PREPARED FOR 07 0491 - North Sydney Council€¦ · author and illustrator, May Gibbs (1877-1969)....

C O N S E R V A T I O N M A N A G E M E N T P L A N

“ N U T C O T E ”

5 W A L L A R I N G A A V E N U E

N E U T R A L B A Y , N S W

“Nutcote”, Neutral Bay (Tanner Architects 2007)

P R E P A R E D F O R

N O R T H S Y D N E Y C O U N C I L

JUNE 2008

0 7 0 4 9 1

T A N N E R A R C H I T E C T S

5 2 A L B I O N S T R E E T S U R R Y H I L L S N S W 2 0 1 0

C O N S E R V A T I O N M A N A G E M E N T P L A N “ N U T C O T E ” , N E U T R A L B A Y

JOB NO: 07 0941 TANNER ARCHITECTS Issue B June 2008

S:\_Projects\Nutcote\07 0491 Nutcote CMP\07 0491 Docs\07 REPORTS\Nick CMP B 080529\Nutcote CMP Ver B.doc

EXECUTIVE SUMMARY

“Nutcote”, 5 Wallaringa Avenue, Neutral Bay was the home of the prominent Australian children’s author and illustrator, May Gibbs (1877-1969). The design of the cottage by architect B J Waterhouse reflects the aesthetic and lifestyle values of May Gibbs who lived and worked at “Nutcote” until her death.

“Nutcote” is currently owned by North Sydney Council and leased to the Nutcote Trust, which opens the house and grounds to the public.

This report is a revision of the Conservation Plan prepared in 1993 that outlined a programme for the restoration of the house and grounds with the view that “Nutcote” should be a house museum presented to demonstrate the life and work of May Gibbs. The report brings the history of “Nutcote” up to the present and provides detailed policies for the management and fabric conservation of the property and its elements.




TABLE OF CONTENTS

Executive Summary

1 INTRODUCTION..............................................................................................................1 1.1 BACKGROUND ..........................................................................................................1 1.2 STUDY AREA .............................................................................................................1 1.3 STRUCTURE OF REPORT........................................................................................1 1.4 LIMITATIONS..............................................................................................................2 1.5 AUTHOR IDENTIFICATION .......................................................................................2 1.6 ACKNOWLEDGMENTS..............................................................................................2 1.7 TERMINOLOGY..........................................................................................................2 1.8 ABBREVIATIONS .......................................................................................................3 2 “NUTCOTE” – THE HISTORICAL BACKGROUND ................................................... 10 2.1 MAY GIBBS – AN INTRODUCTION........................................................................ 10 2.2 THE HOUSE AND GROUNDS................................................................................ 11

2.2.1 Pre European Occupation Of The Site .......................................................... 11 2.2.2 The Cooper Estate......................................................................................... 11 2.2.3 Spain’s Wallaringa ......................................................................................... 12 2.2.4 Wallaringa Subdivision .................................................................................. 15 2.2.5 May Gibb’s “Nutcote” ..................................................................................... 16 2.2.6 “Nutcote” – Post Gibbs .................................................................................. 19 2.2.7 “Nutcote” for the Nation ................................................................................. 20 2.2.8 May Gibbs’ “Nutcote” – The Museum............................................................ 23

3 “NUTCOTE” – DESCRIPTION AND ANALYSIS ........................................................ 25 3.1 INTRODUCTION...................................................................................................... 25 3.2 CONTEXT DESCRIPTION ...................................................................................... 25 3.3 VIEWS AND VISTAS ............................................................................................... 27 3.4 THE SITE ................................................................................................................. 29 3.5 BUILDING DESCRIPTION ...................................................................................... 29

3.5.1 The Cottage (“Nutcote”)................................................................................. 29 3.5.2 The Garage.................................................................................................... 43 3.5.3 Garden Description........................................................................................ 44 3.5.4 Signage.......................................................................................................... 52

3.6 SUMMARY OF PHYSICAL CHANGES................................................................... 53 4 “NUTCOTE” - ITS SIGNIFICANCE.............................................................................. 55 4.1 INTRODUCTION...................................................................................................... 55 4.2 COMPARATIVE ANALYSIS .................................................................................... 55

4.2.1 May Gibbs – The Legacy............................................................................... 55 4.2.2 The Architecture ............................................................................................ 57 4.2.3 “Nutcote” House Museum.............................................................................. 59

4.3 PREVIOUS ASSESSMENTS OF SIGNIFICANCE.................................................. 60 4.4 NSW HISTORIC THEMES ...................................................................................... 60 4.5 NSW STATE HERITAGE ASSESSMENT CRITERIA ............................................. 61

4.5.1 Assessment of Cultural Values...................................................................... 62 4.6 STATEMENT OF SIGNIFICANCE........................................................................... 66 4.7 HERITAGE CURTILAGE ......................................................................................... 67

4.7.1 Introduction .................................................................................................... 67 4.7.2 Definition of Curtilage .................................................................................... 67 4.7.3 Conclusion ..................................................................................................... 68

4.8 RELATIVE SIGNIFICANCE ..................................................................................... 69 5 CONSTRAINTS AND OPPORTUNITIES..................................................................... 74 5.1 INTRODUCTION...................................................................................................... 74 5.2 CLIENT’S REQUIREMENTS ................................................................................... 74




5.3 STATUTORY HERITAGE REQUIREMENTS.......................................................... 74 5.3.1 Summary........................................................................................................ 74 5.3.2 North Sydney Council .................................................................................... 74 5.3.3 Heritage Council of N.S.W............................................................................. 76 5.3.4 Sydney Regional Environmental Plan (Sydney Harbour Catchment) 2005 .. 77

5.4 AUSTRALIAN HERITAGE COUNCIL...................................................................... 78 5.5 NON-STATUTORY HERITAGE LISTINGS ............................................................. 79

5.5.1 Summary........................................................................................................ 79 5.5.2 Register of the National Estate ...................................................................... 79 5.5.3 National Trust of Australia (N.S.W.) .............................................................. 79

5.6 ISSUES ARISING FROM THE AUSTRALIA ICOMOS BURRA CHARTER ........... 80 5.7 STATUTORY REQUIREMENTS - NON-HERITAGE .............................................. 81

5.7.1 Building Code of Australia ............................................................................. 81 5.7.2 Disability Discrimination Act 1992.................................................................. 81

5.8 ISSUES ARISING FROM CONDITION ................................................................... 82 6 STATEMENT OF CONSERVATION POLICY.............................................................. 83 6.1 INTRODUCTION...................................................................................................... 83 6.2 CURTILAGE OF “NUTCOTE”.................................................................................. 83 6.3 MANAGEMENT OF “NUTCOTE” ............................................................................ 84

6.3.1 Conservation Management Plan ................................................................... 84 6.3.2 Conservation Management Regime .............................................................. 85 6.3.3 Role of North Sydney Council........................................................................ 86 6.3.4 Role of the Nutcote Trust............................................................................... 87 6.3.5 Joint Plan of Management ............................................................................. 88

6.4 PROFESSIONAL CONSERVATION AND ARCHITECTURAL EXPERTISE AT “NUTCOTE”............................................................................................................................. 89 6.5 ARCHAEOLOGY AT “NUTCOTE”........................................................................... 89 6.6 MAY GIBBS’ “NUTCOTE”........................................................................................ 90 6.7 NEW WORK AT “NUTCOTE” .................................................................................. 91

6.7.1 Generally........................................................................................................ 91 6.7.2 Signage.......................................................................................................... 93 6.7.3 External Lighting ............................................................................................ 93

6.8 THE FABRIC OF “NUTCOTE”................................................................................. 94 6.8.1 Generally........................................................................................................ 94 6.8.2 The Cottage ................................................................................................... 98 6.8.3 Fittings and Contents..................................................................................... 98 6.8.4 Timber Joinery ............................................................................................... 99 6.8.5 Window and door hardware and furniture ................................................... 100 6.8.6 Fireplaces .................................................................................................... 100 6.8.7 Colour Schemes .......................................................................................... 101 6.8.8 The Garage.................................................................................................. 102 6.8.9 The Garden Setting ..................................................................................... 102 6.8.10 Paths............................................................................................................ 103 6.8.11 Western Terrace .......................................................................................... 103 6.8.12 Plantings ...................................................................................................... 103 6.8.13 The Harbour Setting .................................................................................... 104 6.8.14 The Suburban Setting.................................................................................. 104

6.9 MAINTAINING AND REPAIRING “NUTCOTE” ..................................................... 106 6.9.1 Generally...................................................................................................... 106 6.9.2 Drainage ...................................................................................................... 108

7 IMPLEMENTING THE PLAN...................................................................................... 110

7.1 INTRODUCTION.................................................................................................... 110 7.2 STATUTORY OBLIGATIONS................................................................................ 110 7.3 STANDARD EXEMPTIONS................................................................................... 110

7.3.1 Introduction .................................................................................................. 110 7.3.2 Standard Exemptions .................................................................................. 111

7.4 MINIMUM STANDARDS OF MAINTENANCE AND REPAIR ............................... 118




7.5 CYCLICAL MAINTENANCE PROGRAMME ......................................................... 118 8 SOURCES CONSULTED........................................................................................... 124

9 APPENDIX.................................................................................................................. 126 9.1 SURVEY OF THE COTTAGE................................................................................ 126

DOCUMENT / STATUS REGISTER

Issue Date Purpose Written Approved

A January 2008 Preliminary Draft NJ/SM SM

B June 2008 Revised Final Draft NJ/SM SM


JOB NO: 07 0941 TANNER ARCHITECTS Issue B June 2008 Page 1


1 INTRODUCTION

1.1 BACKGROUND

“Nutcote” is the former home of the noted Australian illustrator and writer of children books, May Gibbs. The cottage was completed in 1925 to the design of architect B J Waterhouse, and was Gibbs’ place of abode through to the year of her death in 1969.

The significance of “Nutcote” inclusive of its garden and harbourside setting was brought to the greater community’s attention in the 1980s when a campaign to preserve it successfully resulted in its acquisition by North Sydney Council and the establishment of the Nutcote Trust to manage it.

The cultural significance of “Nutcote” and its importance to the community are recognised in the statutory listing of the place as a local heritage item in Schedule 3 of North Sydney Council’s Local Environment Plan 2001, and the part listing in the State Heritage Register maintained by the NSW Heritage Council for cultural values that are assessed as being significant to the State of New South Wales. It is possible that in the future “Nutcote” could also be entered in the National Heritage List under the provisions of the Commonwealth’s Environment Protection and Biodiversity Conservation Act 1999 given the tangible associations with May Gibbs and her acknowledged role in the development of Australian cultural identity.

In recognition of these existing and potential statutory listings, the current custodians of “Nutcote”, North Sydney Council, have commissioned Tanner Architects to prepare this Conservation Management Plan (CMP) to guide future management of the heritage values of the place through policy recommendations that identify appropriate avenues to protect elements of the place that are of heritage significance.

The CMP is essentially an upgrade of the Conservation Plan prepared by Tanner Architects (then trading as Howard Tanner & Associates Pty Ltd) in 1992 (and revised in 1993) for the former Nutcote Trust to bring that report into line with current management plan practice as defined by the standards established by the (now) Heritage Branch of the NSW Department of Planning.

1.2 STUDY AREA

The study area is “Nutcote”, which is defined by the Schedule 3 of North Sydney Council’s Local Environment Plan 2001 listing.

For the purposes of this report, “Nutcote” has been assessed to comprise the following principal elements:

• Cottage

• Garage

• Foreshore Garden

• Upper Gardens

1.3 STRUCTURE OF REPORT

The preparation of this CMP follows the general guidelines and methodology described in The Conservation Plan, National Trust of Australia (NSW), 2000 by J.S. Kerr, the Australia ICOMOS Guidelines to the Burra Charter - Cultural Significance and Conservation Policy, 1999, and the NSW Heritage Manual published by the Heritage Branch of the NSW Department of Planning.




Australia ICOMOS is a professional body of conservation practitioners, represented by the Australian National Committee of the International Council on Monument and Sites.

The report comprises three sections:

INTRODUCTION explains the background, the process and the context of the CMP

ASSESSMENT (sections 2 to 4) provides an historical overview, describes the site and components and states what is significant. This section sets the basis for developing policies for future management of heritage values

POLICY & MANAGEMENT (sections 5 to 8) discusses issues that affect the cultural heritage of “Nutcote”, sets out policy and provides guidelines to the policy, and provides guidelines to implement the policies.

1.4 LIMITATIONS

The assessment section of the report address post-European contact cultural values.

The historical background is not intended to be exhaustive, but provides sufficient background to assess significance and develop relevant management policies.

1.5 AUTHOR IDENTIFICATION

This CMP was prepared by Tanner Architects and acknowledges the work of the following authors and contributors to the Conservation Plan of 1993:

• Megan Jones

• Howard Tanner

• Anthony Smith

• Fiona Robbé

• Pauline Curby

• Sue Rosen

• Paul Ashton

1.6 ACKNOWLEDGMENTS

Tanner Architects acknowledge the assistance of the following:

• Leonie Masson, Senior Librarian, Stanton Library

1.7 TERMINOLOGY

In order to achieve consistency in approach and understanding of the meaning of conservation actions advocated in this CMP, a standardised terminology for conservation processes and related actions is adopted utilising The Burra Charter.

The Burra Charter (1999) is widely acknowledged as the principal guiding document to conservation work and practices of places of cultural significance. The Burra Charter defines the basic principles and procedures that should be followed in the conservation of places of heritage




significance. The Burra Charter has been adopted as the standard for best practice in the conservation of heritage places in Australia.

Place Site, area, land, landscape, building or other work, group of buildings or other works, and may include components, contents, spaces and views.

Fabric All the physical material of the place including components, fixtures, contents, and objects.

Conservation All the processes of looking after a place so as to retain its cultural significance.

Maintenance The continuous protective care of the fabric and setting of a place, and is to be distinguished from repair. Repair involves restoration or reconstruction.

Preservation Maintaining the fabric of a place in its existing state and retarding deterioration.

Restoration Returning the existing fabric of a place to a known earlier state by removing accretions or by reassembling existing components without the introduction of new material.

Reconstruction Returning a place to a known earlier state and is distinguished from restoration by the introduction of new material into the fabric.

Adaptation Modifying a place to suit the existing use or a proposed use.

Use The functions of a place, as well as the activities and practices that may occur at the place.

Compatible use A use which respects the cultural significance of a place. Such a use involves no, or minimal, impact on cultural significance.

Setting The area around a place, which may include the visual catchment.

Interpretation All the ways of presenting the cultural significance of a place.

1.8 ABBREVIATIONS

The commonly used abbreviations in the report are:

AHC- Australian Heritage Commission

BCA - Building Code of Australia

CMP - Conservation Management Plan

CMP 1993 – Howard Tanner & Associates, ‘Conservation Plan, “Nutcote”’, 1993

ICOMOS - International Committee on Monuments and Sites

LEP - Local Environment Plan

ML - Mitchell Library, State Library of New South Wales

NSC – North Sydney Council

NSW - New South Wales

SHR - State Heritage Register

SL - State Library of New South Wales




SREP – Sydney Regional Environmental Plan

Location Plan. North Sydney Council, Centenary of Federation, 2001




Site Plan, Tanner Architects, 1994, with proposed new planting as documented by Fiona Robbé Landscape Architect (refer Section 3.5.3 for list of plant species).




“Nutcote” Floor Plans, Tanner Architects, 1994




“Nutcote” Elevations, Tanner Architects, 1994




Garage Plans, Sections and Elevations, Tanner Architects 1994.




2 “NUTCOTE” – THE HISTORICAL BACKGROUND

2.1 MAY GIBBS – AN INTRODUCTION

Cecilia May Gibbs was born, as believed by May, in Cheam Fields, Surrey, England, but in Kent according to her birth certificate, on 17 January 1877. In 1881 her father Herbert and an uncle emigrated to South Australia and a month later her mother May and brother Bertie sailed to join them. They later settled south of Perth where both her parents were active in literary and artistic circles. May’s interest in art was encouraged and in 1889 at the age of twelve she had a page of her illustrations published in the West Australian Bulletin. In 1900 and 1901 she studied art at various art schools in Great Britain and on her return in 1902 Gibbs became Australia’s first published woman cartoonist when her drawings appeared in The Social Kodak, a Perth magazine devoted to the women’s movement.1 Returning to England in 1904 she enrolled at the Chelsea Polytechnic and at Henry Blackburn’s School for Black and White Artists.

Experiencing difficulty in finding work in the male dominated domain of illustrating, Gibbs returned to Australia in 1905 and was introduced to the Western Mail by Agnes Robertson a leading and outspoken figure in the women’s rights movement. Here she established a successful career as an illustrator, when replaced in 1909 by Ida S. Rentoul (another great Australian children’s illustrator) Gibbs returned to England and took up her studies; published her first book About Us; produced cartoons for the National Union of Women’s Suffrage’s publication, The Common Cause; and provided illustrations for the publishers George Harrap and Company. On returning to Perth in 1912 she again contributed to the Western Mail.

In 1913 Gibbs moved to Sydney and began to contribute to the Lone Hand, the Sydney Mail and the London Tatler.2 It was at this time that the whimsical and fantasy bush creatures began to make their appearance in her work.3 In December 1914 the Sydney Morning Herald declared that she uses all Australian flower and leaf forms in her artistic work is one of the chief charms which Miss May Gibbs manages to infuse in all she does. Her first Australian books were Gum Nut Babies and Gum Blossom Babies that appeared in 1916. In 1919 May quietly married James Ossoli Kelly in Perth and later moved to a flat at Runnymede in Kurraba Point, North Sydney. The following year they moved again to Derry, in Phillips Street, Neutral Bay.

During the period of national emergency and patriotism of the war years of 1914-1918 Gibbs images became a great popular success and were quickly taken up by the wartime propaganda machine. The large number of Australians overseas and involved with the war effort ensured that her bush motifs and name were dispersed widely. For troops in the trenches the images must have presented a particularly poignant view of their distant homeland. An indicator of the level of patriotic fervour associated with Gibbs’ work is evident in the following quotations from the Sunday Sun of 11 March 1914.

In thousands every weeks now, the whimsical cards and other art productions from Miss Gibbs’ prolific brush and pen are being sent to our boys in the trenches, and each breathes a message redolent of home as no more serious mementos could. The kookaburra, the woolly worm, the wattle sprite, the Christmas-bell baby, the beetle and the butterfly, in an atmosphere of gum

1 Lindsay Foyle, ‘Hidden from history: the funny woman’, The Bulletin 21 November, 1889

2 May Gibbs Diary With Illustrations from Australia’s best-loved children’s author, 1887, Angus & Robertson, 1986.

3 ‘Application for the preservation of the waterfront home of May Gibbs at Neutral Bay under immediate threat by developers,’ J.A. & H. Wood & Associates, 1986, pp. 14-16; Nutcote (Formerly May Gibbs’s House) 5 Wallaringa Avenue Neutral Bay, ’Analysis of Conservation Issues associated with proposed redevelopment of the site,’ Travis Partners, North Sydney 1987, p.5.




leaves golden sunshine, and gossamer, are encrusted with quaint messages of good cheer, and the remembrance that the dear home land is waiting to welcome back its heroes….4

In 1916 Gum Nut Babies and Gum Blossom Babies were published followed by Boronia Babies and Flannel Flower and Other Bush Babies in 1917 and Wattle Babies in 1918.5 Gibbs also prepared illustrations for the NSW Department of Public Instruction. In the opinion of Robert Holden, one of Australia’s foremost experts on Australian children’s books, authors and illustrators, May Gibbs’ work contributed at a crucial time to the establishment and promotion of a national identity via visual propaganda. The emerging war effort was federating a country which had perhaps, never before, been so unified. There was a national and heartfelt sentiment that sought expression in patriotic symbols and images. I would claim that May’s achievement in this area is second to none, including the renowned recruitment posters produced at the same time by Norman Lindsay.6

2.2 THE HOUSE AND GROUNDS

2.2.1 Pre European Occupation of the Site

Current archaeological evidence indicates that Aboriginal occupation on the edge of the Cumberland Plains area occurred from at least 25,000 years ago. When the sea level stabilised around 6,500 years ago it provided both terrestrial and estuarine resources for the Aboriginal people inhabiting the foreshores and hinterland of Sydney Harbour.

Aboriginal people continued to utilise the resources of the landscape until the end of the 18th century when the arrival of Europeans fractured traditional hunting grounds and relationships.

The Aboriginal people living in the Sydney region belonged to defined groups which were associated with particular tracts of land. At the time of European contact, the North Sydney region was inhabited by the Guringai peoples, and the study area was known to be in the territory of the Camaraigal group (Aboriginal Heritage Office 2006-08).

No intact or in situ Aboriginal relics have been recorded on the site.

2.2.2 The Cooper Estate

European settlement of the local government area of North Sydney commenced in the mid 1790s through releases of Crown land. The early land grants varied in size depending on the grantees’ role in penal society (soldiers, emancipists, etc.) The first large land grant was made to Alfred Thrupp, the son-in-law of Captain Piper, the collector of customs. Thrupp’s grant was made in 1815 as a wedding gift and comprised an expansive area of 700 acres (parish portion 352), which today includes most of Cremorne, Neutral Bay and Cammeray.

The title to Thrupp’s grant was acquired by Daniel Cooper, evidently in the 1810s, but the exact date has not been stated. Cooper in association with Solomon Levey, both emancipated convicts, had by the 1820s established the substantial mercantile, whaling and banking empire that traded as the Waterloo Company. The company’s merchant house was located on the site of the former Gowings store at the corner of Market and George Streets.

4 Cited in ‘Nutcote (Formerly May Gibb’s House) 5 Wallaringa Avenue, Neutral Bay, Analysis of Conservation Issues associated with proposed redevelopment of the site,’ Travis Partners, North Sydney 1987, p.6.

5 Marcie Muir, A Bibliography of Australian Children’s Books, Andre Deutsch, London, 1970

6 R. Holden, ‘May Gibbs, Illustrator & Artist: Report Of Robert Holden’, Orana, Vol.25, No. 2, May 1989, p.73.




By the time of his death in 1853 Daniel Cooper had come into possession of large areas of the lower northern and eastern suburbs (Woollahra) of Sydney. Immediately prior to his death, Cooper instigated the release of his eastern suburbs lands in leasehold title. In leasehold, land was sold at a low ground rental to lessees on long-term leases (usually 99 years). The leases contained building covenants to ensure that the lessee would build at their own expense a house of substantial character. The lessee was then required to keep the building in good repair and also contribute to the upkeep of the respective estate’s roads, drains, etc. At the expiry of the lease the building and land reverted to the ownership of the landlord. The advantage of the leasehold system for Cooper was to preserve the value of the estate to sustain subsequent generations through greatly increased hereditary land wealth.

The bulk of Cooper’s North Shore lands were also released in leasehold, but later, commencing around 1880 at the dawn of the decade long Sydney land boom when many of the early nineteenth century estates were subdivided for suburban settlement. However land fronting the harbour was released in the preceding decades for villa type development. In January 1860 John Cooper leased an area of nearly seven acres (6 acres 3 roods 21 ¼ perches) to William Dymock for a term of 99 years at an annual ground rental of £27/13s. The lease required Dymock to erect a dwelling within seven years of a value no less than around £210 (the actual calculation being £30 for every acre of the lease). 7

2.2.3 Spain’s Wallaringa

Nothing has been published about William Dymock (he was not the noted bookseller who was born in 1861, nor his father who was named Walter). Having fulfilled the building requirement of the lease, Dymock initially sub-let his property known as “Wallaringa” in 1863 to the solicitor Staunton Spain and in 1872 assigned the lease to Spain8; the Spain family being associated with “Wallaringa” over the following forty years.

Staunton Spain (1833-1888) moved to “Wallaringa” after his marriage in 1863 to Fanny Maria E Coar. Spain was born in England and came to Australia with his family in 1845. His father was William Spain who founded the legal firm Spain and Roxburgh and was NSW’s first Inspector General of Police. Staunton Spain raised his family of ten children at “Wallaringa”, several of whom became well known public figures. The eldest son Staunton William (1865-1946) was a public notary in the Admiralty jurisdiction of the Supreme Court. Alfred Spain (b.1868) was an architect who founded the well-known and long established firm Spain and Cosh. Several members of the family were associated with the Royal Sydney Yacht Squadron for which “Wallaringa” provided an ideal base for enjoying the recreational activities available in the harbour with a boat shed and bathing pool within the grounds of the house. The existing jetty at the bottom of Spains Wharf commemorates the family name but has always been in public ownership.

Spain’s “Wallaringa” was one of a number of harbourside villas fronting the western shoreline of Neutral Bay. Arguably, the ‘glory’ days of these villas were the 1870s before the onset of suburban subdivision of the following decades and the expansion of industry and port facilities in the harbour. In this era, the villa estates neighbouring “Wallaringa” were inclusive of the explorer and government surveyor John Frederick Mann, government surveyor Edward Orpen Moriarty’s “The Monastery”, P. Hayes’ “Ferncliffe” and F C Jarrett’s “Kurraba”.

7 Land and Property Information – Old System Deed Bk 84 No 215





A survey of “Wallaringa” prepared in the mid 1870s by the government9 reveals some details of the built improvements undertaken by the Spains and further insight is provided in photographs dating from later in the century. The house and garden setting were located at the south-west corner of the property and it was here that reclamation of the foreshore was undertaken for a boat shed and bathing pool. Aside from this cleared and landscaped zone, the remaining area of the estate was bushland with the foreshore zone also left in its natural state; it is within this area that “Nutcote” is sited.

The dispersed nature of the first generation of housing along the bay is revealed in this government survey of the 1870s. The large houses within expansive grounds were generally set back from the foreshore. The approximate location of “Nutcote” is circled. Source: Crown

Plan C.30.374 reproduced in Connybeare Morrison & Partners, ‘Wallaringa – Heritage Assessment & Conservation Plan,’ November 1991

9 Reproduced in Connybeare Morrison & Partners, ‘Wallaringa – Heritage Assessment & Conservation Plan,’ November 1991




This later survey of 1891 shows the context of “Nutcote” (circled) within the greater Wallaringa estate. Spain’s wharf is at right of the survey. Source: Sydney Water PWD 1015.1544




The available documentation suggests there was no capital improvement made in the area of “Nutcote” in the course of the nineteenth century. This photograph of Spain’s wharf of the mid

1870s shows extensive rock outcrops and sparse tree cover. Source: Warne, Catherine, Pictorial History –Lower North Shore, Kingsclear Books, 2005

2.2.4 Wallaringa Subdivision

The leasehold provisions of the title to “Wallaringa” established in 1860 were extinguished in 1911 by the Cooper family trustees.10 The new freehold title was issued to Staunton William Spain who had inherited “Wallaringa” on the death of his father in 1888. The conditions of Spain’s will forbade the immediate sale of the house until 1903 but subdivision of part was permissible.11

The leasehold of “Wallaringa” house was sold to the grazier Alfred Edgar Brown around 1908 and at this time the old house was extensively altered and a new neighbouring building was also built at the time. These substantial buildings were the “Wallaringa” Mansions that offered boarding house type accommodation through into the 1930s.12

Subdivision of “Wallaringa” estate commenced around 1906 with subleases being established for properties fronting Kurraba Road.13 The subdivision also established the continuation of Wycombe Road through to Spains Wharf Road. The new road was initially known as Wycombe Avenue into at least the late 1920s and is now named Wallaringa Avenue.14

While the original subdivision pattern to the north of Wallaringa Avenue is now difficult to determine owing to evident re-subdivisions, to the south three deep blocks (no. 5-9 Wallaringa



12 Connybeare Morrison & Partners, ‘Wallaringa – Heritage Assessment & Conservation Plan,’ November 1991

13 Land and Property Information - Old System Vendors Index

14 North Sydney Municipal Council Rate Assessment Book




Avenue) with harbour frontage were established. One of these, the “Nutcote” site, was acquired by Cecilia May Ossoli Kelly (May Gibbs) from Staunton William Spain in September 1922 for £1,365.15 Other areas of the estate were subdivided for the Spain family.

The Wallaringa estate after subdivision. “Nutcote” is circled. Source: Sydney Water WO36164, (1966)

2.2.5 May Gibbs’ “Nutcote”

The property was chosen by May’s mother, Mrs Cecie Gibbs, in 1922 and was purchased with a deposit of 500 pounds.16 The house was designed by the fashionable Sydney architect B J Waterhouse in 1924. Gibbs expressed the wish that the house have ‘compactness, convenience and charm’.17 The final design, one of the smallest residences ever designed by Waterhouse, who later suggested Gibbs name the house ‘“Nutcote”’, was accepted in June and the specification completed in September. The builder, F E Gray, won the tender and building commenced on 22 September 1924. The building application was lodged with North Sydney Council, although the drawings have not survived. The total investment in the site and house was 5,000 pounds18 with the property being mortgaged through until 1953.19

15 Land and Property Information – Old System Deed 1366 No 344

16 J.O.Kelly, diary entry 9 March 1922 in Howard Tanner & Associates Pty Ltd, ‘Conservation Plan for Nutcote, 5 Wallaringa Ave, Neutral Bay,’ March 1993

17 Maurice Saxby, ‘May Gibbs and Australian Children’s Literature: Report Of Maurice Saxby’, Orana, Vol. 25, No. 2, May 1989, p.67.

18 Debra Iona Williams, ‘In Pursuit Of The ‘Mediterranean Style’ Two Houses By B.J. Waterhouse’, A Bachelor of Architecture Dissertation, School of Architecture, U.T.S., 1992, pp.9, 7

19 Land and Property Information –Primary Application 49950




The house was occupied by the Kellys in February 1925, when May was 48.20 Photographs of the grounds taken around this time reveal a neat compact house in want of a garden. In the following year, “Nutcote” from the water was described in The Australian Home Beautiful as being yellow – washed with blue shutters and set in a natural rocky and treed garden which extended to the water.21 In the Australian Women’s Mirror it was reported that Gibb’s had planned her little house to avoid many domestic worries. She has a small kitchen-dining-room, looking out on the Harbour, with a gallery where the stove and sink are hidden at meal times.22

The house was specifically designed to accommodate Gibbs’ studio and like the garage with its flatette, reflected her lifestyle, needs and priorities, being built to accommodate three adults. The living room was the main room of the house and reflects the trend from the 1890s onward, both in Britain and the USA, to centre the house on a ‘living hall’, a generous focus for family life and activity. It was a gathering place for May and her circle, some of whom stayed for extended periods in the flatette, second bedroom, and in May’s later years, in a primitive suite of self contained rooms in the basement of the main house. The studio with its double doors off the living room and interconnected with the dressing room and bedroom reflects on the central role of her art in the lives of May Gibbs and her husband.23 Gibbs said of “Nutcote” I used to walk about the garden weeding it and loving it with a book in my pocket and a pencil and that's where I got my best ideas.24

In 1928 a double garage with a basement flatette was built towards the front of the property – this too was designed by Waterhouse and ‘sat’ sympathetically with the main house on the site.25 The garage, built at a cost of £400,26 accommodated May Gibbs’ motor car, a Dodge, the “Dodgem” in which she would make trips to the Blue Mountains and other areas. Ironically, May and her husband had previously agreed to never own a car because three of their dogs had been killed by vehicles.

At “Nutcote”, May Gibbs produced the Bib and Bub comic strip from 1924 until 1967. Inspiration for her work was taken from the bush around Sydney and from the 1950s, increasingly from her garden. The death of her husband in 1939, her father in 1940 and many of her close friends during the post war years gradually led Gibbs into the life of a recluse. It is probable that unsympathetic reprints of her work and increasing poverty increased her desire for isolation. Only three new titles were to appear: Scotty in Gumnut Land (1941), Mr & Mr Bear and Friends (1943) and Prince Dandelion (1953).27 The importance of the garden to Gibbs’ work is indicated in a letter of complaint to the Water Board in 1949 regarding their workmanship and installation of manholes on the property. Gibbs wrote it is a constant eyesore … Most of the top soil was lost .. my work suffered during that period. I could not use the garden, which is my outdoor studio and I was unable to concentrate …28 In an interview for the Australian Archives in the

20 Debra Iona Williams, ‘In Pursuit Of The ‘Mediterranean Style’ Two Houses By B.J. Waterhouse’, A Bachelor of Architecture Dissertation, School of Architecture, U.T.S., 1992, pp.9;7

21 See Orana May 1989 or the Travis Partners’ Report where a full copy of this article has been reproduced

22 Beedee, 'The Mother of the Gum-Nuts', The Australian Woman's Mirror, July 21, 1925

23 Debra Iona Williams, ‘In Pursuit Of The ‘Mediterranean Style’ Two Houses By B.J. Waterhouse’, A Bachelor of Architecture Dissertation, School of Architecture, U.T.S., 1992, passim

24 Lawrence, 1999, 59

25 Debra Iona Williams, ‘In Pursuit Of The ‘Mediterranean Style’ Two Houses By B.J. Waterhouse’, A Bachelor of Architecture Dissertation, School of Architecture, U.T.S., 1992, pp.13, 22

26 North Sydney Municipal Council BA 27/633, lodged 9/11/1927 and approved 17/1/1928

27 ‘May Gibbs and Her Fantasy World, An Exhibition by the James Hardie Library in the Museum of Economic Botany – Adelaide Botanic Garden’ 1986

28 Gibb’s manuscripts, Mitchell Library, 2048/64-65, 1918-1969, 12 October 1949




1960s, she reflected, “Nutcote” is a dear little place with a long, long garden. I used to walk around the garden, weeding it and loving it, and with a book in my pocket and a pencil and that’s where I got my best ideas, out in the open, gardening.29

Preliminary sketch drawing of the east elevation prepared by B J Waterhouse around 1923. Source: CMP 1993

29 Cited in The Age, 24 August 1991




Harold Cazneaux’s photograph of the loggia of the completed house. Source: Stanton Library

2.2.6 “Nutcote” – Post Gibbs

May Gibbs lived at “Nutcote” until close to her death in November 1969 at All Saints Church of England Hospital, Mosman at the age of ninety three; her last Bib and Bub cartoon was finished in April 1968. May Gibb’s husband, James, had died some thirty years before in 1939. Gibbs’ had married quite late in life at the age of 42 and the couple had no children. On her death, May Gibbs left the rights and royalties to her works to the New South Wales Society for Crippled Children and to the Spastic Centre Queens Street Mosman equally. Gibbs’ papers, manuscripts, pictorial materials, etc were donated to the Mitchell Library, with the copyright and access necessities being handled by an agent acting for the Society.

“Nutcote” and her memorabilia were left to the United Nations Appeal for Children (NSW) (UNICEF). UNICEF arranged for the auction of the contents of the house through auctioneer Peter Du Plessis in June 1970 and in August 1970 sold the property for $85,000 to Socrad Pty Ltd, a company incorporated in NSW with its registered office at 255 Elizabeth Street, Sydney, the managing director at the time being Peter Aroney.30 With the intention of developing the property at an opportune time, Aroney’s son and daughter-in-law tenanted “Nutcote” between 1971 and late 1987. UNICEF initiated the Annual UNICEF Children’s Art Award in NSW in 1971 with the May Gibbs Trophy being awarded until 1996.

Maurice Saxby, a historian of Australian children’s literature, proposed at the time of the sale of the property its acquisition as a centre for Australian children’s literature. Saxby was ahead of

30 Land and Property Information – Primary Application 49950




his time, 31 but over the 1970s and early 1980s the importance of Gibbs in the development of an Australian identity became increasingly realised through academic works, and periodic journal articles and exhibitions. The year 1985 was instrumental in raising the public’s consensus of Gibb’s contribution to Australian culture in the publication of the first biography of Gibbs, Maureen Walsh’s May Gibbs Mother of the Gumnuts her Life and Work. Walsh, a filmmaker by profession, went on to produce the documentary An Interview with May Gibbs in 1986. These works, and other events such as the Australia Post series of postage stamps and curator Robert Holden’s exhibition May Gibbs and her fantasy world held in the Botanic Gardens over the summer of 1984/85, drew many converts to both the work of Gibbs and the need to commemorate it through a permanent memorial, an obvious choice being “Nutcote”.32

2.2.7 “Nutcote” for the Nation

May Gibbs’ second cousin Marian Shand and executor of her will Dr Neil Shand, together with architect John Wood and wife Helen are credited with preserving “Nutcote” through the May Gibbs Foundation (registered in July 1987 with an aim to attract members and tax free donations but active for some time prior under the individual efforts of Dr Shand and John Wood) which campaigned to buy “Nutcote” and open it as a museum displaying May Gibbs work and memorabilia. This was achieved through initially lobbying for statutory protection of the property under the provisions of the NSW Heritage Act 1977, classification by the National Trust of Australia (NSW), entering it in the Register of the National Estate and raising the profile of its significance among the broader public. The minutiae of the battle are well set out in historian Jean Hart’s work prepared on behalf of the May Gibbs Society from which the following account is drawn.

In the early 1980s Socrad had instigated a number of proposals for the development of the property for townhouse type development necessitating demolition of the house. The initial proposal was discussed with North Sydney Council as the consent authority in August 1982 and another followed in late 1985. The Council since at least 1981 was aware of the heritage significance of “Nutcote” owing to its inclusion in the North Sydney Heritage Study. The statutory planning instrument (local environmental plan) that followed from the recommendations of the heritage study was ready in draft form by 1982 although it took some years for its legal status to be formalised through government gazettal in 1989.

The push for development commenced in earnest in September 1986 with the entry of the development company Invergowrie Properties Pty Ltd, which had an option on the property. Coinciding with this was the initiative of John Wood to prepare a report to support an application in October 1986 for an Interim Conservation Order (ICO) under section 24 of the Heritage Act as a preliminary to a Permanent Conservation Order. ICO No. 695 was inclusive of the entire site as shown in HC Plan 1302 and gazetted on 17 October 1986. The effective term of an ICO was twelve months and it made the Minister for Planning and the Environment, on the advice of the Heritage Council, the consent authority. The Wood report had also been forwarded to the National Trust of Australia (NSW) at the same time and the Trust also classified “Nutcote” in November 1986 (“Nutcote” had been recorded in the National Trust register in 1978). Trust classification has no statutory effect but is an authoritative statement about heritage value.

Invergowrie Properties submitted in January 1987 a development application to modernise “Nutcote”, subdivide and build townhouses in the garden, and in February it entered into a conditional contract with Socrad on behalf of prospective owners A W Pardey and A Pardey for the sale for $1,094,500.33 Concurrent with this was the formation of the May Gibbs Foundation with the primary aim of acquiring “Nutcote” as a museum or failing this some other suitable place

31 Jean Hart, ‘May Gibbs’ Nutcote 1969-1991,’ Sydney, The May Gibbs Society, 1997, p3

32 ibid., p27

33 Land and Property Information – Certificate of Title Vol. 12392 Fol. 12




in Sydney. Despite widespread support by the media and politicians the Foundation found it difficult to raise the money required to realise its ultimate goal. An appeal by the Foundation to the then Minister for Planning and Environment, Mr Bob Carr, to purchase the site, which had an estimated value of $1 million, was unsuccessful. Corporate sponsorship was then unsuccessfully sought.34

Over 22-23 July 1987 a Commission of Inquiry under Commissioner Simpson was held to examine Socrad Pty Ltd’s objections to the proposed Permanent Conservation Order on the site and to hear an appeal by Invergowie Properties against the Heritage Council’s objection of its redevelopment proposal.35 They proposed to erect two four level townhouses on the street frontage and subdivide part of the site for three residential buildings. The cottage would be restored and altered for use as a dwelling.36 At the Inquiry it was claimed that the townhouse development did not impinge on the historical significance of “Nutcote” and [that] Invergowrie had taken care to design them in a way which was sympathetic with the character of the existing cottage’, whilst the Heritage Council argued that Invergowrie’s conservation policy contradicted the company’s development application.37 Socrad Pty Ltd and Invergowrie Pty Ltd submitted that a conservation order would make the site incapable of reasonable and economic use and would cause undue financial hardship.

The Commission of Inquiry recommended that a PCO be placed on the cottage and a portion of grounds but limited townhouse development be allowed on its grounds.38 PCO 505 was gazetted on 31 December 1987 with an amended site curtilage to the ICO inclusive of the cottage, the harbourside garden and ten metres of the front garden, opening an avenue for future development of the front garden. Over the summer break, on 25 January 1988 fire caused superficial damage to the house, but the outcome could have been worse if not for the attentive action of the neighbour Mrs Devine.

In June 1988 the NSW Heritage Council approved Invergowrie Properties’ application to undertake alterations and additions to “Nutcote” to form a two storey, four bedroom house in excavating the basement and installing an interconnecting staircase, but North Sydney Council’s approval was also required. The Council addressed the application at a number of meetings in August, refused development consent and voted unanimously to resume “Nutcote” and turn it over to the May Gibbs Foundation for use as a museum, commemorating May Gibbs and her work. The Council intended to contribute one-sixth of the acquisition cost with contributions expected from the State and Federal Governments.

Invergowrie Properties subsequently appealed to the Land and Environment Court in February 1989 regarding the Council’s decision to resume the property and the rejection of its application to alter the house. The Court Assessor upheld the appeal by Invergowrie and directed North Sydney Council to approve the application. In May 1989 North Sydney Council moved to rescind its intention to resume owing to the lack of funding commitments from the State and Federal Governments and the May Gibbs Foundation not being able to muster sufficient funds itself. With the threat of resumption removed and the development application approved Invergowrie Properties promptly placed “Nutcote” on the market in June 1989 with an auction scheduled for 5 August, a matter of months before the gazettal of the North Sydney LEP in November. At the auction members of the May Gibbs Foundation outnumbered bidders and “Nutcote” was passed in at $2.6 million, and was subsequently advertised for sale in November

34 The Daily Telegraph, 24 March 1987

35 Sun Herald, 19 July 1984

36 The Sydney Morning Herald, 13 August 1987

37 The Daily Telegraph, 23 July 1987

38 The Sydney Morning Herald, 13 August 1987




for $2.9 million. In the interim, the deserted house was interfered with by unknown persons who removed the front door and fireplace surround.

The public interest in “Nutcote” at this time is reflected in the continued press coverage regarding its fate throughout the Bicentennial year. The interest was sustained through matters relating to the house as discussed above but also cultural events ranging from the Australian Ballet’s premiere of Snugglepot and Cuddlepie and individual contributions from a myriad of actors, authors and musicians. In December, in response to an article in The Bulletin on Great Australian Cartoonists in which May Gibbs, Australia’s first woman cartoonist was featured, the award winning South Australian Children’s author, Christobel Mattingley wrote angrily to the editor:

To their discredit, the Federal and NSW Governments have not as yet seen fit to recognise May Gibbs’ remarkable contribution to Australian identity and culture. Their refusal to support the campaign to preserve her home, ‘“Nutcote”’ (Neutral Bay, NSW) as a living museum of her work and a gallery for current illustrators is short-sighted, to say the least.39

Mattingley’s engagement was representative of the next and arguably crucial stage in the “Nutcote” campaign for it now became a national issue with lobby groups being formed in the other States with the call ‘“Nutcote” for the Nation’.

About this time a motion to restore “Nutcote” as a museum passed through the Federal Senate but no funding was allocated for the task.40 In January 1990 representatives from the North Sydney Council, the May Gibbs Foundation, Australian Society of Authors, the Children’s Book Council and the Library Association met with the Federal Minister for Local Government, Senator Margaret Reynolds. North Sydney Council resolved to buy “Nutcote” and to launch a fundraising drive to raise the funds with the view to limit their contribution to the purchase price to $600,000.41 In early February the sale price was set at $2.86 million and the sale was settled in March. In fundraising two organizations worked simultaneously but independently, the May Gibbs Foundation cultivated grassroots support consolidating their earlier success and the specially formed Nutcote Trust (registered in August 1990) lobbied government and corporate support. Despite this attention this was an era of marked economic recession and by June 1991 only $925,000 had been raised and this included the $600,000 contribution of North Sydney Council; State and Federal Governments having failed to make a contribution.42

Political debate concerning North Sydney Council’s decision to save “Nutcote” became acrimonious as various economic rationalists attacked the Council, the Nutcote Trust, and also mounted a misinformation campaign. Given little hope of raising funds via public or corporate donation in the depressed economic climate, in November 1991 the Council resolved to own the property outright in perpetuity and lease it to the Nutcote Trust and to operate the museum on a profit sharing basis.43

On 17 January 1992 the ‘“Nutcote” Centre for Literacy, Arts and the Environment’ was launched on what would have been May Gibbs’ 115th birthday. The house was to undergo restoration during the coming year. In March the Commonwealth Minister for Arts, Sport, the Environment and Territories announced a $250,000 grant for restoration of the house and gardens44 and the NSW Heritage Branch announced a $50,000 dollar for dollar grant. In what has been described

39 The Bulletin, 12 December 1989

40 Daily Mirror, 15 December 1988

41 The Sydney Morning Herald, 13 January 1990.

42 The Northern Herald, 20 June 1991

43 The Sydney Morning Herald, 27 November 1991 44 The Sydney Morning Herald, 7 March 1992.




as her ‘typically self-mocking fashion’ May Gibbs once said of herself ’She sat tall but stood short’.45 From all accounts of Gibbs it seems she would be surprised and probably pleased at the public support and effort that has been generated in order to save “Nutcote” from destruction.

2.2.8 May Gibbs’ “Nutcote” – The Museum

The house as part of its new use as a house museum underwent restoration over 1993. Prior to the implementation of this work a conservation plan was commissioned by the Nutcote Trust in July 1992. The report was prepared by Howard Tanner & Associates with initial completion in October 1992 and revision in March 1993. The conservation plan, of which this report is an update, presented a meticulous record of the available documentary evidence and investigation of the physical fabric of the house and grounds. A draft plan of management was also prepared by the first curator, Julian Faigan, which encompassed all proposed uses of “Nutcote”, appropriate accommodation levels, storage needs and conditions, display options, an interactive program, merchandising and work spaces, and the need and role of volunteers. Committees were also established addressing issues such plans to establish “Nucote” as a cultural tourist destination, opening hours, admission charges, transport arrangements, etc (Planning Committee), establishing standards for future publications (Publications Committee), merchandising and marketing “Nutcote” affiliated products (Merchandising Committee), and an club for children with its centrepiece being the “Nutcote” Write-in (“Nutcote” Club Committee). The May Gibbs “Nutcote” Fellowship with writer-in-residence, living on-site, was also established with the children book author Elizabeth Hutchins the first in the programme. A regular newsletter, “Nutcote” News, was also launched which continues in production. The Trust is run by a Board, which was chaired by the Mayor of North Sydney, Genia McCaffery, between 1998 and 2004.

Conservation works 1993: 1920s photographs (left) provided valuable information to achieve the ‘reconstructed’ world of May Gibbs (right).

The restoration of “Nutcote” commenced in February 1993 with the official opening intended for January 1994 marking again Gibbs' birthday, but in the event, May Day 1994 was the day of the opening with the ceremony being officiated by artist and illustrator Elizabeth Durack. While the restoration of the house necessitated professional tradesmen, engineers, architects, etc the garden has been the domain of the “Nutcote” volunteers in particular Helen Wood who until 2000 restored and maintained it based on what is known of Gibbs’ garden of the 1930s. The garden is a participant in the Open Garden Weekend event.

45 Sun Herald, 19 July 1987




“Nutcote”, which at the time of preparing this report is regularly open from 11am to 3pm Wednesdays to Sundays, relies on community support in particular the volunteers that guide the visitors, maintain the garden, assist with the administrative tasks, and serve refreshments in the Bib & Bub tea room. In 2006 the volunteers contributed over 4,000 hours collectively.

The annual cost of running “Nutcote” was put at $150,000 in 2004, which is generated through visitor entrance fees, sales in the May Gibbs gift shop and tearoom, donations, and the Friends of “Nutcote” subscriptions. In 2002/3 the Federal Government provided a grant of $27,274 for restoration work to “Nutcote” and its setting. North Sydney Council has and continues to provide assistance in kind in assisting maintenance works, which as recently as March 2007 included improved visitor access from the road, rebuilding the lower half of the sandstone steps leading from the terrace to the waterfront lawn, and remedying erosion of the waterfront embankment which threatened the survival of a very old Banksia integrifolia.




3 “NUTCOTE” – DESCRIPTION AND ANALYSIS

3.1 INTRODUCTION

The section of the report describes the physical fabric of “Nutcote” and its context. This is achieved through survey to identify the materials and finishes of the various building components both externally and internally. A date for the fabric is provided as well as a comment on condition. The survey and condition assessments are based on visual appraisals only and no physical intervention was undertaken. However, it is noted that with very minor exceptions, the condition of “Nutcote” and its grounds are excellent and this reflects the commitment in time and finances provided by the volunteers and North Sydney Council.

Given the detail of the survey work undertaken in the CMP of 1993 of the garden areas in this revision the re-survey was limited to noting the basic configuration and apparent changes to the plantings.

The survey is set out to provide initially a summary description of the component inclusive of historical background where relevant. This is followed by a detailed element description with a comment on condition. At least one photograph of each elevation and room or garden precinct is also provided.

In recognition that this report is an upgrade of the detailed CMP prepared in 1993, the survey also notes whether the recommendations of the CMP have been implemented in regard to use and conservation of fabric.

The survey also recognises the house museum role and the various functions associated with this use are elaborated.

The survey was undertaken in late November 2007.

3.2 CONTEXT DESCRIPTION

“Nutcote” is located on the eastern foreshore of Neutral Bay, to the north of Kurraba Point. This area is predominantly residential in use with the existing residential building stock dating from the beginning of the twentieth century and with all subsequent building phases being represented in detached houses, flats and townhouses. The street pattern essentially follows the contours of the natural topography, Wycombe Road being the principal thoroughfare, and the residences address the street and harbour with instances, such as “Nutcote”, where there are two frontages.

“Nutcote” is located within the Kurraba Point Conservation Area defined in the North Sydney Local Environment Plan 2001. The North Sydney Development Control Plan states the conservation area is of heritage significance for the following values:

As an early harbourside suburb that has retained significant elements of its major 19th century development phase with good examples of later periods of development including some fine and distinctive inter-war flat buildings.

For the large number of architecturally distinguished houses many of which are heritage items of regional or state significance and many of which have a strong relationship to the water and are principally seen from the harbour in contrast to being viewed from the street.

For its irregular subdivision pattern which is in contrast to much of the waterfront subdivision patterns on adjacent peninsulas, this is seen in irregular street patterns and street widths and varying responses of individual houses to the street and water.




For the gardens and landscaping associated with residences which are often extensive and well established and with mature trees throughout the area give a luxuriant character particularly when viewed from the harbour.

“Nutcote” is representative of the stated conservation area values in regard to:

• it is an architecturally distinguished house

• it has a strong relationship to the water and is principally seen from the harbour

• the irregular subdivision pattern in respect of the narrow width of Wallaringa Avenue

• the well established garden with mature trees

“Nutcote” is one of a group of six contiguous properties listed in the North Sydney Local Environment Plan as heritage items of local significance. The group comprises:

7 Wallaringa Avenue

Description Significance Assessment

Single storey face brick house with a hipped roof of Terra cotta tiles. It features timber shingles, slatted timber verandah balustrades, oriel and bay windows and casement windows. This building is designed in the Federation bungalow style.

An interesting and well executed Federation harbourside bungalow which exemplifies both the informality of decoration and the homely, vernacular philosophy of the style. Important as part of the evolution of harbourside residential design evident in the vicinity. Relates well to its neighbours, No 5 (“Nutcote”) and No 9.

9 Wallaringa Avenue


A single storey face brick house with a multi-hipped and gabled roof clad in Terra cotta shingles. It features timber detailing to verandah balustrades and valences, the verandah extending around two sides. This building is designed in the Federation bungalow style.

An interesting and well-executed harbourside Federation bungalow which exemplifies the informality of decoration and the homely, vernacular philosophy of the style. Important as part of the evolution of harbourside residential design evident in the vicinity. Relates well to its neighbours, No 7 and No 5 (“Nutcote”).




19 Wycombe Road - Wallaringa Mansions


Two storey stone and rendered brick building with gabled Terra cotta tiled roof. Features include rendered upper storey projecting bracketed window frames with skillion hoods and semi-circular arched windows to the central bay. This building is designed in the Federation Arts and Crafts style.

At the time of preparing this CMP, the building was being converted from a large guesthouse to private residential apartments.

An early local mansion which is now incorporated into a large guest house of Federation style and materials. Large and locally significant guest house on a prominent site.

19 Wycombe Road


Three storey brick and rendered brick building with gabled Terra cotta tiled roof. Frontage has large gable end displaying attic windows, articulated quoins to windows and roughcast rendered walls. This building is designed in the Federation Arts and Crafts style.

Substantial Federation Arts and Crafts private hotel building associated with the Wallaringa Mansions complex. It echoes the architectural treatment of the main building and is a major streetscape item on an important intersection.

17 Wycombe Road - VALETTA COTTAGE


A weatherboard waterfront cottage of simple plan with a Terra cotta tiled hipped and gable roof.

Rare survival of a vernacular cottage on the waterfront of Neutral Bay. It represents a once common form of development which is now rare in the vicinity.

3.3 VIEWS AND VISTAS

“Nutcote” enjoys a favourable location on the foreshore of Neutral Bay. The proximity of the house to the rear of the property boundary and the orientation of the rear frontage to the south-west provides views from the house to the bay and distant city skyline and also from the bay to the house itself. The views of the house from the public domain are confined to the harbour and little is seen of the house from the street. Fortunately, the continuing provision of a public ferry service and the proximity of the property to the public wharves at Kurraba Point and Hayes Street provide for views of the house from the bay and arguably this adds to the experience of visiting the house.

“Nutcote” also has good views to the former naval submarine yard at HMAS Platypus, which is sited on the opposite shore of the bay. There seems to be no documentary evidence that this view was of interest to the Gibbs, whereas views across the main channel of the harbour to Fort Denison and the city and views from the harbour to the house are documented in photographs taken during Gibbs’ tenure of “Nutcote”.




Looking south-west to the Bridge. Tanner Architects, 11/2007




“Nutcote” Views. Tanner Architects, 1/2008

3.4 THE SITE

The site is rectangular in shape with the boundaries being defined on the west by the mean high water mark of Sydney Harbour and on the east by the building line of Wallaringa Avenue. The real property description is Lot 1 in Deposited Plan 562337. This legal boundary is the same as that of the property when in Gibbs’ ownership. However, a change has been made to the property boundary since the time of Gibbs’ ownership in the addition of a strip of land (Lot 2 in DP876732) to the northern boundary. This land was acquired by North Sydney Council to improve access to the harbourside garden.

In managing the site, the Trust reserve the use of the cottage as a house museum associated with May Gibbs and her husband J O Kelly. The former garage houses ancillary functions such as public lavatories, retail areas, etc. The individual elements that collectively define the site are described in detail below.

The Trust also utilise a neighbouring property sited directly opposite “Nutcote” at 2A Wallaringa Avenue for office administration and other uses associated with the running of “Nutcote”. This property (SP32883), which is an inter-war era flat block, is owned by North Sydney Council and The Trust.

3.5 BUILDING DESCRIPTION

“Nutcote” comprises two principal built components – the house at the western side of the property and the garage at the eastern side on Wallaringa Avenue. Both components are near contemporaneous and historically associated with May Gibbs and her husband.

3.5.1 The Cottage (“Nutcote”)

Exterior - Generally

“Nutcote” is a single-storey cottage with a part habitable lower floor on the western side of the building. The building is constructed in brick masonry with the external wall surfaces cement stuccoed to a rough finish. The roof is a shallow pitched gable covered in un-glazed Terra cotta Cordova style pantiles. The window joinery throughout is painted timber framed double hung multi-paned sashes. The principal entry is on the east elevation and offset to the north with a




porch with Tuscan style reinforced concrete columns. The secondary entry is located on the north elevation and leads directly to the kitchen. The west elevation has no direct access to the garden.

The original CMP noted a number of changes to the exterior presentation of “Nutcote” during the course of Gibbs’ occupancy. These are noted below together with a comment on subsequent conservation work:

“Nutcote” change during the course of Gibbs’ occupancy

Conservation work action

Painting over deep cream colour of the stuccoed walls

Now painted in a cream colour

Painting over the blue/green colour of the window shutters

Now painted in original blue/green colour

Replacement of gutters and downpipes The gutters and downpipes have been retained, but are in keeping with era of the building

Currently, the cottage provides the primary focus for visitor activities at “Nutcote” as a house museum associated with the life and works of May Gibbs and her husband. Visitors enter the house via the front door.

East Elevation

The east elevation is the formal street frontage of the house although it is not visible from the street owing to the fall of the land, the garage, and the intermediary garden area. The front door is located on the north side of the frontage although the path from the street entry is sited along the opposing southern boundary; consequently visitors must traverse the length of the frontage when arriving and exiting the house. While asymmetrical in its design a fair degree of symmetry is imposed by a clustering of three windows at the centre of the elevation. This window group is flanked by the formal entry porch to the north which in turn is balanced by a solitary window sited to the south of the window group. The centred windows have multi-paned sashes with the upper sash having a half round head.

The original CMP noted a number of changes to the exterior presentation of the east elevation of “Nutcote” during the course of Gibbs’ occupancy. These are noted below together with a comment on subsequent conservation work:



Replacement of the front door Reconstruction of the door

Removal of canvas blinds Blinds now fitted




East elevation and front entry porch. Tanner Architects, 11/2007

West Elevation

The west elevation is the formal harbour frontage of the house and owing to the open catchment of Neutral Bay and surrounding public vantage points the most prominent elevation of the house. In contrast to the street frontage, the west elevation is carried up over two storeys and is symmetrical in its arrangement of windows and centred loggia. The motif of three centred openings with half round heads established on the east elevation is repeated on this elevation in the arcaded front to the loggia.

West elevation and loggia. Tanner Architects, 11/2007




North and South Elevations

These are secondary elevations sited close to the property side boundaries. The south elevation essentially can not be seen from within the property boundary. The north elevation includes the secondary house entrance, through the kitchen, and also access to the lower living level. It has an asymmetrical presentation. The materials and finishes are as discussed above for the principal elevations.

The CMP of 1993 noted a number of changes to the exterior presentation of the north elevation of “Nutcote” during the course of Gibbs’ occupancy. These are noted below together with a comment on subsequent conservation work:



Replacement of timber landing to kitchen porch

The timber landing has been retained

North elevation and ramped access. Tanner Architects, 11/2007

Interior

The ground floor comprises the principal living and reception rooms, a pair of bedrooms, May Gibbs’ studio, and the bathroom and kitchen. At the centre of the floor plan are the living room and the adjoining loggia that forms an external appendage to the living room. The bathroom, kitchen and dining room are clustered together at the north-west corner, and the studio is located at the south-west corner. The bedrooms are located on the eastern half of the house. With the exception of the hall and entry, all rooms are amply lit naturally by one or more windows. Fireplaces are limited to the work studio and the living room.

Currently, with one exception, the rooms on this floor are presented in a domestic arrangement indicative of May Gibbs’ occupancy inclusive of furniture, soft furnishings and decorative colour schemes that derive principally from the recommendations of the CMP of 1993 and incorporating the following conservation works:

• Reconstruction of some missing architectural fittings associated with the original design of the house such as chimney pieces, cupboards, etc. as elaborated below.




• Reconstruction of removed fittings associated with the original design of the kitchen and bathroom as elaborated below.

• Sand, seal and polishing of the floorboards

• General repairs to internal joinery and trims

• Restoration of door furniture and hardware

• Rewiring of the electricity supply

• Provision of new light fittings to original details and G.P.O and switch plates to match original details

• Provision of thermal insulation in the roof cavity

• Repainting the interior to the original colour scheme. This was based on paint scrapings undertaken in 1992 and itemised in Appendix XII of the CMP 1992/3. The walls were repainted in flat finish water based emulsion paint in light (white) colours. The joinery throughout with the exception of the bathroom, kitchen and lower ground floor rooms were finished with a dark (walnut) stain and French polished.

Living Room

The living room in the centre of the house is largely as it was when photographed by Cazneaux in 1926 save for the original furnishings, light fittings and May Gibbs’ personal effects (paintings, etc). Running the full width of the house, this room is both the largest and most elaborately detailed in the house. Generous use has been made of dark stained timber for joinery and built-in furniture to give the Early English/Baronial character favoured by Waterhouse.

Exposed dark stained coffered beams line the raked ceiling meeting the walls at corbelled supports. Timber cornices line north and south walls.

At either end of the room are arch headed glazed doors and windows - doors to the western porch and windows to the eastern (front elevation) - all in original condition and faithfully restored.

The nook in the living room. Tanner Architects, 11/2007




In the centre of the north wall is a simply detailed brick fireplace and flanking built-in cupboards/bookshelves. The timber surround has been reconstructed. Opposite the fireplace is an inglenook, which is another architectural feature favoured by Waterhouse, with a timber plate shelf above. The floor is the original Jarrah boarding with mitred corner detailing.

The furnishings of this room comprise:

• Three armchairs

• Three rugs

• Pianola and stool

• Two side tables

• Occasional table

• Tray mobile

• Gramophone

• Plant stand

Interpretation signage is provided drawing on the Cazneaux photographs.

Studio

Opening off the south-west corner of the living room (via a pair of six-panelled doors) is the studio of May Gibbs, a room second in size and architectural interest only to the living room. The most notable feature of the room is undoubtedly the "kink" in the western end of the south wall that forms a shallow bay centred on two windows. The reason for this detail may have been to provide better light and or harbour views and it was near these windows that early photographs show May Gibbs to have positioned her drawing desk.

The studio. Tanner Architects, 11/2007

The studio also includes the only other fireplace in the house after the living room, a simple brick affair with timber mantelpiece but no surrounds. The dark stained timber cornice, picture rail,




skirtings and jarrah flooring are similar to those in the living room (and remainder of the house generally). At the east end of the inglenook (formed by the projecting window bay) are a set of built-in bookshelves with a small cupboard. The room has its original counterweighted central pendant light fitting with a new shade.


• Wicker chair

• Desk and chair

• Floor mat

• Armchair

• Drawing table and chair

• Drawer unit

• Side table

Interpretation is provided in samples of Gibbs’ art.

Dressing Room

Opening off the studio to the west are the dressing room (J O Kelly’s bedroom) and through this, the main bedroom, Bedroom 1. The former is a small room with a built-in wardrobe cupboard running the entire length of the north wall as its main feature. The bedroom is a simple rectangular space with yet another windowed bay (in the south wall). The original detailing (dark stained joinery, six-panelled doors, jarrah flooring, etc) is as elsewhere in the house.

The dressing room. Tanner Architects, 11/2007





• Single bed

• Side table

• Wall hung mirror.

Dining Room

The dining room is well placed at the north-west corner to capture both sun and water views, and is a simply fitted out space whose major feature is a built-in cupboard/buffet/shelf unit with servery hatch along the east wall. The pantry in the north-east corner (CPB9) was badly fire damaged in 1988 and has been reconstructed.


• Dining table and six chairs

• China cabinet

• Glass cabinet

The dining room. Tanner Architects, 11/2007




Kitchen

The kitchen is adjacent the dining room and a connection is made via the servery hatch. The kitchen is an extremely small room (reputedly at May Gibbs' own request) housing little more than a sink, stove and some shelves that have been reconstructed to include a kitchen sink of polished pine bench and ceramic basin, and Kooka stove. The original shelves on the west wall are 150 mm wide white painted timber.

The kitchen. Tanner Architects, 11/2007




Bathroom

The adjacent bathroom has also been largely reconstructed to include an enamel cast iron claw-foot bathtub, a ceramic WC cistern and timber seat, a ceramic hand basin, and a Chip heater. The ceramic wall and floor tiles are original.

The combined WC & bathroom. Tanner Architects, 11/2007




Bedroom 1

Bedroom 1 is a simply detailed room. The dark-stained picture rails and architraves are similar to that found elsewhere in the house.


• Double bed

• Pedestal display unit

• Floor mat

• Occasional table

• Wardrobe

• Easy chair

Bedroom 1. Tanner Architects, 11/2007




Bedroom 2

Bedroom 2 is a simply detailed L-shaped room with a small corner hand basin and tiled surround (both original) in the north east corner. The dark-stained picture rails, and architraves are similar to that found elsewhere in the house.

Bedroom 2. Tanner Architects, 11/2007


• Pedestal display unit

• Table display unit

The main interpretation cases are located in this room.




Entry

The smallest room in the cottage is the entry opening off the small neoclassical portico framing the front door. This vestibule allows at the north end access to Bedroom 2 and to the living room at the south via a multi-paned glazed door.

The entry. Tanner Architects, 11/2007


• Floor mat




Hall

The hall is a simply detailed corridor. The dark-stained picture rails, and architraves are similar to that found elsewhere in the house.

The hall. Tanner Architects, 11/2007


• Ice chest




Lower Ground

A range of three rooms is located under the western half of the house that at the time of the writing of the CMP of 1993 were essentially service and store rooms characterised by poor/ad hoc quality in their fitting out and finishes, floors of reinforced concrete, rendered walls and ceilings lined with compressed fibre sheet and battened over. These spaces have been converted for uses associated with the management of the building as a house museum and are presented in a uniform scheme of soft furnishings that bears no relation to the May Gibbs’ occupancy, although original doors, windows and architraves have been retained. The window and door architraves have simple splayed profiles, but the panelled doors and windows are similar to those in the main ground floor rooms and have a paint finish. The window (W17) and external door (D21) in the former laundry were badly fire damaged and have been reconstructed.

The lower ground floor rooms. Tanner Architects, 11/2007

3.5.2 The Garage

The double car garage fronting Wallaringa Avenue was built in 1928, and conserved and extended with a deck and downstairs café and toilets in 1994. Though of similar materials (rendered brickwork walls, Terra cotta tiled roof and multi-paned timber windows and doors) the building form, detail and finishes are markedly inferior to those of the house. The roof, for example, is not the Cordova pantiles of the cottage while the wall render is more a rough bagging than richly textured stucco. Further, and perhaps most significantly, the window sash configuration, with each sash containing three elongated panes is quite different to the six or eight smaller paned sashes of the main house windows.

A simply detailed structure, rectangular in plan form and without ornamentation of any kind, the garage's main (street) frontage features two pairs of ledged, framed and sheeted timber bi-fold doors giving access to the parking bays. Internally, finishes include a reinforced concrete slab floor, bagged brickwork to walls and exposed timber rafters and boarded sarking to roof/ceiling. The two parking bays were separated by a timber lattice that was removed in the 1994 works, and each is lit by a 2 x 3 pane double hung sash windows; the frames of these window are set into their openings without architraves or sill boards. The former parking bays were fitted out with sympathetic joinery and finishes as a shop for the Nutcote Trust as part of the 1994 works.




Below the eastern half of the garage where the land falls steeply away from street level was a small flatette comprising two rooms. Wall, floor, joinery details and finishes in this area are generally as in the garage above. A café was constructed under an open terrace, and a accessible toilet was installed in the 1994 works. An open pergola was also constructed and roof sheeting has subsequently been installed.

The street frontage of the garage. Tanner Architects, 11/2007

3.5.3 Garden Description

The garden at “Nutcote” has experienced change in the range of plantings. The garden was extensively surveyed and investigated by Fiona Robbé of Knox and Tanner Landscape Architects in 1992, and historical records were consulted to identify what were the original plantings in the garden during May Gibbs’ time, and what of these remained. All vegetation not of Gibbs’ tenure was removed in the 1990s. The current plantings are largely in accordance with the landscape scheme prepared by Fiona Robbé, that was based on historical research and site inspection. Modifications to this scheme have been initiated by the “Nutcote” garden volunteers based on their experiences over the last 15 years of what plantings are viable, and with the recollections of early visitors to Gibbs’ garden.




“Nutcote” Plant Inventory Site Plan, Knox and Tanner, 1992.




“Nutcote” Plant Inventory, Knox and Tanner, 1992.




“Nutcote” Plant Material and Layout1925-1939, prepared by Tanner Architects and Fiona Robbé 1993, based on J.O. Kelly’s letters and diary.




“Nutcote” Garden - List of Proposed Plants Prepared By Fiona Robbé, 1993 (Refer to Site Plan in Section 1.8 for locations)

BOTANICAL NAME COMMON NAME

TREES

Original Banksia integrifolia Banksia

Plants Citrus limon 'Eureka' Lemon tree

Eucalyptus botryoides Bangalay

Fortunella margarita Kumquat

Populus nigra 'Italica' Lombardy poplar

Morus nigra subsp. macroura Shahtoot mulberry

SHRUBS

Original Hibiscus rosa-sinensis Hibiscus

Plants Hydrangea macrophylla Hydrangea

Nerium oleander Oleander

Rhododendron Sp. Azalea

Plants of Allamanda neriifolia Allamanda

the 1930's Brunsfelsia bonodora Yesterday, Today and Tomorrow

Buxus sempervirens Box

Fuchsia x hybrida Fuschia

Gardenia augusta Gardenia

Murraya paniculata Cosmetic bark tree

ANNUALS/PERENNIALS

Original Antirrhinum majus Snap dragon

Plants Aster sp. Big daisy

Begonia sp. Begonia

Canna x generalis (Dwarf) Canna

Cheiranthus cheiri Wallflower

Coleus hybrids Coleus

Consolida ambigua Larkspur

Delphinium sp. Delphinium




BOTANICAL NAME COMMON NAME Dianthus sp. Carnation

Gaillardia sp. Blanket flower

Godetia sp. lris

Lathyrus odoratus Sweet pea

Lobelia sp. Lobelia

Lupinus sp. Lupins

Mathiola incana Stock

Nemesia strumesa Nemesia

Papaver nudicaule Iceland poppy

Phlox drummondii Phlox

Primula malacoides Primula

Senecio x hybridus Senecio

Tagetes erecta Marigold

Tagetes patula French Marigold

Tropaeolum majus Nasturtium

Viola x wittrockiana Pansy

ROSES

Original Rosa banksii Banksia rose

Plants Rosa 'Lady Hillingdon' Rosa l lackboy1

Rosa 'Madame Butterfly'

Rosa 'Radiance'

Rosa 'Etoile de Hollande'

Rosa 'Dorothy Pekins'

CLIMBERS

Original Passiflora edulis Passionfruit Plants Parthenocissus tricuspidata Virginia creeper

Wisteria sinensis Wisteria




FERNS

Original Dicksonia antarctica Tree fern Plant

Plants of Asplenium nidus Birds nest fern the 1930's Davallia pixidata Hare's foot fern

Pteris tremula

LAWN

Original Agrostis secundatum Common bent Plants Stenotaphrum secundatum (soft form) Buffalo grass

Foreshore Garden

The site falls to the west to the water's edge of Neutral Bay and is quite steep below the cottage where outcropping sandstone occurs. This section of the site has remnant native vegetation developed on Hawkesbury Sandstone derived soils including fine mature specimens of Banksia intergrifolia and Casuarina glauca, as well as the Eucalyptus botryoides. Adjacent is a Port Jackson Fig. It appears that the native understorey vegetation was cleared by May Gibbs to establish a grassed terrace in this area, which was bordered by exotic plant material.

Immediately below the cottage to the west, May Gibbs made use of the outcropping sandstone to construct a terrace. Remnants exist today of sandstone rockeries along the top of the rock face bordering the terrace which was originally planted with exotic border shrubs, annuals and perennial accent planting as shown in early photographs. Above is a concrete paved terrace area and a concrete stairway leads down the rock face to connect to the lower grass terrace.

The foreshore garden, looking east to the house. Tanner Architects, 11/2007




Upper Gardens

On the higher eastern side of the cottage, below Wallaringa Road, the garden shows evidence of its original traditional "Cottage" character as shown in early photographs. May Gibbs concentrated on creating a garden of traditional flavour, in which hedging, accent shrubs and detailed border planting featured a variety of annuals and perennials. Only the remnants of this original garden and overgrown hedging were evident in 1992 and have since been caringly reconstructed by the volunteers. The major remnants are located primarily along the south boundary fence and immediately adjacent to the cottage and garage. Other landscape elements (both natural and human-made) which were part of the earlier garden and whose remains may still be found today include:

Brick flagged and edged paths. These run from the Wallaringa Avenue frontage to the cottage entrance portico (largely running parallel with the southern boundary fence) and along the east side of the cottage (giving access to kitchen and laundry) and are characterised by soft red colour bricks, wide, often grass filled joints, and gently undulating surfaces.

A reconstructed timber lattice screen with trellis and shrubbery planting screening the north western corner of the cottage. This screen effectively defines the boundary of the grassed flat terrace area immediately fronting the house to the east (entrance) elevation while providing a barrier to views of the entrance from the street and eastern garden.

Based on the photographic records of the garden, an arched timber trellis over the brick pathway near the cottage entry has been reconstructed and a bird-bath installed in its original location.

The fences inclusive of the street boundary gate have been replaced at various times, and are of various materials and styles. The western harbour frontage along the rock shelf has a reconstructed steel post and wire fence. Timber palings line the remaining boundaries including the street frontage.

Plantings in the gardens have generally been in accordance with the List of Proposed Plants prepared by Fiona Robbé, 1993. The Lombardy Poplars to the northern boundary have been replaced with a magnolia and a jacaranda.

The front garden, looking from the garage. Tanner Architects, 11/2007




3.5.4 Signage

There are a number of discreet signs located throughout the site that inform on various aspects of the property’s history and identify plant species and associations with May Gibbs and her work. There is uniformity in the signs for the plantings, while the other signs have dissimilar materials and styles indicative of the various dates of introduction. The latter signs include brass plaques (etched and raised lettering).




3.6 SUMMARY OF PHYSICAL CHANGES

1924-1928 Property acquired in 1924

House constructed over the summer of 1924/1925

General maintenance including painting (on five occasions) and repairs to the kitchen porch

Garden established and maintained in this phase

1928 Garage built

P

H

A

S

E

I 1950-1970 Enamel bath removed and shower hob installed in the

bathroom

Refrigerator in the dining room replaced the original installation of an ice chest located in the hall

Shower recess added to the laundry

1973-1987 Enamel sink removed from the kitchen and replaced with a stainless steel sink.

New gas stove installed.

Security safe fitted in Bedroom 1.

Original light fittings replaced with “modern” fittings

Security grille added to W16

1988 Fire in the laundry destroyed D21, W17, shutters to W9 and W17 and fitted cupboard in the dining room.

P

H

A

S

E

II

1987 Rewiring of the electricity supply possibly undertaken at this time with outlets (GPOs) fitted to the skirting boards

Some repairs to the roof

Front door removed and replaced.

Chimney piece in the living room removed

Garden trellis removed




1990-1992 Renewing of gutters, downpipes, fascias and timber trims

Repainting street façade of the garage

P

H

A

S

E

III

1993-1994

2006

Restoration and reconstruction of “Nutcote”

Front door reconstructed

Chimney piece in the living room reconstructed

Garden trellis reconstructed

Joinery restored and the skirting mounted GPOs removed

Shutters reconstructed

Fitted cupboard in the dining room reconstructed

Security safe and grille removed

Light fittings reconstructed

Bathroom reconstructed

Kitchen reconstructed

Lower ground floor rooms converted to museum spaces

Garage converted to store, café and retail outlet, etc

Widening of side path adjacent to house (incorporation of land from “Wallaringa Mansions”)


N U T C O T E , N E U T R A L B A Y



4 “NUTCOTE” - ITS SIGNIFICANCE

4.1 INTRODUCTION

The assessment of significance establishes why “Nutcote” is of cultural importance and the relative levels of significance of its components. Cultural significance is defined in The Burra Charter, as:

aesthetic, historic, scientific, social or spiritual value for past, present and future generations.

Cultural significance includes a range of ideas or concepts that come together in a particular place. Significance can be embodied in the actual fabric of the place, the setting and context in which it is found, the fit out and items within it, the use of the place and its history, records of its use, and the memories and responses which are made to the place by its direct and associated users.

The assessment of cultural significance of “Nutcote” in this report is established through:

• comparison of other like places to “Nutcote” to provide a clear understanding of a place’s relative cultural significance (4.2),

• identification of assessments of significance of “Nutcote” prepared to date (4.3),

• assessment of “Nutcote” in relation to NSW historic themes (4.4),

• assessment of the significance of “Nutcote” utilising the Heritage Branch of the NSW Department of Planning’s State Heritage Register criteria (4.5),

• identification of the heritage curtilage of “Nutcote” (4.6), and

• identification of the relative significance of components of “Nutcote” (4.7)

4.2 COMPARATIVE ANALYSIS

The comparison of other like places is important in providing a clear understanding of a place’s cultural significance. The comparison illustrates how “Nutcote” is of cultural significance when addressed by the following criteria:

• Historical association with an Australian of note (4.2.1)

• Aesthetic value as period domestic architecture (4.2.2)

• Social value as a community orientated house museum (4.2.3)

4.2.1 May Gibbs – The Legacy

As noted by Robert Holden, May Gibbs ‘gave the emerging folklore of the Australian bush its first visual expression’. The way for Snugglepot and Cuddlepie had been hewn in the dying years of the nineteenth century and in the pre WW1 years by a changing view of native Australian flora and fauna in both the scientific and general community. By the end of the nineteenth century documentation of the natural environment had reduced the sense of alienation of European Australian and in the first decade of the twentieth century there emerged in imaginative literature a number of anthropomorphised native fauna. Coupled with this was a call from amongst educators for attention to be paid to the local environment within school curricula. Ethel Pedley’s Dot and the Kangaroo (1899) was the most popular fiction work of this strand of children’s




literature; the entreaty in the preface reflecting an embryonic environmental movement that was to flex its muscle particularly from the 1920s and 1930s when conservationists, led by Miles Dunphy, mounted campaigns for the creation of National Parks and Primitive Wilderness areas, Pedley appealed

To the children of Australia, in the hope of enlisting their sympathies for the many beautiful, amiable, and frolicsome creatures, of their fair land; whose extinction, through ruthless destruction, is surely being accomplished.46

Amy Mack’s 1910 trilogy, Waterside Stories, Birdland Stories and Bushland Stories, were inspired by Mack’s ‘belief in conservation and a desire to create indigenous folklore for Australian children. May Gibbs’ first major Australian commission was to illustrate Mack’s Scribbling Sue in 1913. There developed ‘an interchange between formal education and recreational reading, between fact and fantasy, achieving its most effective synthesis in Gibbs’ evolving vision of Gumnut Town’.47

In 1918 Gibbs’ first major children’s book and ultimately her most popular work, Snugglepot and Cuddlepie: Their Adventures Wonderful was published. This work, like Blinky Bill: The Quaint Little Australian by Dorothy Wall (published in 1933) had an element of foreboding danger unlike other major Australian authors such as Pixie O’Harris whose work was marred by cloyingly cute elements, whilst Ida Rentoul Outhwaite had an ethereal quality that was more closely aligned with European traditions than with the indigenous Australian experience. The sequels to Snugglepot and Cuddlepie – Little Ragged Blossom (1920) and Little Obelia (1921) quickly followed. In 1923 Nuttybub and Nittersing was published and in 1924 Chucklebud and Wunkydoo was released. None were to achieve the success of the Snugglepot and Cuddlepie series which in 1940 were combined into one volume and published as The Complete Adventures of Snugglepot and Cuddlepie.

Like the English children’s author Beatrix Potter, Gibbs’ observations of the natural world were scientific and exact. Via the adventures of the enterprising bushbabies, Australian children were introduced to the indigenous Australian flora and fauna and their habits. As noted by Peter Bernardt ‘Both plant structure and ecology are so carefully interwoven into each Gibbs’ composition that they are often taken for granted by the viewer’, the gumnut babies are based on the three stages of the life cycle of a eucalyptus flower and the Banksia Men are probably based on the eastern saw banksia (Banksia serrata).48 Robert Holden also supports this view, he states ‘May Gibbs’ landscape of the imagination is never far removed from reality: her vision was anchored by as close an observation of bush life and its creatures as of human follies and foibles.’49

Gibbs’ influence on Australian literature and art has been outstanding and continuing. Her legacy can be seen in the work of later writers and artists including, amongst numerous others, international award winner Patricia Wrightson who has woven Aboriginal mythological themes into her work; an aspect of Wrightson’s work which can be argued as having evolved from the work of Gibbs some seventy years earlier.

46 Cited in Robert Holden, ‘Gumnut Town Fact, Fantasy & Folklore’ in Gumnut Town Botanic Fact and Bushland Fantasy, Royal Botanic Gardens, Sydney, 1992, p.31

47 ibid., pp.33-35

48 ‘Of Blossoms and Bugs Natural History in May Gibbs’ Art’ in Gumnut Town Botanic Fact and Bushland Fantasy, Royal Botanic Gardens, Sydney, 1992, pp. 7-9, 13

49 Robert Holden, ‘Gumnut Town Fact, Fantasy & Folklore’ in Gumnut Town Botanic Fact and Bushland Fantasy, Royal Botanic Gardens, Sydney, 1992, p.29




4.2.2 The Architecture

Bertrand James Waterhouse (1876-1965) was an English born, but Australian trained, architect who is best remembered (in association with J W H Lake from 1908) for his many fine houses in the Arts and Crafts style inspired by British and American architects. Waterhouse was a fashionable domestic architect and a prominent member of the architectural establishment, designing numerous houses in Sydney’s affluent harbourside suburbs and on the north shore. As early as 1909 Waterhouse and Lake were described in the trade journal Building as evolving a distinct type of domestic work … Their work is most interesting and artistic to a high degree, with due economy.50 The original two storey design for “Nutcote”, like Waterhouse’s residential work to that date, was of the Arts & Crafts style with the upper storey set within steeply pitched gables and with roofs of slate or clay shingle above walls set with painted rough cast. The link between Waterhouse and the work of English architect M H Baillie Scott and his Arts and Crafts contemporaries has been clearly established.51 It is believed May Gibbs’ wish that “Nutcote” be in the Mediterranean vernacular and that until his encounter with Gibbs, Waterhouse had not used this style.

Nonetheless, W Hardy Wilson from 1910, and Professor Leslie Wilkinson from 1919 onwards, had been extremely vocal in their advocacy of classical Mediterranean architecture as being appropriate for Sydney. Subsequently, Waterhouse, who had had a business partnership with J W H Lake from 1908 until the early 1920s (when Lake died), became increasingly influenced by Mediterranean architectural styles and visited Europe in 1926, where he was able to broaden his experience of the medium.52

On his return from Europe, Waterhouse addressed the Architects Institute in a lecture titled ‘A Ramble In Spain’ in which he outlined the architectural development and characteristics of different phases of design in a land of sunshine so akin to Australia, intimating that the lessons to be gleaned from a close study of Spanish work could not fail to produce an influence upon design here, especially in relation to the simply treated domestic architecture where reliance was placed upon a frank use of simple material, plain, unbroken surfaces, concentrated ornament, and a careful use of colour, not forgetting the garden was a most essential adjunct to success in house design.53

Waterhouse’s status is indicated by the various public positions he held. He was Chairman of National Capital Planning and Development Committee, Deputy Chairman of the Macquarie Street Re-Planning Committee and the Circular Quay Planning Committee. He was obviously held in high regard by his peers, serving as President of the NSW Board of Architects in 1928 and being appointed a life fellow of the Royal Australian Institute of Architects. He was also awarded an OBE for services to the profession in 1939.

Aside from his architectural career, Waterhouse was also extremely interested in painting and sculpture: he was involved with the Art Gallery of NSW for many years, being appointed a Trustee in 1922 and President in 1939, a position he did not retire from until 1958. During the 1938 Sesqui-Centenary Celebrations he was Chairman of the Arts Committee. A friend of William Ashton and Lionel Lindsay, he also collected art. Together with his reputation for style

50 ‘Australian Domestic Architecture. – IV, How Our Architects Are Evolving Styles To Suit Australian Conditions’, Building, 12 July, 1909, p.44

51 Howard Tanner, ‘Stylised influences on Australian Architecture: Selective Simplification 1868-1934’, Architecture in Australia, Sydney, April 1974, pp.51-60

52 Debra Iona Williams, ‘In Pursuit Of The ‘Mediterranean Style’ Two Houses By B.J. Waterhouse, A Bachelor Of Architecture Dissertation, School Of Architecture, U.T.S., 1992, pp.5; 20-21

53 Architecture 1st November, 1927, p.201




and economy, his collaboration with Gibbs in designing “Nutcote” becomes increasingly understandable when this background is considered.54

While some architectural historians consider “Nutcote” to be uncharacteristic of Waterhouse’s larger body of work, which was more firmly cast in the ‘Arts and Crafts’ style,55 his later work, like that of Lutyens and others in England, moves away from its Arts and Crafts origins towards more formal Georgian and Roman-derived forms.

“Nutcote” as designed by B.J. Waterhouse for May Gibbs in the early 1920s embodied a wide range of innovative ideas, including:

• a central living hall linking the two main elevations, precluding space-wasting corridors. Such interiors, advocated in England and America in the late 19th century, provided a central generous space for circulation, concerns and sitting areas, and usually featured a prominent fireplace.

• a compact, well-planned house, designed for servant-less living as espoused by Hardy Wilson during the 1910s. “Nutcote”, with its tiny kitchen and small bathroom and bedrooms followed this trend.

• the new Mediterranean taste, advocated from 1919 onwards by Leslie Wilkinson, the Professor of Architecture at the University of Sydney, suggested the yellow rough render, the classical arcade, the Terra cotta tiled roof and the shutters.

While Waterhouse’s initial sketch plans overlaid the new neo Georgian/ Mediterranean taste with a steeply pitched roof, and picturesque gables, attic rooms and ‘pretty’ windows and ‘belvederes’ overlooking both garden and harbour, these Arts and Crafts style elements were deleted, presumably on grounds of economy, to provide the compact formal cottage that survives today.

“Nutcote” can be shown to be an important transitional house for the Waterhouse office. The external scale is slightly cramped or miniaturised, perhaps a result of the radical removal of the proposed attic storey. The same ingredients are used by Waterhouse in a later house at Bower Street, Manly. “Nutcote” foreshadows grander things by Waterhouse, for example the large Georgian courtyard house Somerset (c.1926), in the Boulevarde, Strathfield and the mansion Elwatan (c.1928) at Castle Hill, now the central building of the Mowll Memorial Village.

Whilst elements of the earlier taste such as the heavily stuccoed external walls and dark timbers are evident, it is clear that May Gibbs influenced the design of this house. The account of May Gibbs given by her biographer Maureen Walsh is a portrait of a woman who knew what she wanted, demanded it, was not easily ‘fobbed off’ but who did not have an overly abundant supply of cash nor a reliable income. There can be little doubt that considerable negotiation/ collaboration on the design of “Nutcote” occurred between Gibbs and Waterhouse. The success of this venture can be judged by the time factor involved in finalizing the design, its reflection of the lifestyle of the Kelly’s and the physical qualities of the finished structure and its placement on the site.

The original plan for the “Nutcote” site was to virtually subdivide the property by building two flats on the Wallaringa Avenue frontage. Like “Nutcote” the surviving architectural drawings of this proposal have strong Mediterranean references and resemble a plan published by Waterhouse in September 1924 in Architecture titled ‘A Good Plan Showing Compactness, Convenience and Symmetry’.

54 Adrian Ashton, ‘B.J. Waterhouse: A Tribute’, unpublished paper, Local History Collection, Stanton Library, 1965

55 ‘Nutcote (Formerly May Gibbs’ House) ,5 Wallaringa Avenue Neutral Bay, Analysis of Conservation Issues associated with proposed redevelopment of the site,’ Travis Partners, North Sydney 1987, p.7




4.2.3 “Nutcote” House Museum

“Nutcote” is a house museum that celebrates the life and work of May Gibbs. It is a house museum owned and largely funded by the local council owing to circumstances related to development proposals raised in the 1980s. The significance of May Gibbs is undoubtedly more than local and is arguably at the national level claimed in the late 1980s campaign ‘“Nutcote” for the Nation’.

The historical role of May Gibbs has many comparable examples in the western world where similar efforts have been made to recognise the contribution authors of children’s books as discussed in the 1993 CMP.

“Nutcote” is an example of historic places owned by local government in New South Wales. In the North Sydney LGA, other examples are the Donbank Museum acquired in 1979 that forms a local museum, and the Sexton’s Cottage Museum within the St Thomas’ Rest Park.

Other councils have maintained and in instances actively restored heritage places for the benefit of the local and broader communities. The City of Ryde LGA has two significant and restored early nineteenth century residences in Addington and Brush Farm. Other councils own the freehold to historic properties and lease the premises with covenants to ensure preservation and periodic public visiting rights; the Waverley LGA manages Bronte House in this manner. These council properties emphasise historic connections with the founding years of specific communities. “Nutcote” is different, as is the Lewers Gallery at Emu Plains, which is comparable in many respects; the Lewers Gallery is owned by Penrith City Council as part of its Regional Gallery and is both an historic home with garden setting and a place to display art.

“Nutcote” is unique in its association with May Gibbs who was commercially successful as both an illustrator and author and having arguably wide appeal and recognition with the general public. The closest comparable example of a house museum in this context is probably Norman Lindsay’s home at Faulconbridge with its interiors and gardens and added bonus of displayed artworks. Other centres, namely the Brett Whiteley Studio in Surry Hills and Arthur Boyd’s Bundanon property, provide visitors with the experience of visiting a studio. The association of a historic home and children’s books is also displayed at the Dromkeen Collection Art Gallery at Riddells Creek in Victoria. The objective of Dromkeen is to exhibit original artwork and manuscripts from our continuing heritage of Australian children's books. This a commercial concern and is based on the collection put together by private collectors Joyce and Court Oldmeadow.

Owing to the high integrity of “Nutcote”, the house museum also provides the visitor with an experience of an inter-war house and garden. Calthorpe’s House in Canberra is comparable in this respect, in being built in 1927 and with original furnishings, household appliances and photographs reveals the story of domestic life. “Nutcote” however has the distinction of an association with an important architect of the era, B J Waterhouse, and was a home considered in its day as being noteworthy as evidenced by the commission of Harold Cazneaux to photograph it for The Australian Home Beautiful. The photographic record combined with integrity of fabric is by no means a common occurrence in Sydney. The house also has indirect associative values with the social milieu of the 1930s in J O Kelly’s association with furniture manufacturer and political agitator Francis de Groot.




Cazneaux’s world is reinstated at May Gibbs’ “Nutcote”

Above the studio and below the living room

4.3 PREVIOUS ASSESSMENTS OF SIGNIFICANCE

The cultural significance of “Nutcote” has been addressed by various authors in media ranging from specialist heritage assessments to biographies with a broader readership. From a statutory point of view, the statement of significance for “Nutcote” from the State Heritage Register is of primary importance in the assessment and management of the place. It states that:

“Nutcote” and its garden is a place of exceptional cultural significance as the home, workplace and source of inspiration of May Gibbs, Australia's first woman cartoonist, painter, naturalist and children's author and illustrator. “Nutcote” is a place of moderate cultural significance in association with prominent architect B J Waterhouse, who designed the house in close collaboration with May Gibbs.

4.4 NSW HISTORIC THEMES

An historic theme is a way of describing a major force or process which has contributed to our history .. (and) .. provide the context within which the heritage significance of an item can be understood, assessed and compared.56

Historical themes impart information in regard to the place, the local region and/or state. Historic themes are therefore useful to facilitate a better understanding of a place’s history and its storylines and thus enable comparisons between different sites in New South Wales.

56 NSW Heritage Office, History and Heritage, September 1996




Presently there are over 30 historic themes, which are necessarily broad in scope to provide a historical framework for the State of N.S.W. At the local level, North Sydney Council has also provided themes applicable to the particular circumstances of the LGA. The relationship between the various levels of themes is stated in table 4.1.

Table 4.1 – Historic Themes

State Theme Local Theme “Nutcote”

Environment - cultural landscape

Landscapes and gardens of domestic accommodation

Significant tree(s) providing urban amenity

Activities associated with the interactions between humans, human societies and the shaping of their physical surroundings.

Accommodation Housing townsfolk - terraces and cottages

Activities associated with the provision of accommodation, and particular types of accommodation.

Education Educating through book writing

Activities associated with teaching and learning by children and adults, formally and informally.

Creative endeavour

Architectural styles and periods - Interwar Mediterranean

Landscaping - 20th century interwar

Creating works of art

Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.

Domestic life Living and working at home

Activities associated with creating, maintaining, living in and working around houses and institutions.

Leisure Visiting heritage places

Activities associated with recreation and relaxation.

Persons Associations with May Gibbs, author, artist and conservationist

Activities of, and associations with, identifiable individuals, families and communal groups.

4.5 NSW STATE HERITAGE ASSESSMENT CRITERIA

In addition to the aforementioned statement that has been prepared for Council by heritage consultants, specific heritage values of the buildings have been assessed by the author of this report in the context of the criteria stated in the N.S.W. Heritage Manual (as amended). The criteria provide a basis for assessment of the heritage significance of an item by evaluating its significance by reference to the following criteria and an item has heritage significance at the specified level when it achieves one or more of these criteria:

a) An item is important in the course, or pattern, of N.S.W.’s cultural or natural history (or the cultural or natural history of the local area);




b) An item has strong or special association with the life or works of a person, or group of persons, of importance in N.S.W.’s cultural or natural history (or the cultural or natural history of the local area);

c) An item is important in demonstrating aesthetic characteristics and/or a high degree of creative or technological achievement in N.S.W. (or the local area);

d) An item has strong or special association with a particular community or cultural group in N.S.W. (or the local area) for social, cultural or spiritual reasons;

e) An item has potential to yield information that will contribute to an understanding of N.S.W.’s cultural or natural history (or the cultural or natural history of the local area);

f) An item possesses uncommon, rare or endangered aspects of N.S.W.’s cultural or natural history (or the cultural or natural history of the local area);

g) An item is important in demonstrating the principal characteristics of a class of N.S.W.’s cultural or natural places; or cultural or natural environments. (or a class of the local area’s cultural or natural places; or cultural or natural environments.

The above criteria for cultural and relative cultural values provide two thresholds (state or local – this being the North Sydney Local Government Area) for determining the level of significance. In this instance the level of significance is considered to be both local, that is, it is of significance to North Sydney, and N.S.W.

4.5.1 Assessment of Cultural Values

Criterion (a) - Historic Significance (events)

An item is important in the course, or pattern, of cultural history.

Satisfies criterion

√ shows evidence of a significant human activity

√ is associated with a significant activity or historical phase

√ maintains or shows the continuity of a historical process or activity

Does not satisfy criterion

X has incidental or unsubstantiated connections with historically important activities or processes

X provides evidence of activities or processes that are of dubious historical importance

X has been so altered that it can no longer provide evidence of a particular association

Discussion

“Nutcote” has historic significance at a local level in demonstrating a phase in the development of the lower North Shore as a place of residence for the well-to-do. The design and scale of the house demonstrates the affluence of the era and aspirations of the occupants.




Criterion (b) - Historical Significance (people)

An item has strong or special association with the life or works of a person, or group of persons, of importance in cultural history.

Satisfies criterion

√ shows evidence of a significant human occupation

√ is associated with a significant event, person, or group of persons


X has incidental or unsubstantiated connections with historically important people or events

X provides evidence of people or events that are of dubious historical importance

X has been so altered that it can no longer provide evidence of a particular association

Discussion

“Nutcote” is significant to present and future generations of Australians as the place where May Gibbs lived for the greater part of her life, a place where she found much inspiration and where she produced many of her famous works. In particular “Nutcote” displays exceptional historical value in its association with May Gibbs through:

• influence of May Gibbs on the layout, appearance and function of “Nutcote” through her input into the design of the cottage and her care and cultivation of the surrounding gardens.

• the influence that “Nutcote” exercised on the imagination and the source of inspiration for May Gibbs' work

• its association with May Gibbs' contribution to Australian nationalism, bush awareness, bush care, aesthetics, art and literature and feminism.

Criterion (c) - Aesthetic significance

An item is important in demonstrating aesthetic characteristics and/or a high degree of creative or technological achievement.

Satisfies criterion

√ shows or is associated with, creative or technical innovation or achievement

√ is the inspiration for a creative or technical innovation or achievement

√ is aesthetically distinctive

X has landmark qualities

√ exemplifies a particular taste, style or technology


X is not a major work by an important designer or artist

X has lost its design or technical integrity




X its positive visual or sensory appeal or landmark and scenic qualities have been more than temporarily degraded

X has only a loose association with a creative or technical achievement

Discussion

“Nutcote” is a building of moderate architectural merit as an example of classical Mediterranean architecture, which was being advocated by a small but influential number of architects.

“Nutcote” is associated with the work of B J Waterhouse, a highly respected Australian architect responsible for the design of many residences in Sydney.

“Nutcote” is a good example of a modest, well-crafted and innovatively planned house.

“Nutcote” cottage and site represents a reflection of the taste, preferences and living style of the original occupants, May Gibbs and her husband James Ossoli Kelly.

The gardens, designed built and maintained by May Gibbs, with their mixture of existing natives and extensive English cottage garden style planning must be considered expressions of her lifestyle, tastes and preferences.

Criterion (d) - Social significance

An item has strong or special association with a particular community or cultural group for social, cultural or spiritual reasons.

Satisfies criterion

√ is important for its associations with an identifiable group

√ is important to a community’s sense of place


X is only important to the community for amenity reasons

X is retained only in preference to a proposed alternative

Discussion

“Nutcote” is considered to represent exceptional social significance as a physical reminder for many Australians of the lifetime work of May Gibbs in the form of stories, illustrations and postcards which have strong associations with the development of an Australian cultural identity during a formative historical period. The significance of this association is enhanced due to May Gibbs' contribution to Australian nationalism, bush awareness, bush care, aesthetics, art and literature and feminism.

“Nutcote” has also, since the early 1980s been the focus for national sentiment for a wide range of literary, social and special interest groups conserved with its conservation. Many Australians are aware of what “Nutcote” represents and its association with May Gibbs. These factors combined are of considerable social significance.




Criterion (e) - Research potential (archaeology)

An item has potential to yield information that will contribute to an understanding of cultural history.

Satisfies criterion

X has the potential to yield new or further substantial scientific and/or archaeological information

X is an important benchmark or reference site or type

X provides evidence of past human cultures that is unavailable elsewhere


√ has little archaeological or research potential

√ only contains information that is readily available from other resources or archaeological sites

√ the knowledge gained would be irrelevant to research on science, human history or culture

Discussion

The property has a documented history of European occupation from about 1860 with the existing premises being completed in 1925. The earlier phase of site use is associated with the garden of the Wallaringa estate. The redevelopment of the site in the 1920s probably removed the potential for archaeological recovery of the earlier modified landscape.

Criterion (f) - Rarity

An item possesses uncommon, rare or endangered aspects of NSW’s cultural or natural history.

Satisfies criterion

√ provides evidence of a defunct custom, way of life or process

√ demonstrates a process, custom or other human activity that is in danger of being lost

√ is a scarce example of a particular style, custom or activity esteemed by a community

√ shows unusually accurate evidence of a significant human activity

X is the only example of its type

demonstrates designs or techniques of exceptional interest

√shows rare evidence of a significant human activity important to a community


X is not rare

X is numerous but under threat.

“Nutcote” was the home and studio of May Gibbs, Australia's first woman cartoonist who is well remembered for her children's stories and illustrations.




Criterion (g) - Representativeness

An item is important in demonstrating the principal characteristics of a class of cultural or natural places; or cultural or natural environments.

Satisfies criterion

√ is a fine example of its type

√ has the principal characteristics of an important class or group of items

√ has attributes typical of a particular way of life, philosophy, custom, significant process, design, technique or activity

X is a significant variation to a class of items

√ is part of a group which collectively illustrates a representative type

X is outstanding because of its setting, condition or size

X is outstanding because of its integrity or the esteem in which it is held


X is a poor example of its type

X does not include or has lost the range of characteristics of a type

X does not represent well the characteristics that make up a significant variation of a type

Discussion

The association of the house with prominent architect B J Waterhouse is culturally significant at a state level for it is an early expression of the classical Mediterranean style of architecture that was being introduced into Australia by a number of influential architects as being well-suited to local conditions.

4.6 STATEMENT OF SIGNIFICANCE

“Nutcote” is a place of outstanding cultural significance to the nation for its historic associations with May Gibbs as her home, workplace and source of inspiration and solace for 44 years. May Gibbs was Australia’s first woman professional cartoonist, a painter and naturalist as well as a children’s author and illustrator whose work was the main spring and catalyst for the establishment of a literary genre. She was pivotal to the establishment of an Australian children’s literature and influenced subsequent children’s authors, publishers, and the reading public.

Gibbs’ artistic world was a fantasy that drew on the Australian environment and has made an enduring contribution to the disciplines of Australian children’s literature, art and nature conservation. The house at “Nutcote” and its garden setting demonstrates both the aesthetic and lifestyle values of May Gibbs and is a focus for the demonstrated nation-wide esteem for her work and her contribution to the development of Australian identity.

The association of the house with prominent architect B J Waterhouse is culturally significant in its own right at a state level for it is an early expression of the classical Mediterranean style of architecture that was being introduced into Australia by a number of influential architects as being well-suited to local conditions.




4.7 HERITAGE CURTILAGE

4.7.1 Introduction

The curtilage of a heritage item is defined as the ‘setting’ or space around the building or place that is required to preserve the significance of the place. The concept of curtilage recognises that significance can be affected even if no fabric is altered within the place. The curtilage includes the important components of the place and the relationship between these components, and the setting of the place in its urban neighbourhood incorporating the visual relationship between these elements, as demonstrated through existing and potential views.

4.7.2 Definition of Curtilage

The publication Heritage Curtilages developed by the former Heritage Office (now the Heritage Branch of the NSW Department of Planning) and the former N.S.W. Department of Urban Affairs and Planning (October 1996) is recommended as the basis for determining the curtilage of a heritage item. In this publication the term ‘heritage curtilage’ is defined as the area of land surrounding an item or area of heritage significance that is essential for retaining and interpreting its heritage significance. It can apply to either land that is integral to the heritage significance of items of the built heritage, or a precinct that includes buildings, works, relics, trees or places and their setting. The heritage curtilage should therefore contain all elements that contribute to the heritage significance, conservation and interpretation of a heritage item.

There are four types of heritage curtilage by which this can be achieved:

• defining the lot boundary of a property,

• defining an area which is less than the lot boundary of the property,

• defining an area which is greater than the property boundary, and

• defining an area which is a composite of a number of discrete items which is often referred to as a ‘conservation area’.

The determination of the heritage curtilage for “Nutcote” has been undertaken through historical research into the development of the property to identify historic associations, and analysis to determine the visual and physical links between individual items and the wider setting as demonstrated below:

Views from “Nutcote”

There are significant views from the house and lower garden to a number of landmarks within the harbour precinct inclusive of:

• Views across Kirribilli Point to the Harbour Bridge

• Views across Neutral Bay to the Hayes Street Wharf

• Views across Port Jackson to the City skyline and intermediary landmarks such as Fort Denison

Views from “Nutcote” are facilitated by the borrowed visual landscape obtained from the extensive setbacks from the harbour of the buildings located at Nos. 3 and 7 Wallaringa Ave. In general terms, these views place “Nutcote” within the context of Sydney Harbour as an evolving port. The importance of these views to May Gibbs and her husband is demonstrated through the surviving photographs.




A comparison of the view from the loggia of “Nutcote” contrasting the 1920s with the present day.

Views to “Nutcote”

There are significant views to the house and lower garden from a number of landmarks within the Neutral Bay precinct inclusive of:

• The view to the house from Kurraba Wharf

• The view to the house from Hayes Street Wharf

• Views to the house from within Neutral Bay

• Distant views to the house across Neutral Bay from parks and reserves such as Kesterton Park

In general terms, these views place “Nutcote” within the context of Neutral Bay and contribute to defining the unique entity of the bay within the North Sydney LGA. See Tanner Architects Views and Vistas diagram in Section 3.3.

The visual and historical relationship between individual items within the property

The property is under the one ownership and in the one legal title and managed as one entity however the State Heritage Register gazetted area affects only part of the property.

The built historic context of the property

“Nutcote” does not sit in isolation in regard to the historic built environment as it is one of a group of six contiguous heritage items listed in Schedule 3 of the North Sydney Local Environment Plan – 5, 7 & 9 Wallaringa Avenue and 17-19 Lower Wycombe Road of comparable construction date (c1900-1920s).

4.7.3 Conclusion

In recognition of the above, the recommended form of heritage curtilage for “Nutcote” is defined by:

a) defining the lot boundary of the property as the primary curtilage

b) defining the harbour setting of the property as the secondary curtilage




4.8 RELATIVE SIGNIFICANCE

Not all elements of “Nutcote” are of comparable significance and the relative ability of individual elements to demonstrate significance is discussed below.

The relative ranking of components is presented below. Five levels of cultural significance are used in the assessment, and these categories provide a framework for development of conservation policies.




Table 4.2 – Relative significance

LEVEL OF SIGNIFICANCE

EXPLANATORY TEXT MAIN COMPONENTS

SUB-COMPONENTS

A

EXCEPTIONAL Where an individual space or element is assessed as displaying a strong contribution to the overall significance of the place. Spaces, elements or fabric exhibit a high degree of intactness and quality, though minor alterations or degradation may be evident.

The property

House

Living Room

Studio

Loggia

Entry

Porch

B HIGH Where an individual space or element is assessed as making a substantial contribution to the overall significance of the place. Spaces, elements of fabric originally of substantial quality, yet may have undergone considerable alteration or adaptation resulting in presentation that is either incomplete or ambiguous. This category also includes spaces, elements or fabric of average quality in terms of design and materials, but which exhibit a high degree of intactness.

Upper garden

Lower Garden

Brick paved paths

Bedroom 1

Dressing Room

Dining Room

Hall

Bedroom 2

Kitchen

Bathroom

C MEDIUM Where an individual space or element is assessed as making a moderate contribution to the overall significance of the place. Spaces, elements or fabric originally of some intrinsic quality, and may have undergone alteration or degradation. In addition, elements of relatively new construction, where the assessment of significance is difficult, may be included. This category also includes original spaces, elements or fabric of any quality that have undergone extensive alteration or adaptation.

Garage LG – AV Room

LG – Lobby

LG – Entry

Garage spaces

D LOW Where an individual space or element is assessed as making a minor contribution to the overall significance of the place, especially when compared to other features. Spaces, elements or fabric originally of little intrinsic quality, and may have undergone alteration or degradation. This category also includes original spaces, elements or fabric of any quality that have undergone extensive alteration or adaptation to the extent that only isolated remnants survive (resulting in a low degree of intactness and quality of presentation).

E NEUTRAL Where an individual space or element is assessed as having an unimportant relationship with the overall significance of the place. Spaces elements or fabric are assessed as having little or no significance.





EXPLANATORY TEXT MAIN COMPONENTS

SUB-COMPONENTS

F INTRUSIVE Where an individual space or element detracts from the appreciation of cultural significance, by adversely affecting or obscuring other significant areas, elements or items.





“Nutcote” Ground Floor Ranking of Significance. Tanner Architects, 1/2008 “Nutcote” Lower Ground Floor Ranking of Significance. Tanner Architects, 1/2008




“Nutcote” Garage Ground Floor Ranking of Significance. Tanner Architects, 1/2008 “Nutcote” Garage Lower Ground Floor Ranking of Significance. Tanner Architects, 1/2008




5 CONSTRAINTS AND OPPORTUNITIES

5.1 INTRODUCTION

This preamble to the conservation policy identifies the issues, be they constraints or opportunities that form the policies for future management of the heritage values of “Nutcote”.

5.2 CLIENT’S REQUIREMENTS

North Sydney Council has leased the property to the Nutcote Trust for a term of fifteen years, concluding 30 April 2008, with an option for a further 15 years. The Council is currently reviewing a proposal to amend the lease and transfer the responsibility for maintaining the building and grounds from the Nutcote Trust to North Sydney Council. It is Council’s view that it will in future: • maintain the museum for community use in accordance with the overall objectives of North

Sydney Council’s Management Plan 2008-10 • manage the property in accordance with May Gibbs’ “Nutcote” Strategic Plan 2006-9 • manage the property in accordance with the aims and objectives of Council’s Community

Centres and Facilities Policy • provide and maintain a high quality community house museum which meets the needs of

the local and wider community • cater for people with disabilities within the physical constraints of the museum • provide for public safety • ensure the plan of management is flexible and able to evolve with changing community

attitudes • be prepared to look beyond the Museum’s immediate locality, through maximising existing

resources and to enable delivery of outreach services where appropriate and needed, and • grant a lease to the Nutcote Trust, the terms of which will require that the lessee will

manage the museum for the benefit of the community in accordance with the general objectives of the Plan of Management.

5.3 STATUTORY HERITAGE REQUIREMENTS

5.3.1 Summary

A number of statutory heritage controls affect the management of “Nutcote”. At the time of preparing this report, these are ranked in hierarchy as follows:

North Sydney Council

(Local)

State Heritage Register

(State)

Sydney Regional Environmental Plan (Sydney Harbour Catchment) 2005

(State)

National Heritage List

(National)

Listed in Schedule 3 – No. 1243

North Sydney Local Environment Plan 2001

Part Listed – No. 00505 (gazettal 2nd April 1999)

Within defined boundary Not listed

5.3.2 North Sydney Council

The local government area is North Sydney Council.




“Nutcote” is listed in Schedule 3 of the North Sydney Local Environment Plan (LEP) 2001 as a heritage item of state significance with significant interiors and is located within the gazetted Kurraba Point Conservation Area

The Council is the consent authority for all heritage items except those with higher levels of statutory heritage protection under the N.S.W. Heritage Act, which is applicable for part of the property.

Aims of the LEP

The general aims of the LEP are:

(a) promotion of ecologically sustainable development, and

(b) development that is appropriate to its context and enhances the amenity of the North Sydney community and environment, and

(c) enhancement of opportunities for public participation in environmental planning and assessment.

Requirements of the LEP

The specific objectives of the heritage controls of the NSLEP 2001 are stated in Clause 44 as:

(a) ensure the protection and management of Aboriginal sites and relics, and

(b) ensure the proper management of archaeological resources, and

(c) ensure the conservation of heritage items (and their curtilages) and conservation areas, and

(d) ensure that development does not adversely affect the heritage significance of heritage items and conservation areas

Requirements of the LEP

Under the provisions of Part 4 of the LEP a development application is required for any of the following proposed works:

(a) disturbing or excavating any land while knowing, or having reasonable cause to suspect, that the disturbance or excavation will or is likely to result in an Aboriginal site or an archaeological resource being discovered, exposed, moved, damaged or destroyed, or

(b) damaging, demolishing, defacing, moving or altering a relic, or. (c) demolishing or moving a heritage item or a building, work or place within a conservation area, or

(d) altering a heritage item or a building, work or place within a conservation area by making structural or non structural changes to its exterior, such as changes to its external detail, fabric, finish or appearance, or

(e) making:

(i) structural changes to the detail or fabric of the interior of a heritage item, or

(ii) non-structural changes to the detail, fabric, finish or appearance of the interior of a heritage item listed in Schedule 3 as having an interior of heritage significance, or

(f) erecting a building on, or subdividing, land that is a heritage item or is within a conservation area.




The statutory controls for the above are contained in the following clauses of the LEP:

• 46. Aboriginal sites and relics

• 47. Archaeological resources

• 48. Heritage items

• 49. Conservation areas

• 50. Development in the vicinity of heritage items

• 51. Conservation incentives

5.3.3 Heritage Council of N.S.W.

“Nutcote” is in part listed in the State Heritage Register (SHR), which is administered under the provisions of the NSW Heritage Act 1977 (as amended). The listing affects the western half of the property with the boundary defined by the mean high water mark of Neutral Bay and a line 10m east of the front of the cottage; this area was established in the permanent conservation order gazetted in 1997 and charted in Crown plan HC 1303.

The Heritage Act aims to conserve the environmental heritage of New South Wales. The Act established the Heritage Council of N.S.W. Section 4 of the Act defines State heritage significance as being:

relation to a place, building, work, relic, moveable object or precinct, means significance to the State in relation to the historical, scientific, cultural, social, archaeological, archaeological, natural or aesthetic value of the item.

Listing in the SHR means that the item:

• is of particular importance to the State and enriches our understanding of the history of NSW;

• is legally protected under the NSW Heritage Act;

• requires approval from the Heritage Council of NSW for certain kinds of work; and

• is eligible for financial incentives.

The Heritage Council, which provides advice and recommendations to the Minister for Infrastructure and Planning, is the consent authority for items considered of State significance that are listed in the SHR.

Section 57 of the Act places requirements on North Sydney Council as the owner to avoid the following actions unless approved by the Heritage Council:

• Demolish the building or work,

• Damage or despoil the place, precinct or land, or any part of the place, precinct or land,

• Move, damage or destroy the relic or moveable object,

• Excavate any land for the purpose of exposing or moving the relic,




• Carry out any development in relation to the land on which the building, work or relic is situated, the land that comprises the place, or land within the precinct,

• Alter the building, work, relic or moveable object,

• Display any notice or advertisement on the place, building, work, relic, moveable object or land, or in the precinct,

• Damage or destroy any tree or vegetation on or remove any tree or other vegetation from the place, precinct or land.

Applications for approval for these actions are by making an application under section 60 of the Act.

Relics Provisions

The NSW Heritage Act also protects the State’s non-indigenous archaeological sites under the relics provisions. Under the Act a relic is defined as any deposit, object or material evidence: a) which relates to the settlement of the area that comprises New South Wales not being Aboriginal settlement, and b) which is 50 or more years old. “Nutcote” however is not considered to be a potential archaeological site.

5.3.4 Sydney Regional Environmental Plan (Sydney Harbour Catchment) 2005

“Nutcote” is included in the Foreshores and Waterways Area defined in the Sydney Regional Environmental Plan (Sydney Harbour Catchment) 2005 (SREP), however the SREP does not identify as a heritage item “Nutcote” or any site in Neutral Bay.

The aims of the SREP in relation to the Foreshores and Waterways Area are based on the following principles:

(a) Sydney Harbour is to be recognised as a public resource, owned by the public, to be protected for the public good,

(b) the public good has precedence over the private good whenever and whatever change is proposed for Sydney Harbour or its foreshores,

(c) protection of the natural assets of Sydney Harbour has precedence over all other interests.

Inclusion of the site within the Foreshores and Waterways Area necessitates development must be considered in terms of the criteria set out in Division 2 – Matters for consideration of the SREP. Issues that could potentially affect “Nutcote” include:

Clause 21 - Biodiversity, ecology and environment protection (ie the non-developed foreshore zone)

Clause 22 - Public access to, and use of, foreshores and waterways

The matters to be taken into consideration in relation to public access to, and use of, the foreshores and waterways are as follows:

a) development should maintain and improve public access to and along the foreshore, without adversely impacting on watercourses, wetlands, riparian lands or remnant vegetation,

(b) development should maintain and improve public access to and from the waterways for recreational purposes (such as swimming, fishing and boating), without adversely impacting on watercourses, wetlands, riparian lands or remnant vegetation,




(c) if foreshore land made available for public access is not in public ownership, development should provide appropriate tenure and management mechanisms to safeguard public access to, and public use of, that land,

(d) the undesirability of boardwalks as a means of access across or along land below the mean high water mark if adequate alternative public access can otherwise be provided,

Clause 25 - Foreshore and waterways scenic quality

The matters to be taken into consideration in relation to the maintenance, protection and enhancement of the scenic quality of foreshores and waterways are as follows:

(a) the scale, form, design and siting of any building should be based on an analysis of:

(i) the land on which it is to be erected, and

(ii) the adjoining land, and

(iii) the likely future character of the locality,

(b) development should maintain, protect and enhance the unique visual qualities of Sydney Harbour and its islands, foreshores and tributaries

Clause 26 - Maintenance, protection and enhancement of views

a) development should maintain, protect and enhance views (including night views) to and from Sydney Harbour

b) development should minimise any adverse impacts on views and vistas to and from public places, landmarks and heritage items,

5.4 AUSTRALIAN HERITAGE COUNCIL

Under the Environment Protection and Biodiversity Conservation Act 1999 (EPBC Act) (as amended) the Australian Heritage Council was established to advise the Australian Government on places of national heritage in the context of the national heritage system inclusive of:

• a National Heritage List of places of national heritage significance,

• a Commonwealth Heritage List of heritage places owned or managed by the Commonwealth,

• establishment of the Australian Heritage Council, which is an independent expert body to advise the Minister on the listing and protection of heritage places, and

• continued management of the Register of the National Estate (see below).

The National Heritage List records the natural, indigenous and historic places with outstanding heritage value to our nation. These places have values or characteristics that have special meaning for all Australians. They show important aspects of the history of the continent on which we live, and will reflect the diverse experience of its human occupation. Listed places are protected under EPBC Act 1999 with significant penalties for breaches.

At the time of preparing this report, “Nutcote” is not listed and has not been nominated for listing in the National Heritage List, however it is possible a nomination could be mounted given the association with May Gibbs and the robust, unambiguous claims of national significance of “Nutcote” at the time of the preservation campaign in the late 1980s.




5.5 NON-STATUTORY HERITAGE LISTINGS

5.5.1 Summary

A number of non-statutory heritage listings include “Nutcote”. At the time of preparing this report, these are ranked in hierarchy as follows:

Register of the National Estate

(National)

Register of the National Trust of Australia (NSW)

(State)

RAIA (NSW) Twentieth Century Register of Significant Buildings

(State)

Registered Item Classified Item Not listed in Register dated September 2006

5.5.2 Register of the National Estate

The Register provides an inventory of places of cultural significance which contribute to our national heritage. The Register of the National Estate is a list of more than 13,000 heritage places around Australia that has been compiled by the (former) Australian Heritage Commission since 1976 and now managed by the Australian Heritage Council. In 2006, the Environment Protection and Biodiversity Conservation Act 1999 (the EPBC Act), and the Australian Heritage Council 2003 were amended to stop changes to the Register. The Australian Heritage Council can no longer add places to or remove places or a part of a place from the Register of the National Estate.

“Nutcote” is listed in this Register.

The Register lists buildings, sites, items and areas, which were assessed by the Commission as:

components of the natural environment of Australia, or the cultural environment of Australia, that has aesthetic, historic, scientific or social significance or other special value for future generations, as well as for the present community.

The Register contains information about places in the Register in a publicly-accessible database which is used for public education and to promote heritage conservation in general.

Entry of the property in the Register does not place any direct legal constraints on the actions of owners of private property. Owners of registered places are not required to change the way in which they manage, maintain, or dispose of, their property. Entry in the Register does not mean that owners have to give any public right of access to registered properties.

5.5.3 National Trust of Australia (N.S.W.)

The National Trust of Australia (N.S.W.) maintains a Register that lists buildings, sites, items and areas the National Trust has assessed to be:

places which are components of the natural or the cultural environment of Australia, that have aesthetic, historical, architectural, archaeological, scientific, or social significance, or other special value for future generations, as well as for the present community.

The property is listed in the Register.

The National Trust is a non-statutory, non-government organisation, however it has significant influence based on community support.




5.6 ISSUES ARISING FROM THE AUSTRALIA ICOMOS BURRA CHARTER

The Burra Charter (1999) is widely acknowledged as the principal guiding document to conservation work and practices of places of cultural significance. The Burra Charter defines the basic principles and procedures that should be followed in the conservation of places of heritage significance.

The Burra Charter has been adopted as the standard for best practice in the conservation of heritage places in Australia. The aims of The Burra Charter are to:

• resolve an understanding of the place,

• involve the communities associated with the place,

• care for the culturally significant fabric and other significant attributes and its setting,

• provide an appropriate use,

• provide security,

• use available expertise,

• record the place and changes made to it, and

• interpret the significance of the place.

These conservation principles are addressed through the following articles:

Provision should be made for the continuing security and maintenance of significant items. (Articles 2 and 16)

All conservation work should involve minimum interference to the existing fabric. (Article 3)

The visual setting for significant items must be maintained and no new construction or other action which detracts from the heritage value of the item should occur. (Article 8)

Fabric should be retained in situ unless moving it is the sole means of achieving its survival. (Article 9)

Fabric from all periods should be recognised as contributing to the significance of the items and should be retained and conserved. (Articles 5, 13 and 15)

Existing fabric should be recorded before disturbance occurs. (Article 27)

Disturbance of fabric may occur in order to provide evidence needed for the making of decisions on the conservation of place. (Article 28)

The decision-making procedure and individuals responsible for policy decisions should be identified. (Article 26)

Appropriate direction and supervision should be maintained at all stages of the work. (Article 27)

A record should be kept of new evidence and future decisions. (Articles 27, 31 & 32)

Copies of all reports and records should be placed in a permanent archive and made publicly available. (Article 32.2)




Fabric of cultural significance already or subsequently removed should be kept in a secure repository. (Article 33)

Such items should be professionally catalogued and protected. (Article 33)

Adequate resources should be provided for conservation. (Article 34)

5.7 STATUTORY REQUIREMENTS - NON-HERITAGE

5.7.1 Building Code of Australia

The Building code of Australia (BCA) provides for the structural assessment of buildings including the classification of buildings and changes in building use. The BCA incorporates Sections C – fire resistance, D – access and egress, and F – health and amenity.

A BCA assessment is required for all new building work proposed for construction to assess individual proposals against the life safety and fire protection objectives and principles of the regulations, to identify aspects of deficiency and recommend the nature and extent of works considered necessary to rectify the deficiencies. It is also necessary to provide a reasonable and acceptable standard of occupant fire safety and fire protection. However all works to the buildings must not adversely affect significant fabric nor detrimentally impact on significant interiors.

The BCA is a prescriptive legislation that all new development must adhere to. As the built structures of “Nutcote” already exist, the place is not bound to this legislation. However, if there is new work it will have to comply with the standards and regulations of the BCA.

5.7.2 Disability Discrimination Act 1992

The Disability Discrimination Act 1992 provides protection to members of the community with a limited ability/disability and ensures that reasonable access is provided to both public and private buildings and places. As a complaint based Act it has the ability to require the construction of additional access arrangements to buildings and may impact on the fabric of buildings/ facilities of “Nutcote”.

Currently, “Nutcote” is presently not accessible by persons with a disability.

In 2005, North Sydney Council initiated an overview of access to “Nutcote” by the Spastic Society. Consequently, existing features and improvements (in access and safety) to “Nutcote” are:

• Bus set down area in Wycombe Road.

• General access toilet (beside the Bib and Bub Tearooms beneath the gift shop).

• Raising of the road and footpath on Wallaringa Avenue to remove the step onto the mid landing.

• Reconstruction of the stairs, and the addition of a handrail, in the north west corner in front of the cottage leading to the lower, grassed terrace.

• Construction of a ramp, and addition of a handrail to the brick wall, along the short stretch to the north of the cottage providing access to the exhibition space.

• Provision of a portable ramp.




• Production of a high quality Walkaround “Nutcote” CD and DVD – providing a virtual tour of the property for those not able to visit.

Proposals not implemented were:

• construction of a steel and timber staircase connecting “Nutcote” to the foreshore reserve (not implemented because it was considered it would breach the security of “Nutcote” by facilitating access to the grounds out of hours, and by making supervision of visitors from the water frontage impossible, given the volunteer nature of the staffing of “Nutcote”).

• installation of a platform lift conveying disabled visitors from Wallaringa Avenue to the brick path (considered to be of questionable benefit, as it would partially impede access for able bodied visitors, and additionally: the path’s gradient does not comply and there is very little circulation space at the Cottage’s front door and throughout the cottage itself).

A proposal agreed to but still to be implemented is a handrail along the southern boundary path.

5.8 ISSUES ARISING FROM CONDITION

The interiors of the building and garden have been maintained to a high standard, and no major defects were noted in the inspection or have been brought to the attention of the authors.

The roof of the porch and sub-floor dampness/poor ventilation are identified as issues that require rectification and assessment of earlier works in the Conservation Policy Section.




6 STATEMENT OF CONSERVATION POLICY

6.1 INTRODUCTION

The purpose of this report is essentially to provide conservation policies to guide the future conservation and retention of the cultural significance of “Nutcote”. The policies have been formulated to:

• preserve the cultural significance of “Nutcote”;

• retain and enhance the character and quality of “Nutcote” as a house museum;

• facilitate introduction of uses compatible with the character and quality of the significant spaces and elements;

• provide a management strategy to coordinate the conservation processes; and

• implement a regular maintenance program.

The policies are structured to provide an introductory preamble, a summary statement of policy and supporting guidelines to inform decisions in applying the policy. The policy is the key statement and is accordingly highlighted in italics. The technical terms used in the policies in general are defined at the beginning at the report, the exception being:

• Original fabric – this refers to a phase in the development of “Nutcote” when the cottage was completed and initially occupied by May Gibbs. It is a term therefore used to indicate a general time frame of around 1925 and into the 1930s.

• May Gibbs – May Gibbs was a married woman and where the policy refers to her name it can be taken to mean also her husband James O Kelly.

6.2 CURTILAGE OF “NUTCOTE”

The policies in general refer to the place for which a boundary or curtilage needs to be defined. This inturn provides the parameter for application of the conservation policies. Presently “Nutcote” is defined by the one real property title, but different areas of the site are affected by local and state statutory legislation. The current State heritage listing for “Nutcote” affects the western half of the site, but at local level it is the whole site.

The curtilage of “Nutcote” should be considered the existing legal property boundary established in the twentieth century subdivision of the Wallaringa estate. The boundary is legally defined as Lot 1 in DP 562337. The retention of the allotment is significant as it demonstrates the twentieth century subdivision pattern and expresses the whole of “Nutcote” during May Gibbs’ tenure. It is recommended the existing State Heritage Register boundary be amended to reflect these values.

An important aspect of the significance of the allotment is its setting on the foreshore of Neutral Bay within Port Jackson and amidst a handful of gazetted Schedule 3 North Sydney LEP 2001 heritage items. Future development in the immediate vicinity and visual catchment of Neutral Bay should not detrimentally impact on the heritage values of “Nutcote” and its setting as related in section 4 of this CMP.




Policy 1

The legal boundary of the heritage curtilage of “Nutcote” should be the area currently defined by Lot 1 in DP 562337 and this forms the basis for application of the conservation policies.

Guidelines

The curtilage defined by the property’s allotment should remain legible in being defined by built structures, boundary fences, and natural features at the harbour foreshore. Future land addition to the property that is not in accord with these parameters is discouraged.

The Wallaringa Avenue frontage should continue to provide the primary point of entry to the property.

The existing State Heritage Register boundary should be amended to include the whole of the area currently defined by Lot 1 in DP 562337.

Future amalgamation with neighbouring property is discouraged.

The title of Lot 1 of DP 562337 should continue to define the legal boundary of “Nutcote”.

6.3 MANAGEMENT OF “NUTCOTE”

6.3.1 Conservation Management Plan

The Conservation Management Plan (CMP) provides a framework for the management of heritage issues concerning “Nutcote” with its aim to ensure the heritage values of “Nutcote” are retained and maintained. The CMP is intended to be of practical use to the managers of “Nutcote” enabling them to make decisions about the site having due regard to its significance.

The conservation policies make recommendations regarding the conservation of the place so that any proposed future change would not result in inappropriate loss of cultural significance. Formal adoption of the CMP by the owners and the Nutcote Trust should be undertaken.




Policy 2

This Conservation Management Plan for “Nutcote” should be adopted by stakeholders as the principal guiding document for managing the conservation values of “Nutcote”.

All future works contemplated for “Nutcote” should be in accordance with the policy recommendations of the Conservation Management Plan.

Guidelines

The CMP should be made available to all relevant managers in Council and the Nutcote Trust to identify the processes that should be followed when proposing work that involves the modification of significant fabric.

A person in the Nutcote Trust should be nominated to be responsible for making all decisions related to this CMP and to disseminate its intention, aims and policies to relevant staff.

The CMP should be submitted to the NSW Heritage Council for formal endorsement given the State Heritage Register listing.

The CMP should be reviewed and revised as the need arises. Conservation policies may need adjustment to take into account discrepancies and unforeseen circumstances, to clarify intentions or as a result of new information.

Reviews should be based on The Burra Charter and the guidelines by the Heritage Branch of the NSW Department of Planning and also take into account any legislative changes.

Reviews should be undertaken by experienced conservation practitioners and in consultation with relevant stakeholders.

A copy of the adopted CMP should be lodged with the Stanton Library and the library maintained by the Heritage Branch of the NSW Department of Planning in order to raise and foster community awareness of the significance of “Nutcote”.

6.3.2 Conservation Management Regime

Future management of the conservation values of “Nutcote” should be based on the policy recommendations of the CMP, which essentially deals with managing change at “Nutcote”. A process or mechanism for managing change should be adopted, which is both transparent in application and responsive to statutory requirements and philosophical conservation frameworks such as Australia ICOMOS Charter for the Conservation of Places of Cultural Significance (The Burra Charter).

Policy 3

To avoid gradual loss of cultural significance through gradual and/or ad hoc change, a conservation management regime should be established for controlling any modifications to the significant fabric.

Guidelines

Future conservation and development of “Nutcote” should be carried out in accordance with the principles of The Burra Charter.




The fundamental principle of The Burra Charter is one that requires the least intervention in the fabric as possible while achieving the desired results. It is a minimalist approach that attempts to retain as much of the original fabric as possible. The approach recognises and respects the intrinsic value of the fabric and its ability to tell an important story, and facilitates intervention in a sensitive way.

A Development Application should be submitted to North Sydney Council for works that require approval under North Sydney Local Environment Plan 2001.

A Section 60 application should be submitted to the NSW Heritage Council for works that require approval under the NSW Heritage Act. Note that some works are exempt from the application requirement as set out in Section 57(2) of the Act.

A Heritage Impact Statement (HIS) should accompany any Development Application for work requiring physical change and change of use. The HIS should be prepared according to the standard required by North Sydney Council or the Heritage Branch of the NSW Department of Planning’s guidelines where applicable. Accordingly, adequate documentation of the proposed works would be required for the assessment.

6.3.3 Role of North Sydney Council

North Sydney Council has leased “Nutcote” to the Nutcote Trust for a term of fifteen years, concluding 30 April 2008, with an option for a further 15 years. The Council has recently amended the lease to transfer the responsibility for maintaining the building and grounds from the Nutcote Trust to North Sydney Council. The purpose of granting a lease of a public facility in community land is to facilitate the management of the resource for the ultimate benefit of the community. In this regard the terms and conditions of any lease of community land must ensure that the lessee will manage the community facility in the public interest. In this matter, Council’s revised Community Centres Policy (2004) provides the following objectives:

• To provide a network of community spaces/programmes throughout the LGA, fostering among residents, students, workforce and Council a sense of belonging to the “North Sydney neighbourhood”

• To provide or facilitate provision of high quality and appropriate services

• To strive towards making centre based, and outreach, programmes and activities affordable and accessible

• To overcome social isolation and encourage social networking

• To maximise the community’s use of facilities

• To facilitate community involvement in management of centres where appropriate

The Nutcote Trust has been appointed to undertake the management of the community facility on behalf of the Council. In this regard the terms and conditions of lease require that the Nutcote Trust be accountable to ensure proper management of the community facility such that it functions in accordance with Council’s policy and meets the wishes and expectations of the community.

Activities under a lease must be compatible with the zoning of the land and must provide a direct community benefit.

Policy 4




North Sydney Council should retain ownership of “Nutcote” as a community facility and grant a lease to the Nutcote Trust, the terms of which would require the Trust to manage “Nutcote” for the benefit of the community in accordance with the general objectives of a Plan of Management.

Guidelines

North Sydney Council should maintain the “Nutcote” museum for community use in accordance with the overall objectives of North Sydney Council’s Management Plan 2008-10

North Sydney Council should manage the “Nutcote” museum in accordance with the aims and objectives of Council’s Community Centres and Facilities Policy.

North Sydney Council should provide and maintain a high quality community house museum that meets the needs of the local and wider community.

North Sydney Council should cater for people with disabilities within the physical constraints of the museum.

North Sydney Council should provide for public safety at the museum.

6.3.4 Role of the Nutcote Trust

A Deed of Settlement established the Nutcote Trust on 25th July 1990 and “Nutcote” was leased to the Nutcote Trust Pty Ltd at an annual rental of $10. The lease required “Nutcote” to be restored and opened to the public. Funding was provided by the Commonwealth ($250,000) and State ($300,000) Governments, North Sydney Leagues Club ($100,000), and a myriad of public donations. The house and gardens of “Nutcote” were restored and opened to the public in May 1994. The Nutcote Trust Pty Ltd has the responsibility for managing the property as a house museum.

The Nutcote Trust derives its income from visitor admission charges, shop and tearoom trading and events, its membership scheme, rental from the flat at 2a Wallaringa Avenue, income from a capital endowment fund set up in 1995, and private functions such as children’s parties.

The Nutcote Trust has prepared the May Gibbs’ “Nutcote” Strategic Plan 2006-9 which provides the following Vision and Mission Statement.

Vision:

To celebrate May Gibbs life and achievements and to maintain May Gibbs’ “Nutcote” as an attractive destination for all visitors.

Mission Statement:

To enhance “Nutcote”’s house and gardens through conservation and exhibitions and to remain the focus of activities that enrich the quality of life for Australian and international visitors, whilst improving “Nutcote”’s sustainability and financial viability.

Objectives:

To preserve the magic of May Gibbs and her works

To provide an innovative range of exhibitions and events for our visitors




To interpret the house and grounds, May Gibbs and her works for visitors

To maintain and enhance the house and gardens as a delight for visitors to enjoy

To enhance the facilities and services available to visitors

To become the centre of knowledge and expertise about May Gibbs and her work

To maintain and further develop a conservation program for the house and collection

To provide a supportive environment for the ‘“Nutcote”’ family (North Sydney Council, Board members, Friends, Supporters, Staff and Volunteers) to work together

To establish and maintain relationships with external bodies including the Spastic Centre of NSW, the Northcott Society, other cultural organizations and local residents

To use “Nutcote” as a boutique function venue to raise funds

To maintain sound management and financial viability

Policy 5

North Sydney Council should manage the “Nutcote” museum in accordance with the May Gibbs’ “Nutcote” Strategic Plan 2006-9.

Guidelines

Facilities for income generation should continue to be centred on the garage.

Provision of facilities related to equitable access should continue to be centred on the garage.

6.3.5 Joint Plan of Management

The management of “Nutcote” is required to be monitored by the Council to ensure the lessee’s compliance with the terms and conditions of lease and to ensure that the performance targets established for the community land are met. This objective is achieved through a Joint Plan of Management (JPoM). A JPoM has been produced by North Sydney Council and the Nutcote Board of Directors with the expectation that the values displayed by “Nutcote”’s volunteers (including Board members) and professional staff are fully compatible with the values demonstrated in Council’s relationship with other community facilities in North Sydney.

Policy 6

North Sydney Council should manage “Nutcote” as a community facility under the terms of the Joint Plan of Management with the Nutcote Trust.

Guidelines

The JPoM should implement a management structure that ensures “Nutcote” continues to reflect the aims and objectives established by the Nutcote Trust

The JPoM should ensure the management structure integrates conservation into the overall management of “Nutcote” and balances community expectations with the objectives of the Nutcote Trust

The JPoM should provide for the long term conservation of the cultural significance of “Nutcote”




The JPoM should ensure the aims and intentions of the CMP are adopted by the Nutcote Trust and Council

The JPoM should be flexible and able to evolve with changing community attitudes.

6.4 PROFESSIONAL CONSERVATION AND ARCHITECTURAL EXPERTISE AT “NUTCOTE”

The Burra Charter encourages the use of skilled and appropriate professional direction and supervision from a range of disciplines for conservation activities and the conservation of “Nutcote” in part requires consultation with such people acting within the guidelines of the CMP. At “Nutcote” there is a diverse range of elements inclusive of the buildings, gardens and house contents that require specialist skills such as researchers, conservation architects, structural engineers, building code compliance advisers, and materials conservation specialists. The coordination and briefing of these professionals needs to be performed by a suitably qualified person who either should be on the Board of the Nutcote Trust or be appointed by the Board to act on its behalf.

Policy 7

The use of skilled and appropriate professional direction and supervision from a range of disciplines for conservation activities at “Nutcote” is required.

Guidelines

Building contractors and trades personnel who are experienced with working on historic buildings and gardens should be used only by the Nutcote Trust. The attitudes, skills and experience necessary and creative approaches required for the conservation of “Nutcote” are dissimilar to new buildings and conservation work and/or day-to-day maintenance should not be undertaken by tradesmen without appropriate direction and on-going supervision. This is inclusive of horticultural services

Appropriate conservation skills and experience should be employed in documentation and supervision in any major programs of conservation and upgrading of the building components.

6.5 ARCHAEOLOGY AT “NUTCOTE”

The archaeology at “Nutcote” could potentially relate to both Aboriginal and early European activities. However, it is likely there is very little potential to encounter Aboriginal archaeological resources owing to extensive disturbance at the site over the years. Archaeology of early European occupation is also considered to be unlikely given the historical record indicates the site was at the periphery of development associated with the Wallaringa estate in the nineteenth century. Archaeology of European occupation in the twentieth century is also considered unlikely for the reason the grounds were extensively recorded in photographs during the Gibbs years and elements such as paths, outbuildings, etc. that in other historic properties have been demolished or covered and therefore could potentially be recovered through scientific investigation over does not occur at “Nutcote”.

In summary, owing to past site disturbance and the high integrity of the grounds of “Nutcote” it is not anticipated to encounter relics as defined by the NSW Heritage Act 1977 or Aboriginal archaeological resources protected under the NSW National Parks and Wildlife Act 1979.

Policy 8

Excavation works at “Nutcote” could be undertaken without prior consultation with an archaeologist.




Guidelines

Despite the low archaeological potential that is anticipated, contractors on site are required under heritage legislation to diligently undertake their work and report archaeological remains.

Any deposits or relics that could be of indigenous origin, should be referred to the Aboriginal Heritage Office.

Comparison between the state of the grounds in the 1920s and today suggests the ground level was evidently raised east of the house by relocating spoil excavated for the lower ground section of the house. The height of the level forecourt has not changed.

6.6 MAY GIBBS’ “NUTCOTE”

May Gibbs’ “Nutcote” is today a museum that takes in the house and grounds. It was opened as a museum on 1 May 1994 to celebrate the life and works of May Gibbs, the author of children’s books inclusive of the Australian classics Sugglepot and Cuddlepie, Little Ragged Blossom and her comic strip Bib and Bub. The museum is open every Wednesday to Sunday from 11am to 3pm. Admission is by an entrance fee that is waived in the instance of a Friend of “Nutcote”. The museum operation includes in addition to the house and garden, a video presentation, a gift shop, and tea room. The museum is supported by North Sydney Council, Friends of Nutcote, and the Nutcote Volunteers. In 2005 some 6,000 people visited Nutcote.

The cultural significance of “Nutcote” is very much embodied in its historic associations with May Gibbs and no new uses that seek to supplant this should be contemplated. To ensure the continued commercial viability and relevance of the museum alternative uses could be sought for particular spaces within the lower ground floor rooms of the house and the garage complex. Such proposals should take advantage of the character of the different spaces, but not change the fabric to the extent that a former use is not recognisable as an inappropriate use can confuse the historic associations and should be avoided. Statutory requirements may also determine the appropriateness or otherwise of a new space use.

Temporary or short-term uses of parts of the grounds, main house and former garage complex could also be implemented. Again such proposals should take advantage of the character of the different spaces, do not irreversibly change the fabric, and avoid uses that would confuse the historic associations of “Nutcote”. Statutory requirements may also determine the appropriateness or otherwise of a new space use.

Policy 9

“Nutcote” should continue to be used as a community museum that disseminates information about May Gibbs and her life.




Guidelines

Future uses should continue to allow appreciation of significant spaces, and be compatible with the physical characteristics and qualities of the space.

Changes in future use of particular spaces of the grounds and buildings are acceptable providing there is no impact on significant fabric and historical association and change is reversible.

Special events/ functions could be held in particular spaces of the grounds and buildings providing there is no impact on significant fabric and change is reversible.

The introduction of services for a new use (for example air conditioning) should be avoided.

Uses should be organised to be in accord with the structural loading capacity of the heritage fabric.

6.7 NEW WORK AT “NUTCOTE”

6.7.1 Generally

A consequence of the role of “Nutcote” as a house museum and its association with May Gibbs, ably demonstrated through the restoration of the house and installation of period and appropriate furnishings, is that the scope for new work is very limited. Similarly, the garden areas are very much the picture of what was envisioned in the original conservation plan and again the scope for change to its layout, paths, etc. is considered limited. The former garage has some scope for internal alterations and limited external works where change has already been implemented.

The range of new work proposals that is likely to arise in the future arguably relates to the vision and mission statement of the Strategic Plan 2006-2009 discussed above. Satisfying the mission statement will require in part improvement in site access. The JPoM also notes that access issues are frequently considered by the Nutcote Board, who are conscious that while May Gibbs bequeathed the copyright of her work to the two primary charitable service providers to children with disabilities and their families in NSW, the Spastic Centre and the Northcott Society, the people who are most unable to access this important site are children with disabilities. The original CMP for “Nutcote” recommended means to physically improve access through ensuring level changes for goods and disabled people should be undertaken within the garage area.

Physical improvements in site access have been achieved through:

• Providing a general access toilet in the former garage

• Raising of the road and footpath on Wallaringa Avenue to remove the step onto the mid-landing

• Reconstruction of the stairs, and the addition of a handrail, in the north-west corner in front of the cottage leading to the lower, grassed terrace.

• Construction of a ramp, and addition of a handrail to the brick wall, along the short stretch on the north side of the cottage providing access to the exhibition space.

• Provision of a portable ramp.




An agreed proposal yet to be implemented is the provision of a handrail along the southern boundary path.

Proposals not implemented are:

• Construction of a steel and timber staircase connecting “Nutcote” to the foreshore reserve.

• Installation of a platform lift conveying disabled visitors from Wallaringa Avenue to the brick path.

The whole question of site access was revised in 2005 when North Sydney Council received a grant to connect “Nutcote”’s front garden to a foreshore reserve located in front of Wallaringa Mansions. The reserve was given to Council under the approved development application for Wallaringa Mansions. The two events prompted great debate between the Nutcote Board, Council and other members of the community and the proposal has been rejected.

Up-graded services have been discreetly incorporated into the building fabric and do not unduly impact on significant fabric and spaces. This approach should continue to be maintained, extending to all future services that may be required.

Policy 10

New work should only be undertaken in relation to satisfying the Nutcote Mission Statement and must not detrimentally impact on the cultural significance of the place as a whole and its components.

Guidelines

New work should be identifiable as such and should be reversible – that is capable of being removed without damage to significant fabric or spaces.

Where a new use requires changes to fabric in the house, period detailing is required to ensure continuation of the overall character of the presentation of the house.

Where a new use requires the introduction of new services, the choice and location of the fittings should not cause detrimental or irreversible impact on significant fabric or spaces and comply with the criteria of:

• locating services in areas designed for, or previously damaged by services;

• locating services in areas that are not visible;

• providing services that are complementary to their surroundings;

• using fixings that do not damage significant fabric.

Any new development in the former garage should be carried out within the existing building envelope.

Access, subject to statutory disability access requirements and security, should be maintained in its existing configuration with the potential for change limited to the former garage area. Where change in the garden area is required, it should be undertaken in as sympathetic a manner as possible in areas of lesser significance.




Site security could be upgraded where this would have limited visual impact on the presentation of significant spaces and the garden setting, and on significant fabric.

No ventilation equipment, telecommunication equipment such as satellite dishes, commercial receivers, etc. water heaters or service components should be visible or impact negatively on the façades. Air-conditioning of the cottage in any form should not be undertaken

6.7.2 Signage

Signage at “Nutcote” forms an important role in interpreting the significance of the place in regard to May Gibbs and her world and also informs the visitor on aspects of the successful preservation of the property. The signs are in a variety of media appropriate to the message and indicative of the era of installation. Collectively, they form a record of key events concerning the property and reflect the pool of knowledge garnered by past and current volunteers and curatorial staff. The signs generally are considered appropriate in regard to locations, materials and content.

Policy 11

Existing signage should be retained and future signage is acceptable provided it satisfies the criteria of discreet siting and materials and informed content.

Guidelines

New signage should not damage or obscure significant fabric or interrupt significant view lines, utilise appropriate fixing method and capable of being removed.

Existing fixed signage relating the story of the preservation of “Nutcote” for the community inclusive of fixed historical plaques and tablets should not be removed entirely or replaced (ie. could be relocated) or be obscured by new signage.

It is preferable that new signage is complementary in terms of colour, material, proportion, positioning and font, legible, have a clear message, and is in harmony with its immediate surroundings.

6.7.3 External Lighting

External lighting of historic buildings in some instances can be beneficial for a number of reasons, but in the instance of “Nutcote” should be avoided as such action is contrary to the overall philosophy of the conservation of the property as a house museum reflecting the domestic world of May Gibbs. There may, however, be a need to improve lighting within the grounds and access points to the buildings for security and safety reasons.

Policy 12

External lighting for site security and safety reasons is acceptable provided it satisfies the criteria of discretion in siting and design and materials.

Guidelines

External lighting should have no adverse impact on significant fabric and should not degrade the overall domestic character of the place and over-illumination should not occur.




6.8 THE FABRIC OF “NUTCOTE”

6.8.1 Generally

The statement of significance sets out the reasons why “Nutcote” is of cultural significance and it is the primary aim of this CMP to retain and conserve the physical fabric that provides tangible evidence of the stated significance. The existing building fabric of “Nutcote” both internally and externally, is predominantly original fabric conserved in 1994 and the majority of this fabric is assessed as being significant.

Detailed assessments of significance levels for individual elements are provided in Appendix A and summarised in Tables 6.2 & 6.3 below and these should be considered in planning future action. Fabric of ‘exceptional’ and ‘high’ significance should continue to be conserved via the processes of maintenance and minimising any future change as long as the property continues to function as a house museum. This will result in the continuing presentation, authentic as possible, of the house and grounds to the Gibbs’ period ownership and as such will be a heritage resource for present and future generations.

Policy 13

The statement of significance should be the basis for future heritage management of the built fabric “Nutcote” and all future work should respect the values identified in the statement.

Guidelines

Care should be exercised in preparing proposals involving fabric change with the objective being to ensure that the work will not detrimentally impact on the identified significance.

Surviving significant original and early fabric should be retained intact and conserved unless otherwise stated within these policies. The primary objective of this policy is the retention of original fabric in situ.

Individual elements and fabric of identified significance should be treated with the corresponding conservation policies outlined in Table 6.1

All conservation works should be preceded by thorough investigation, and subsequently monitored to assess their effectiveness.

Intervention for purposes other than for conservation of building fabric should occur in areas of lower significance.

Where alteration of significant building fabric is required, an approach of minimal intervention should be adopted in changing as much as necessary, but as little as feasible.

Fabric that is of exceptional or high significance but is assessed as hazardous in the current or future regulatory framework should be replaced with a suitable modern material where no alternative solution is proved feasible.

Where it is demonstrated that original fabric has been removed it is appropriate to reconstruct the fabric based on documentary and/or physical evidence.

Where repairs or alterations are required in the future the replacement should closely match the original or adjacent materials.

Where it is necessary to replace significant fabric, it should replicate the material (and the species of timber), size, the profile of the moulding, texture and finish. In best practice




conservation there should be slight differences or markings detectable only on close inspection for the purpose of differentiating original from replaced fabric

Structural elements should be retained and appropriately retained.

Proposals for structural alteration that might potentially impact on the integrity of significant fabric should be avoided.

Redundant significant fabric required to be removed should be retained in on-site storage.

Table 6.1 - Fabric Conservation Guidelines


Recommendations Related to the Identified Levels of Cultural Significance

A Exceptional Preserve, restore, reconstruct, maintain and/or adapt as appropriate in accordance with The Burra Charter.

B High Restore, reconstruct, maintain and/or adapt as appropriate in accordance with The Burra Charter, in conjunction with adaptation or supplementary new construction if required for function.

C Medium Fabric, spaces and relationships should be maintained preserved, restored, reconstructed and/or adapted as defined in The Burra Charter in conjunction with minimum adaptation for supplementary new construction if required. Removal in part or in full is acceptable if necessary. Retention may depend on factors other than the assessed heritage value, eg: its functional qualities.

D Low Retain, recycle, add compatible new construction and/or remove in part or in full, minimising adverse impact on fabric of exceptional or high significance and having the least possible impact on fabric of medium significance. Improvements are required which will contribute to the overall significance, aesthetic quality and functioning of “Nutcote”.

E Neutral Retain, recycle, remove or modify as required - not important from a heritage perspective. However if new work is proposed, general care and respect for fabric of higher significance and possibly concealed potentially significant fabric.

F Intrusive Remove or modify, in the long term, to reduce adverse impact on the overall significance, aesthetic quality and functioning of “Nutcote”.




Schedule Of Spaces, Elements And Fabric

Based on the conservation management actions for different levels of identified significance determined in Table 6.1, conservation management actions for the fabric and spaces of ‘Nutcote’, are determined in Table 6.2.

Table 6.2 – Fabric Conservation Exterior – House

Significance / Conservation Action

Element

A Overall design, presentation and materials

Roof form and tiles

Wall treatment

Fenestration pattern

W1-W4, W5-W9, W10, W12, W13-W19

East porch

CH1 & CH2

D2, D22

Tuscan columns

Wrought iron railing

B D1, D21 (reconstruction)

W17 (reconstruction)

W1, W9, W10, W12, W15, W17, W18 – Timber louvred shutters (reconstruction)

C W2, W3 & W4 – 1 no. canvas blind

DP1 & DP2, DP3 & DP4

North porch and ramp




Table 6.3 – Fabric Conservation Interior – House

Conservation Action

Element

A W1-W14, W16, W18W19

D2-D6, D5, D7-D10, D11-D15, D16-D17, D20, D22-D25

Ceiling (Ground)

Cornice (Ground)

Wall treatment (Ground)

Picture rail (Ground)

Skirting (Ground)

Floor (Ground)

Architraves (Ground & Lower Ground)

FP1 - Face brick firebox & Glazed tiled hearth

FP2

CPB1-CPB8

Hand basin in Bedroom 2

Floor tiles in bathrooms and kitchen

Wall tiles in bathroom

Quarry tile edging (Loggia)

B D1, D21, D21 (reconstructed)

W17 (reconstructed)

FP1 - Cedar surround (reconstructed)

Bathroom fittings (reconstructed)

Architrave in bathroom (reconstructed)

Linoleum in kitchen

Kitchen fittings (reconstructed)

CPB9




Table 6.3 – Fabric Conservation Interior – House

Conservation Action

Element

C Ceiling (Lower Ground)

Cornice (Lower Ground)

Wall treatment (Lower Ground)

Floor (Lower Ground)

Harwood decking (Loggia)

E Fittings

6.8.2 The Cottage

The original CMP for “Nutcote” provided a statement of conservation policy that recommended the restoration and reconstruction of the cottage to its 1930s presentation and configuration. This policy has been implemented by the Trust and accordingly the interior of the cottage today provides a tangible link to May Gibbs life and work through the restoration and reconstruction of building fabric and furnishings and fittings. Much of the appeal of visiting the cottage is derived from this experience of inter-war era decoration, furnishing and house planning. The effectiveness of the restoration and reconstruction in this context is no better demonstrated by the grading of the ground floor spaces as either of exceptional or high significance. The corollary of this is that evidence of the cumulative changes to the building experienced during May Gibbs’ tenure has been removed, but was recorded in the original CMP.

Policy 14

The interiors of the buildings should be conserved according to their contribution to the existing indicative presentation of May Gibbs’ world as part of the continuing use of the property as a house museum.

Guidelines

The existing identity, diversity and hierarchy of individual spaces as defined by the intended room use, furnishings and fittings indicative of the 1930s should continue.

Future works to the interiors of the house should continue to be based on the principle that the house is presented as representative of the 1930s.

Sustained visitor levels may deteriorate significant fabric and this needs to be monitored over a sustained period and assessed; this may lead to prohibition or periodic rotation of visitors

6.8.3 Fittings and Contents

The fittings and contents of the interiors of the cottage both demonstrate the lifestyle of May Gibbs and her husband but also the commitment of the Nutcote Trust to realise the vision for “Nutcote” raised at the time of its preservation. The range of fittings and contents include furniture, soft furnishings, paintings, ceramics, silverware, kitchen furnishings, etc. so complete that the house can be brought back into service if so required for full-time habitation.




The care of the fittings and contents requires both specialist knowledge of handling and displaying the material, regular maintenance inclusive of cleaning, and vigilance against accidental damage and wilful theft.

Policy 15

The contents and fittings of the cottage should continue to demonstrate associations with either May Gibbs and/or the era of her occupancy in the 1930s. The collection of contents and fittings should be treated as inherently linked to the cottage as a house museum and appropriately interpreted.

Guidelines

The collection should be catalogued if so required

The contents and fittings should be conserved in accordance with a collections management policy

Future acquisitions should be in accordance with a collections management policy

As the contents are largely room specific and used to interpret the room, location of the contents should be strictly monitored.

The practice of reconstructing light fittings, soft furnishings, decorative colour schemes, electrical switches and outlets, etc. appropriate to the 1930s era should continue.

The living room today and as Cazneaux photographed it in 1926. This room like many in the cottage has been returned to the era of May Gibbs’ occupancy through introduced furnishings and fittings.

6.8.4 Timber Joinery

Regular painting of external joinery is required to offset the deleterious effects of UV light and damp on the timber. Polish and stain finishes to internal joinery should be regularly revived as documented in Table 7.1 Cyclical Maintenance Schedule.




The dining room cabinet was partly reconstructed in 1994 as a result of fire damage. The original and the new are depicted here side by side in a photograph of the 1930s and the present day. The internal and external timber joinery requires careful maintenance to ensure the excellent finish of today for future generations.

6.8.5 Window and door hardware and furniture

All original window and door hardware and furniture should be retained and maintained. Where new fabric has been introduced and reproduces original fabric this too should be retained and maintained.

6.8.6 Fireplaces

The living room fireplace was partly reconstructed in 1994 as a result of theft. The original and the new are depicted here side by side in a photograph of the 1920s and the present day. The fireplaces require careful maintenance to ensure the excellent presentation of today is preserved for future generations.




6.8.7 Colour Schemes

A co-ordinated approach to the colour and finishes of the walls, ceilings and joinery was undertaken in the 1994 restoration work, which implemented the findings and recommendations of the original CMP. The colours and finishes demonstrate the appearance of the ground floor of the cottage as originally inhabited by May Gibbs. The findings of the paint investigations and the derived colour schemes that were implemented in the 1994 works are documented in the original CMP.

Painted and stained surfaces are vulnerable to wear and will need to be repainted when the need arises. This should be done in accordance with the constraint that the existing colour scheme and finish should be replicated unless there is clear justification or evidence that warrants a change.

Investigations of the external paint schemes identified that the external walls were lime washed. Robert Moore of the Nutcote Trust Board has made the following observations about the use of lime wash for old buildings, and its suitability for “Nutcote”.

Traditional lime wash paints have many benefits for older buildings. As a "soft" coating that allows the free transfer of moisture vapour but if made correctly, with the animal fat component specified in old mixes, it is a practical, durable finish that resists water penetration while allowing a building to breathe. HOWEVER, IT NEEDS TO BE APPLIED BY A CONTRACTOR FAMILIAR WITH ITS USE. Otherwise, it is likely that there will be problems.

One familiar issue is that complaints often arise over the appearance of the lime wash as a "hand-made" finish that shows the broad brush strokes with which it is applied. It is not a "seamless" finish, but a patterned, textured appearance which looks delightful to some and awkward to others, especially after rain when it can appear patchy and look as if it has problems. The finish can also come off to the touch, leaving colour on fingers or on clothes if they rub against it. Many visitors to older lime washed buildings do not understand why they appear as they do and it has to be explained to them, whether they think it is attractive or not. To my knowledge the best results with lime wash seemed to have been achieved by mixing the paint from ingredients on site. There are several varieties of proprietary products on the market, most of which include modern ingredients to enhance their durability or adhesion etc. The Historic Houses Trust of NSW has done a great deal of work with lime wash, as has the Sydney Harbour Foreshore Authority (formerly the Sydney Cove Authority). Both these bodies would help with advice and opinion I am sure.

I can also recommend a painting contractor Mr. David Penlington, of Pentons Painting Services, who has extensive experience of lime wash having worked for the bodies above on many historic properties and I would place faith in his advice in relation to this issue.

In short, we can probably get the appearance of a lime wash finish by a number of means (and products) all with various contingent side effects. It is a specialised field in which we should tread carefully. It would be highly desirable to learn if there is any available first-hand experience of the paintwork and appearance of the house when built, and to ascertain whether a specification for lime wash survives in the Waterhouse & Lake archival material.

During the 1994 restoration works, the application of a lime wash finish to the exterior walls was considered, but not proceeded with because of several of the problems that Robert Moore has identified above. High material and labour costs in relation to the initial application of the lime wash (paint and specialised labour) and on-going maintenance requirements and




costs were seen as prohibitive, and the more durable alternative of a traditional cement based paint was utilised.

Policy 16

The co-ordinated approach to the colour and finishes of the walls, ceilings and joinery established in the 1994 restoration should be maintained unless there is clear documentary and/or physical evidence that indicates changes are warranted.

Guidelines

All external and internal surfaces originally intended to be unpainted should remain unpainted. The preferred colour schemes for painted elements will be those originally applied.

6.8.8 The Garage

The two parking bays were separated by a timber lattice that was removed in the 1994 works, when the original internal and external fabric of the building was conserved. The former parking bays were fitted out with sympathetic joinery and finishes as a shop for the Nutcote Trust as part of the 1994 works.

Below the eastern half of the garage where the land falls steeply away from street level was a small flatette comprising two rooms. Wall, floor, joinery details and finishes in this area are generally as in the garage above. A café was constructed under an open terrace, and a accessible toilet was installed in the 1994 works. An open pergola was also constructed and roof sheeting has subsequently been installed.

All original fabric should be retained and maintained. Where new fabric has been introduced and reproduces original fabric this too should be retained and maintained.

6.8.9 The Garden Setting

The garden setting of the cottage is integral to the presentation and interpretation of “Nutcote” as May Gibbs’ residence. The garden setting comprises three zones of distinct character - the harbour frontage, the lawn in front of the cottage, and the upper garden. Each zone is spatially well-defined and characterised by specimen trees. The zones are interconnected by a common path network established during May Gibbs’ lifetime.

The layout of the garden setting determines the views of and from the house. The eastern garden screens the house restricting views to and from the public domain of Wallaringa Avenue as it was in May Gibbs’ day. In contrast the harbourside views are open and largely unrestricted aside from being framed by mature trees and the loggia. With the continuing provision of a public ferry service the public can appreciate the view of the cottage and its garden setting from Neutral Bay.

Policy 17

The existing spatial division of the garden into discrete units as indicative of May Gibbs’ “Nutcote” should continue with the existing regime of plantings, garden beds, garden features and path network, and the existing range of views as framed by garden elements should be maintained.

Guidelines




The gardens require ongoing maintenance in mowing of lawns, clearing invasive weeds from garden beds and brick paths, pruning trees and climbing shrubs of the trellis screens and arbours.

May Gibbs attending to the garden in the 1960s and the garden today as cared for by the volunteers.

6.8.10 Paths

Maintain existing alignment of the brick path along the northern boundary incorporating the brick pavers.

6.8.11 Western Terrace

Maintain existing alignment and forms of the paths and garden beds incorporating stone pavers and garden edging.

6.8.12 Plantings

The current plantings are largely in accordance with the landscape scheme prepared by Fiona Robbé, that was based on historical research and site inspection. Modifications to this scheme have been initiated by the “Nutcote” garden volunteers based on their experiences over the last 15 years of what plantings are viable, and with the recollections of early visitors to Gibbs’ garden.

Policy 18

The existing character of the individual garden zones should be continued through maintaining the established mature trees and introducing new plants when required to reinforce the existing character, colour and form of the garden plants.

Guidelines

Reinstate and maintain garden beds, lawn areas, paving areas and vegetation known to be part of May Gibbs’ garden.

Protect and encourage the growth of vegetation surviving from May Gibbs occupation.




Proposals for changes to the plantings should be developed in consultation with the “Nutcote” garden volunteers, and be informed by their knowledge of the garden and the CMP.

6.8.13 The Harbour Setting

“Nutcote” has a frontage on the west defined by the high water mark of the harbour. Traditionally water frontages in Sydney have been developed for recreational use, either in the form of boathouses, jetties and/or baths. A consequence of this is many water frontage properties have a strip of reclaimed land held in leasehold from the Crown. “Nutcote” is an atypical example of this pattern in the water frontage not being developed during May Gibbs’ life and consequently the western boundary is defined by natural rock shelf, which both provides insight into May Gibbs’ tenure and also adds to the charm of the property. It is therefore recommended that the existing harbour zone should remain unchanged.

Policy 18

The foreshore zone should remain unchanged and indicative of the character and presentation of the area in May Gibbs’ lifetime.

Guidelines

The open nature of foreshore garden should be maintained with a visual curtilage to control development on lower slopes of adjacent land.

The tidal rock shelf should retain its open exposed nature.

Access from the water frontage is not recommended given the volunteer nature of the staffing of “Nutcote” and the required level of supervision of visitors, and the need to retain the rock shelf as discussed above.

A comparison of these photographs of the 1920s and today reveal some changes to the harbour frontage of the neighbouring property, but “Nutcote”, aside from maturing trees has not changed.

6.8.14 The Suburban Setting

“Nutcote” is a house that is sited in a suburban setting representative of the residential quality of the local area. While the policies of this CMP only relate to the defined curtilage, actions in the neighbourhood can potential impact on the cultural values of “Nutcote”. The suburban setting of “Nutcote” is defined by the following:




• The context of the allotment of “Nutcote” with neighbouring properties on the west side of Wallaringa Avenue as subdivided from the larger Wallaringa estate.

• The irregular formation of Wallaringa Avenue put through the Wallaringa estate for the subdivision.

• The residential freestanding building stock dating from the Wallaringa estate and Wallaringa estate subdivision and the orientation of the buildings to the harbour with the secondary frontage being to Wallaringa Avenue.

• The proximity of the neighbouring houses with the shared property boundaries and the staggered building lines.

• The nearby flat buildings that overlook “Nutcote”.

There is as yet no development control plan that specifically addresses the immediate suburban setting of “Nutcote”. With the exception of 2a Wallaringa Avenue, these properties typically are in different ownerships, and subject to normal statutory planning constraints that are liable to change in the future.

Policy 19

Neighbouring development should not be permitted to detrimentally affect the stated cultural values of “Nutcote”.

Guidelines

The local and state authorities should act within the legislative powers provided to protect the cultural values of “Nutcote” from adverse development measured in terms of scale and form.

Common property boundaries should be fenced according to known historical precedent.

No development at “Nutcote” associated with the museum use or any other use non-residential should detrimentally impact on the character of the immediate residential enclave of the neighbourhood.




The built form of the local area is revealed in this 1943 aerial photograph. The residences neighbouring “Nutcote” have staggered building lines and “Nutcote” has an obstruction free harbourside setting owing to the surrounding garden areas.

6.9 MAINTAINING AND REPAIRING “NUTCOTE”

6.9.1 Generally

Ongoing maintenance is required to offset deterioration of fabric and this is best achieved through adopting a schedule of regular maintenance works. Implementing the schedule would require periodic inspection of the condition of fabric and taking the necessary remedial action. The failure to undertake regular maintenance would inevitably result in degradation of physical fabric and erode its significance value. A maintenance schedule should provide for short, medium and long-term actions. The aim of the maintenance programme is to prevent deterioration of fabric as opposed to undertaking repair and reconstruction of deteriorated fabric. Prompt maintenance and repair are essential to the conservation of “Nutcote”.

At “Nutcote”, maintenance programmes and procedures to date have taken a variety of actions that collectively have resulted in an effective programme. This is inclusive of the regular input of the volunteers and periodic work undertaken at the direction of the Council. Adequate resources in terms of labour and finances must be provided to continue this standard into the future.

Listing of an item in the SHR requires the item to be maintained in accordance with specified minimum standards of maintenance and repair to ensure that heritage significance is maintained as stated in the Heritage Regulation 2005 (in force from 1st September 2005). The standards relate to:

• weatherproofing

• fire protection




• security

• essential maintenance and repair

The Heritage Branch of the NSW Department of Planning describes various maintenance categories as follows: 57

Corrective Maintenance - work necessary to bring a building to an acceptable standard (often recommended by a conservation plan) such as treatment for rising damp; or

Planned Maintenance - work to prevent failure which recurs predictably within the life of a building, such as cleaning gutters or painting; or

Emergency Corrective Maintenance - work that must be initiated immediately for health, safety, security reasons or that may result in the rapid deterioration of the structure or fabric if not undertaken (for example, roof repairs after storm damage, graffiti removal or repairing broken glass). A daily response system detailing who is responsible for urgent repairs should be prepared.

Building maintenance can also be categorised according to who carries out the maintenance work:

Housekeeping Maintenance - carried out by property managers; or

Second Line Maintenance - carried out by specialist building tradespeople.

Policy 20

The buildings and gardens should be protected in accordance with a planned maintenance and repair programme that is based on the extensive knowledge of staff and volunteers, regular inspection and prompt preventative action.

Guidelines

When required, prompt repair and preventative measures should be undertaken as necessary.

Maintenance actions requiring remedial works should only be undertaken by people with professional knowledge of and experience in dealing with heritage buildings and gardens. The Heritage Branch of the NSW Department of Planning provides in its Maintenance Series general advice as to the cause, treatment and remediation of various traditional building materials. In addition, the Nutcote Trust Board has a professional conservation architect whose advice should be sought and acted on.

Maintenance work and repairs should not detrimentally impact on significant fabric directly or indirectly.

A maintenance programme should be implemented in accordance with the following principles:

• attend to building repair work regularly to maintain the condition of the building fabric between repair cycles;

57 The Maintenance of Heritage Assets: A Practical Guide from the Heritage Council of NSW Technical Advisory Group, 1998: 1




• similar work should be undertaken as a unified operation, except in the case of urgent repairs;

• minor repairs should be attended to promptly to avoid needless expense on additional damage;

• the maintenance programme should endeavour to preserve significant building fabric wherever possible, with the aim to repair instead of replace.

In case of damage by graffiti and mortar stains, both removing stains and re-rendering/ repainting may be adequate but the proposed technique used should be verified by a heritage architect.

Missing or damaged concrete, rendered and painted masonry should be repaired or reconstructed to match the original and a suitable mortar type used. All visible new surfaces must visually match the existing/original in colour and texture.

Repairs of significant roofing should only involve as little fabric as necessary and the Terra cotta tiles should be repaired by replacing missing or damaged tiles individually.

Repairs to the metal flashings and guttering may involve replacement of larger sections of the original fabric. The original material, colour and profile of guttering and downpipes (round) must be replicated. The colour, texture and form of the roof tiles must be replicated if major replacement is required.

In cases where new replacement fabric does not match the historic fabric in detail placing new with old side by side is unlikely to be visually acceptable and a supply of appropriate replacement fabric may have to be specially manufactured.

6.9.2 Drainage

One of the problems facing “Nutcote” is the problem of less than ideal drainage and surface water flow across the site. This results in high humidity, particularly in the basement of the house itself and in the Tea Room. In 2003, under a project funded by the Cultural Heritage Projects Programme of the Commonwealth Government through the Department of the Environment and Heritage, a problem with sub-floor ventilation was remedied through installation of a core/agricultural drain along the front of the building connected to the stormwater drain and the provision of a forced (mechanical) ventilation system in the subfloor area.

Robert Moore has advised that as the basement area was not built for habitation but adapted for such and the exclusion of damp has not been properly achieved. The side pocket garden bed (facing Wallaringa Mansions) acts as a reservoir after rain and if it wets the walls that join the basement interior, then dampness gets straight inside, and down to the floor where the carpet rots. Water must similarly be entering the wall to the other side of the house, and tracking across to the back wall of the basement rooms.

Policy 21

Develop and maintain systems that prevent water penetration into the building fabric.

Guidelines

Investigate if there is a point where a damp proof course can be introduced.

Ensure drainage of the drain at the back of the wall by regular checks and clearing.




Ensure downpipes discharge directly into the stormwater system

Regularly check over gutters and downpipes and replace where corroded.

Empty the side pocket garden bed (facing Wallaringa Mansions) to establish if it can be lined and properly drained to evacuate water from beneath the plants.




7 IMPLEMENTING THE PLAN

7.1 INTRODUCTION

The implementation strategy provides recommendation guidelines for the implementation of the conservation policies. This is achieved through identification of specific actions that should be undertaken by the designated management authority for “Nutcote”, the Nutcote Trust.

7.2 STATUTORY OBLIGATIONS

Future development of “Nutcote” should respond to the heritage provisions of the North Sydney LEP and Heritage Branch of the NSW Department of Planning through adoption of the section 57 exemptions and compliance with specific policy recommendations. Non-compliant development could be permissible given specific and unforeseen circumstances, but would need to be soundly argued in a Heritage Impact Statement.

The State Heritage Register listing should be amended to provide specific statutory protection for the whole site as defined in the current land title Lot 1 in DP562337.

Consult with the Australian Heritage Council about the potential for the successful listing of “Nutcote” on the National Heritage List and consider nomination.

Submit the Conservation Management Plan to the Nutcote Trust and Heritage Branch of the NSW Department of Planning for review, comment and endorsement .

Submit the endorsed Conservation Management Plan to the Stanton Library, the on-site archive of the Nutcote Trust and the Heritage Branch of the NSW Department of Planning for lodgement in their resource collection.

7.3 STANDARD EXEMPTIONS

7.3.1 Introduction

“Nutcote” is listed in the State Heritage Register and subject to the provisions of the NSW Heritage Act 1977 (as amended).

Listing of an item in the SHR brings with it ‘standard’ and ‘site specific’ exemptions.‘ Standard exemptions relate to matters such as maintenance and repair works and alterations, and are grouped as follows:

Standard Exemption 1 – Maintenance and Cleaning

Standard Exemption 2 – Repairs

Standard Exemption 3 – Painting

Standard Exemption 4 – Excavation

Standard Exemption 5 – Restoration

Standard Exemption 6 – Development Endorsed by the Heritage Council or Director

Standard Exemption 7 - Minor Activities with No Adverse Impact on Heritage Significance

Standard Exemption 8 - Non-Significant Fabric




Standard Exemption 9 - Change of Use

Standard Exemption 10 - New Buildings (considered unlikely to be applicable to “Nutcote”)

Standard Exemption 11 - Temporary Structures

Standard Exemption 12 - Landscape Maintenance

Standard Exemption 13 - Signage

Standard Exemption 14 - Burial Sites and Cemeteries (considered not to be applicable to “Nutcote”)

Standard Exemption 15 - Compliance with Minimum Standards and Orders

Standard Exemption 16 - Safety and Security

Standard Exemption 17- Movable Heritage Items

The aim of these standard exemptions is to reduce the demands placed on owners in requiring consent approval for minor maintenance and repair works which would otherwise flow from SHR listing.

Endorsed development (Standard Exemption 6) is development specifically identified as exempt development by a conservation policy or strategy within a conservation management plan such as this report which has been endorsed by the Heritage Council of NSW or within an interim conservation management strategy endorsed by the Heritage Council. Endorsed development does not require approval under section 57(1) of the Act.

7.3.2 Standard Exemptions

Standard Exemption 1: Maintenance and Cleaning

The Heritage Branch of the NSW Department of Planning defines the scope of permissible actions in this exemption as:

The following maintenance and cleaning does not require approval under s. 57(1) of the Act:

(a) the maintenance of an item to retain its condition or operation without the removal of or damage to the existing fabric or the introduction of new materials;

(b) cleaning including the removal of surface deposits, organic growths or graffiti by the use of low pressure water (less than 100 psi at the surface being cleaned) and neutral detergents and mild brushing and scrubbing.

Maintenance does not involve the removal of or damage to existing fabric or the introduction of new materials, but is the continuing process of protective care.

Typical maintenance activities at “Nutcote” include:

General cleaning as well as activities such as clearing drainage systems.

Resecuring and tightening fixings of loose elements of building fabric such as refixing paving stones and loose elements of roof membrane.

The application of protective coatings such as polish, oils and waxes to surfaces which have previously had such coatings applied.




Emergency maintenance such as required following a storm event.

Standard Exemption 2: Repairs


Repair to an item which is of the type described in (a) or (b) below does not require approval under s. 57(1) of the Act:

(a) replacement of services such as cabling, plumbing, wiring and fire services that use existing service routes, cavities or voids or replaces existing surface mounted services and does not involve damage to or the removal of significant fabric;

(b) repair (such as refixing and patching) or the replacement of missing, damaged or deteriorated fabric that is beyond further maintenance, which matches the existing fabric in appearance, material and method of affixing and does not involve damage to or the removal of significant fabric.

Typical repair activities at “Nutcote” include:

• Patching and making good sections of concrete, cement render, paving stones, terrazzo, membrane materials

• Repair of fabric such as glazing

• Repair of sections of drainage systems

• Repair of electrical wiring, plumbing lines, data and phone cabling, fire services

• Emergency repairs such as required following a storm event.

Standard Exemption 3: Painting


1. Painting does not require approval under s. 57(1) of the Act if the painting:

(a) does not involve the disturbance or removal of earlier paint layers other than that which has failed by chalking, flaking, peeling or blistering;

(b) involves over-coating with an appropriate surface as an isolating layer to provide a means of protection for significant earlier layers or to provide a stable basis for repainting; and

(c) employs the same colour scheme and paint type as an earlier scheme if they are appropriate to the substrate and do not endanger the survival of earlier paint layers.

2. Painting which employs a different colour scheme and paint type from an earlier scheme does not require approval under s. 57(1) of the Act, provided that:

(a) the Director is satisfied that the proposed colour scheme, paint type, details of surface preparation and paint removal will not adversely affect the heritage significance of the item; and

(b) the person proposing to undertake the painting has received a notice advising that the Director is satisfied.




3. A person proposing to undertake repainting of the kind described in paragraph 2 must write to the Director and describe the proposed colour scheme, paint type, details of surface preparation and paint removal involved in the repainting. If the Director is satisfied that the proposed development meets the criteria set out in paragraph 2(a) the Director shall notify the applicant.

At “Nutcote” the painted and stained finishes are significant for their interpretative value but are not original. Painting should therefore be undertaken without section 60 approval under a specific clause in Standard Exemption 6.

Standard Exemption 4: Excavation

The Heritage Branch of the NSW Department of Planning defines the scope of permissible actions in this exemption (amended 18 June 2004) as:

1. Excavation or disturbance of land of the kind specified below does not require approval under s. 57(1) of the Act, provided that the Director is satisfied that the criteria in (a), (b) or (c) have been met and the person proposing to undertake the excavation or disturbance of land has received a notice advising that the Director is satisfied:

(a) where an archaeological assessment has been prepared in accordance with Guidelines published by the Heritage Council of NSW which indicates that any relics in the land are unlikely to have State or local heritage significance; or

(b) where the excavation or disturbance of land will have a minor impact on archaeological relics; or

(c) where the excavation or disturbance of land involves only the removal of unstratified fill which has been deposited on the land.

2. A person proposing to excavate or disturb land in the manner described in paragraph 1 must write to the Director and describe the proposed excavation or disturbance of land and set out why it satisfies the criteria set out in paragraph 1.

If the Director is satisfied that the proposed development meets the criteria set out in paragraph (a), (b) or (c) the Director shall notify the applicant.

At “Nutcote” the whole site area has been disturbed through continuous European occupation. Excavation should therefore be undertaken without section 60 approval under a specific clause in Standard Exemption 6.

Standard Exemption 5: Restoration


1. Restoration of an item by returning significant fabric to a known earlier location without the introduction of new material does not require approval under s. 57(1) of the Act.

2. The following restoration does not require approval under s. 57(1) of the Act, provided that the Director is satisfied that the criteria in (a) have been met and the person proposing to undertake the restoration has received a notice advising that the Director is satisfied:

(a) the restoration of an item without the introduction of new material (except for fixings) to reveal a known earlier configuration by removing accretions or reassembling existing components which does not adversely affect the heritage significance of the item.




3. A person proposing to undertake restoration of the kind described in paragraph 2 must write to the Director and set out why there is a need for restoration to be undertaken and the proposed material and method of restoration. If the Director is satisfied that the proposed development meets the criteria set out in paragraph 2(a), the Director shall notify the applicant.

This exemption refers to actions that do not involve the removal of fabric and only relates to the return of fabric that has been removed to storage or has been dislodged from its original location. This action is likely to occur at “Nutcote”.

Standard Exemption 6: Development Endorsed by the Heritage Council or Director

The Heritage Branch of the NSW Department of Planning defines the scope of permissible actions in this exemption (amended 8 July 2005) as:

1. Minor development specifically identified as exempt development which does not materially impact on heritage significance, by a conservation policy or strategy within a conservation management plan which has been endorsed by the Heritage Council of NSW or by a conservation management strategy endorsed by the Director does not require approval under s. 57(1) of the Act.

2. A person proposing to do anything of the kind described in paragraph 1 must write to the Director and describe the proposed development. If the Director is satisfied that the proposed development meets the criteria set out in paragraph 1, the Director shall notify the applicant.

Standard Exemption 7: Minor Activities with No Adverse Impact on Heritage Significance


1. Anything that in the opinion of the Director is of a minor nature and will not adversely affect the heritage significance of the item does not require approval under s. 57(1) of the Act.

2. A person proposing to do anything of the kind described in paragraph 1 must write to the Director and describe the proposed activity. If the Director is satisfied that the proposed activity meets the criteria set out in paragraph 1, the Director shall notify the applicant.

This requires the management body of “Nutcote” to submit to the Heritage Branch of the NSW Department of Planning a clear and concise statement of the item’s heritage significance and an assessment of whether a proposal impacts on that significance.

Standard Exemption 8: Non-Significant Fabric


1. The following development does not require approval under s. 57(1) of the Act, provided that the Director is satisfied that the criteria in (a) have been met and the person proposing to undertake the development has received a notice advising that the Director is satisfied:

(a) the alteration of a building involving the construction or installation of new fabric or services or the removal of building fabric which will not adversely affect the heritage significance of the item.

2. A person proposing to do anything of the kind described in paragraph 1 must write to the Director and describe the proposed development. If the Director is satisfied that the proposed




development meets the criteria set out in paragraph 1(a), the Director shall notify the applicant.


Standard Exemption 9: Change of Use

The Heritage Branch of the NSW Department of Planning defines the scope of permissible actions in this exemption (as amended 8 July 2005) as:

1. The change of use of an item or its curtilage or the commencement of an additional or temporary use does not require approval under s. 57(1) of the Act, provided that the Director is satisfied that the criteria in (a) or (b) have been met and the person proposing to undertake the change of use has received a notice advising that the Director is satisfied:

(a) the use does not involve the alteration of the fabric, layout or setting of the item or the carrying out of development other than that permitted by other standard or site specific exemptions; and

(b) the use does not involve the cessation of the primary use for which the building was erected, a later significant use or the loss of significant associations with the item by current users;

2. A person proposing to change the use of an item or its curtilage or to commence an additional or temporary use of an item or its curtilage in the manner described in paragraph 1 must write to the Director and describe the changes proposed. If the Director is satisfied that the proposed development meets the criteria set out in paragraph 1(a) or (b), the Director shall notify the applicant.

Standard Exemption 11: Temporary Structures

Heritage Branch of the NSW Department of Planning defines the scope of permissible actions in this exemption as:

1. The erection of temporary structures does not require approval under s. 57(1) of the Act, provided that the Director is satisfied that the criteria in (a) and (b) have been met and the person proposing to erect the structure has received a notice advising that the Director is satisfied:

(a) the structure will be erected within and used for a maximum period of 4 weeks after which it will be removed within a period of 2 days and not erected again within a period of 6 months; and

(b) the structure is not to be located where it could damage or endanger significant fabric including landscape or archaeological features of its curtilage or obstruct significant views of and from heritage items.

2. A person proposing to erect a structure of the kind described in paragraph 1 must write to the Director and set out the nature of the structure, the use for the structure and how long it will remain in place and the next occasion on which it is anticipated that the structure will be erected. If the Director is satisfied that the proposed development meets the criteria set out in paragraphs 1(a) and 1(b) the Director shall notify the applicant.

At “Nutcote” the house museum role and community facility in disseminating information necessitates erection of temporary structures.




Standard Exemption 12: Landscape Maintenance


1. Landscape maintenance which is of the type described below does not require approval under s. 57(1) of the Act:

(a) weeding, watering, mowing, top-dressing, pest control and fertilizing necessary for the continued health of plants, without damage or major alterations to layout, contours, plant species or other significant landscape features;

(b) pruning to control size, improve shape, flowering or fruiting and the removal of diseased, dead or dangerous material, not exceeding 20% of the crown of a tree within a period of 2 years; or

(c) tree surgery by a qualified horticulturist or tree surgeon necessary for the health of those plants.

The above guidelines are applicable to “Nutcote” in regard to the continuous care of the garden areas.

Standard Exemption 13: Signage


1. The erection of signage which is of the types described in (a) or (b) below does not require approval under s. 57(1) of the Act:

(a) temporary signage which is located behind or on the glass surface of a shop window which is not internally illuminated or flashing and is to be removed within eight weeks; or

(b) a real estate sign indicating that the place is for auction, sale or letting and related particulars and which is removed within 10 days of the sale or letting of the place;

2. The erection of signage which is of the types described in (a) or (b) below does not require approval under s. 57(1) of the Act, provided that the Director is satisfied that the criteria in (a) and (b) respectively have been met and the person proposing to erect it has received a notice advising that the Director is satisfied:

(a) the erection of non-illuminated signage for the sole purpose of providing information to assist in the interpretation of the heritage significance of the item and which will not adversely affect significant fabric including landscape or archaeological features of its curtilage or obstruct significant views of and from heritage items; or

(b) signage which is in the form of a flag or banner associated with a building used for a purpose which requires such form of promotion such as a theatre or gallery, which is displayed for a maximum period of eight weeks and which will not adversely affect significant fabric including landscape or archaeological features of its curtilage;

3. A person proposing to erect signage of the kind described in paragraph 2 must write to the Director and describe the nature and purpose of the advertising or signage. If the Director is satisfied that the proposed development meets the criteria set out in paragraph 2(a) or 2(b), the Director shall notify the applicant.

4. Signage of the kind described in paragraphs 1 and 2 must:




(a) not conceal or involve the removal of signage which has an integral relationship with the significance of the item;

(b) be located and be of a suitable size so as not to obscure or damage significant fabric of the item;

(c) be able to be later removed without causing damage to the significant fabric of the item; and

(d) reuse existing fixing points or insert fixings within existing joints without damage to adjacent masonry.

Standard Exemption 15: Compliance with Minimum Standards and Orders


1. Development which is required for the purpose of compliance with the minimum standards set out in Part 3 of the Heritage Regulation 1999 or an order issued under either:

(a) section 120 of the Heritage Act 1977 regarding minimum standards of maintenance and repair; or

(b) section 121S of the Environmental Planning and Assessment Act 1979 regarding an order which is consistent with a sub mission by the Heritage Council under section 121S(6) of the Act; does not require approval under s. 57(1) of the Act.

The intent of this exemption is to facilitate and expedite compliance with orders and minimum standards of maintenance and repair. The minimum standards are contained in Part 3 of the Heritage Regulation 1999. The minimum standards relate to:

• weather protection

• fire prevention and protection

• security

• essential maintenance and repair to prevent serious or irreparable damage.

Standard Exemption 16: Safety and Security


1. The following development does not require approval under s. 57(1) of the Act, provided that the Director is satisfied that the criteria in (a) or (b) have been met and the person proposing to undertake the development has received a notice advising that the Director is satisfied:

(a) the erection of temporary security fencing, scaffolding, hoardings or surveillance systems to prevent unauthorised access or secure public safety which will not adversely affect significant fabric of the item including landscape or archaeological features of its curtilage; or

(b) development, including emergency stabilisation, necessary to secure safety where a building or part of a building has been irreparably damaged or destabilised and poses a safety risk to its users or the public.




2. A person proposing to undertake development of the kind described in paragraph 1 must write to the Director and describe the development and, if it is of the kind set out in 1(b), provide certification from a structural engineer having experience with heritage items confirming the necessity for the development with regard to the criteria set out in 1(b) and any adverse impact on significant fabric. If the Director is satisfied that the proposed development meets the criteria set out in paragraph 1(a) or (b), the Director shall notify the applicant.

Standard Exemption 17: Movable Heritage Items


1. The temporary relocation of movable heritage items, including contents, fixtures and objects, to ensure their security, maintenance and preservation, for conservation or exhibition, to ensure health or safety, the need for a controlled environment for those heritage items, or to protect the place, and which are to be returned to their present location within six months, does not require approval under s. 57(1) of the Act.

2. A person proposing to relocate a movable heritage item as set out in paragraph 1 must advise the Director in writing of the proposed location and the reasons for its relocation. If the Director is satisfied that the temporary relocation meets the criteria set out in paragraph 1 the Director shall notify the applicant.


7.4 MINIMUM STANDARDS OF MAINTENANCE AND REPAIR

Listing in the State Heritage Register obligates the owner under Section 119 of the NSW Heritage Act 1977 (as amended) to ensure that the item is maintained and repaired to standards known as Minimum Standards of Maintenance and Repair.

As a house museum maintained on a day to day basis by volunteers and paid staff, it is considered that “Nutcote” complies with the standards for Essential Maintenance and Repair, Weather Protection, Fire Protection and Security. The Standard for Conservation Management Plans will be satisfied in the adoption of this CMP by the Heritage Council.

7.5 CYCLICAL MAINTENANCE PROGRAMME

“Nutcote” should be managed in accordance with a planned maintenance and repair programme that is based on extensive knowledge of the building and its materials, regular inspection and prompt preventative action. The proposed maintenance is regulated and enforced within a maintenance programme, as established by the following cyclical maintenance schedule.

Work identified in the Cyclical Maintenance Schedule should be implemented by the building owner/manager as part of the process of on-going management of the building. Generally, with the exception of housekeeping maintenance, only specialist contractors should carry out maintenance tasks. A record of when the work is performed, including any faults found or repairs made, should be prepared and kept along side this Maintenance Schedule. The following Schedule is partly derived from information contained within the folder The Maintenance of Heritage Assets: A Practical Guide, Inspection Schedule, Heritage Council of NSW Technical Advisory Group, 1998.





Table 7.1 CYCLICAL MAINTENANCE SCHEDULE EXTERIOR Building Element Action Under One Year Annually Biannually Every Five Years Every Five to Ten Years Life Expectancy / Comments

Roof

Flashings / Cappings

Inspect for lifting joints and physical damage, including signs of decay and cracks. Inspect for loose or raised fixings to metal cappings, cappings that have lifted, dipped or are deformed from wind damage.

Monitor condition, clear of

debris and refix, repair

or replace as required.

Variable. Replace elements as necessary.

Generally Remove rubbish and leaves and check that vent pipes are intact. 4-12 months

AVOID Combining dissimilar materials that will react with each other. Replacing original roof materials unnecessarily. Cement mortar repairs to flashings inserted in masonry joints. Roof Drainage Downpipes and related stormwater disposal items – stainless steel, cast iron, copper

Inspect for bent or squashed gutters. Inspect for cracked or broken pipes and defective joints. Retain broken original sections for repair where possible.

Monitor condition.

Clean, repair and repaint / replace as required every 7 years

Replace gutters and downpipes to match existing profile and material as required.

Steel drainage elements

Inspect for rust stains around downpipe outlets, internal/external corners and downpipe offsets and shoes. Ensure gutter does not collect water run-off from copper flashings or from roof above that will corrode gutter.

Monitor condition.

Clean, repair and repaint / replace as required.

10+

Generally Inspect gutter and downpipe joints for cracks and loose/missing brackets.

Repair and repaint /

replace as required.

Clear gutters, sumps and rainwater heads of leaves and rubbish each autumn. Check if gutters are sagging and water falls to outlets. Ensure rainwater heads and sumps sit correctly.

4-12 months

Growth, moss or stains surrounding downpipes can indicate blockages. Look for downpipes that are squashed or damaged and restrict water flow. Check if downpipes are connected to the stormwater system and, if so, whether joints are sound. Check that stormwater drains are not blocked.

Repair and repaint /

replace as required.

Check whether birds are nesting on downpipe offsets and polluting the building and whether bird proofing is adequate and sound.

4-12 months

AVOID Combining dissimilar materials that will react with each other. Hosing leaves and debris into downpipe outlets. Placing ladders or leaning objects onto soft metals including copper and stainless steel.





EXTERIOR Building Element Action Under One Year Annually Biannually Every Five Years Every Five to Ten Years Life Expectancy / Comments External Walls

Render

Inspect for loose, fretted, broken or missing render mortar joints and along flashings and on cornices and other projections. Check if the render is crumbling or has surface flaws as this can indicate a moisture problem. Inspect for signs of delamination that can affect the soundness of render and rising or falling damp. Inspect for incompatible mortars. General cleaning and maintenance.

Clean as required with a solution of

a neutral liquid cleaner

and water; rinse

thoroughly with clean

water.

Monitor condition, clean and repair as required.

Generally Inspect areas for grime, growth from joints, bird excretion and graffiti.

Monitor condition

every 4 – 12 months.

Clean and repair as required.

AVOID Covering wall ventilators and damp proof courses. Applying to stonework anti-graffiti or protective coatings whose effectiveness has not been proven. Inappropriate cleaning of fabric e.g. strong water jet cleaning or detergents that can damage masonry.

Stone Thresholds

Inspect for loose, fretted, or damaged joints. Inspect for signs of delamination that can affect the soundness of stone and rising or falling damp. Inspect for incompatible mortars.

Monitor condition and

repair as required.

Replace to match existing when level of wear is unsafe.

Steel Inspect for signs of rust; ensure fixings are secure.

Monitor condition, repair and repaint as required every 7 years.

Generally Inspect for any signs of structural distress (movement and cracking) that a structural engineer should inspect.

Every 7 years.

Windows and doors

Windows

Inspect for loose or damaged mouldings, architraves, decayed stiles at sill level, weathered sills, casement sashes that bind, opening mechanisms and hinges that need to be oiled. Inspect for cracked glass or putty. Check internal facings around windows for stains that can indicate failed flashings.

Replace glazing to

match existing as required.

Monitor condition, clean and repair to match

existing as required.

Replace defective elements to match existing as required.

Doors

Inspect for loose jambs, decay at the threshold or damage from locks being forced. Check that the threshold is secure and not excessively worn or broken; check that mouldings or stops are secure and that the door operates satisfactorily; check that door joints are firm and that mouldings are not missing or damaged. Inspect for broken or cracked glass and missing or defective door furniture.

Replace glazing to

match existing as required.

Monitor condition, clean and repair to match

existing as required.

Replace defective elements to match existing as required.





EXTERIOR

Building Element Action Under One Year Annually Biannually Every Five Years Every Five to Ten Years Life Expectancy / Comments Door Hardware

Door Hardware* (Polished Brass)

Routine maintenance.

Carefully clean and polish with Brasso and wipe over with lemon

oil or similar.

.

Remove locks, take

apart, clean / lubricate as required and

reinstate (except pin

tumbler cylinders).*

Brasso should not contact clear timber finishes or stripping will occur. Avoid cleaning products entering keyhole.* Removal and cleaning of locks may be undertaken in conjunction with any repainting works as required.

Generally Check whether hardware operates properly or is loose, inadequate or damaged. Ensure satisfactory operation of elements.

Every 2 years.

AVOID Replacing with hardware not in keeping with the building. Removing original hardware – where inoperable install new adjacent. Installing one way glass when carrying out glazing repairs. Glass

1. Routine maintenance: External / Internal clear glass Clean with soft, clean, grit-free cloths using mild soap detergent or slightly acidic cleaning solution. Clean water rinse and remove excess water.

Regularly Use recommended solvents for removal of grease.

Glass

2. Routine maintenance: mirrors. Clean with warm water and soft, grit-free cloth.

Regularly

Do not use acid or alkaline cleaners on mirrors or cleaners with a heavy ammonia base.





INTERIOR Building Element Action Under One Year Annually Biannually Every Five Years Every Five to Ten Years Life Expectancy / Comments

Walls Rendered walls with paint finish

Inspect for cracks that can indicate movement in the building. Inspect for signs of damp, including loose and flaking paint, and damage generally, including marks.

Monitor condition and clean; repair and repaint as required.

Plaster

Ceilings and Cornices

Inspect for cracking or sagging, which may indicate water penetration, and for loose / flaking plaster.

Monitor condition and clean; repair and repaint as required.

Painting

Generally

Inspect for deterioration and weathering to paint and clear finishes, including cracked putty, cracked paint, blisters or fading of colours. Stains can indicate a moisture problem.

Clean as required to

remove finger marks

etc. using mild

household detergent.

Monitor condition,

clear, repair and repaint

to match existing as required.

7 – 10 years

Joinery Units

Timber joinery units generally

Inspect to ensure smooth operation of movable parts. Inspect for damage or decay, including by termite activity, and for condition of finishes.

Inspect condition,

finishes and working

order. Repair / patch and refinish as required.

Patching and rectification of scratches and chips should be carried out by competent trade persons only.

Other Joinery

Polished timber skirting boards and architraves

General cleaning and maintenance. Inspect for damage or decay, including by termite activity, and for condition of finishes. Inspect for loose or damaged elements.

Clean with mild

detergent and water using soft,

grit-free cloth

Monitor condition and

repair as necessary.

Patching and rectification of scratches and chips should be carried out by competent trades persons only. After cleaning, polish finish may be revived as required by wiping over with a solution of 3 parts mineral turpentine to 1 part linseed oil, drying off excess with a clean rag.

SERVICES

Fire Safety Services

Periodic inspection, testing and maintenance of all fire safety systems including fire sprinklers, fire detection, fire hydrants and hose reels, emergency lighting and exist signage, emergency warning, smoke exhaust system, lift system, fire/smoke/exit doors, fire resistance, portable fire extinguishers in accordance with relevant Australian Standards.

Monitor condition,

and upgrade as required.

It is important to keep the systems fully operational as much as is practical in any circumstance. Maintenance contracts should be in place and be supplemented by building management on a regular basis.





INTERIOR Building Element Action Under One Year Annually Biannually Every Five Years Every Five to Ten Years Life Expectancy / Comments

Stormwater

Inspect for dish drains and sumps blocked with rubbish, leaves or silt. Check if water lies in sumps as this can indicate a total or partial blockage or inadequate fall in line. Ensure hose taps discharge into gullies and ensure gullies and sump gratings are operable and not damaged, and sit square. Check whether stormwater drains into sewer system.

4 – 12 months 20 – 25 years

Sewerage Inspect sumps for damaged grates and ensure these are not draining surface water.

Monitor condition,

and repair / upgrade as required.

20 – 25 years

Water Inspect taps for drips and ease of operation; ensure taps and surface-run pipes are secured to walls and supports.

Monitor condition,

and repair / replace as required.

20 – 25 years

Electrical Check if light globes are blown or the fittings damaged, and whether fittings are well-secured.

Monitor condition,

and repair / replace as required.

Toilets and Utility Spaces Inspect for sound working order.

Regular routine

cleaning (daily for WCs).

Repair and make good as required.

INTERIOR Emergency Maintenance Generally Blocked or broken stormwater and sewer lines that

require clearing or repair. Clearing of blocked gutters and downpipes. Broken water service or leaking faucets and toilet cisterns. Damaged or defective light fittings and switches. Failed incandescent light bulbs or fluorescent tubes. Storm damage to grounds or building fabric. Vandalism or break and enter damage to windows and doors. Broken or defective locks and latches, replacement of keys or lock cylinders.

Address as the need arises.





8 SOURCES CONSULTED

Ashton, Adrian 'B.J. Waterhouse: A Tribute', unpublished paper, Local History Collection, Stanton Library, 1965.

Beedee, 'The Mother of the Gum-Nuts', The Australian Woman's Mirror, July 21, 1925

Bernhardt, Peter, 'Of Blossoms and Bugs Natural History in May Gibbs' Art' in Gumnut Town Botanic Fact and Bushland Fantasy, Royal Botanic Gardens, Sydney, 1992

Connybeare Morrison & Partners, ‘Wallaringa – Heritage Assessment & Conservation Plan,’ November 1991

Daily Mirror, 15 December 1988

Foyle, Lindsay, 'Hidden from history: the funny women', The Bulletin 21 November, 1989

Hart, Jean,‘May Gibbs’ “Nutcote” 1969-1991,’ Sydney, The May Gibbs Society, 1997

Holden, Robert, 'May Gibbs, Illustrator & Artist: Report Of Robert Holden', Orana, Vo1.25, No. 2, May 1989

Holden, Robert, 'Gumnut Town Fact, Fantasy & Folklore' in Gumnut Town Botanic Fact and Bushland Fantasy, Royal Botanic Gardens, Sydney, 1992

Jamieson, Vella, Wheeler and Associates, 'The Garden of “Nutcote”' - A rehabilitation and conservation study,’ 1992

'May Gibbs and Her Fantasy World, An Exhibition by the James Hardie Library in the Museum of Economic Botany - Adelaide Botanic Garden' 1986

May Gibbs Diary with Illustrations from Australia's best-loved children's author, Angus & Robertson, 1986

Muir, Marcie, A Bibliography of Australian Children's Books, Andre Deutsch, London, 1970

Saxby, Maurice, 'May Gibbs And Australian Children's Literature: Report of Maurice Saxby', Orana, Vol. 25, No. 2, May 1989

Sun Herald, 19 July 1984

Sun Herald, 19 July 1987

Sun Herald, 7 January 1990

Sunday Telegraph, 6 August 1989

Sunday Telegraph, 10 September 1989

Tanner, Howard, 'Stylistic Influences on Australian Architecture - Selective Simplification 1868-1934' Architecture in Australia, April 1974

The Age, 24 August 1991

The Bulletin, 12 December 1989





The Daily Telegraph, 24 March 1987

The Daily Telegraph, 14 August 1987

The Daily Telegraph, 23 July 1987

The Daily Telegraph, 24 October 1987

The Daily Telegraph, 26 January 1988

The Northern Herald, 22 October 1987

The Northern Herald, 23 June 1988

The Northern Herald, 1 September 1988

The Northern Herald, 23 February 1989

The Northern Herald, 8 February 1990

The Northern Herald, 20 June 1991

The Sydney Morning Herald, 18 March 1987

The Sydney Morning Herald, 13 August 1987

The Sydney Morning Herald, 16 February 1989

The Sydney Morning Herald, 6 January 1990

The Sydney Morning Herald, 13 January 1990

The Sydney Morning Herald, 27 November 1991

The Sydney Morning Herald, 7 March 1992

Travis Partners, ‘“Nutcote” (Formerly May Gibbs' House) 5 Wallaringa Avenue Neutral Bay, Analysis of Conservation Issues associated with proposed redevelopment of the site,’ North Sydney 1987

Walsh, Maureen, May Gibbs Mother of the Gumnuts: her life and work, Angus & Robertson, Sydney, 1985

Warne, Catherine, Pictorial History –Lower North Shore, Kingsclear Books, 2005

Waterhouse, B.J., 'Australian Domestic Architecture. - IV, How Our Architects Are Evolving Styles To Suit Australian Conditions', Building, 12 July, 1909

Waterhouse, B.J., 'A Ramble in Spain', Architecture 1 November, 1927

Williams, Debra lona, ' In Pursuit Of The 'Mediterranean Style' Two Houses By B.J. Waterhouse', A Bachelor of Architecture Dissertation, School of Architecture, U.T.S., 1992

Wood J.A. & H., & Associates, ‘Application For The Preservation Of The Waterfront Home Of May Gibbs At Neutral Bay Under Immediate Threat By Developers,’ 1986, pp.14-16





9 APPENDIX

9.1 SURVEY OF THE COTTAGE

ELEVATION: EAST

Element Phase Condition

Roof: Terra cotta pan tiles Phase I Good

Flashings: Lead sheet Phase III Good

Fascia: 160 mm timber with scotia moulding Phase I Good

Eaves: Slatted timber boards Phase I Good

CH1 – Rendered brick masonry with rendered moulding Phase I Good

CH2 - Rendered brick masonry with rendered moulding Phase I Good

Chimney:

CH1 & CH2 – Terra cotta pots Phase III Good

Gutter: Gal. steel quad profile Phase III

(reconstructed)

Poor

Wall Finish: Rough stuccoed brick masonry Phase I Good

DP1 - Gal. steel 75 mm diameter Phase III (reconstructed)

Good Downpipe:

DP2 - Gal. steel 75 mm diameter Phase III (reconstructed)

Good

W1 - Boxed framed double hung 8 over 8 paned sashes Phase I Good

W2 - Boxed framed double hung 7 over 6 paned sashes with half round headed top sash

Phase I Good


Phase I Good

Window:


Phase I Good

Door: D1 - V-jointed boards and glazed panel Phase III (reconstructed)

Good

Shutters: W1 – timber louvres Phase III (reconstructed)

Good

Blinds: W2, W3 & W4 – 1 no. canvas Phase III Good

Porch: 2 no. RC Tuscan style columns Phase III

(reconstructed)

Good





ELEVATION: EAST


Brick paved floor Phase III Good

Flat roof metal sheeting Phase III Poor-

V-jointed boarded soffit Phase I Good

Flashings (Not visible) - -

Mr Robert Moore, conservation architect and member of the Nutcote Board Trust, has advised:

The metal sheet roof over the porch has been poorly made and needs to be replaced, along with sections of gutter and downpiping.

The roof tiles on the main roof are a Mediterranean pattern now of limited availability, and replacements will be hard to come by for patch repair work. The existing tiles are in good shape for their age, but they present a difficult issue - the waterway grooves that help channel water away from the overlapping joints between tiles are variously full of dirt and vegetable matter from years of atmospheric detritus. and ideally need to be gently lifted and broomed off, by hand, before being put back in place. This would be a costly process, but would stop capillary leaks. The tiles were cleverly laid over a bituminous sheet sarking that with age is now perishing and will not perform as it once would have. The lower sections of membrane whose integrity is critical should be replaced in the not too distant future, while ideally the whole roof would be carefully gone over and properly repaired, but this would involve a good sum. While for the moment we should carefully monitor the roof space where accessible, and note any internal damp or puddles if they occur on top of the ceilings, we should be quantifying the costs of a proper comprehensive repair, and considering where funding support might be sought. A source of the tiles needs to be established.

ELEVATION: WEST


Roof: Terra cotta pan tiles Phase I Good

Flashings: Lead sheet Phase III Good

Fascia: 160 mm timber with scotia moulding Phase I Good

Eaves: Slatted timber boards Phase I Good



Chimney:

CH1 & CH2 – Terra cotta pots Phase III Good

Gutter: Gal. steel quad profile Phase III

(reconstructed)

Good

Wall Finish: Rough stuccoed brick masonry Phase I Good





ELEVATION: WEST


DP3 - Gal. steel 75 mm diameter Phase I (reconstructed)

Good Downpipe:

DP4 - Gal. steel 75 mm diameter Phase I (reconstructed)

Good

Vent: Hooded Terra cotta vents Phase I Good



W17 - Boxed framed double hung 8 over 8 paned sashes Phase III (reconstructed)

Good

Window:


Door: D22 – Half glazed and V-jointed boards Phase I Good

Shutters: W10, W12, W17, W18 – Timber louvres Phase III (reconstructed)

Good

Blinds: 1 no. canvas at loggia Phase III Good

2no. RC Tuscan style columns Phase I Good Loggia:

Wrought iron railing Phase I Good

ELEVATION: NORTH


Bargeboard: 160 mm timber with scotia moulding Phase I Good

Wall Finish: Rough stuccoed brick masonry & rendered stringcourse/rain drip Phase I Good

Vent: Plain and hooded Terra cotta vents Phase I Good





Window:


D2 - Half glazed and V-jointed boards Phase I Fair Door:

D2 – Timber door tread Phase I Fair





ELEVATION: NORTH


D21 - Half glazed and V-jointed boards Phase III (reconstructed door and frame)

Good

Shutters: W9 – Timber louvres Phase III (reconstructed)

Good

Blinds: W8 & D2 – 1 no. canvas Phase III Good

Timber post and rail Phase III Good

Brick and concrete ramp Phase II Good

Porch:

Pipe handrail and posts Phase III Good

ELEVATION: SOUTH


Bargeboard: 160 mm timber with scotia moulding Phase I Good

Chimney: CH2 - Rendered brick masonry with rendered moulding Phase I Good

Wall Finish: Stuccoed brick masonry & rendered stringcourse Phase 1 Good

Vent: Plain and hooded Terra cotta vents Phase I Good





Window:


Shutter: W15 – Timber louvres Phase III

(reconstructed)

Good

LOWER GROUND FLOOR

SPACE: AUDIO VISUAL ROOM


Ceiling: Battened hardboard Phase III Good

Cornice: Coved profile fibrous plaster Phase III Good





SPACE: AUDIO VISUAL ROOM


Wall Finish: Rough plaster on brick masonry Phase III Good

Vents: 2 no. decorative plaster Phase III Good

Skirting: Splayed timber Phase III Fair to poor

Floor: Carpet (over concrete) Phase III Good

Door: D24 – 6 panels with inlay moulding Phase I Good

W18 – Boxed framed double hung sashes Phase I Good Window:

W19 - Boxed framed double hung sashes Phase I Good

Architrave: Splayed cedar, 95 mm Phase I Good

Light fitting Phase III (Reconstructed)

Good

Motion sensor Phase III -

Fittings:

Smoke sensor Phase III -

SPACE: LOBBY





Vents: 2 no. Decorative plaster Phase III Good

Skirting: Splayed timber Phase III Good

Floor: Carpet (over concrete) Phase III Good

D22 - Boarded and glazed Phase I Good

D23 - 6 panels with inlay moulding Phase I Good


Door:

D25 - Battened Phase I Good

Window: - - -

Architrave: Splayed cedar, 95 mm

(None at D22)

Phase I Good





SPACE: LOBBY



Good


Fittings:


SPACE: ENTRY





Vents: 2 no. decorative plaster Phase III Good

Skirting: Splayed timber Phase III Good

Floor: Trowel finished concrete Phase I Good

D21 – Boarded and glazed Phase III

(Reconstructed)

Good Door:


Window: W17 - Boxed framed double hung sashes Phase III

(Reconstructed)

Good

Architrave: W17 & D23 – Splayed cedar, 95 mm

(None at D21)

Phase III (Reconstruction)

Good


Good



Fittings:

2 no. extinguishers Phase III -





GROUND FLOOR

SPACE: BEDROOM 1


Ceiling: Fibrous plaster Phase I Good

Cornice: Fibrous plaster, coved profile Phase I Good

Wall Finish: Rough finished set plaster on brick masonry Phase I Good

Picture rail: Moulded cedar, 95 mm Phase I

(section north-west corner – Phase III)

Good

Skirting: Moulded cedar, 230 mm Phase I

(section north-west corner – Phase III)

Good

Floor: Jarrah T&G boards, 65 mm Phase I Good

D16 - 6 panels with inlay moulding Phase I Good Door:


W1 - Boxed framed double hung sashes Phase I Good Window:


Architrave: Moulded cedar, 95 mm Phase I Good

Light fitting and wall light Phase III (Reconstructed)

Good


Fittings:


SPACE: LIVING ROOM


Fibrous plaster Phase I Good Ceiling:

Timber beams & corbels Phase I Good

Cornice: Moulded timber Phase I Good

Wall Finish: Set plaster on brick masonry Phase I Good

Picture rail: Moulded cedar, 95 mm Phase I Good

Skirting: Moulded cedar, 230 mm Phase I Good





SPACE: LIVING ROOM



D4 - glazed, 19 panes Phase I Good

D7 – glazed, 19 panes Phase I Good




Door:





Window:



FP1 – Cedar surround Phase III (Reconstructed)

Good

FP1 – Face brick firebox Phase I Good

Fireplace:

FP1 – Glazed tiled hearth Phase I Good

CPB1 – Timber, shelving, 1 panel door Phase I Good

CPB2 - Timber, shelving, 1 panel door Phase I Good

CPB4 – Timber nook with hinged cupboard doors Phase I Good


Good


Fittings:


SPACE: ENTRY









SPACE: ENTRY





D1 - boarded and glazed Phase III Good

D7 - 15 pane glazed Phase I Good

Door:


Window: - - -



Good


Fittings:


SPACE: BEDROOM 2










Door:

D20 – Pair of doors with 6 panels with inlay moulding Phase I Good




Fittings: CPB8 – Timber, fixed shelf, panelled doors (D20) Phase I Good





SPACE: BEDROOM 2


Glazed hand basin in north-east corner Phase I Good

Glazed tile wall tiles at hand basin in north-east corner Phase I Good


Good



Switch board Phase III -

Fire extinguisher Phase III -

Security alarm touch-pad Phase III -

SPACE: BATHROOM




Wall Finish: Cream glazed tiles with blue margin on brick masonry Phase I Good

Floor: Black and white vitrified clay tiles Phase I Good

Door: D10 - 6 panels with inlay moulding Phase I Good

Window: W7 - Boxed framed double hung sashes Phase I

(Sill board – Phase III)

Good

Architrave: Moulded timber, 95 mm Phase III

(Reconstructed)

Good

WC - Phase III Good

BATH - Enamelled steel Phase III Good

BASIN – Enamelled steel Phase III Good

Chip heater Phase III Good

Fittings:


Good





SPACE: KITCHEN




Wall Finish: Rough finished set plaster on brick masonry with dado of cream glazed tiles

Phase I Good

Floor: Linoleum (over timber boards) Phase III Fair


D12 – Half glazed and battened Phase I Fair

Window: W8 - Boxed framed double hung sashes Phase I Good


STOVE – Gas cooker Phase III Good

BENCH – Enamelled steel sink and timber frame Phase III Good

Fittings

SHELVES – timber wall mounted open shelves Phase III Good

SPACE: DINING ROOM









D3 - glazed, 15 pane; deep reveal Phase I Good




CPB3 – Fitted timber shelving & panelled doors Phase I Good Fittings:

CPB9 - Fitted timber shelving & panelled doors Phase III Good





SPACE: DINING ROOM


(Reconstructed)

Light fitting ? Phase III (Reconstructed)

Good



SPACE: HALL








D2 – 6 panels with inlay moulding Phase I Good




Door:


Window: - - Good



Good

Attic access hatch Phase I Good


Fittings:






SPACE: LOGGIA





Skirting: Quad profile Phase I? Good

Hardwood decking Phase III Fair Floor:

Quarry tile edge Phase I Good

D3 – glazed, 15 pane Phase I Good



Door:


Window: W11 - 19 panes matching D4 & D5 Phase I Good

Timber strip moulding, 65 mm Phase I Good


Good

Architrave:


SPACE: STUDIO



Cornice: Moulded timber Phase I Good







Door:







SPACE: STUDIO





FP2 – Cedar mantle Phase I Good

FP2 – Face brick firebox Phase I Good

Fireplace:

FP2 – Tiled raised hearth Phase I Good

CPB5 - Timber shelf unit Phase I Good

Light fitting Phase I (shade reconstructed – Phase III)

Good



Fittings:

Fire extinguishers Phase III -

SPACE: DRESSING ROOM












CPB6 - Timber, fixed shelf, 6 panelled door Phase I Good Fittings:

CPB7 - Timber, fixed shelf, 6 panelled door Phase I Good





SPACE: DRESSING ROOM



Good

Wall light Phase III (Reconstructed)

Good



PREPARED FOR 07 0491 - North Sydney Council€¦ · author and illustrator, May Gibbs (1877-1969)....

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Transcript of PREPARED FOR 07 0491 - North Sydney Council€¦ · author and illustrator, May Gibbs (1877-1969)....