebrates local cultural narratives and traditions.

•E

mbedded public art and integrated

design, can contribute to establishing unique destinations as w

ell as economic

growth and vitality.

Participants raised the follow

ing potential id

eas and o

pp

ortunities for consideration in

preparation of the future Public A

rt Plan.

•E

nable future spaces for the arts.

•A

comm

unity creative space/a hub for com

munity activity/ a cultural hub/ an arts

shed/ or an Arts G

enerator.

•A

rtists’ studios/ live/ work spaces.

•D

evelop an outdoor space for arts/ cultural events/ festivals/ screenings.

•E

nable future arts and cultural programs.

•A

rolling program of projects/activations,

from the W

aterloo SS

P P

roject start-up, w

hich will build m

omentum

and leave a legacy program

.

•A

program of arts led, public art and design

which celebrates local stories.

4.4.1 Co

mm

unity engag

ement

Based on feedback from

over 1500 participants, the P

hase 1 of ‘lets talk W

aterloo’ undertaken during October to

Decem

ber 2017’ provided information across

five themes including culture and com

munity

life. the program highlighted that people felt

connected to each other, and to Waterloo’s

history and cultural heritage (including its A

boriginal heritage), and that these elements

are what m

akes Waterloo unique. the

comm

unity has also shown their desire to see

these elements preserved, supported and

strengthened for the future. the Aboriginal

comm

unity identified the need to provide opportunities for ‘connection to culture’ and to retain and strengthen a strong sense of com

munity and belonging.

the comm

unity responded to the question of w

hat makes W

aterloo unique and how could

these strengths be built on to make it an even

better place. the results show support for

public art, and have informed the curatorial

narrative and public art approach for Waterloo

South. B

elow are exam

ples of the feedback and responses from

Phase 1 C

omm

unity E

ngagement P

rogram:

•70%

wish to acknow

ledge and celebrate A

boriginal culture and history

•36%

of residents want the creation of high

quality public and open spaces

•n

early 50% of participants indicate

support for comm

unal events, programs

and festivals

•n

early 50% of participants also indicated

support for public art

•the com

munity is greatly interested in

public art that represents the comm

unity being built into facades and a local neighbourhood

•the com

munity is greatly interested in

design, including the integration of flags, sport team

s, signage, street art, statues and storyboards

•the com

munity w

ould like the spirit of previous com

munity m

osaic art projects renew

ed in the Estate using sim

ilar artist com

munity collaborations w

ith new

materials

•the social history and characters of

Waterloo ahould be incorporated into the

fine grain such as seating or within the local

signage

in 2018 another phase of engagement to test

options engaged more than 1000 m

embers

of the comm

unity. Feedback inlcuded the im

portance of Waterloo rem

aining an authentic place w

ith its own character, and a place

that provided opportunities for people to m

eet and socialise. it was also im

portant to recognise and respect A

boriginal culture with

opportunities for cultural interpretation and learning. the public art plan responds to this feedback through its curatorial vision and approach to public art.

Waterloo S

outh Renew

al 14

4.5 CUrreNt CoNStraiNtS

aNd oPPo

rtUNitieS the follow

ing arts and cultural constraints and opportunities w

ere identified from the analysis

of mapping, engagem

ent and policy review.

they are relevant to, and have informed the

development of the P

ublic Art P

lan.

4.5.1 strategic constraints

Creative clusters and cultural vitality:

Waterloo does not have a critical m

ass of creative opportunities and cultural infrastructure to m

eet needs for creative participation.

Valuing heritage and Waterloo’s cultural

resources: Waterloo’s stock of diverse cultural

resources including civic facilities, arts networks,

places of mem

ory, heritage buildings, Aboriginal

cultural heritage, aspects of topography, landscape and ephem

eral events are not widely

known or understood.

Creative education and lifelong learning:

Dedicated infrastructure is not available to

support creative learning and education and opportunities for residents to access and participate in cultural program

s and events is lim

ited.

Limited cultural infrastructure: the diversity

and number of arts and cultural infrastructure

including workshops, m

aker’s spaces, creative organisations and facilities is lim

ited compared to

the growth of these in the surrounding areas.

A unique local character: W

hile there are several initiatives, there is no system

atic docum

entation or celebration of the comm

unity’s cultural history.

Public art w

orks: there are limited existing

permanent art w

orks, with the m

ajority of perm

anent work dating from

the 1970s based on C

aptain Cooks voyages. there are few

examples

of contemporary public art com

missions.

4.5.2 strategic opportunities

the cultural opportunities identified below reflect

relevant policy at the State and local level,

feedback from stakeholder engagem

ent as w

ell as trends in addressing and finding positive cultural pathw

ays towards sustainable and

resilient comm

unities. there is the opportunity to focus first on the current residents as ‘creative elders’ then, through ongoing engagem

ent and activation program

s, to integrate the new

residents as different voices in the mix.

Culture including arts activation and

entertainment could create a unique W

aterloo destination, including offerings in close proxim

ity to transport hubs, opportunities to engage w

ith and understand a diversity of cultural heritages, and building a sense of pride in a unique local identity.

increased participation in the arts: Providing

local opportunities that increase engagement

and access to arts and culture in Waterloo w

ill have a positive im

pact on comm

unity wellbeing.

Celebrating A

boriginal cultural heritage: C

elebrating Aboriginal cultural connections

and identity can contribute to Waterloo being a

sustainable and vibrant cultural place.

Cultural diversity: there is the opportunity

to strengthen, enrich and celebrate Waterloo’s

diversity of cultures, both in telling local stories and program

ming that engages the local

comm

unity.

Creative skills developm

ent: Enabling creative professional developm

ent and opportunities for the com

munity w

ill contribute to local cultural vitality and econom

ic sustainability.

Capturing rich cultural content and Local

stories: using m

ultiple media to celebrate local

culture and stories from past, present to future

can provide the comm

unity opportunites to develop a sense of belonging and connection.

A diversity of creative spaces: P

rovide space for com

munity arts engagem

ent and participation as w

ell as professional practice.

nature as a cultural driver: A

rt which reflects

a comm

itment to excellence, innovation and

diversity should be built into the fabric of W

aterloo’s natural spaces.

sum

mary findings

the findings which have set the structure for the

Public A

rt Plan are sum

marised below

.

•W

aterloo has rich layers of cultural resources through its com

munity, history and

environment but these are not w

idely known

•its inform

al cultural life is organic, dynamic

and complex

•W

hile rich in intangible culture, the number

of physical cultural resources in Waterloo

is limited com

pared to a growing base of

creative professionals and businesses in the w

ider area

•C

urrent permanent public does not reflect

the richness of Waterloo’s A

boriginal heritage, postcolonial stories, custom

s and diverse cultural traditions

4.5.3 Public art specific findings

these findings have influenced the developm

ent of the Public A

rt Plan.

•the inclusion of the com

munity and local

artists in public art projects

•the celebration of W

aterloo’s stories within

the curatorial narrative

•the celebration of A

boriginal and torres S

trait islander culture

•the use of integrated and em

bedded public art linked to the character of the area

•A

mix of perm

anent, embedded and

integrated, as well as program

ming of public

art works.

Waterloo S

outh Renew

al 15

9

10

22

1

3

4

6

5

78

Metro stAtion

ConstruCtion

4.6 exiStiNG PermaNeNt

PUbliC art iN Waterlo

othe current ten or so public artw

orks are within

walking distance around the w

alking catchment of

the precinct. these include monum

ents, murals and

mosaics in the public dom

ain as well as the interior

design, walls and furniture w

ithin the existing towers

Matavai and turanga.

the conceptual background of many of the artw

orks is focused upon C

ook’s exploration while others have

engaged comm

unity and lead artists to produce art w

orks in response to a local character.

the reuse, decomm

issing and renewal of current

artwork should be considered throughout

the development process in line w

ith the decom

missioning guidelines w

here appropriate.

Above: B

ooklet with text and im

ages describing the internal furnishings and design w

ith their specific references to C

ook’s journeys

Waterloo S

outh Renew

al 16

no

nam

eD

escriptio

nLo

cation

no

tesim

age

1A

nchor

An actual cast iro

n anchor fo

rm an

old

ship

Betw

een Matavai and

Turanga To

wers

The stand

ing ancho

r is part o

f the maritim

e

references of the nearb

y Tow

ers. The histo

ry of

the anchor is no

t know

n.

2M

atavai, named

after Co

ok’s

berth in Tahiti and

Turanga after

the landing

in New

Zealand

. Each

tow

er is internally deco

rated

Co

ok’s exp

editio

n has been

interpreted

with each flo

or in the

tow

ers named

after a significant

place in his life and

maritim

e journey

Betw

een Matavai and

Turanga To

wers.

Each lo

bb

y and co

mm

unal roo

m is an

interior d

esign w

ith carpet, up

holstery,

wall hang

ings and

art

A tho

ughtful stylised

desig

n integratio

n of C

oo

k’s

life as for the co

llective spaces in each to

wer.

The d

esigns co

nsider m

aterials, colo

ur for flo

or,

wall, ceiling

and furniture.

3T

he “Ro

ck”A

large sand

stone ro

ck with the

plaq

ue com

mem

orating

Queen

Elizab

eth 2 op

ening in 1973

It stands b

etween the tw

o to

wers

Matavai and

Turanga

This m

onum

ent refers to the ro

le of the m

onarchy

and is in g

oo

d shap

e given its ag

e.

4C

aptain C

oo

k Sund

ial and P

laque

Mad

e by S

undials A

ustralia, it

com

mem

orates the B

icentenary of

Co

ok’s land

ing in B

otany B

ay

Park in R

aglan S

tT

he artwo

rk was co

nceptually linked

to the

names o

f the build

ings w

ith their maritim

e

explo

ration and

early colo

nial references.

5M

ural in disused

basketb

all court

Welling

ton S

treet

Three w

alls with a g

raffitti collag

e

with a p

ortrait to

ward

s the corner.

Street artists unkno

wn. S

pray p

aint

Welling

ton S

tW

hile the basketb

all courts are no

long

er used,

the mural has a stro

ng g

raphic p

resence.

6C

oo

k Co

mm

unity Gard

en entrance

mo

saic

Co

mm

unity mo

saic framing

gard

en’s

entrance

Co

rner of R

aglan and

Pitt S

treetA

naïve artwo

rk in go

od

cond

ition

7M

osaic in W

aterloo

Park

The m

osaic w

as mad

e by resid

ents

and yo

ung p

eop

le with lead

artists

Ang

ela Yeend, M

arily Cintra and

Malco

lm C

oo

ke

Fram

ing the p

laygro

und o

n the Pitt

Street b

ound

ary of the p

ark

A co

nsidered

artwo

rk which w

raps aro

und the

level slice of p

laygro

und

8Tree relief m

uralS

tylised tree shad

ow

s with a b

lue

backg

round

and clusters o

f leaves

Main entrance o

f the Do

bell b

uilding

in Pitt S

treet

In go

od

cond

ition d

iscreet wo

rk in shado

w

9A

rchitectural facade

Architectural façad

e with accretio

n

and a m

aths form

ulae by unkno

wn

de-sig

ner

180 Co

pe S

tC

ontem

po

rary façade o

n the edg

e of the p

recinct

10M

ural on N

ussinov g

alleryD

ark hues with acrylic p

aint56 C

op

e Street

Gallery façad

e in go

od

cond

ition d

one b

efore the

current tenure

4.6 liSt of PUbliC

art iN Waterlo

o

Waterloo S

outh Renew

al 17

5.2.1 Pub

lic art in Waterlo

o s

outh

Perm

anent Artw

orks: are w

orks with a

25-year life. these comm

issions engage artists to respond to the specific nature, history and cultural threads of the site, and to produce stand alone artw

orks. the m

ateriality, scale and number of these w

orks vary depending on the artist’s practice, curatorial vision and the specific site constraints and opportunities.

ep

hemeral A

rtwo

rks: are temporary

artworks w

hich have a designated life span, contingent upon an event or the com

missioning requirem

ents. they may be

made of perm

anent materials, but the w

orks are m

oved off site after a set time, or are

constructed from fragile m

aterials with a

short lifespan.

Perfo

rmance A

rtwo

rks: are works

performed outside of the form

al framew

ork of the theatre, and consider the sensitivities of their audience in context of duration, costum

e and location.

integrated

and e

mb

edd

ed A

rtwo

rks: are incorporated w

ithin the building, public open space, and landscaping fabric. they require the engagem

ent of an artist early in the design process, to enable a collaborative approach w

ithin the team.

5.2.2 Creative p

lace activation

in this Plan public art and creative

placemaking have been linked, in order

to leverage diverse opportunities to anim

ate and enliven the public realm.

Activation and creative program

ming

through arts, cultural activities and events, engages w

ith the comm

unity from an

early conceptual stage. this provides opportunities for curators/ producers to design and deliver m

emorable experiences,

performances and events that enhance

local identity and a sense of belonging.

Creative placem

aking can take many form

s providing opportunities to integrate arts and creativity into:

events: festivals, fairs, m

arkets

Cultural activities and

pro

gram

s: digital storytelling, m

akers spaces

Live entertainment/ street

perfo

rmances.

Working w

ithin construction constraints, these activations and artw

orks enliven w

ork zones and temporary open spaces

with cultural interventions em

powering the

current residents.

5.0PUbliC art PlaN

5.1 iNtrodUCtio

Nthe P

ublic Art P

lan for the Waterloo S

outh R

enewal has been developed to guide the

preparation of the planning proposal, that w

ill result in the integration of a range of quality public art throughout the precinct. the P

lan establishes public art principles and objectives, linking to them

es that integrate w

ith overall urban planning and placem

aking strategies for Waterloo S

outh and the estate. the P

lan also embraces

creative placemaking, through activation and

programm

ing that complim

ents public art projects. it has been inform

ed by relevant City

of Sydney plans and policies. S

ee table 2 and 3 for detail.

the curatorial narrative builds a thematic

scaffolding for the precinct, to allow curators

to further drill down w

ith future detailed public art plans, w

ithin individual developments.

this includes the preparation of artist’s briefs and plans for artw

ork projects, leading onto the com

missioning, design, fabrication,

installation and maintenance of the artw

ork.

the Public A

rt Plan considers a tw

enty year staged construction phase for the E

state developm

ent with W

aterloo South beginning

this process first. this influences a careful program

ming of tem

poral, performance, and

permanent artw

orks to activate the precinct and w

ork with the developm

ent phases.

5.2 defiNiNG PUbliC artthe W

aterloo South P

ublic Art P

lan adopts the C

ity of Sydney’s definition of ‘public art’,

in the broadest sense as artistic works or

activities accessible to the public. the work

may be of a tem

porary or permanent nature.

the artwork m

ay be located in or part of a public space, or facility provided by either the public or the private sector. P

ublic Art also

includes the conceptual contribution of an artist, as a m

ember of an integrated team

to the design of public spaces and facilities.

Public art is also inform

ed by site specificity, w

here artists respond to the character, constraints and opportunities of the site. these artw

orks can be an integral part of their environm

ent, through their relationships w

ith the built form, public spaces, parks,

infrastructure, streets and audiences. they can stand alone, or function w

ithin the design of buildings, open spaces and landscaping and help to orient people’s m

ovements.

Waterloo S

outh Renew

al 18

PermaNeNt PUbliC art

JohnKelly,D

ocklandsMelbourne;

ePHemeral PUbliC art

examPleS o

f PUbliC art Pro

jeCtS

From top:

Popper B

ox, P

addington R

eservoir G

ardens, P

addington;

Harrell Fletcher

and Avalon K

alin, P

ortland State

University,U

SA

;

Baby G

uerilla, Footscray, M

elbourne

top: Anish K

apoor, Descension;

Above: A

pril Pine C

onvergence Perth

Above: law

rence Argent, I S

ee What You M

ean, C

oloradoConventionC

entre;

Waterloo S

outh Renew

al 19

5.3 PUbliC art PriNCiPleSW

aterloo South’s cultural fabric reflects a com

munity-based spirit of

place. From A

boriginal self-determination, social action, the craft of the

hand made to industry, and richly diverse cultures. this breathed life into

the streets and pubs, in homes and across neighbourhoods. P

ublic art w

ill contribute to a welcom

ing, safe and inclusive place.

site specificity

Public art is about W

aterloo South and responding to its unique

character, from its A

boriginal stories to its contribution to a contem

porary city. Art projects narrate, surprise and illum

inate. it gives voice and opportunity to the local com

munity and its artists.

Activated public dom

ain and streetscapes

Public art acknow

ledges and enhances the social connections and com

munities experience of the public dom

ain, and reinforces street life. in the public dom

ain it supports public access and safety. O

ngoing creative programm

ing is encouraged through each stage of the developm

ent.

excellence, integrity and sustainability

Public art is of a high quality, durable and ecologically sustainable.

the early engagement of artists and a com

mitm

ent to new ideas

promotes these principles. Each public art project has an integrated

and embedded approach as part of the new

development, and is

consistent with existing planning, heritage and environm

ental policies.

Contem

porary practice

Public art is a contem

porary layer resonating now, providing a lens on

the past whilst anticipating the future.

Cultural com

munity

Public art can leverage creativity and com

munity participation. it can

also provide opportunities to build knowledge and skills. the them

es of a layered, proud, distinct and resilient place inform

programm

ing, and invite participation in public art projects.

this participation can include authorship within ephem

eral projects, em

brace hands-on consultative design and invite ongoing feedback

Right: W

arren langley with A

rmature, P

erth.

Waterloo S

outh Renew

al 20

Perform

aNCe PUbliC art

Ed W

oodham, C

amouflage

LismorelanternP

arade;R

ainbow C

rossing, Belingen.

Public art in W

aterloo South can play a part

of the ongoing placemaking process by

animating streets, interacting w

ith locals, guiding m

ovement, creating spaces of

convergence, and building character and identity.

An ongoing program

of art/ performances

using film, photography, sound and theatre,

as public art invests in its locale and can preserve the existing cultural assets.

Within a staged developm

ent, these program

s provide a sense of cohesion across the precinct.

Som

e of the roles for successful public art in are outlined below

:

•C

omm

unity wellbeing role

Artw

ork and performance projects can

contribute to the health and social cohesion of a com

munity, through a celebration of its

character and the nurturing of the creative pow

ers of local residents.

•C

onnecting role

Public art can connect w

ithin, and to villages and com

munities beyond so that W

aterloo presents as a coherent place connected to its neighbourhood.

•P

lace character roleP

ublic art helps to build pride and attachment

to the place, through telling of important local

stories that respond to the curatorial themes.

•G

enerational roleP

ublic art integrates with the navigation

through a newly designed space.

•investm

ent roleP

ublic art invests in the creative and local econom

y, through the engagement of

local artists and businesses to broader connections. it also im

proves the footfall for local retail and has potential to support the creation of a unique local destination.

•P

lacemaking role

Public art is an im

portant ingredient to transform

spaces into places, that people and com

munities can identify w

ith.

1. build partnerships through

an ongoing public art and

activation program

D

evelop comm

unity opportunities by partnering on public art and activation w

ith residents, local education, local businesses, artists and creatives, in order to build upon W

aterloo’s local character w

ithin public spaces.

2. enhance the spirit of place

through a program of distinctive

public art projects

Establish a public art program

from the

development phase, that activates and

influences a sense of identity and local character in W

aterloo’s public spaces (program

ming for place activation).

3. Make placem

aking connections through public art projects

C

onnect and orient the streetscapes as an integral part of the w

hole Estate, and its neighbouring villages w

ith a cohesive visual language linked by public art and design.

4. ensure public art and design

programs contribute to

com

munity w

ellbeing

D

evelop public art and activation w

ithin the public domain, that

influences the experience of everyday life in W

aterloo, building cohesion, resilience and confidence.

5.4 PUbliC art’S role

5.5 PUbliC art PlaN o

bjeCtiveS

Waterloo S

outh Renew

al 21

iNteGrated PUbliC art

6.0CUrato

rial Narrative for PUbliC art

A binding force for the P

ublic A

rt Plan is the spirit of place

and its defining characteristics. this drives identity, a sense of belonging, a value for the land and a celebration of cultural diversity. W

aterloo’s culture through its history and stories, from

A

boriginal dispossession to self-determ

ination, from the cycles of

renewal to com

munity engagem

ent in social action, and to the influx of m

ore culturally diverse residents already possesses these strong cultural threads.

the essence of Aboriginal culture

is celebrated in Waterloo w

here it arches over the land and spirit of place. in response to a diverse cultural m

ix in the precinct, the curatorial narrative reinforces the past, present and establishes the context for anticipated stories of a changing precinct.

this spirit of place is a cultural fabric for the w

hole suburb, celebrating the w

armth of fam

ily relationships in the hom

e and the collective identity of public life.

Behind the struggle for better

conditions, and the cycles of renew

al, an awareness of place

fuses this grit and determination.

in the public domain, the social

animation in pubs and street life

which gave this sense of belonging,

and breathing space for residents can be reaffirm

ed in Waterloo’s

future open spaces.

the public art plan builds upon these ideas, by thinking of public space as outdoor ‘room

s’, the dom

estic fine grain of open space design, the interpretation of social action, the interactivity of projects and audience, and a connectivity of com

munity w

ith their neighbourhood. these concepts resonate w

ith the past, present and future, enabling artists to develop ideas in a contem

porary landscape.

the concepts explored as part of the P

ublic Art P

lan for Waterloo

South are part of an overarching

narrative for both Waterloo S

outh and the w

hole estate. this coherent narrative ensures the developm

ent of all of the precincts em

bed a sense of the character of W

aterloo.

Adam

HillG

adigalRadioR

edfernSydney;

ReginaW

alter,PoliceB

uildingParram

atta;Fiona H

all, A Folly for M

rs Macquarie, S

ydney.

6.1 iNtrodUCtio

N

Waterloo S

outh Renew

al 22

Aboriginal H

eart

Waterloo acknow

ledges the breadth and scale of A

boriginal voices, working life, education, civil

rights, sports and the arts. Aboriginal cultural

voices are celebrated from the traditional, to the

contemporary collective spirit evident in W

aterloo.

this Aboriginal resilience to hardship and

change, thriving through opportunity and unity, celebrates their presence and influence today.

H20

Waterloo w

ith its varied topography, was

once an integral part of a thriving wetland

environment, supplying fresh w

ater into the habitat during rain events. this idea values the reciprocal seasonal relationship of A

boriginal culture w

ith this natural ecosystem. W

aterloo’s landscape on the edge of this reclaim

ed wetland,

and its exploitation for industrial processes and drainage w

as typical of settlements

around water. today w

ater is precious in a different w

ay, influencing the precinct design in its storage, m

ovement and gardens. this

concept is imagined as an integrated approach

linking to Green S

quare and the City.

nourish, thrive and G

row

this story continues from the resilient relationship

of the cultural and productive landscape for A

boriginal comm

unities, early Chinese m

arket gardens and today w

ith loved comm

unity gardens, em

braced by residents from diverse

cultural backgrounds. A desire for com

munities

in Waterloo to connect sustainably w

ith their cultural heritage, through food and gardens helps celebrate a green city. this idea can drive com

munity garden design, and the

integration of kitchen garden and parks.

Com

pass and Calendar

While A

boriginal culture utilised natural topography to navigate the landscape, and m

easured time w

ith seasonal calendars, residents later m

ostly arrived from the north, and

local naming reflected C

ook’s exploration in the S

outh Pacific. W

ith the Gadigal m

oving south after displacem

ent by colonial expansion, diverse cultures from

Europe, Asia and S

outh-East A

sia, have all arrived from the north. this notion

juxtaposes the imm

ersion of the First People’s

core of experience in Waterloo, w

ith the European heritage and global relocations. W

hile Waterloo

was nam

ed after a napoleonic w

ar connection in B

elgium, W

aterloo as a destination rebalances its position to the centre of the com

pass.

Making W

aves/Watershed

the workers in W

aterloo were the backbone

of manufacturing, living in proxim

ity to the factories and w

orkshops. Sharing a com

mon

working day gave w

orkers an affinity with their

neighbours and comm

unity, with w

orkshops giving w

orkers a sense of pride in producing. the various m

ovements such as w

omen’s

and Aboriginal rights w

hich fermented in

Waterloo, gave rise to social change and

reflected the collective spirit in this place.

these themes connect the C

ity to Green

Square. W

ith the Eora Journey and im

portance of Aboriginal stories from

Sydney

Harbour to R

edfern, combined w

ith the strong them

es of water at G

reen Square,

Waterloo becom

es a point of intersection.

CoNCePt PUbliC art

From top:

lorna Jordan M

iami;

Brooke A

ndrew

Colours,

Barangaroo;

Mehm

et Ali u

ysal B

elgium

6.2 CoNCePtS

Waterloo S

outh Renew

al 23

Sundial by S

undials Australia

Cope S

treet Alley off R

egent Street

7.0Site aNalySiS

Site CoNtext

the function of art in Waterloo S

outh serves as both destination and connective tissue for the precinct and its surrounding neighbourhood. P

ublic art both reinforces this place and can relink this precinct to nearby villages.

the site considerations influence the location, role, m

edia, scale and comm

issioning processes of the public art projects and program

s over the developm

ent period.

the following section broadly outlines

opportunities and constraints, while allow

ing the flexibility for future curators and artists to respond to specific sites over the next 10 years.

Waterloo S

outh Renew

al 24

7.1 Site oPPo

rtUNitieS the opportunities presented by the P

ublic Art P

lan anticipate a time scale

ofWaterloo S

outh’s development.

these opportunites can define the character of W

aterloo South to:

•Foster a vibrant, connected focal point for street life through art

•D

evelop a unique suite of W

aterlooSouth’s public art assets

•B

uild upon the inclusive cultural character of the precinct

•C

reate an urban environment that fosters

pride, ownership and shapes local

identity

•E

ncourage visitors to enjoy the cultural assets accessible in the enjoym

ent of the everyday

•S

upport active transport and circulation

•C

elebrate neighbourhood character

the opportunities should respond to the curatorial vision and definition of public art and are further described through:

1. Approaches

2. Precinct

3. Public spaces

Ap

pro

aches

Relevant approaches to public art in

Waterloo S

outh include:

•R

einforcing arrival points at entrances of G

eorge Street S

outh and reinforcing its cycling rhythm

s

•E

nhancing connections to support m

ovement to and from

the Metro

•E

xploring opportunities in the new

laneways being created

•D

efining the accessible local movem

ent route w

hich is designed so that residents of all ages are w

ithin an accessible w

alking distance to the major

open space, productive landscapes and com

munity facilities

•integrating projects w

ithin the Village

Green and reinforcing access

Co

mm

unity facilities and services

Public art in connection to com

munity

facilities and spaces can support social interaction and share know

ledge about the w

ealth of Aboriginal culture and diversity of

cultures.

Opportunities include

•C

elebrate Aboriginal heritage and the

breadth of culture and connection through public art and providing ongoing opportunities for A

boriginal artists throughout the developm

ent and beyond

•E

ncourage local employm

ent and skills developm

ent in public art projects and utilise the existing talents of residents in public art program

s

•C

apture and celebration of Waterloo’s

stories, through public art and activation program

s

Melbourne lanew

ay activation

Waterloo S

outh Renew

al 25

Geo

rge S

t ‘shared ro

ad’

Art/design w

ith iterative logic supports circulation. local participation creates the character of local pathw

ays. P

erformance, sm

all scale projects attract prom

enading. Art partners w

ith vehicle, pedestrian and cycle flow

s

Art Lanes

Art celebrates the everyday. lighting,

mixed m

edia, ephemeral projects w

ith locals help activate these spaces

WS

UD

integrated projects unlock underground flow

s to celebrate water. W

aterplay art elem

ents extend the narrative

Waterlo

o S

outh G

ateways: E

ntry thresholds define place and connect to city and neighbouring suburbs.

Majo

r Parks: A

rt integrated with

productive landscape, pavilions and play

Waterlo

o M

etro co

nnection: integrated

art projects activate and link the public realm

, from m

etro station and plaza to the V

illage Green.

Co

mm

unity Sp

aces: Art program

s with

local residents, and integrated projects anticipating collaboration betw

een artists and architect

12341

2

2

3

4

4

1

7.2 PUbliC art Site PlaN o

PPortUNitieS

Waterloo S

outh Renew

al 26

enviro

nment and

op

en space

Waterloo S

outh’s Public O

pen Space is

defined by three key places and other more

intimate areas. these places are the V

illage G

reen, the Waterloo C

omm

on, George

Street shared road, com

bined with social

corners, laneways and pocket parks as m

ore intim

ate areas. these places are anchored by com

munity am

enity and are the heart of the public dom

ain.

Each key place is reflective of a particular

character and use, ensuring a variety of activities for the diverse com

munity

living within the P

recinct. Strengthening

Waterloo’s green grid, w

hilst enhancing the com

munities’ health and w

ell being within an

urban environment, these sanctuaries open

connections to nature through public domain

and open space. Even the lanew

ays provide an unusual fram

e for art projects which

enrich the everyday experience both day and night.

7.3 PUbliC art oPPo

rtUNitieS iN Waterlo

o So

UtH UrbaN aNd GreeN SPaCeS

Key opportunities include:

•E

nrich the lived experience of Waterloo,

through embedded and integrated

public art in the public domain including

buildings, streets, parks, water

infrastructure and water play features.

•P

rovide links to the natural environment,

raising awareness of the cultural ecology

of the place

•R

eflect upon varying sensory responses to the precinct’s open spaces

•R

einforce walking and cycling

connectivity by art at human scale and

with a sensory response

•C

urate an interactive experience in the public dom

ain by projects and programs

which respond intuitively to audiences

•inform

the comm

unity about the narratives of w

ater in the precinct

•C

reate quirky small corners w

here people can gather and talk

Artist: Jeppe H

ein Denm

ark

Waterloo S

outh Renew

al 27

Villag

e Green: as a central

park for the precinct offers varied activites from

active recreation, w

aterplay, youth centred zones, picnic areas and com

munity gardens.

Public art can be integrated

with shelters, w

ater features, play equipm

ent and landscaping earth w

orks and can include tactile elem

ents

Waterlo

o C

om

mo

n: provides am

enity for residents and users at the southern end of W

aterloo. there are collaborative opportunities for artist designed pavilions, artists and gardeners com

bining hard and soft m

aterials w

ithin gardens’ spaces.

Geo

rge s

treet ‘shared

road

’: as a green pathway

tells the story of Waterloo

to reflect the distinct character of the m

icro-neighbourhoods. A

rt program

s and projects exist in sym

pathy with

the varied rhythms of

driving, promenading, brisk

walking, and cycling along

a friendly road/walkw

ay. P

erformance, cross m

edia projects and integrated artw

orks build these experiences.

7.3 PUbliC art PreCedeNtS iN Waterlo

o So

UtH GreeN SPaCeSV

iLLAG

e G

re

en

:

WA

te

rLo

o C

oM

Mo

n

Ge

or

Ge

st

re

et

‘sH

Ar

eD

ro

AD

’

Artist: Joana Vasconcelos

France

Artist: thancoupie

Germ

any

Experim

ental salad leaf FranceC

hippendale Green

Artist: D

an new

berry Dundee

Artist: B

runo Catalano

Artist: Francis A

lys Mexico C

ity

new

castle

Artist: A

nish Kapoor

Artists: M

ilne&S

tonehouse Macquarie P

ark

Enrico taranta S

hanghai China

Waterloo S

outh Renew

al 28

so

CiA

L Co

rn

er

s A

nD

Po

CK

et

PAr

Ks

Berlin

St P

etersburgA

rtist: Joyce Ward Verm

ont

Artist: S

am S

penserA

rtist: Mark Jenkins

Artist: M

arguerite Derricourt A

delaide

Artist: R

uth Dow

nes Parram

atta

Art Lanes: are places of

discovery, with lanew

ays stitched into the historic surroundings and layered landscape. these interstitial outdoor places w

ill com

plete the layered public realm

and provide ample

opportunities for creative expression and com

munal

activity.

so

cial Co

rners and

Po

cket Parks: are

intimate places for local

residents to gather in their neighbourhood. A

rtworks

which m

ay integrate with

structures,and define the character of these sm

all places, help to celebrate the social connections of the locale.

Waterlo

o s

outh

Gatew

ays: as a threshold, utilising the P

ublic Art

to gives a sense of the precinct and m

ay formally

frame the entrance w

ith large scaled elem

ents or continue a m

ore organic sm

all scale response to m

aintain the link to the neighbourhood.

Ar

t LA

ne

s:

Artists: M

ags Harries, lajos H

eder Phoenix

Artist: Jed B

erk Oregon

Artist: Jason W

ing Sydney

Artist: R

eko Rennie R

edfernA

rtist: Florentjin Hofm

an

WA

te

rLo

o s

ou

tH

GA

te

WA

Ys

Artist: S

tuart Green P

erthA

rtist: James A

ngus


o So

UtH UrbaN SPaCeS

Waterloo S

outh Renew

al 29

Artist: M

arian Abboud w

ith Elizabeth

MacA

rthur High S

chool narellan library

Curator: M

arla Guppy

Ws

uD

allows artists to interpret

the narrative of water in this

precinct with reference to its

past significance for indigenous culture and industry, the nearby underground tunnel and the clever use of w

ater in a contemporary

urban environment.

Metro

Co

nnections: w

ill combine

the dynamism

of the new station

and Metro Q

uarter, and the social and recreational appeal of the V

illage Green. integrated art

projects activate and link the public realm

, from m

etro plaza to Village

Green.

Co

mm

unity sp

aces: encourage the collaboration betw

een artists and the local com

munity to

integrate artworks w

ithin the centres and utilise both sets of talents for activation and ephem

eral projects

Ws

uD

Artists: M

ilne&S

tonehouse Erskineville

Artist: C

hristopher trotterO

msk R

ussiaS

hu Yong Waterfall Foshan C

hina

Artist: M

arie Stucci Fairfield

Artist: JR

londonA

rtist: Ralph H

elmick n

ew Jersey u

SA

Artists: M

ilne&S

tonehouse Granville


o So

UtH UrbaN SPaCeS

Artist: C

hris Edw

ards the Ponds

Richard S

tutchbury Katoom

baA

rtist: Roy K

ennedy Redfern

Waterloo S

outh Renew

al 30

fUrtHer PUbliC art PreCedeNt exam

PleS relevaNt to W

aterloo

SoUtH

Clockw

ise from left:

Claire H

ealy and Sean C

ordeiro Cloud N

ation,GreenS

quareLibrarySydney;

Rick Verm

ey Anem

oiFremantle;H

enrideMillar,L’ecoute,P

aris;M

ilne&S

tonehouse,Tiers,Brisbane;P

eterBrow

neandJamesG

astonDarw

in;M

aria Fernanda Cardoso W

hile I Live I Will G

row G

reen Square S

ydney.

these larger images show

a variety of public art responses including an integration w

ith the skin of buildings, landscape art installations and sculptures attached to the built form

.

Waterloo S

outh Renew

al 31

7.4 Site CoNStraiNtS

the constraints for consideration and delivery of public artw

orks include

Stag

ing: A

s delivery is staged over 10 years, pedestrian m

ovement, safety

requirements and coordination w

ith construction schedules are param

ount

Co

nsistency: Maintaining consistency

and clarity of the direction and purpose of public art w

ithin Waterloo S

outh

Cap

acity: Capacity building and

engagement of the local com

munity to

engage with the process

Co

ord

ination: C

lose coordination will be

required between artists, curators and

delivery teams to ensure specific site

constraints are considered and the artist briefs outline the param

eters of each site w

ith its limitations

Delivery: C

oordinating delivery and cohesive program

s during construction and installation

Key to addressing these challenges w

ill be the close coordination of stakeholders and the early consideration of public art w

ithin future developments. the cohesion

of a curatorial narrative should consider the concentration of construction areas and how

the public art program m

ay w

ork within this tim

e schedule.

7.5 StaGiNGthe proposed 10 year staging of the redevelopm

ent of Waterloo S

outh influences the program

s and approaches to the public art.

the planning approach to this staged construction considers a num

ber of factors:

•the w

ell being of current residents and their potential contribution to the program

•the consolidation of the public dom

ain vision and connective streets to encourage circulation

•the cohesion of a curatorial narrative w

hich takes into account the concentration of construction areas

•A

n overseeing of the public art and activation schedule for the w

hole precinct to package a seam

less suite of program

s for each stage and each area

7.6 fUNdiNGit is recom

mended that the public art

contribution be considered in future public art plans as an effective contribution to the developm

ents across Waterloo S

outh. this can be allocated across the various form

s of public art, including perm

anent, integrated, program

ming, and creative place activation. the

release of these contributions should be staged, to ensure that artists can be engaged early in the m

aster planning and design stage and the W

aterloo Estate can be gradually activated.

As a guide, future detailed public art plans w

hich include activation projects and perm

anent art projects, should consider costs related to public art including:

•P

roject coordination and curation, which

engages an art planner to oversee the total process from

comm

issioning to installation betw

een the artist and landscape architect, principal contractor and other consultants

•A

rtist fees to consult and engage with the

comm

unity

•A

rtist fees to mentor and/or engage w

ith local artists.

•A

ny costs relating to an Expression of interest process and selection panel, including advertising, production of Expression of interest packages and printing costs

•A

rtist fees for concept development, design

development, docum

entation, fabrication and installation

•Engineering fees and other technical advice sought to include the footings, m

ateriality, loading and scale of the artw

ork.

•3D

models m

ay be utilised to test the artw

ork’s location, and provide a virtual tour of its presence. these draw

ings can be extrapolated for construction and shop draw

ings.

•Fabrication and certification

•S

ite preparation, traffic managem

ent, transport delivery and installation

•P

reparation of an ongoing maintenance

manual and decom

missioning agreem

ent

•O

ngoing curation and governance to enable public art renew

al and program support.

Waterloo S

outh Renew

al 32

7.7 PartNerSHiPS aNd Co

llaboratio

NSthe potential collaboration w

ith different organisations and parties such as, the private sector, C

ity of Sydney, the creative sector, and

various government agencies w

orking together w

ith the comm

unity, can result in a more

coherent landscape for public art projects, and can create cross disciplinary partnerships.

On a local level collaboration w

ith creatives, businesses and com

munities instil a sense of

connection to their public places.

Developing strong cultural partnerships is key

in creating flourishing and sustainable places. P

artnering with these groups w

ill contribute to ensuring site specific w

ork, as well as

supporting the implem

entation of the creative place strategy, and long-term

activation of the developm

ent.

Partnerships and collaborations can aid and

enable the following

•Forw

ard funding of significant art elements

•increase of connectivity and engagem

ent w

ith the local comm

unity, and diverse groups

•H

elp to ensure the integrity of the work

•B

uild new audiences and aw

areness

•P

rovide the public realm space for outdoor

activation and performance program

s

•A

ssist in creative comm

unity engagem

ent programs, in tandem

w

ith those already in place

•S

upport for the comm

issioning approach via a curatorial partnership.

•S

upport for events and activation programs.

7.8 imPlem

eNtatioN

An overall curatorial approach w

hich considers the W

aterloo South precinct over

ten years will ensure a coherent program

of art and activations. this cohesion reinforces the unique W

aterloo character across the precinct to avoid piecem

eal project im

plementation.

the approach to the implem

entation of perm

anent public art projects, in W

aterloo South considers regulatory

requirements, budgets, com

missioning

processes, timefram

es, ongoing artwork

maintenance and ow

nership as well as

site constraints and opportunities. While

these implem

entation aspects are practical phases to take into account, the P

ublic Art

Plan for W

aterloo South reinforces significant

values for a cohesive public domain, a w

ell-designed and sustainable streetscape and a place for the local com

munity to be proud

of, and to meet together.

the alignment of future D

etailed Public A

rt P

lans with this W

aterloo South P

ublic Art

Plan, ensures that the strategic intent and

vision is further developed through this process, w

ith the context of this document

used as a critical reference for public art plans, and the im

plementation of public art

projects.

the areas in the Waterloo S

outh Public A

rt P

lan that should influence these processes are as follow

s:

1. the P

ublic Art principles as outlined in

this Public A

rt Plan.

2. the roles of P

ublic Art as discussed.

3. the curatorial vision w

hich sets out the local stories.

4. the early engagem

ent of artists and local residents in projects.

Program

s should be considered before, during and after construction as w

ell as w

ith ongoing precinct managem

ent.

7.9 Coo

rdiNatioN

Future detailed Public A

rt Plans

should be developed in coordination w

ith public domain and heritage

interpretation plans, and these should relate and speak to the future public dom

ain design in the total Waterloo

Estate.

While the P

ublic Art P

lans will be a

critical component of each of the

staged developments, they should

consider a twenty year vision for the

whole precinct.

Waterloo S

outh Renew

al 33

7.10 Criteria for

aCqUiriNG NeW

Wo

rkB

ased on the Public A

rt Principles,

and guidance from the C

ity of Sydney

Public A

rt Strategy, the below

sets out guiding criteria for the procurem

ent/ com

missioning of public art.

in future detailed public art plans, public art w

ork:

•is relevant to, and responsive to the site

•is of a scale appropriate to the developm

ent

•is responsive to the curatorial narrative

•dem

onstrates high standard of excellence in contem

porary art

•alignsw

ithpolicyframew

orks;planning, heritage, environm

ental, public art, cultural

•dem

onstrates capacity to be achieved w

ithin budget, including com

missioning, fabrication and

ongoing maintenance

•contributes to the am

enity of the public dom

ain, and enhances com

munity connections to place.

7.11 artiSt Co

mm

iSSioNiNG

GUideliNeSthe purpose of these guidelines are to provide supporting checks and balances to be in place for high quality outcom

es.

the creative producer or curator, should be engaged to assist the developm

ent and delivery of public art to a high standard, and assist w

ith the interface w

ith technical design teams,

to help project manage the process of

the design and delivery of w

orks.

they are responsible for the curation and m

anagement of any

cultural comm

ission, from concept

development through to final delivery.

they will represent the interests

of both the client and the artist, ensuring that the integrity of the artw

ork is maintained throughout the

comm

issioning process.

the inclusion of a maintenance

manual is recom

mended (including

suppliers, warranties, certifications,

and construction drawings).

the artist comm

issioning guidelines include:

•S

hould respond to this public art plan

•D

eveloped in close consultation

with C

ity of Sydney

•A

ppointment of a curator

•EO

i supports partnering/ mentoring

experienced artist with em

erging / local artist and engagem

ent with

the comm

unity in the development

or delivery of the work

•A

rtists comm

issions should be considered early in the process, and com

missioned as a m

ember

of a collaborative team, or

engaged with a lead artist to w

ork w

ith the design team during the

planning stage

•A

rtist selection responds to the curatorial narrative

•Engagem

ent where possible w

ith the com

munity and local artists

•the intellectual P

roperty rights of artists should be protected, and a copyright agreem

ent undertaken in the contract

•A

rtists should be engaged as a sub-contractor to be m

anaged by the curator and a coordinator.

Artist b

rief

the artist brief will contain all the

relevant material as appropriate

from w

hich an artist can submit a

proposal. it will be developed w

ith input from

the curator, and any relevant key stakeholders. it should include the follow

ing:

•O

verview, aim

s and objectives of the com

mission

•C

lear selection criteria

•S

ite Resources: S

ite plans and visuals, design code, technical considerations (eg. services, lifespan, durability or m

aterial selection)

•C

ontext Resources: H

istory, geography, planning, partners

•u

sage: Physical or

technical constraints

•A

rtistic scope and anticipated role of artist

•B

udget & tim

etable

•S

election Process

(Com

petition, interview, etc.)

•P

roposal development process.

•P

roposal submission

requirements

•C

opyright and ownership

(designs and final artwork)

•K

ey contacts.

Artist selectio

n

the approach will depend on the

work and stage of the project

delivery. Artists can be selected

through an expression of interest process as an open call, or through a pre-selected long list invitation, both of w

hich result in a short-list of artists w

ho are supported to further develop their concepts.

this process can be led by the curator, w

hereby the shortlist of artists w

ould be selected and offered a fee to develop and present their refined concept proposal to an expert advisory panel. the selection w

ould be made on the

basis of the agreed selection criteria. A

selection panel should be considered to guide the selection and support the developm

ent of the perm

anent public art”

Strong consideration should be

given to engaging Aboriginal

artists to respond to the site’s curatorial narrative.

An opportunity for lead artists to

work as m

entors for emerging

artists, and for the participation of local creatives, can be a criteria during this selection process.

Waterloo S

outh Renew

al 34

Maintenance o

f artwo

rks

Com

munity involvem

ent, a quality selection process and a successful com

mission can help to reduce

the threat of vandalism, and high

maintenance costs.

the Artist can be supported by the

curator and design team to develop

an appropriate maintenance plan as

part of their comm

ission..

Most local authorities, including

the City of S

ydney require com

missioned w

orks to be as durable and ‘m

aintenance light’ as possible. this should be em

phasised at briefing and contract level.

Art com

missions should require a

budgeted maintenance schedule

from artists, along w

ith listed finishes, and a tim

etable for m

aintenance. it is the responsibility of each brief and com

mission,

to ensure that any special m

aintenance requirements are

detailed and can be met before

fabrication goes ahead.

Deco

mm

issioning

of w

ork

Perm

anent and embedded and

integrated public artwork should be

designed to endure in a location, for as long as is appropriate given the surrounding environm

ent, other physical objects in the space, and the use that space is intended for.

How

ever, changing circumstances

such as a complete change of

site use, or user may necessitate

decomm

issioning of a work.

Options for decom

missioned w

orks include, relocation, storage and de-accession. the decom

missioning of

an artwork should only take place

after a considered process, that includes assessm

ent against stated criteria and by follow

ing agreed procedures and assessm

ent.

the process would be governed

by respect for the artist and w

ould follow the C

ity of Sydney’s

Guidelines: P

ublic Art A

cquisitions and D

eaccessions 2010.

7.12 artWo

rk m

aiNteNaNCe aNd deCo

mm

iSSioN

Above: Jonathan Jones: barrangal dyara (skin and bones). the

maintenance of ephem

eral projects should be considered as part of the com

missioning process.

Photo by P

eter Greig

Waterloo S

outh Renew

al 35

8.09.0

CoNClUSio

NaPPeNdiCeS

the Public A

rt Plan for the

Waterloo S

outh precinct paints a broad brushstroke of the principles, objectives, opportunities, com

missioning

processes and a curatorial narrative for public art. it w

ill be follow

ed by more detailed P

ublic A

rt Plans for the developm

ents as they progress through detailed design.

this document can be used

by curators for its curatorial narratives, by developers to help understand the specific processes for procuring public art w

ithin the C

ity of Sydney’s policies and

guidelines and in response to the unique qualities of the precinct.

9.1 SUmm

ary of

PoliCieS

the following key im

plications of the policy review

have been based on the analysis of relevant n

SW

State G

overnment and C

ity of S

ydney policies. these will

provide critical policy and planning considerations to inform

the Public

Art P

lan for Waterloo S

outh.

•the C

ity of Sydney provides

opportunities to engage with

local comm

unities to deliver bold arts and cultural initiatives that result in increased participation in and access to m

emorable spaces and places

•A

rtworks that celebrate and

respect Waterloo’s rich history

and heritage will be im

portant to existing and to new

residents and w

orkers. Capturing the

spirit of Waterloo through local

stories will build a sense of

belonging for current and future residents, w

orkers and visitors

•W

aterloo’s Aboriginal and torres

Strait islander com

munity

has a long-standing cultural connection to the place. their voices should be heard and valued in planning for public art

•S

upporting Aboriginal artists to

find creative opportunities within

public art projects, responds to n

SW

State G

overnment and

City of S

ydney policy priorities

•E

ngaging residents including residents from

Waterloo’s

significant Culturally A

nd linguistically D

iverse (CA

lD)

comm

unity, and especially its older residents, w

ill inform

the development of

public art projects which

include their stories

•A

rt which reflects a

comm

itment to excellence,

innovation and diversity should be built into the fabric of W

aterloo South’s built and

natural spaces so as to add cultural value and to encourage civic pride in the distinct local character of W

aterloo.

9.2 artS aNd CUltUre-related Po

liCy revieWA

suite of policies and plans at the n

SW

State G

overnment level

provide a big-picture planning fram

ework w

hich broadly informs

the renewal of the W

aterloo P

recinct. these include the n

SW

2021: Plan to M

ake nS

W

num

ber One and the policies and

strategies of the nS

W D

epartment

of Planning and E

nvironment and

the Greater S

ydney Com

mission.

the following section takes into

account the State G

overnment’s

policy and in particular provides an overview

focus on the arts and cultural policy environm

ent as it relates to public art policy.

Waterloo S

outh Renew

al 36

Po

LiCY

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rA

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GY

su

MM

Ar

Y o

Ve

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ieW

r

eLe

VAn

Ce

to P

ub

LiC A

rt P

LAn

For

WAte

rLo

o s

ou

tH

nS

W S

tate Governm

ent

nS

W 2021: A

Plan to m

ake n

SW

num

ber 1.Sydney:

nS

W D

epartment of P

remier

and Cabinet, 2011.

the 10 year plan sets 32 goals with proprieties for

action linked to the nS

W budget. G

overnment agencies

are tasked with achieving the goals relevant to their

portfolios.

Goals relevant to arts and cultural developm

ent include:

Enhancing cultural, creative, sporting and recreation opportunities

Fostering opportunity and partnerships for Aboriginal people.

increase participation in cultural activities by 10%

A M

etropolis of Three Cities

- the Greater S

ydney Region

Plan. S

ydney: Greater

Sydney C

omm

ission, 2018.

20 year plans presented as a bridge between regional

and local planning.

the Eastern S

ydney District P

lan will inform

local lEP

s, com

munity strategic plans and the assessm

ent of planning and developm

ent proposals whilst also aligning

with place-based developm

ent outcomes.

note: the G

SC

Social P

anel identified 6 themes that can

influence through local and district planning instruments

to determine a city’s liveability. A

rts, Culture and

Entertainm

ent is one of the 6 themes.

the nS

W D

epartment of P

lanning and Environm

ent’s Plan for G

rowing S

ydney is being realised through the key objectives of the G

reater Sydney C

omm

ission’s work across 6 planning districts including E

astern D

istrict which includes the C

oS lG

A and W

aterloo.

Eastern S

ydney District planning futures include:

-Boosting innovation and creative industries alongside know

ledge-intensive jobs growth

-Stim

ulating the night-time econom

y within a responsive regulatory environm

ent

-Sustaining com

munities through vibrant public places, w

alking and cycling, and cultural, artistic and tourism

assets

-Being innovative in providing recreational and open space areas and increasing urban tree canopy.

Create in n

SW

: nS

W

Arts and C

ultural Policy

Framew

ork. Sydney:

Artsn

SW

, 2015.

the nS

W S

tate Governm

ent’s first Arts and C

ultural P

olicy Framew

ork providing an integrated platform for

the arts and culture sector, comm

unities, business and governm

ent partners to shape the State’s cultural future.

it will guide future strategy, investm

ent and partnerships to grow

the sector locally and globally in nS

W.

the Vision anticipates that “n

SW

will be know

n for its bold and exciting arts and culture that engage our com

munity and reflect our rich diversity.” W

ithin the ambitions of e

xcellence, Access and

streng

th, a

number of A

ctions are projected including innovation, leadership, Aboriginal A

rts and Culture, international

Connections and R

evitalising infrastructure.

Key S

tate Priorities are:

-to increase cultural participation by 15% to 2025

-to build cultural infrastructure.

nS

W A

boriginal Arts and

Cultural S

trategy. Sydney:

Create n

SW

, 2015-2018.

Stage 2: A

boriginal Arts and C

ultural Strategy 2015-2018.

Aim

s to build employm

ent capability in a contemporary

multi-disciplinary A

boriginal arts and culture sector.

the Goal of the S

trategy is to foster a vibrant Aboriginal arts and cultural sector that affords A

boriginal people greater opportunities to participate in, share and strengthen their culture through arts practice, and develop careers and businesses in the arts and cultural sector. S

tage 2 of the Strategy provides a

focus for job opportunities in the creative and cultural industries through the development of em

ployment

capabilities.

table 3 PoliCy revieW

SUmm

ary

Waterloo S

outh Renew

al 37

Po

LiCY

/st

rA

te

GY

su

MM

Ar

Y o

Ve

rV

ieW

r

eLe

VAn

Ce

to P

ub

LiC A

rt P

LAn

For

WAte

rLo

o s

ou

tH

nS

W H

ealth and the Arts

Framew

ork. Sydney: n

SW

H

ealth, 2016.

linked to the nS

W A

rts and Cultural P

olicy. P

rinciple of public art aligned with health and w

ell being

Central to E

veleigh: creative place strategy. S

ydney: FutureC

ity for urbanG

rowth

nS

W, (unpublished draft)

June 2017.

this Strategy (D

raft) sets the scene for the emergence

of “Sydney’s cultural engine room

: an engine room for

culture and creativity, for education and research and for production and innovation”. the S

trategy provides a focus on three areas w

ithin the Central to E

veleigh corridor: n

orth Eveleigh, W

aterloo and Redfern S

tation and therefore provides a broad fram

ework to inform

future detailed arts and culture plans.

the Strategy (June D

raft) proposes a Vision as ’S

ydney’s Engine R

oom for C

ulture’ drawing on the area’s

rich industrial and indigenous heritage.

Supported by 5 V

ision characteristics:

-indigenous and industrial heritage

-invention and making

-learning and knowledge

-Contem

porary arts and expression, and

-Diverse and socially active.

Cultural P

lacemaking P

rinciples include:

-Creative S

paces

-Partnerships

-Connectivity

-Stew

ardship

-Anim

ated Public R

ealm.

these principles align with the public art objectives.

Public A

rt Guidelines for

landcom P

rojects. Sydney:

urbanG

rowth n

SW

and landcom

, 2016.

this document outlines the benefits of public art in

new developm

ent, and a best practice implem

entation process for u

rbanGrow

th nS

W projects.

this document sets out the benefits for com

munities including creating cultural identity, a sense of arrival,

animating public environm

ents and celebrating creativity and innovation, celebrating comm

unity cultures, exploring heritage, responding to A

boriginal heritage, engaging local comm

unities and supporting creative industries. it also sets out processes for putting public art into practice.

Waterloo S

outh Renew

al 38

Po

LiCY

/st

rA

te

GY

su

MM

Ar

Y o

Ve

rV

ieW

r

eLe

VAn

Ce

to P

ub

LiC A

rt P

LAn

For

WAte

rLo

o s

ou

tH

local government

Creative S

ydney Cultural

Policy and A

ction Plan 2014

- 2024. Sydney: C

oS, 2013.

this Study underpins the C

ity’s priority planning for its investm

ent in Sydney’s creative future. this includes

support for artists and creative workers, connections and

ideas that enhance the experience of and participation in cultural life.

the Public A

rt Plan for W

aterloo South recognises these principles in its objectives, principles and

curatorial narrative with reference to the inclusion of A

boriginal cultural projects, inclusivity of places, innovation and artist contribution to the range of cultural activity.

Public A

rt Policy 2016.

Sydney: C

oS, 2016.

the Policy’s P

urpose is to provide a clear, sustainable, forw

ard thinking framew

ork of principles which express

the City’s com

mitm

ent to the vital role of art in the overall strategic planning of the C

ity.

the Policy com

pliments the C

oS’s G

uidelines for Public

Art A

cquisitions and Deaccessions, 2010.

the Public A

rt Plans for the W

aterloo and the Metro Q

uarter affirm these principles w

ithin their objectives, definitions, and artist com

missioning processes.

it prescribes the public art in private developments process from

the City’s policy and plans for the

inclusion of a range of project types and processes with budget allow

ances, artist engagement and

context to site.

the Policy’s 8 guiding principles w

hich align with the M

etro Quarter public art plan are:

1. A

lignsignificantCityA

rtprojectswithm

ajorSustainableS

ydney2030urbandesignprojects;

2. R

ecogniseandcelebrateAboriginalstoriesandheritageinpublicspaces;

3. S

upportlocalartistsandactivatecityplacesthroughtemporaryartprojects;

4. S

upportvibrantplacesinVillageC

entreswithcom

munityartandC

ityArtprojects;

5. P

romotehighqualitypublicartinprivatedevelopm

ent;

6. S

upportstakeholderandgovernmentpartnerstofacilitatepublicartopportunities;

7. M

anageandmaintaintheC

ity’scollectionofpermanentartw

orks,monum

entsandmem

orials;

8. initiate and im

plement program

s to comm

unicate, educate and engage the public about City A

rt.

City A

rt Public A

rt Strategy,

2012.A

ims to em

bed public art into the fabric of the city

Principles w

hich align with W

aterloo include

1. Recognise and celebrate A

boriginal stories and heritage

2. Support local artists and activate city sites w

ith tem

porary art projects

3. Support vibrant places

4. Prom

ote high quality public art in new developm

ent

5. Support stakeholder and governm

ent partners to facilitate public art opportunities.

the celebration of Aboriginal stories and the support of local artists in the activation of tem

porary art projects and perm

anent public art is reflected in the Public A

rt Plan.

Waterloo S

outh Renew

al 39

Po

LiCY

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ieW

r

eLe

VAn

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to P

ub

LiC A

rt P

LAn

For

WAte

rLo

o s

ou

tH

Eora Journey: E

conomic

Developm

ent Plan. S

ydney: C

oS, 2016.

the Council’s E

ora Journey program is focused

on working tow

ards cultural, economic and social

sustainability for Aboriginal and torres S

trait islander com

munities in the C

ity of Sydney lG

A. this A

ction P

lan recognises that cultural recognition needs to be underpinned by econom

ic opportunities.

the Plan sets 4 M

ain themes:

1.Create an econom

ic hub

2.Maxim

ise employm

ent outcomes

3.Enhancing tertiary education opportunities

4. Grow

sectors of the economy.

under each them

e are several areas for Action:

-Business ow

ners and entrepreneurs

-Jobseekers and employees

-Students and tertiary education

-Key interest sectors: Finance and professional

services, tourism, retail and creative and digital.

the significance of investment in A

boriginal and torres Strait islander artists is a principle of the public art

plan.

the plan’s curatorial narrative reinforces the inclusion of this voice.

Guidelines for P

ublic A

rt Acquisitions and

Deaccessions, 2010.

Ensure that new

works reinforce C

oS A

rt Policy and that

deaccessioning is an ethical processthis policy underw

rites all public art plans for the Metro Q

uarter and that the comm

ission of permanent

artworks consider this policy.

Green S

quare Public A

rt S

trategy, 2012.the plan sets out opportunities for public art in the new

developm

ent with case studies and im

plementation

strategies for comm

issioning artists

Sitting adjacent to W

aterloo, there are synergies in shared histories and heritage.

interim G

uidelines for Public

Art in P

rivate Developm

ent, 2006.

Ensure excellent public art is included in accessible

public spaces in private developments.

Assist ow

ners and developers in this procurement,

comm

issioning process.

Ensure the public artw

orks are constructed and installed as part of a D

A consent.

Sets out the public art process for m

aster plan sites or stage 1 Developm

ent Applications.

Establishes criteria for the approval of public artw

orks.

Graffiti M

anagement P

olicy, 2013.

Minim

ise incidents of graffiti while providing legitim

ate avenues for street art expression.

impacts upon the street art com

ponent of the public art plan for ephemeral artw

orks.

Waterloo S

outh Renew

al 40

sY

Dn

eY

DC

P 2012

Ge

ne

rA

L Pr

oV

isio

ns

su

MM

Ar

YP

ub

LiC A

rt

PLA

nn

inG

ob

jeC

tiV

es

Pub

lic Do

main elem

entsD

evelopments should add to the P

ublic domain.

Public art considers the role of artw

ork projects as a part of the fabric of the public dom

ain.

3.1.1 streets, lanes and

foo

tpaths

these provide permanent pedestrian vehicle connections,

urban hierarchy, permeability and vistas.

Public art can enhance view

s and connections, reinforce movem

ent and pause, illum

inate for safety and destination.

3.1.4 Pub

lic op

en space

these accom

modate a range of cultural activities w

ith connected netw

orks, accessible entries, primarily soft

landscaping WS

uD

use.

Artw

orks strengthen edges celebrate cycle movem

ent integrate as playground elem

ents.

Art contributes to a sm

aller ecological footprint.

3.1.5 Pub

lic artD

efines the dynamic quality of cities

Recognises the cultural and econom

ic benefits of integrating art w

ithin the urban fabric.

Ecologically sustainable public art em

bedded into infrastructure.

Art w

ithin infrastructure, as interpreter increase artworks in private developm

ents.

Prom

ote sustainability.

integrate art as a cohesive part of new developm

ents.

Recognise form

er uses through interpretive public art.

Deliver infrastructure in creative and innovative w

ays through the use of public art.

3.1.6 sites g

reater than 5,000sqm

Ensure high quality public art is included.

A public art strategy subm

itted with a S

te Specific D

CP

or Stage 1D

A.

3.2 Defi

ning the P

ublic D

om

ainP

ositive address to the street, contribute to active street frontage.

Artw

orks contribute to the building’s interface.

3.2.8 external lig

htingM

inimise light pollution and enhance the features of the

building.the integration of lighting in artw

orks considers safety and existing lighting plans.

3.3 Desig

n excellence

Ensure high quality and varied design through a com

petitive design process.

A public art strategy can inform

and be included in the competition design brief.

3.6 eco

log

ically sustainab

le D

evelop

ment

Developers encouraged to im

plement E

cologically S

ustainable Design principles (E

SD

). P

ublic art to integrate with E

SD

infrastructure.

3.7 Water and

Floo

d m

anagem

entA

dopt Water S

ensitive urban D

esign principles (WS

uD

)P

ublic art is part of the stormw

ater and water harvesting narrative.

3.9 Heritag

eH

eritage is considered as an important part of the C

ity’s fabric.

Art and design can interpret heritage.

3.12 Accessib

le Desig

nC

reating an inclusive and accessible city with access for

people with disabilities.

Public art considers inclusive and accessible interactions.

table 4 this table from the C

ity of Sydney D

evelopment C

ontrol Plan of 2012

illustrates how the public art contributes to the public dom

ain elements.

Sydney D

CP

2012 Section 3

Waterloo S

outh Renew

al 41

9.3 otHer relevaNt

PoliCieS aNd

StrateGieSthese docum

ents demonstrate

the complex and cross-disciplinary

functions of public art and culture in governm

ent policy. they inform

the development of public art

projects from the planning stage

to delivery. these studies may

influence approaches, sites and com

missioning processes.

Busking P

olicy interim 2011

Grants and S

ponsorship Policy

(including Accom

modation

Grants), 2014

City C

entre Public A

rt Plan, 2013

Curatorial P

olicy of the C

ivic Collection, 2016

Com

munity G

arden Policy, 2016

Connecting S

ydney – transport S

trategy, 2012–2015

Conservation P

lan 2007 – 2017

Eora Journey: R

ecognition in the public dom

ain, 2011

Aboriginal and torres S

trait islander P

rotocols, 2012.

9.4 PUbliC dom

aiN o

bjeCtiveSin the S

ydney Developm

ent Control

Plan 2012 S

ection 3 General

Provisions, a num

ber of features are included to contribute to a high quality public dom

ain. Detailed

public art plans for sites/locations w

ithin the precinct should include these objectives w

ithin their artist briefs to ensure the contribution of public art projects to the public dom

ain’s role and function.

Section 3.1.5 includes P

ublic Art as

an integral part of a dynamic city.

Waterloo S

outh Renew

al 42

Public Art Plan – Waterloo Estate (South) – Land and ...

Documents