RIVERSIDE PUBLIC ART STRATEGY

December 2011

PART 1 - EPRA STRATEGY

1.1 PUBLIC ART 3

1.2 STRATEGY OVERVIEW 5

1.3 EPRA’S PUBLIC ART PROGRAM 6

1.4 LOCATING PUBLIC ART 7

1.5 ARTWORK PROCUREMENT PROCESS 9

1.6 ARTWORK APPROVAL PROCESS 12

1.7 MANAGEMENT OF PUBLIC ART 13

PART 2 - THE PROJECT AREA

2.1 RIVERSIDE PROJECT AREA 15

2.2 HISTORICAL CONTEXT 17

2.3 PRECINCTS IN RIVERSIDE 18

2.4 EXISTING PUBLIC ART 22

2.5 PUBLIC ART THEMES 23

2.6 PUBLIC ART OPPORTUNITIES 25

2.7 MAP 1 - INDICATIVE LOCATIONS FOR PUBLIC ART 28

Public Art Strategy

CONTENTS

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1.1 PUBLIC ART

What is Public Art?Public art is an artistic work that is created and located for public accessibility. The defi ning principle of public art is that the work has been designed by an artist for enhancement of a particular public realm, meaning:

• It is an artwork. It is not merely artistic style detailing or architectural design and is not designed for a commercial purpose, such as advertising signs or branding.

• It is designed by a professional artist - a person who earns the majority of their income from creating original artworks, who has a track record of exhibiting their artworks, and who usually has a university or high level technical college qualifi cation in a relevant art form.

• The artist has produced the artwork and/or supervised its fabrication and installation.

• It is accessible or visible from the public realm - the public realm is not only public land but is defi ned as the sites and settings for public life, including public places, streets and building facades.

Public art can be of any art form - from traditional mediums such as sculpture, to contemporary works or functional objects, to multimedia installations. It may be permanent or temporary artwork or ephemeral art.

Types of Public Art

Public art has a broad scope with many possibilities for the form, function, materials and degree of permanency of the artwork. It can include any one or more of the following forms:

Stand Alone: freestanding artworks that are not part of a building or other structure, such as sculptures and objects.

Applied: artwork that is applied to a surface, such as artworks applied to building facades, or murals on walls.

Integrated: artwork that is successfully integrated into the design and function of a place, through the collaboration of an artist with the design team.

Industrial: artwork that serves an operational function within the built environment, such seating, bike racks, paving, fencing or lighting that has been designed by an artist.

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PART 1 - EPRA STRATEGY

Artwork: 1. Public art Tokyo 2. Urban art by Banksy 3. Light Year by Peter Fink & Anne Bean

Heritage / Memorial: artwork designed to recognise the history or cultural heritage of a place, or to commemorate a person or past event.

Interactive: artwork that the public can interact with, beyond merely touching the work, such as works incorporating sound, lighting or movement that responds to public or environmental interaction.

Multimedia: artwork produced or displayed through the use of technical media such as digital imagery, fi lm, video, photography or projection art.

Temporary: artwork designed to be installed for a short time frame (e.g. 1 week to 1 year), such as artwork in a seasonal programme or art made with materials that are intended to only last for a limited time.

Ephemeral: art that is transitory in nature, usually designed as an experience or event and lasting for only a short period, such as performance art, music, dance or exhibitions.

Indigenous Art: cultural, heritage or contemporary artworks which are specifi cally commissioned to be created by indigenous artists and/or to have involvement of locally indigenous people.

Community Art: artwork that is created with the involvement of community members or groups, such as local residents or school students. Community art is usually produced through a collaboration project between a qualifi ed artist and the community group.

The Role and Benefi ts of Public Art

Essentially public art provides physical enhancement of a locality, however an understanding of its many benefi ts reveals that public art is an important part of EPRA’s goal of sustainable urban renewal. Public art provides social, economic and environmental benefi ts, including:

• physically enhancing public places and the public realm, through creating points of interest, animating spaces and providing beauty, character or colour to places;

• physically enhancing buildings, through adding detailing, colour and character;

• providing greater meaning and context to places and buildings, by providing linkages to the history, character or culture of the locality;

• contributing to ‘sense of place’, by creating difference and identity for particular locations;

• creating local or regional landmarks;

• encouraging the increased use and enjoyment of public places;

• encouraging different interpretations and understandings of places;

• developing cultural richness in a local community by celebrating culture and encouraging creativity and innovation;

• providing increased public exposure to and understanding of art and contemporary art practices;

• contributing to the ‘visitor experience’ where physical and ephemeral works attract visitors and tourists, providing economic advantage to a place; and

• providing employment, experience and exposure for local artists, and fl ow on benefi ts to the local economy, such as their suppliers and manufacturers.

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1.2 STRATEGY OVERVIEWThis public art strategy provides the foundation of EPRA’s commitment to enhance each project area within EPRA’s redevelopment area through the appropriate integration of public art. This will be achieved through public and private landowner contributions of public art, on a “percent for art” basis, whereby anyone undertaking signifi cant development of land within the redevelopment area will be required to provide at least 1% of their construction cost as public art. This will apply to all government and private developers of public and privately owned land.

This strategy, together with EPRA’s Development Policy 4. Providing Public Art which provides the legal basis for the percent for art requirement, provide the direction for the acquisition, location and theming of public art commissioned by EPRA, other government agencies, arts providers, and private land developers within EPRA’s redevelopment area.

The strategy is provided in two parts:

PART 1 - EPRA STRATEGY provides an overview of EPRA’s public art program and sets out principles and procedures for the acquisition, placement and management of public art within the redevelopment area.

PART 2 - PROJECT AREA provides direction for the location and theming of public art within the project area. This includes an overview of the vision for the future development of the project area, including the precincts and public places that make up the project area, appropriate themes for artwork within each precinct, and suitable locations for public art.

Strategy Objectives

• To infuse different locations within EPRA’s redevelopment area with a sense of place, vibrancy, and creativity, through the integration of contemporary public art that is appropriate to each location.

• To enhance the design and function of the public realm and public enjoyment and understanding of places, through the integration of public art and the early involvement of artists in the design of public places.

• To enhance the appearance, character and value of buildings through the inclusion of high quality public art and the involvement of artists in building design and development.

• To support professional art practice and the social, cultural, economic and built environment benefi ts that a percent for art program provides.

51. Aurora by Mark di Suvero 2. I See What You Mean by Lawrence Argent 3. Applied artwork New York

• To provide a level of guidance to artwork design by providing public art themes for different precincts, which are relevant to the cultural heritage and future aspirations of each precinct.

• To provide direction on the appropriateness of different artwork types and forms that are suitable to different places and precincts.

• To guide the acquisition and location for artworks procured by EPRA with EPRA’s own percent for art contributions and with cash in lieu funds paid by other developers, including best practice in public art procurement.

1.3 EPRA’S PUBLIC ART PROGRAMEPRA has been a leader in the integration of public art in land development projects within Western Australia since the early 1990s. In accordance with the State government Percent for Art Scheme, EPRA has been implementing a public art program from the commencement of its fi rst project, Claisebrook Village, and commissioned 27 permanent artworks for this project area to create the “Claisebrook Village public art walk”. EPRA has also commissioned public art in other project areas, such as “Nexus” in Plateia Hellas in New Northbridge and new pieces in various parks and urban plaza across the Redevelopment Area, as well as regular funding of temporary and ephemeral public art projects.

In 2005 EPRA’s public art policy was amended so that it also applied to all public agencies and to private landowners , where all development approvals with a construction cost of $1 million dollars or greater require 1% of construction costs as a public art contribution. The developer has the choice of providing public art as part of their development or paying cash-in-lieu. The policy has been highly successful in delivering public art incorporated onto the public face of new buildings, with over $2 million dollars worth of public art being installed on building facades and development sites within the redevelopment area.

Some land owners opt to pay the equivalent of 1% of their construction costs to EPRA instead of providing public art as part of their development (i.e. “cash-in-lieu”). EPRA is committed to using these cash-in-lieu funds to procure artwork to enhance the public realm of the relevant project area. EPRA accumulates these payments in a special fund for each project area and periodically procures public art with these funds.

EPRA also produces a public art strategy for each of its project areas to guide the artwork themes for the area, including specifi c themes for each precinct within the project area. The strategies also identify locations for public art that is to be provided in public places, and may also detail opportunities for temporary and ephemeral works.

As each of EPRA’s project areas are developed the public and private collection of public art within the redevelopment area will continue to grow and enrich the inner city.

6The Impossible Triangle by Brian McKay & Ahmad Abas Nexus by Simon Gauntlett & Russell Kingdom

1.4 LOCATING PUBLIC ART

Public Art on Public Land

EPRA has a strong belief in the importance of the public realm and public places as critical elements in the experience of a city. EPRA’s public realm philosophy is to focus on “place making” - bringing vibrancy, interest, safety, beauty and a sense of unique identity to turn a space into a “place”. An important element of place making is the use of public art. Permanent art can add interest, amenity, identity and improved function to a place, whilst temporary and ephemeral art can bring activation, visitors, and new understandings to a place.

Locations

Some public locations that are most suitable for public art in the redevelopment area are:

• Urban plazas and city squares.

• Parks and gardens.

• Key street intersections.

• Main pedestrian routes.

• Gateways between key locations or entries into different project areas.

• Certain laneways that would benefi t from activation and beautifi cation.

Principles

The following principles are to be applied to the development of public art on public land and in public places:

• Place Making - public art is to contribute to the place making of a location and the interpretation of a place. It can aid the understanding of history or cultural heritage, assist how people currently understand or use the space, or provide new meanings.

• Site Specifi c - artworks are to be designed specifi cally for the site and are to be responsive to the site context - its surrounds, its use and users, and refl ecting the relevant precinct art themes from this Strategy.

• Scale - the scale and size of artwork needs to be consistent with the artwork brief/intent - i.e. it could be a landmark piece, a series or pieces, or a small element of surprise. Artwork scale also needs to be responsive to the site context - such as the surrounding landscape and buildings and pedestrian circulation.

• Universal Access - public art should be made accessible to all members of the community, irrespective of their age, abilities or cultural background.

• Attractors - public art can be used as an “attractor” for visitors and tourists - particularly places with landmark artworks or seasonal art programmes;.

• Interaction - public art must be designed for some level of public interaction - the public should be able to touch the artwork and in some cases it may be appropriate to climb or sit on or use the artwork in some way. There is also a need for some interactive artworks in public places, such as works that are responsive to touch or movement.

• Management - artworks must be designed and constructed with best practice risk and asset management, being mindful of public safety, easy and low cost maintenance, resistance to vandalism, and resistance to deterioration for the lifespan of the artwork.

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Public Art on Privately Owned Land

EPRA’s Development Policy 4. Providing Public Art requires those undertaking developments with a construction cost of $1 million dollars or greater to provide 1% of the cost as a public art contribution. Usually the developer will choose to meet this requirement by providing public art on the subject development site. This provides benefi t for the developer from the contribution, by enhancing the visual amenity and value of the development.

The artwork requires EPRA’s approval prior to installation. EPRA and our public art consultant will use EPRA’s Providing Public Art Policy and this Public Art Strategy to assess the suitability of the artwork and to guide the approval of the work. The developer, their artists, architect and other designers should also use the Policy and Strategy to help them successfully integrate appropriate artwork.

Locations

Public art on private land needs to be visible or accessible from the public realm, appropriate locations include:

• Applied or integrated into front facades of buildings. • Applied or integrated into walls that would otherwise remain

blank or uninteresting, such as exposed parapet walls.• Integrated or functional art such as unique gates, grilles,

balustrades, fences, or other similar building structures.• Entry statements or stand alone works in front garden or

setback areas.

Principles

The following principles are to be applied to the development of public art on private land:

• Public Realm - the artwork must be clearly seen from the public realm and contribute to the public realm amenity.

• Professional Art - the artwork is to be designed by a professional artist and be a unique, high quality artwork.

• Site Specifi c - artworks are to be designed specifi cally for the site and are to be responsive to the site context, including consideration for surrounding buildings and activities, and refl ecting the relevant precinct art themes from this Strategy.

• Integration - the artwork design should integrates with the building design and site layout and be responsive to the building materials and colours. The early involvement of the artist in the building design is the best way to achieve this.

• Management - artworks must be designed, constructed and installed with best practice risk and asset management. Ongoing maintenance of artwork on private land will be the land owner’s obligation (such as strata bodies).

81. Dance Steps on Broadway by Jack Mackie 2. Infrastructure project, NSW 3. Monument and urban art, Bulgaria

1.5 ARTWORK COMMISSIONING PROCESS

EPRA Funded Artworks

As a State Government agency EPRA is committed to the Western Australian State Government’s Percent for Art Scheme. This program requires 1% of the construction cost of each State capital works project valued at $2 million or more to be allocated to public art. EPRA is committed to leadership in this initiative and in accordance with EPRA’s Development Policy 4 Providing Public Art, EPRA allocates a minimum of 1% of our own development projects valued at $1 million or more to public art.

Cash in Lieu Fund

The public art cash in lieu fund is a special fund held in EPRA’s account for the purposes of accumulating cash in lieu contributions provided by developers and land owners under Development Policy 4 Providing Public Art (i.e. where the developer chooses to pay cash in lieu of providing public art as part of a development). The cash in lieu funds are accumulated until a suffi cient amount is collected for a project area to enable commissioning of one or more signifi cant artworks within the same project area as the contributing site/s.

The cash in lieu funds are to be used by EPRA, or persons nominated by EPRA (such as an arts agency or local government) for the following:

• Primarily the funds should be used for permanent public art for public places within the relevant project area;

• Where a project area has already been substantially redeveloped and/or there is quite a large amount of public art, the funds may be used to procure artwork for a public place immediately adjacent to the project area;

• Where appropriate, funds may be used for temporary and ephemeral art to activate the project area; and

• Where necessary, funds may be used to fund replacement or restoration of existing public art - this also may be appropriate where insuffi cient funds are available in the project area fund to purchase new works.

EPRA Commissioning Process

Whether commissioning public art with EPRA’s own funds or the cash in lieu funds, EPRA will employ best practice public art commissioning processes to ensure an equitable and transparent process and the acquisition of quality public art. EPRA may use a Public Art Coordinator to manage the commissioning process. The following steps provide a guide to the process that should be followed:

1. Procurement Process - The type of procurement process is selected, based on the objectives of the project, the size of the budget and government procurement requirements. At present, contracts valued at over $150,000 are required to be advertised through a public tender process. Projects between $50,000 to $150,000 currently require a minimum of three proposals to be requested - in this process three artists may be contacted directly for an Expression of Interest (EOI), or EPRA may publicly advertise the EOI to gain a wider choice of artists and proposals.

A curated process, where EPRA’s public art coordinator selects and invites artists to submit proposals, may be appropriate where a particular type of artwork is desired and artists that work in that medium are directly contacted (such as artists experienced in

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functional artwork, community projects etc). This process may also be chosen for smaller budget projects to reduce timeframes.

2. Selection Panel - A Selection Panel is set up that will shortlist artists and select the fi nal proposal. The Panel must have a minimum of three members and will usually include a representative of EPRA, a representative of the relevant local government and a representative from an an arts agency (such as Dept of Culture & the Arts or Art Gallery W.A). Professional artists, community members or other stakeholders may also be appropriate, depending on the intent, location and budget of the work.

3. Artwork Brief - an artwork brief will be prepared by EPRA or the public art coordinator and agreed to by the selection panel. The brief should provide artists with clear direction on EPRA’s expectation for the project such as project background, vision or themes for the artwork, location, budget, timing, and any objectives or constraints with regard to the form/type, scale, or materials of the artwork. The brief should not dictate the actual design of the fi nished artwork but rather leave suffi cient fl exibility for artistic interpretation and a creative response to the brief.

The brief must also provide the selection criteria to be used by the Selection Panel to select the short listed artists. It must also detail what information artists are to submit with their Expression of Interest - such as a statement against the brief, a short CV and images of past work.

4. Expressions of Interest - a call for Expressions of Interest (EOI) is held by releasing the artist brief. The brief may be sent directly to artists, or advertised through the government tenders process and/or advertised through art agencies such as Artsource. A media release from EPRA may also be appropriate to gain exposure and interest from a wide fi eld of artists (particularly for large commissions). The call for EOI’s should usually run for between 3-4 weeks, however 6-8 weeks may be appropriate for large commissions (i.e. over $1,000,000).

5. Short Listing - each member of the Selection Panel reviews each EOI and individually assesses them against the selection criteria. The Panel then meets to discuss their assessments, undertake a group assessment, and select the preferred 2 to 4 artists or teams that will be invited to progress to the next stage and submit a Design Concept.

6. Design Concept - the Artwork Brief is reviewed and updated to provide any available additional information and to provide the selection criteria and submission requirements for the fi nal selection. Each short listed artist then prepares a design concept in response to the brief. The submission requirements will usually include concept develop documents, a model or detailed plan showing dimensions, colours and materials, a written design statement and a detailed budget.

Depending on the scale of the project, artists should be give between 4 to 8 weeks to submit the Design Concept, a briefi ng session at the start of the process may also be appropriate. Artists will usually be paid a nominal fee for preparation of the Design Concept ($500 - $2000 - relevant to the overall budget).

7. Final Selection - the Selection Panel meets and each short listed artist or team present their Design Concept to the Panel. Following the presentations the Panel undertakes a group assessment and selects the preferred proposal.

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8. Contract - once selected, the artist is provided with a written contract from EPRA which sets out terms and obligations. The contract will be based on industry best practice for public art contracts. The contract will include a work program with milestone dates and a payment schedule for staged payments against each milestone.

9. Government Approvals - the artist prepares fi nal detailed plans and document that may be required for any government approvals, such as to obtain a development approval, engineering certifi cation or a building licence. If development approval is required for EPRA owned land, EPRA will prepare and lodge the application. The artist will be responsible for obtaining any building licence or other local government approvals, with EPRA’s assistance where required.

10. Preparation of Artwork - the artist works to produce the artwork. EPRA will pay the progress fee or agreed staged payments when progress updates/images are provided or a visit to the artists studio is arranged.

11. Installation & Handover - the artwork is to be fi nished and delivered to the site by the agreed completion date. EPRA is to arrange with the artist or another contractor for the safe and legal installation of the work and installation of a naming plaque. The artist will then provide a project record and maintenance schedule. Final payment is then made to the artist. An unveiling or media launch of the work may be appropriate.

State Agency Commissioning

Where other State Government agencies are commissioning public art within EPRA’s Redevelopment Area, either under their obligations under the State Government Percent for Art Scheme or to meet Development Approval requirements - in accordance with EPRA’s Development Policy 4 Providing Public Art, the agency will usually procure the work through the Percent for Art Scheme. The agency should contact the Department of Finance Building Management and Works Division who can engage a public art coordinator to work with the agency and manage the procurement process.

Private Commissioning

Where a land owner or developer is commissioning public art to meet Development Approval requirements under Development Policy 4 Providing Public Art, the procurement process is the responsibility of the land owner. The land owner may fi nd it benefi cial to engage an art coordinator to assist them with the process, or may wish to contact agencies such as Artsource to gain contact details for artists or for assistance with contracts. EPRA is not involved in this procurement process and does not recommend any particular artist or service. EPRA can however provide some general advice and direction to the land owner.

The land owner will be responsible for arranging quotes, contracts, insurance and all other administration with the artist. The process set out above for EPRA’s Commissioning Process may provide a useful guide to land owners to develop their own commissioning process.

EPRA recommends that the land owner commences the commissioning process early on in the design stage of their building so that the artist and architect can work together to produce complementary architectural and artist design. The artist should also refer to this Public Art Strategy and Development Policy 4 Providing Public Art from the early stages of design development, to ensure an appropriate artwork proposal is produced.

The artwork proposal will be required to be submitted for EPRA’s approval prior to its implementation.

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1.6 ARTWORK APPROVAL PROCESS

Approval of Permanent Public Art

All permanent public art requires development approval (planning approval) before it is installed on public or private land. The proponent must lodge a development application with EPRA at least two months prior to installation of the artwork. The proposal will be assessed against the Public Art Assessment Criteria (below).

Approval of Temporary & Ephemeral Public Art

Temporary or ephemeral public art that can be classed as an “event” (such as performance art or temporary exhibitions) may not require development approval if it meets the relevant criteria of EPRA’s Development Policy 8. Hosting Public Events - refer to the Policy or contact EPRA for more information.

Approval of Public Art on a Development Site

Where public art is proposed on a development site to meet the requirement of a condition of a development approval (i.e. development approval was granted for a building or other works subject to 1% of costs being allocated to public art), a separate development application will not usually be required for the artwork. The artwork proposal can be assessed, in accordance with the Assessment Criteria (below) when working drawings for the development’s building licence are submitted to EPRA.

Land Owner Consent for Public Art on Public Land

All public art (permanent, temporary and ephemeral) requires approval from the land owner before it can be installed or undertaken on public land. The ownership of public land is usually with either the Local Government, the State Government land agency (currently called State Land Services), EPRA, or another government agency. It is the responsibility of the person commissioning the artwork to identify the land owner and obtain their permission. Development approval from EPRA may also be required, in accordance with the above requirements. The land owner must give their consent to the development application and sign the application form.

Public Art Assessment Criteria

The following criteria are used to assess development applications for public art within EPRA’s redevelopment area. Each proposal will be assessed by EPRA’s planning team with the assistance of EPRA’s public art consultant and where appropriate, by a representative of the relevant local government (particularly for major proposals and public land).

• A detailed Public Art Report and plans or a maquette has been submitted for assessment, in accordance with the requirements of EPRA’s Development Policy 4. Providing Public Art;

• The proposal complies with the ‘Performance Standards for Development Approval’ of EPRA’s Development Policy 4. Providing Public Art;

• The proposal meets the ‘Principles for Public Art on Public Land / Privately Owned Land’ (as appropriate) of this Public Art Strategy; and

• The proposal is consistent with the ‘Public Art Themes’ of the Public Art Strategy and any other requirements in the Strategy for the precinct or location.

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1.7 MANAGEMENT OF PUBLIC ART

Copyright and Recognition of Artists

The Copyright Amendment (Moral Rights) Act 2000 provides protection of an artist’s moral rights in relation to copyright, attribution and protection of work. The legislation requires all original public art to be attributed to the artist. The commissioner and artist therefore must liaise to install a name plaque next to the artwork or provide other attribution. The legislation also requires that artists be acknowledged when images of their work are published.

The legislation provides that an artist’s moral rights may be infringed through destruction or alteration of their work, including relocation of artworks. Artworks should not be modifi ed by anyone but the artist, unless the artist has given consent for conservation or restoration reasons. EPRA and any other owners of public art must make reasonable efforts to contact the artist for permission and advice before any alteration or relocation of an artwork.

Ownership of Public ArtOwnership of public art is defi ned by the commissioning process and contract and the land on which it is located. Through the contract with the artist the artwork usually becomes the property of the commissioning body once the art is supplied and paid for. However, the contract may enable the commissioner and the artist to own joint copyright of the artwork. Artwork located on private property is owned and maintained by the landowner/s. Artwork located on public land is the responsibility of the managing authority, which is usually EPRA or the local government. Where EPRA has commissioned artwork for public land and that land is subsequently handed back to the control of the local government (such as through the “Normalisation” process at the completion of a redevelopment project), the artwork then comes under the ownership and maintenance of the local government.

Conservation of Public ArtThe conservation and maintenance of public art is the responsibility of the owner from the time of installation to the point of any removal or disposal, unless arrangement has been made with the artist or an art conservator to manage ongoing conservation. It is important to recognise that different artworks have different conservation requirements and that public art deteriorates at different rates and may change condition over time. It is important for the owner of the artwork to determine the following points with the artist prior to handover:

• Agreement on the ownership and the person responsible for ongoing maintenance.

• The expected lifespan of the work.

• Details of materials used and the fabricators / companies used.

• A written maintenance schedule.

• Artists direction should removal or relocation of the artwork be required.

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Decommissioning Public Art

It may become necessary for EPRA or the owner of an artwork to consider removing or relocating public art for any one of the following reasons:

• The work is coming to or has met the end of its intended life span.

• The maintenance and repair obligations and costs have become excessive in relation to the value and age of the work.

• There is irreparable damage to the artwork either through vandalism or natural decay.

• There is a signifi cant threat of damage of the work if left in its current location.

• The work has become unsafe, or is affected by changes to health and safety regulations.

• The site where the artwork is located is to be redeveloped or physically altered.

• The work is no longer relevant or appropriate and the commissioner wishes to commission new work for the site.

• The site changes ownership.

A formal review process should be implemented if the artwork becomes subject to any of the above points. The review should be conducted with the following guiding principles:

• Firstly seek to protect the continued presence and integrity of any public work, in accordance with the intention of the artist.

• Make a reasonable attempt to contact the artist at least 28 days ahead of any relocation, sale, alteration or removal of an artwork.

• The artist, owner, commissioners, maintenance contractors and professional assessors should be consulted. The review should also be sensitive to the views of the general public and to any community groups who were involved in the original commission and to any other culturally sensitive matters with regard to the artwork or its location.

• The review should examine the artwork’s maintenance fi le, as well as any contractual agreements between the artist and the commissioner regarding the maintenance or decommissioning of the work.

• The artist’s intention for the lifespan of the work should be taken into account, the intended longevity having been agreed with the commissioner at an early stage. Changes to its lifespan should only be made with the consent of the artist.

• If the artwork was commissioned as a permanent piece, then all reasonable effort should be made to avoid permanent removal within 10 years of its installation.

• If the artwork is to be permanently removed from the site, the artist should have fi rst right to acquire or purchase the work, otherwise all reasonable effort should be made to fi nd it a suitable “retirement home” such as inside a public building.

• Preparation of a documented archival record of the artwork prior to its removal.

• The destruction of a work should only be considered when all other alternatives have been exhausted.

• The opportunity to commission a new artwork for the site should be examined. It may or may not be considered appropriate to invite the artist who created the original work to put forward a proposal for the new commission.

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2.1 RIVERSIDE PROJECT AREAEPRA’s vision for the Riverside Project Area is to revitalise the eastern gateway to the Perth city centre, providing a strong sense of arrival into the centre of our capital city. New urban development with quality design and landmark architecture will be combined with sensitive riverfront development that engages with the water, to produce a vibrant waterfront community and to provide a stunning entry statement to the Perth city centre.

The 40 hectare project area is bound by the Swan River to the east, Plain Street to the west, Adelaide Terrace and the Causeway intersection to the south, and Waterloo Crescent to the north. The project will involve extending the Perth CBD grid down to the waters edge through extending Hay Street and development of the Waterbank Precinct on the river’s edge.

The Riverside redevelopment project will place a strong focus on reconnection with the Swan River, through new residents and visitors enjoying the waterfront rehabilitation and landscaped setting. Residents and visitors will also enjoy a wide range of open spaces and public places, including the beautiful Queens Gardens and new urban plazas.

Development throughout the project area will include a mix of residential, commercial, retail, entertainment and civic land uses that celebrate the riverfront inner city location. Residential neighbourhoods will be developed around existing community infrastructure, including Trinity College, the WACA sports ground and Gloucester Park. Apartment living will provide stunning city and river views.

The redevelopment project will incorporate economic, environmental and social sustainability initiatives that will guide all development. The area will showcase best practice in sustainable design in its buildings and public realm.

The Riverside Project Area is expected to be home to 5,800 new residents and 1,700 new workers.

PART 2 - PROJECT AREA

15Vision of the Riverside Project Area from the east

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Riverside Master Plan Review / 20

1. Causeway Interchange.

2. Waterbank tourism and mixed use ‘urban

waterfront’.

3. Development node adjacent to Trinity

College and Waterbank.

4. Trinity College presentation to Hay Street.

5. Visual corridor Nelson Crescent to the Swan

River.

6. Redevelopment of WACA to engage external

frontage and to capitalise on

underdeveloped land.

7. Redeveloped Police Headquarters site as an

important architectural landmark.

8. Queens Precinct, Adelaide Terrace and

commercial development.

9. Queens Precinct, Hay Street. Medium

height residential/mixed use frame to

Queens Gardens.

10. Queens Precinct, Chemlabs site

redevelopment with supermarket and

shops, office and high rise apartments.

11. Queens Gardens.

12. High density residential development

to 4A carpark site (Hillside).

13. Redeveloped, multi-level carpark

consolidated development with

surrounding shopfronts apartments.

14. Gloucester Park redeveloped with

expanded track, new race-goer facilities

and substantial commercial and

residential development of

underutilised land.

15. Heritage buildings retained in

redevelopment.

16, 18. Development opportunities

to further engage with foreshore.

17. Visual corridor connecting Nelson

Crescent to the Swan River.

Figure 3: Riverside Master Plan

Update 2008

1.

2.3.

5.

6.

7.

9.

10.

11.

12. 13.

14.

15.16.

17.

18.

4.8.

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Riverside Master Plan 2008

2.2 HISTORICAL CONTEXTThe land encompassing the Riverside Project Area in East Perth has a long and significant history in the development of Perth. Being located on the edge of the Swan River and immediately east of the original town site, the area was part of the early development of Perth and was significant to local Aboriginal people prior to this. The original Swan River shoreline has been significantly modified over time by reclamation and development.

The Swan River is a Registered Aboriginal Site (known as Derbal Yarragan or Warndoolie), and is very significant to many Aboriginal groups, including the Yellagonga people. Another Registered Aboriginal Site is also located within Riverside, Turtle Spring (Kilang Minangaldjkba) is near the eastern end of Adelaide Terrace. East Perth was also used as a camp site for Aboriginal people who were pushed to the fringe of the Perth settlement from the 1880s to 1930s, and it has a continued history as an Aboriginal meeting place.

In the early decades of Perth’s development the land within Riverside was largely used for grazing and market gardens. Brickworks were later established in the area after a clay pit was developed, and further industrial development followed during the boom brought about by the Gold Rush of the 1880s and 90s. During the boom East Perth became popular for worker housing and industrial activities such as tanneries and foundries.

Gentrification of East Perth began at the turn of the 20th century with wealthier people moving into the south east of the area and forcing the closure of the East Perth tip, the brickworks and other industrial activities and establishing many major recreational grounds. The clay pit area, which had previously been used for recreation activities such as horse racing, was re-established as parklands and opened as Queens Gardens in 1899.

The Western Australian Cricket Association was formed in 1885 and received a land bequest of 14 hectares in the Riverside area from Governor Broome, with the first cricket game held on the site in 1894. The WACA ground has also been used for a range of other sporting events and music concerts over the last 100 years. The WA Trotting Association held its first meeting at the WACA ground in 1913 and then following Swan River land reclamation the Gloucester Park trotting grounds were opened in 1929.

The later half of the 20th century saw office development progress east along St Georges Terrace and Hay Street, with development in the Riverside area including the Chemistry Centre in 1951, the Police Headquarters complex in 1965 and Mineral House in 1970. Trinity College moved from St George’s Terrace to its current site within Riverside in 1962.

EPRA’s redevelopment area was extended over the project area in 1998, the Gateway Master Plan was adopted in 2004 and it was renamed the Riverside Project Area in 2008.

17Historical Context taken from Gateway Aboriginal Heritage Report 2003 by McDonald, Hale & Associates and Gateway Heritage Strategy 2003 by Considine & Griffiths Architects

2.3 PRECINCTS IN RIVERSIDE

Queens (Precinct 25)

The Queens Precinct is located at the western end of the project area next to Plain Street and Queens Gardens, on the old Metrobus and Chemistry Centre sites. Plans for the Queens Precinct include medium and high density residential development, short stay apartment suites and a hotel. A ‘main street’ will be established along De Vlamingh Avenue between Adelaide Terrace and Hay Street and will include a supermarket and dining and retail facilities, and will become a meeting place for local residents.

Redevelopment of the precinct is well under way with three to four storey town houses developed along Hay Street and higher density development of up to 23 storeys approved along Adelaide Terrace.

WA Police Service (Precinct 26)

The WA Police Service Precinct includes the State Heritage listed Western Australian Police Complex, the unique curved building. This iconic building will be retained in the precinct and if no longer used by the WA Police will be adapted for commercial use. New residential apartment towers will be developed around the police building, to support a critical mass of residents to revitalise the area. Some commercial and retail development may also occur in the precinct.

Viewed from the Causeway, new residential towers and the Police Headquarters will sit within a landscaped setting, marking the start of Adelaide Terrace. Development on Hay Street will be to a lower scale and orientated towards Queens Gardens.

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New development in the Queens Precinct, facing Hay Street

Views from the WA Police building across the River

Waterbank (Precinct 27)

The Waterbank Precinct will be the jewel in the crown of the Riverside Project Area. The four hectare site is located on reclaimed foreshore at the eastern entry to the Perth city centre, adjacent to the Causeway bridge. The precinct will become a prime visitor destination on the riverfront, with a blend of entertainment, commercial, retail and residential uses.

Redevelopment of the precinct will take advantage of its unique location, by transforming the waterfront with wharves and landscaped boardwalks featuring cafés, bars and tourist facilities, plus a range of accommodation and commercial opportunities. A new river inlet and natural beach will be established, providing direct access to the river, along with boardwalks, paths and soft and hard landscaped areas providing continuous public access along the foreshore.

Careful positioning of buildings will provide views through the precinct to the river and beyond. The precinct will demonstrate world leading sustainability practices, including innovative urban water management, improved ground and river water quality, and the restoration of the foreshore.

Queens Gardens (Precinct 28)

The beautiful, historic Queens Gardens will be retained within Riverside as an important community asset and green refuge within the urban development. Use of the gardens will increase with new residents and workers moving to the area as a result of the Riverside redevelopment project.

The gardens will be framed by development ranging from three to six storeys on streets surrounding the gardens. Taller buildings will rise as the ground level rises north to Waterloo Crescent.

Streets and pedestrian walkways will be used to provide clear links between Queens Gardens and other new public places with the Riverside Project Area, which themselves will become community and visitor destinations.

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Waterbank Artist Impression - View of Inlet Beach and Residential

Vision of the Waterbank Precinct

The WACA (Precinct 29)

The Western Australian Cricket Association (WACA) ground has played a significant role in the history of Perth and is recognised for its social and recreational significance. The WACA ground will continue to play an important part in the recreation and social function of the Riverside Project Area. The vision for the precinct is to retain and enhance the sports ground, whilst redeveloping land surrounding the ground and integrating the precinct with the surrounding urban environment.

Opportunity exists for significant residential or mixed-use development in the north-eastern, south-eastern and western areas of the site. The design of new development is to address view corridors through the precinct, street level activation, and operation of the cricket ground. Street level development may comprise retail, entertainment and commercial uses that will enliven the precinct outside of major events and extend the diversity of use beyond its primary cricket function.

Trinity (Precinct 30)

Trinity College is a private school for boys located on the Swan River foreshore, adjacent to the WACA Ground and the Causeway. Trinity College has a long history in Perth and is an important community asset within the Riverside Project Area. The college intends to stay at its current location and explore development opportunities.

Trinity College is undertaking a strategic analysis of the development potential of its site. Given the anticipated increase in student numbers and facilities, the campus is likely to become more vertical in scale. The Riverside Master Plan envisages development of up to eight storeys in height, as well as potential expansion of the campus to the east (within Trinity’s land holding). Development will need to consider key view corridors and pedestrian links through the site, which will have an impact on the location of built form. Public access to the river must also be maintained.

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Riverside Master Plan Review / 39

WAPS 2004 Gateway Master Plan

2008 Riverside Master Plan Review

%Change

Dwellings 122 291 138.5%

Retail Floorspace 0sqm 0sqm nil

Commercial Floorspace 8,000sqm 12,500sqm 56.2%

Civic 0sqm 0sqm nil

Figure 14: Western Australian

Police Headquarters site

redevelopment - View to

the north from Causeway

Interchange

Development Yield Table –

Western Australian Police

Service Site

Vision of the WACA Precinct and surrounding development

Gloucester Park (Precinct 31)

At 14.7 hectares, Gloucester Park is the single biggest landholding in the Riverside Project Area. Owned by the Western Australian Trotting Association, Gloucester Park has been the home of harness racing in Perth for over 80 years and is listed on the State Register of Heritage Places. The historic entry gates are an important element to retain.

Gloucester Park presents an opportunity to house a substantial new urban community integrated within the Riverside project and connecting to the Claisebrook Village Project Area to the north.

The site’s size provides the opportunity for the trotting facilities to be retained and enhanced with complementary new sporting, recreational, residential and commercial development. The Riverside Master Plan allows for 3-6 storey development to the north of the Wittenoom Street view corridor and up to 20 storeys to the south.

Hillside (Precinct 32)

The 3.9 hectare Hillside Precinct is located immediately north of Queen’s Gardens and the WACA, bounded by Plain Street, Waterloo and Nelson Crescents and Gloucester Park. The area, which is currently used as a car park, will be redeveloped with multi-storey residential and commercial development, to make better use of this prime location. Development will provide unique views and the precinct will become highly sought-after real estate.

Proposed residential development involves a series of apartments set back from the street on 3-4 level podiums (to avoid overshadowing of Queens Gardens). These residential lots will offer commanding views of Queen’s Gardens, the WACA ,and beyond to the Swan River. A new multi-level public car park will be developed to replace the existing car park. It will be integrated into the precinct by ‘sleeved’ buildings developed around the car park to screen it from public view.

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Vision of the Hillside Precinct

2.4 EXISTING PUBLIC ARTThe Riverside Project Area contains a number of public artworks that have been included in the project area prior to the preparation of this Strategy, as shown below. The location, theming and scale of these existing artworks should be considered when designing new artworks within the same precinct.

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Chocolate and Rose and Chrysanthemums and Coffee by Anne Neil, 2009, in the Queens Precinct

Artwork screen to building by Maureen Elphicks, 2010, at Trinity College

Artworks on Hay Street footpath by Adrian Jones, 2005, in the Queens Precinct

Peter Pan by George Frampton, 1929, in Queens Gardens

2.5 PUBLIC ART THEMES

Public Art Aim

The aim for public art in the Riverside Project Area is to celebrate the rich natural and social history of the area, whilst embracing the vibrant, cosmopolitan community that is developing. Public art in the project area must be of a high quality, contemporary design that reinforces the quality of the redevelopment project and strengthens its identity as the river frontage eastern entry to Perth city centre.

Public Art Themes

Both the heritage and the future vision for the Riverside Project Area have been used to identify appropriate themes for public art within the project area. All public art within the Riverside Project Area should address one of the following four themes:

Theme 1 River Life

The Swan River has been highly valued by past and present communities and will undoubtedly be much loved by the new community developing in the project area. The river has always been valued by Aboriginal people and also played an important role in the early development of Perth, particularly for freight transport. Today the river and foreshore are highly valued for recreational use and for its beauty and environmental value.

Artworks responding to the theme of ‘River Life’ may reflect living along, using, travelling along, conserving or enjoying the river and foreshore area.

Theme 2 Indigenous Past, Present and Future

The importance of the East Perth area and the river to Aboriginal people is so significant to the Riverside Project Area that it should be a specific public art theme. Public art should be commissioned to record and share this important history and social value.

Aboriginal artwork does not have to be limited to historical pieces, consistent with the project vision of a vibrant urban community, the project area should also include contemporary art by Aboriginal artists.

Theme 3 WA Sport and Leisure

Australians are well known to value their leisure time and to love sport. The Riverside Project Area has a long history of important sporting and leisure grounds, including the WACA, Gloucester Park, Queens Gardens and the river foreshore. Public art should celebrate these social values and community assets, both through historical and contemporary art projects.

Theme 4 City Gateway

The Riverside Project Area is located in an important position at the eastern entry to the Perth city centre. Increased development and activation in the project area is important to creating a stronger city centre and defining the edge or arrival point of the city.

Strategically located public art projects, particularly within the Waterbank Precinct and along Adelaide Terrace, should be developed to help define and reinforce the project area as a ‘gateway’ to the city centre. These artworks should provide strong landmarks in a contemporary urban form, provide a sense of arrival to the city and should uniquely define ‘Perth’ city centre.

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Public Art Themes for Each Precinct

A choice of appropriate themes for public art have been designated to each precinct within the Riverside Project Area as follows:

Queens Precinct

• CityGateway• RiverLife

WAPS Precinct

• CityGateway• IndigenousPast,PresentandFuture

Waterbank Precinct

• CityGateway• RiverLife• IndigenousPast,PresentandFuture

Queens Garden Precinct

• WASportandLeisure• IndigenousPast,PresentandFuture

The WACA Precinct

• WASportandLeisure• RiverLife

Trinity College Precinct

• RiverLife• WASportandLeisure• IndigenousPast,PresentandFuture

Gloucester Park Precinct

• WASportandLeisure• RiverLife• IndigenousPast,PresentandFuture

Hillside Precinct

• CityGateway• WASportandLeisure

241. Artree by John Oleinklein. 2. Charnock Woman by Jenny Dawson, Sandra Hill & Miv Egan

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2.6 PUBLIC ART OPPORTUNITIES

Locating Public Art

Careful selection of appropriate locations for public art within the project area will be fundamental to the success of the Riverside Public Art Strategy. Public art should be located to enhance the amenity and the interpretation of the public realm, as well as to provide public visibility and interaction with artwork.

Map 1 on page 28 provides indicative locations for public art throughout Riverside Project Area. The locations have been selected to enhance key public places, pedestrian thoroughfares and highly visible locations, such as street intersections. The map includes some indicative locations for public art on private development sites, however the final location should be decided through architects, designers and artists working together on development proposals.

All artworks are to be developed in accordance with DevelopmentPolicy4ProvidingPublicArt and this Public Art Strategy - including the public art themes allocated to each precinct.

Landmark / Place Marker

To express the City Gateway theme and to reinforce the sense of arrival to Perth city centre, one to two major landmark public artworks should be developed in the Riverside Project Area. The large muti-storey building to be developed in the Waterbank Precinct at the foot of the Causeway bridge, which is designated as an inconic/landmark building provides an excellent location for artwork exposure. The skin/facade of the building could be a major artwork or artwork could potentially be located on the roof and could also use lighting and other technology to create a striking statement.

Other medium scale / medium budget artworks that act as points of reference (place markers) should be included at key wayfinding points, such as at major street intersections and key destinations. Indicative locations are shown on Map 1.

Waterbank Precinct Public Realm

The Waterbank Precinct will be the main public focus and visitor destination of the Riverside Project Area and will include an extensive public domain with a natural beachfront, jetties, paved and landscaped public places adjacent to the river, public walkways and alfresco dining areas. Permanent artwork should be included in the development of the Waterbank public domain to enhance the amenity and sense of place within the precinct.

Avenue of Light by Cliff Garten The Ego and the Id by Franz West Walking to the Sky by Jonathan Borofsky

Some functional artwork, such as unique seating and lighting would also be appropriate within the Waterbank public domain and non-permanet artworks could enhance the visitor experience (see Place Activation and Functional Artwork below).

Place Making and Activation

Public art is an important part of ‘place making’ - developing the unique qualities that turn a space into a place, and it is also a popular part of place activation - enliving a place and engaging the public. Permanent artworks, temporary installtions and ephemeral events are all important to place making and activation in the key public places of the Riverside Project Area. The public domain in the Waterbank Precinct should be a particular focus and there are also opportunties to enhance De Vlamingh Avenue in the Queens Precinct and Queens Gardens as public destinations, through appropriate public artworks and events.

Street Furniture and Functional Artwork

There are opportunities for artists to design of some of the street furniture within the public realm, to instil a creative and unique character into the project area. Functional artworks may include lighting, seating, bicycle racks, children’s play objects, and similar such features that involve appropriate artists in design and production of the pieces. Artist involvement in design is essential for any street furniture that is proposed as public art to comply with the Authorty’s ProvidingPublicArtPolicy.

Queens Gardens and Other Open Space

Queens Gardens is a beautiful asset to the Riverside Project Area but is currently under used. Use of the gardens will increase as the population of the area increases and some small elements of public art or functional pieces would enhance the public enjoyment of the space. Other smaller areas of open space that would provide appropriate locations for artwork are shown on Map 1.

Bibles and Bullets by Fiona Foley Seats in Claisebrook Village by Mark Cox

Les Girafes by Compagnie Off Dance performance choreographed by Willi Dorner

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Swan River Foreshore

There is a large expanse of undeveloped river foreshore running along the eastern edge of the Trinity and Gloucester Park precincts. Whilst some development may be introduced to better link the project area to the river, public access and recreational use of the river and foreshore area will remain an important part of these two precincts. There are opportunities here to add small to medium sized artworks to the natural landscape to enhance the community experience in the area.

Artworks could respond to one of the three themes of RiverLife,WASportandLeisure, or Indigenous Past, Present and Future. Ideally a series of related artworks would be commissioned to provide a continuing story as people walk and cycle along the foreshore.

Public Art on Private Developments

All development approvals in Riverside valued at $1 million or greater will be required to comply with DevelopmentPolicy4ProvidingPublicArt and provide public art within the development or pay cash in lieu (which EPRA will spend on public art for Riverside). There are many possibilities for integrating public art into new developments and this Strategy and the Development Policy provide guidance to developers and their artists.

Map 1 provides some indicative locations for artworks on private development sites, however exact locations should be determined during design of each building. For precints yet to undergo detailed design of redevelopment projects, including WACA, Trinity and Gloucester Park, a plan should be prepared by an artist or art coordinator to guide the location and theming of artworks within that precinct.

Gapu Guya by Wukun Wanambi This building facade In Darwin is enhanced by incorporating artwork into the glazing, it is also a locally specific aboriginal design.

Flow by Mandy Ridley This screen covering a public car park is an example of successfully integrating artwork into developments to create an improved outcome.

The Water Dance by Anne Neil .A large scale example of connection of public art and water / foreshore areas

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Key

• Major landmark artworks and medium place marker artworks (to be supplied through EPRA percent for art budget and also by private developers)

k Artworks / artwork series integrated into public open space • Key locations for public art on private developments Pubic art plans to guide art locations in these precincts p Existing public art

* Temporary public art / place activation opportunities

Map 1. Riverside Project Area - Indicative Locations for Public Art

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WATERBANK PRECINCT currently under redesign - public art plan required

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