Appendix 6. Heritage Impact Statement – Flightpath Architects

Appendix 6. Heritage Impact Statement

– Flightpath Architects

Heritage Impact Statement Festival Plaza - Adelaide Riverbank Precinct for ARM Architecture prepared by: Flightpath Architects Pty Ltd date: December 2015 SD-HER-0100!Version: 1

SD-HER-0100 - Adelaide Riverbank Precinct – Adelaide Festival Plaza, Heritage Impact Statement 2

flightpath architects December 2015

Contents Contents ........................................................................................................... 2!List of Figures .................................................................................................... 3!1.0! Introduction .............................................................................................. 5!

1.1! Objectives of Report .............................................................................. 5!1.2! Scope of this Report .............................................................................. 5!1.3! Location of Site ..................................................................................... 6!1.4! Current Use ........................................................................................... 6!

2.0! Historical Outline ....................................................................................... 7!2.1! Historical Overview – Pre 1970 .............................................................. 7!2.2! Historic photographs – Pre 1970 ........................................................... 8!2.3! Historical Overview – c.1970 .................................................................. 9!2.4! Early Plans – c.1999 ............................................................................ 11!2.5! Historic photographs ........................................................................... 13!

3.0! Significance ............................................................................................ 14!3.1! Statutory Framework ........................................................................... 14!3.2! Non-Statutory Framework ................................................................... 19!

4.0! Condition of Extant Fabric ...................................................................... 29!4.1! Northern Promenade ........................................................................... 29!4.2! Amphitheatre ....................................................................................... 31!4.3! Dunstan Plaza ..................................................................................... 31!4.4! Northern Plaza ..................................................................................... 33!4.5! King William Road ................................................................................ 34!4.6! Station Road ....................................................................................... 35!

5.0! Proposal ................................................................................................. 36!5.1! Festival Plaza, Adelaide Riverbank Precinct – ARM Architecture .......... 36!5.2! Proposed Plans ................................................................................... 47!

6.0! Heritage Impact Statement ..................................................................... 48!6.1! Statutory Significance – Impacts of the Proposed Development - AFC 48!6.2! Statutory Significance – Impacts of the Proposed Development – Adelaide Railway Station and Old & New Parliament Houses ........................ 48!6.3! Non-Statutory Significance – AFC Heritage Impact .............................. 49!6.4! Non-Statutory Significance – Adelaide Railway Station Heritage Impact 53!6.5! Non-Statutory Significance – Old and New Parliament Houses Heritage Impact .......................................................................................................... 53!6.6! Planning Policy Context ....................................................................... 55!

7.0! Conclusion ............................................................................................. 66!

Cover Image: Aerial view of Festival Centre Source: Hassell Studio http://www.hassellstudio.com



List of Figures Figure 1:! Aerial View, Proposed Development, Adelaide ................................. 6!Figure 2:! Location Plan, Proposed Development, Adelaide ............................. 6!Figure 3:! (left) ‘Government Domain’ 1837 ...................................................... 7!Figure 4:! (right) Site Precinct 1878 .................................................................. 7!Figure 5:! (left) Lake Torrens c. 1890 ................................................................ 8!Figure 6:! (right) Lake Torrens (Railway Station to right) c. 1950 ....................... 8!Figure 7:! (left) Government House and the City Baths on left edge c. 1937 ..... 8!Figure 8:! (right) City Baths c. 1919 .................................................................. 8!Figure 9:! (left) The Cheer-Up Hut c. 1915 ....................................................... 9!Figure 10:! (right) The Cheer-Up Hut (internal) c. 1915 ..................................... 9!Figure 11:! Plaza Level Plan ........................................................................... 11!Figure 12:! Terrace Level Plan ........................................................................ 11!Figure 13:! Park Level Plan ............................................................................ 12!Figure 14:! Aerial View, Adelaide Festival Centre ............................................ 13!Figure 15:! Overview of nearby Heritage Places ............................................. 15!Figure 16:! Overview of Planning Zones ......................................................... 18!Figure 17:! Overview of Policy Areas .............................................................. 19!Figure 18:! Existing Promenade Adjacent Amphitheatre ................................. 29!Figure 19:! Existing Promenade and Amphitheatre ......................................... 30!Figure 20:! Existing Promenade ..................................................................... 30!Figure 21:! Existing Amphitheatre .................................................................. 31!Figure 22:! Dunstan Plaza .............................................................................. 31!Figure 23:! Dunstan Plaza and Amphitheatre ................................................. 32!Figure 24:! Dunstan Plaza .............................................................................. 32!Figure 25:! Northern Plaza ............................................................................. 33!Figure 26:! Northern Plaza ............................................................................. 33!Figure 27:! Eastern project boundary ............................................................. 34!Figure 28:! Northern Plaza above Lyric Function Room .................................. 34!Figure 29:! Station Road ................................................................................ 35!Figure 30:! Station Road ................................................................................ 35!Figure 31:! Aerial view of the proposal from King William Road ...................... 36!Figure 32:! Aerial view of the proposal from Elder Park .................................. 37!Figure 33:! King William Road entry and ceremonial axis ................................ 38!Figure 34:! Section A - King William Road interface ........................................ 38!Figure 35:! Southern Plaza or ‘The Square’ .................................................... 39!Figure 36:! The Square, looking South at Arbours .......................................... 40!Figure 37:! Dunstan Plaza, aerial view ............................................................ 41!Figure 38:! Dunstan Plaza .............................................................................. 41!Figure 39:! Station Entry (exterior) .................................................................. 42!Figure 40:! Station Entry (interior) ................................................................... 42!Figure 41:! Northern Promenade ................................................................... 43!Figure 42:! Station Road (looking North) ........................................................ 44!Figure 43:! Station Road (looking North) ........................................................ 44!Figure 44:! Lower Forecourt (from King William Road) .................................... 45!



Figure 45:! Existing conditions, Parliament House, North façade, ................... 46!Figure 46:! Parliamentary Courtyard ............................................................... 46!Figure 47:! Proposed Plans, RL30.0; SD – A1020[08] .................................... 47!Figure 48:! Proposed Plans, RL36.10; SD – A1040[10] .................................. 47!Figure 49:! Diagram of heritage significance, Plaza Level ............................... 50!Figure 50:! Diagram of heritage significance, Lower Plaza Level ..................... 52!Figure 51:! Figure Rb/2 – Connections (Visual and Physical) .......................... 59!Figure 52:! Figure Rb/2 – Connections Riverbank Plaza ................................. 60!



1.0 Introduction

1.1 Objectives of Report

The broad objective for this Heritage Impact Statement (HIS) is to assess the effect of the proposed development on the significance of a number of State Heritage Places which exist in and around the subject site, in particular the Adelaide Festival Centre (AFC).

In addition the HIS assists relaying the rationale underlying the proposed works and the logic behind the proposed changes.

The following tasks have been undertaken in order to develop an understanding of the place and to complete the assessment:

• Review of previous heritage reports and available documentation, to understand the significance of the place(s), with a particular focus on the relevant criteria;

• Examine the existing building fabric and any alterations that have previously occurred;

• Assess heritage related planning policies which are applicable to the subject site and

• Analyse the proposal within the above context.

1.2 Scope of this Report

There are a number of inter-related projects concurrently underway in the vicinity of the identified State Heritage Places, they include;

• Rebuilding and extending of underground car park facilities

• Multi-storey retail and office buildings to the North of Parliament House and Old Parliament House

• Multi-storey extensions to the Casino to the South of the Adelaide Railway Station

• Refurbishment of the Adelaide Festival Centre

• Public Realm works.

This report was commissioned by and responds only to the proposed Public Realm works by ARM Architecture (Area 1, highlighted in pink below).



Figure 1: Aerial View, Proposed Development, Adelaide Source: ARM Architecture, 2015

1.3 Location of Site

The subject site is located within the Adelaide City Council area along King William Road, Adelaide (Figure 2).

Figure 2: Location Plan, Proposed Development, Adelaide Source: http://www.atlas.sa.gov.au

1.4 Current Use

The site area has been occupied for the last 40 years for civic, cultural and commercial uses incorporating theatres, function rooms, restaurants, cafes, car parking and pedestrian circulation and public open space.



2.0 Historical Outline

2.1 Historical Overview – Pre 1970

Early maps of Adelaide, following European settlement of the area, indicate the site was originally set aside for government use. King William Road did not extend beyond North Terrace in early plans with the intention that Government House would be placed in this prominent position. Geology and typography meant that the final location of Government House was further to the east and by 1854 King William Road had been officially formed. Uses for the adjacent land were quickly established, with Parliament House from 1843, the Adelaide Railway Station from 1856, City Baths 1861 and improvements to the Torrens River for public recreation and enjoyment from 1870, creating the present lake form in 1881. The rotunda was officially opened in 1882 and various other structures, including a ‘Cheer-up Hut’ in response to WW1 was also established in 1915 and Government Printing offices established behind Parliament House from 1868.

Figure 3: (left) ‘Government Domain’ 1837 Source: Mortlock Collection, State Library of South Australia,

ref: zcm3305082 Figure 4: (right) Site Precinct 1878 Source: Mortlock Collection, State Library of South Australia,

ref: map1671182_zmp



2.2 Historic photographs – Pre 1970

The following photographs show some of the early structures on the site of the proposed development.

Figure 5: (left) Lake Torrens c. 1890 Source: Mortlock Collection, State Library of South Australia, B50421_24 Figure 6: (right) Lake Torrens (Railway Station to right) c. 1950 Source: Mortlock Collection, State Library of South Australia, B63147 Figure 7: (left) Government House and the City Baths on left edge c. 1937 Source: Mortlock Collection, State Library of South Australia, B60354_58 Figure 8: (right) City Baths c. 1919 Source: Mortlock Collection, State Library of South Australia, B2099



Figure 9: (left) The Cheer-Up Hut c. 1915 Source: Mortlock Collection, State Library of South Australia,

PRG1162_4_13 Figure 10: (right) The Cheer-Up Hut (internal) c. 1915 Source: Mortlock Collection, State Library of South Australia, B5505

2.3 Historical Overview – c.1970

2.3.1 Adelaide Festival of Arts Inspired by the Festivals of Britain, the Adelaide Festival of Arts was the first of its kind in Australia “a bold vision which became an enduring event, marking South Australia as the ‘Festival State’”1. Initially established by a small group of Adelaide citizens (including the Director of the Elder Conservatorium of Music, Professor John Bishop, Sir Lloyd Dumas, Lord Mayor James Irwin and Sir Arthur Rymill) the first Adelaide Festival of Arts was launched in 1960 and was widely supported not only through strong attendance at events but also by donations from the public.

The establishment of the new festival only served to highlight the lack of suitable facilities within the city to hold such events, leading the Board of Governors to suggest that the Government consider construction of a multi-purpose festival hall. It took three years of solid campaigning for the Government, under Premier Sir Thomas Playford to relent to the request, but only on the condition that the Adelaide City Council and general public also contributed to fund the ‘Cultural Centre’. 2.3.2 Adelaide Festival Centre After consideration of many varied sites around Adeliade, including Carclew on Montefiore Hill in North Adelaide, for which Hassell McConnell & Partners were engaged to prepare designs, the current site was eventually settled upon. By this time it was 1968, and the scope of the project had also evolved to become a multi-purpose entertainment centre rather than only a concert hall.

In 1970 a public appeal was held, reaching its goal in just one week. Eventually 1 State Heritage Register Nomination, Action Officer, Carol Nightingale, file No 13200



over subscribed by $63,000, this money was set aside for purchasing of art works.2

Although much more extensive master plans for the precinct had been prepared, phase one of the project (limited by existing buildings on the site and other factors) only included a small plaza and what is now known as the Festival Theatre.

By August 1971, with construction already underway, new Premier Don Dunstan announced support for the second stage, incorporating a Drama Theatre (now the Dunstan Playhouse) and the smaller experimental theatre ‘the Space’. Production Workshops, rehearsal areas, dressing rooms were also incorporated into the project.

During construction it became apparent that the set out of the new theatres combined with the natural slope of the land towards the Torrens created an excellent site for an open-air amphitheatre, which was duly endorsed by the State Government and incorporated into the project. Phase one opened on time in 1973, prior to the opening of the Sydney Opera House four months later.

2 D Whitelock, ‘Festival! –The Story of the Festival of Arts’, Adelaide Festival Centre Trust, Adelaide 1980



2.4 Early Plans – c.1999

Figure 11: Plaza Level Plan Source: Woodhead International CMP, 1999, pg 37 Figure 12: Terrace Level Plan Source: Woodhead International CMP, 1999, pg 36



Figure 13: Park Level Plan Source: Woodhead International CMP, 1999, pg 35



2.5 Historic photographs

Figure 14: Aerial View, Adelaide Festival Centre (prior to convention centre addition c1980) Source: Hassell Studio http://www.hassellstudio.com Many other excellent photographs exist of the Adelaide Festival Centre from early models to its opening and use throughout the 1970’s and 1980’s. Due to copyright reasons we have not included them in this report, however they can be viewed on line through the National Library of Australia ‘Trove’ portal (http://trove.nla.gov.au).



3.0 Significance

3.1 Statutory Framework

There are three layers to the statutory framework which defines heritage significance or value, guides proposed works and ultimately decides on appropriate development in and around State Heritage Places. Firstly the South Australian Heritage Places Act 1993, secondly the South Australian Development Act 1993 and thirdly the Adelaide (City) Development Plan.

3.1.1 Heritage Places Act 1993 The Heritage Places Act 1993 stated purpose is “to make provision for the identification, recording and conservation of places and objects of non-Aboriginal heritage significance; to establish the South Australian Heritage Council; and for other purposes.” The stated objects of the Act are:

(a) to recognise the importance of South Australia's heritage places and related objects in understanding the course of the State's history, including its natural history; and (b) to provide for the identification and documentation of places and related objects of State heritage significance; and (c) to provide for and promote the conservation of places and related objects of State heritage significance; and (d) to promote an understanding and appreciation of the State's heritage; and (e) to encourage the sustainable use and adaptation of heritage places in a manner consistent with high standards of conservation practice, the retention of their heritage significance, and relevant development policies.

Significance, in the Act is defined by specified criteria. A place is considered of heritage significance if it satisfies one or more of the following criteria:

(a) it demonstrates important aspects of the evolution or pattern of the State's history; or (b) it has rare, uncommon or endangered qualities that are of cultural significance; or (c) it may yield information that will contribute to an understanding of the State's history, including its natural history; or (d) it is an outstanding representative of a particular class of places of cultural significance; or (e) it demonstrates a high degree of creative, aesthetic or technical accomplishment or is an outstanding representative of particular construction techniques or design characteristics; or



(f) it has strong cultural or spiritual associations for the community or a group within it; or (g) it has a special association with the life or work of a person or organisation or an event of historical importance.

An understanding of significance is recognised as being fundamental to the assessment and management of a State Heritage Place3. Unfortunately prior to the gazetting of the South Australian Heritage Places Act 1993, the criteria for listing a place was not necessarily assessed or recorded. This is discussed in further detail below.

State Heritage Places: red Local Heritage Places: blue Figure 15: Overview of nearby Heritage Places Source: Location SA Map, www.location.sa.gov.au/viewer Properties entered on the South Australian Heritage Register in the vicinity of the subject site are indicated in Figure 15 above.

The proposed works include or are adjacent to four registered State Heritage Places, they are;

• Adelaide Festival Centre (Festival Theatre, Playhouse, Space and Amphitheatre, the Southern Plaza, and Car parking, Restaurant and Convention Facilities); SH/13200

3 The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance, 2013

Subject Site



• Old Parliament House; SH/10874

• Parliament House; SH/10845

• Adelaide Railway Station / Adelaide Casino; SH/10844

Other than the items listed above, the next closest heritage listed property is Government House; Government House Gates (separate Local Heritage Listing); and a Memorial to John A.H Gardner in Elder Park. These sites, and other State and Local Heritage Places to the south of North Terrace, are considered to be sufficiently separated from the proposed development that the proposed development will have no material affect on their heritage significance.

3.1.1.1 Adelaide Railway Station: Adelaide Railway Station was entered on the State Heritage Register in 1981 and accordingly its assessment against the seven criteria now listed in the Heritage Places Act 1993 has not been officially scrutinized and recorded.

There is however a Conservation Management Plan prepared in which is discussed further in Section 3.2 – Non-statutory framework. 3.1.1.2 Old and New Parliament Houses: Old Parliament House and Parliament House were listed as State Heritage Places in 1981 and 1980 respectively, and were not subjected to assessment against the seven criteria of the Act. Although, both buildings have since been entered in the National Heritage Register as places of ‘outstanding heritage value to the nation because of the place’s importance in the course, or pattern, of Australia’s natural or cultural history’.

The official Summary Statement of Significance states; The South Australian Old and New Parliament Houses are significant for their association with the enfranchisement of men and women in the nineteenth century. Full adult manhood suffrage, notably including Aboriginal men, was first granted in an Australian colony in South Australia in 1856, and this may have been the first time this voting right was granted anywhere in the world. The first elections using a fully secret ballot were also held here the following year. Women, again notably including Aboriginal women, were given the vote in 1894 in South Australia, and at the same time were allowed to stand for parliament. South Australia was the first Australian colony, and one of the first jurisdictions worldwide, to give women the vote. It was the first jurisdiction in the world to allow women to stand for parliament. The rights granted in South Australia were subsequently introduced in the other Australian colonies/states (however, it was many years before Aboriginal enfranchisement issues were resolved). South Australia strongly influenced the granting of voting and standing rights to women in federal elections in 1902.



With respect to Old and New Parliament Houses, the proposed public realm works in the vicinity of these buildings is contained to the Northern and Eastern external faces of the buildings and relate to paving and landscaping treatments only. The statutory heritage significance described above are therefore not considered to be affected by these proposed works. 3.1.1.3 Adelaide Festival Centre (Festival Theatre, Playhouse, Space

and Amphitheatre, the Southern Plaza, and Carparking, Restaurant and Convention Facilities)

The Adelaide Festival Centre was authorised 11 December 1997 and according to the listing description4, the place is significant because it meets the following criteria;

criteria (f) in that

(f) it has strong cultural or spiritual associations for the community or a group within it

The Arts, for many South Australians, are represented in a tangible form by the Festival Centre. It is an important place for the community.5

criteria (g) in that

(g) it has a special association with the life or work of a person or organisation or an event of historical importance.

The Adelaide Festival Centre was constructed to house the Adelaide Festival of Arts, and is expressive on an era in which South Australia was developing a greater cultural profile.6

Other documents also provide an assessment of the Festival Centre against the defined criteria, these are discussed further in Section 1.5 Non-Statutory Framework below. 3.1.2 Development Act 1993 The Development Act 1993 stated purpose is “to provide for planning and regulate development in the State; to regulate the use and management of land and buildings, and the design and construction of buildings; to make provision for the maintenance and conservation of land and buildings where appropriate; and for other purposes.”. In relation to heritage issues, the Act (and associated regulations) determines what is considered Development. In the case of State Heritage Places this is defined as “the demolition, removal, conversion, alteration or painting of, or addition to, the place, or any other work that could materially affect the heritage

4 Heritage Places Database Details, State Heritage ID 13355, www.planning.sa.gov.au 5 City of Adelaide Nomination, Action Officer Carol Nightingale; File number 13200 6 ibid



value of the place;” The Development Act 1993 is the reason the proposed works require Development Approval, and it provides the mechanism for the formulation and implementation of local Council Development Plans. 3.1.3 Development Plan – Adelaide (City) At the time of writing this report, the current Development Plan for Adelaide (City) was consolidated 24 September 2015.

The relevant sections of this Development Plan for this site, as demonstrated in Figure 16 & 17 below, are;

• Heritage and Conservation

• Riverbank Zone (Rb)

• Policy Area 28 Entertainment Policy Area

Each of these policy sections and the specific objectives and principles relevant to this proposal are described and then discussed in detail below in Section 6.5.

Figure 16: Overview of Planning Zones Source: Location SA Map, www.location.sa.gov.au/viewer

Subject Site (circled)

Riverbank Zone (Shaded yellow)

Capital City Zone (Shaded blue)

Parklands Zone (Shaded green)



Figure 17: Overview of Policy Areas Source: Adelaide (City) Development Plan, 24 September 2015

3.2 Non-Statutory Framework

There are documents which have been prepared at various times for a range of purposes which may be used to inform the conservation and management of a culturally significant site but which are nonetheless non-statutory, that is not legally binding by current legislation.

These documents include The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance, 2013, prepared by Australia ICOMOS 7 and Conservation Management Plans prepared by experienced consultants under the articles, principles and procedures set out by Australia ICOMOS. Undertaking periodic reviews of a places significance is widely acknowledged as appropriate and even necessary in the management of culturally significant sites. Periodic reviews incorporate additional information that may have come to light

7 Australia ICOMOS (International Council on Monuments and Sites) is a non-government, not-for-profit organisation of cultural heritage professionals formed as a national chapter of ICOMOS International in 1976. Australia ICOMOS’ mission is to lead cultural heritage conservation in Australia by raising standards, encouraging debate and generating innovative ideas. Australia ICOMOS has a Mission Statement, Ethical Principles and a Code of Ethics. http://australia.icomos.org/about-us/australia-icomos/

Subject Site (circled)



and reassess policies through the ever evolving prism of current philosophies and legislative frameworks, recognising changing cultural values may alter what is perceived as significant.

Following such reviews it would be appropriate for authorities to review and amend criteria for listing a place under the relevant Act. Currently, however, these documents are not referenced in any of the statutory frameworks listed above and therefore must only be used as guidelines. Similarly, while the charters and principles of Australia ICOMOS, including the Burra Charter, are extremely important documents, they are not referenced in any of the statutory frameworks listed above and therefore must also only be used as guidelines when assessing potential impacts of proposed development.

3.2.1.1 Adelaide Railway Station: A Conservation Management Plan for the Adelaide Railway Station was prepared in 2001 by Danvers Architects for the Adelaide Casino Pty Ltd and the Department for Transport, Urban Planning and the Arts. This document provides a thorough history and review of the building and suggests it is of cultural significance to because;

• It is symbolic of the development of the Railways in South Australia • It is an outstanding representation of city railway station architecture in

South Australia and Australia • It is a significant example of the work of Garlick and Jackman architects • It is an excellent example of the “Free Classical – Beaux-Arts” style • It has strong cultural and social associations with the community • It is a permanent reminder of both William Alfred Webb, and the

rehabilitation of the South Australian Railways in the 1920’s The subsequent assessment against the Heritage Places Act (1993) criteria recommends that the building meets criteria (a), (d), (e), (f) and (g). The proposed Riverbank Precinct public realm works interact with the Adelaide Railway Station in two locations – the Station Road works, to the east of the railway station, and the Station Entry connection to the north façade. A description of the proposal and potential impacts are discussed further below. 3.2.1.2 Parliament House: Two Conservation Plans have been prepared for Parliament House;

• 1987 Parliament House Adelaide Conservation Study Danvers Architects

• 2011 Conservation Management Plan by Swanbury Penglase Architects



The latter document is over 900 pages long and is an extremely detailed investigation of the physical fabric and history of the building. This document asserts that the building is of cultural significance because;

• It represents the political and economical development of the colony since its inception in 1836 and stands for South Australia’s political entity, her self governing rights and is embolic of the State itself, and as such integrated the best of South Australian materials and workmanship to highlight the resources of the State;

• It is the place where legislation was introduced and evolved which shaped the development of the state, and included the introduction of important democratic reforms which are an integral part of the rights and lives of South Australians. One of the most important of these being the introduction of female suffrage in 1894 which allowed all women not only to vote, but also stand for Parliament. In passing this legislation South Australia was the first Australian colony, and one of the first places worldwide, to give women the vote. It was the first jurisdiction in the world to allow women to stand for Parliament;

• The public recognition of the significance of Parliament House is highlighted by it being the venue of numerous ceremonial celebrations as well as a place of protest and demonstration by the citizens of the State;

• It is one of the few buildings constructed of marble on such a large scale in Australia and the only large building constructed of Kapunda Marble;

• The building is based on the winning competition design by Architects Wright & Tayler and is an imposing and finely wrought structure of Italian Renaissance inspired classical design, then considered to be most appropriate form for major public buildings;

• It is an intrinsic part of the remarkable line of structures along the north side of North Terrace from the Adelaide Railway Station to the Botanic Gardens which forms a cultural boulevard of considerable significance to the State, and is located on one of the most prominent intersections in Adelaide and is an imposing landmark building;

• It together with Old Parliament House was the venue for the first stage of the Second Constitutional Convention in 1897 at which the work of drafting the Australian Constitution commenced. The Convention was based in the current House of Assembly Chamber.

• It represents the philanthropy and wealth of the important South Australian businessman Sir John Langdon Bonython who donation of £100,000 was fundamental in having the building completed in 1939.

The subsequent assessment against the Heritage Places Act (1993) criteria recommends that the building meets criteria (a), (b), (e), (f) and (g).



The proposed Riverbank Precinct public realm works interact with Old and New Parliament Houses in three locations – the Station Road works, to the west of Old Parliament House, a new ‘Parliament Lane’ to the North of Old Parliament House and the new Parliamentary Courtyard along the northern façade of Parliament House. A description of the proposal and potential impacts are discussed further below. 3.2.1.3 Adelaide Festival Centre Two Conservation Management Plans have been prepared on the Adelaide Festival Centre, they are;

• 1999 Woodhead International Adelaide Festival Centre Conservation Management Plan

• 2014 DASH Architects Adelaide Festival Centre Conservation Management Plan

3.2.2 1999 Woodhead International Conservation Management Plan This report was prepared for the Department for Administrative and Information Services and Woods Bagot Architects prior to significant alterations to the Adelaide Festival Centre (AFC) in 2002 by Woods Bagot. It asserts that the AFC is significant for architectural, social and cultural significance (although as noted above the statutory reasons for listing do not reflect this).

Items of ‘exceptional significance’ which directly relate to the scope of this report are listed as;

• The siting and orientation of the buildings and plaza and their relationship to the topography of Elder Park.

• Views of the Festival Centre from Elder Park, King William Road and across the Torrens River.

• Vistas of Parliament House and the Railway Station from King William Road

• The Plaza as a base for the Theatre and Drama complex, its octagonal patterning, voids and precast exposed aggregate paving.

• Penetrations for trees, which visually link Plaza level with Terrace level below.

• Vistas of Elder Park from the Plaza, including view of the Rotunda

• Approach to Playhouse along diagonal axis.

• Tapering ‘mushroom’ columns to underside of plaza slab and ribbed slab ceiling.



• Stepped planter boxes in ribbed concrete, and dark brown brick with precast concrete capping which provide transition between King William Road and Terrace level.

• Amphitheatre including seating, steps and stage wich provides the transition between the Plaza and Elder Park.

Items of ‘considerable significance’ which directly relate to the scope of this report are listed as;

• Plaza edge to King William Road.

• Brown ceramic tile paving to pavements/terraces adjacent Festival Theatre.

• Main axis stairway and centrally placed main entrance doors which have replaced original dual stairs and entrance doors.

3.2.3 2014 DASH Architects Conservation Management Plan The 2014 DASH Adelaide Festival Centre Conservation Management (CMP) is a highly detailed document over 400 pages long, extensively covering the history and development of the site. The document was prepared as an update to the 1999 Woodhead CMP for the Department of Planning Transport and Infrastructure (DPTI Design and Heritage Management). While the 1999 Woodhead CMP doesn’t directly address the State Heritage Places Act criteria, the DASH CMP does, although neither acknowledge the precise criteria for which the AFC is actually listed under the Act.

The assessment first identifies the relevant guideline for assessment against this criteria from the document “Planning Bulletin: Heritage” published by Planning SA (October 2001), and then offering justification for listing the Adelaide Festival Centre against it. (Note that Criteria (c) was the only criteria the DASH CMP suggested the AFC did not meet).

(a) It demonstrates important aspects of the evolution or pattern of the State’s history.

Summary of Planning Bulletin: Heritage: The place should be closely associated with events, developments of cultural phases that have played a significant part in South Australian history. Ideally it should demonstrate those associations in its fabric. Places would not normally be considered under this criterion if they were commonplace, frequently replicated, are places associated with events of interest only to a small number of people, associated with developments that have little significance or places reputed to have been the scene of an event, but where there is no trace of that event. Assessment against Criterion (a):



The Adelaide Festival Centre is considered to fulfil this criterion for the following reasons:

• The ACF complex is a contemporary manifestation of the cultural importance of the arts in South Australia, which has had strong cultural importance dating back to the earliest origins and settlement patterns of the colony;

• The AFC is an outstanding example of a period of social change and cultural maturity for the State;

• It is an expression of Adelaide’s increasing importance as a centre for the Arts and illustrates the importance of Adelaide’s Biennial Festival of Arts; and

• The inclusion of a visual arts policy, well-supported public subscription and vast collection of national and international significance, illustrates the cultural maturity of the State.

(b) It has rare, uncommon or endangered qualities that are of cultural significance.

Summary of Planning Bulletin: Heritage: The place should demonstrate a way of life, social custom, industrial process or land use that is no longer practiced, is in danger of being lost, or is of exceptional interest. This encompasses places that have always been rare, and places that have become scarce through subsequent loss or destruction. Places would not normally be considered under this criterion if they are rare only within a local context, or if they appear to be rare only because research has not been undertaken elsewhere, or if their distinguishing characteristics have been degraded or compromised, or if they are at present common and are known to be in danger of becoming rare in the future. Assessment against Criterion (b): The Adelaide Festival Centre is considered to fulfil this criterion to some extent for the following reason:

• The ACF complex is the primary performing arts and theatre complex in South Australia, and has become the home of the Adelaide Festival of Arts and a cultural focus for the people of South Australia. While such attributes are not in danger of being lost, they are nonetheless rare in the terms that they are vested almost solely within this single complex in the State; and

• The visual arts collection (as a collective) is unique to the AFC and is considered to be of cultural significance.

(d) It is an outstanding representative of a particular class of place of cultural significance.

Summary of Planning Bulletin: Heritage: The place should be capable of providing understanding of the category of place it represents. It should be typical of a wider range of such places



and in a good state of integrity, that is, still faithfully representing its historical message. Places must be notable and well preserved examples to fulfil this criterion. Places will be excluded if their characteristics do not clearly typify the class, or if they were very like many other places, or if their representative qualities have been degraded or lost. Assessment against Criterion (d): The Adelaide Festival Centre is considered to fulfil this criterion for the following reasons:

• The AFC complex an outstanding example of a State’s premier performing arts complex, readily comparable to other such venues interstate, such as the Sydney Opera House Arts Centre Melbourne;

• The Festival Centre theatres are highly regarded as having excellent facilities and stages together with finely tuned acoustics. They are held in high regard by artists and patrons alike;

• The inclusion of a Drama Theatre (the Dunstan Playhouse) and Experimental Theatre (The Space) as part of the project was indicative of Theatre trends in the 1970s and completed the concept of a performing arts complex; and

• Although a number of modifications have been made, in particular those to the southern plaza, on balance the representative qualities that make the Complex significant remain substantially intact.

(e) It demonstrates a high degree of creative, aesthetic or technical accomplishment or is an outstanding representative of particular construction techniques or design characteristics.

Summary of Planning Bulletin: Heritage: The place should show qualities of innovation or departure, beauty or formal design, or represent a new achievement of its time. Breakthroughs in technology or new developments in design would qualify, if the place clearly shows them. A high standard of design skill and originality is expected. Places would not normally be considered if their degree of achievement could not be demonstrated, or where their integrity was diminished so that the achievement, while documented, was no longer apparent in the place, or where because it was the work of a designer who demonstrated innovation elsewhere. Assessment against Criterion (e): While the original design concept of the Festival Centre has been compromised as a result of redevelopment works over time (which have reduced its integrity) on balance the Adelaide Festival Centre is still considered to fulfil this criterion for the following reasons:

• The Festival Centre was progressive in terms of its design, being an unashamedly modern complex notable for its bold



structuralistic approach to form, whereby the structure expresses its function. The shell shaped roof forms of the Centre became one of the first statements of modernist architecture in public buildings in Adelaide;

• The roof forms and octagonal modules utilised for both buildings results in a harmonious contextual relationship;

• The setting of the buildings between the classical buildings of North Terrace and the open gently sloping expanses of Elder Park provides a strong statement. The external form is a significant and innovative departure from its immediate context;

• The geometric formality of the design is carried through the whole complex from the overall form, plaza paving pattern down to the original design for the centre’s carpets;

• The interior is notable for its sculptural elements and the successful and skilful layering of foyers on three levels was highlighted in the citation for its RAIA Award in 1974;

• In terms of technical accomplishment, the innovative principles of theatre design adopted in the design of the Festival Theatre have produced a facility which still earns praise from performers and management alike for its generous proportions, multi-purpose performance space, ample backstage areas, acoustics and efficient continental style seating (Woodhead CMP, 1999);

• The Centre became and remains to be one of South Australia’s distinctive landmarks. It is a dramatic icon on the Riverbank precinct, being seen as visually dominant from War Memorial Drive, King William Road and the Victoria Bridge (Morphett Street); and

• The visual arts collection (as a collective and a number of individual items) are outstanding works.

(f) it has strong cultural or spiritual associations for the community or a group within it

Summary of Planning Bulletin: Heritage: The place should be one that the community or a significant cultural group has held in high regard for an extended period. This must be stronger than people’s normal attachment to their surroundings. Places will not be considered if their associations are commonplace by nature, or of recent origin, or recognised only by a small number of people, or not held very strongly, or held by a group not widely recognised, or cannot be demonstrated satisfactorily to others. Assessment against Criterion (f): The Adelaide Festival Centre is considered to fulfil this criterion for the following reasons:

• The Festival Centre has strong cultural associations with the



community, being widely recognised as the home of the performing arts in South Australia. This strong association of the Centre with the community was illustrated even prior to its construction, when well over $100,000 was publically donated to contribute to its construction;

• The Centre was a key to the development of performing arts and Adelaide’s Festival of the Arts; and

• A special association between the AFC Trust and local indigenous community exists, as illustrated by the reconciliation piece and other artworks and initiatives.

(g) it has a special association with the life or work of a person or organisation or an event of historical importance.

Summary of Planning Bulletin: Heritage: The place must have a close association with a person or group that played a significant part in past events, and that association should be demonstrated in the fabric of the place. The product of a creative person, whose contribution was in industry, would be more closely associated with the person’s work than would his or her home. People are associated with many places during their lifetime. Places would not generally be considered if they have only had a brief, incidental or distant association with an event, which has left no trace, or if a similar association could be claimed for many places, or if the association cannot be demonstrated. Assessment against Criterion (g): The Adelaide Festival Centre has (and continues to maintain) special associations with the life and work of a number of individuals and organisations and therefore is considered to fulfil this criterion. Such individuals and organisations include:

• Adelaide City Council, the State Government and Commonwealth Governments of the time;

• Premier Don Dunstan, who was largely responsible for the development and support of performing arts in South Australia during a period of notable social and cultural change for the State of South Australia. He was also particularly involved in The Playhouse drama theatre;

• Liberal Premier Raymond Steele Hall was Premier of South Australia from 1968-1970 and also played a pivotal role in the implementation of the Complex,

• Architectural firm Hassell (and prominent Adelaide architect John Morphett (RAIA Gold Medallist 2000)), completed professional services between 1970 and 1980 including the preparation of feasibility studies, presentation of sketch proposals, design



development, preparation of contract documents and contract administration; and

• Artists and their respective works displayed throughout the site. The 2014 DASH CMP also grades all aspects of the Adelaide Festival Centre and its associated surroundings in terms of their significance to the above criteria. Items are identified as ‘exceptional’, ‘considerable’, ‘moderate’, ‘slight’, ‘nil’ and ‘negative’. Discussion of areas identified as being of ‘exceptional’ and ‘considerable’ significance are itemised in Section 6.2 below.

Whether these items would still be identified as such if only criteria (f) and (g) for which the complex is actually listed is discussed further in Section 6.0.



4.0 Condition of Extant Fabric

It is important to recognise that much of the existing fabric is subject to a separate Development Application, which if approved will see the demolition of the existing plaza and artworks for the construction of a 6 level underground car park.

It is not within the scope of this report to review the relative merits of that proposal or any of the other inter-related proposals, simply to assess the proposed Public Realm works for how they respond to, and potentially impact on, heritage values. A comprehensive survey of the extant fabric in and around the Adelaide Festival Centre is provided in the 2014 DASH CMP and is therefore not considered essential to replicate in this report. Especially as the only areas not affected by earlier stages of work are the Northern Promenade, the Amphitheatre and elements of the Dunstan Plaza. Instead, photos of each of the project zones are included below, and a discussion of the effects of the proposal on these areas is covered in Section 6.2 below.

4.1 Northern Promenade

Figure 18: Existing Promenade Adjacent Amphitheatre (Facing West, Torrens Footbridge in background) Source: Flightpath Architects, 2015



Figure 19: Existing Promenade and Amphitheatre (Facing South, Festival Theatre to left, Dunstan Playhouse to right, Railway Station and Intercontinental Hotel in background ) Source: Flightpath Architects, 2015 Figure 20: Existing Promenade (Facing South, Lyric Function Room to left, Festival Theatre to right) Source: Flightpath Architects, 2015



4.2 Amphitheatre

Figure 21: Existing Amphitheatre (Facing South, Festival Theatre to left, Dunstan Playhouse to right) Source: Flightpath Architects, 2015

4.3 Dunstan Plaza

Figure 22: Dunstan Plaza (Facing North, Festival Theatre to right, Dunstan Playhouse to left) Source: Flightpath Architects, 2015



Figure 23: Dunstan Plaza and Amphitheatre (Facing East, Festival Theatre to left, note later addition ramp) Source: Flightpath Architects, 2015 Figure 24: Dunstan Plaza (Facing South, Parliament House in background to left, Railway Station to right, note second later addition ramp). Source: Flightpath Architects, 2015



4.4 Northern Plaza

Figure 25: Northern Plaza (Facing South, Parliament House in background). Source: Flightpath Architects, 2015 Figure 26: Northern Plaza (Facing East, Parliament House in background). Source: Flightpath Architects, 2015



4.5 King William Road

Figure 27: Eastern project boundary (Facing South, Parliament House in background). Source: Flightpath Architects, 2015 Figure 28: Northern Plaza above Lyric Function Room (Facing North-West, Adelaide Oval in background). Source: Flightpath Architects, 2015



4.6 Station Road

Figure 29: Station Road (Facing North, Old Parliament House to right, Railway Station to left). Source: Flightpath Architects, 2015 Figure 30: Station Road (Facing South, Old Parliament House in background to left, Railway Station to right). Source: Flightpath Architects, 2015



5.0 Proposal

5.1 Festival Plaza, Adelaide Riverbank Precinct – ARM Architecture

The proposed alterations to Adelaide Festival Centre consist of;

• Demolition beyond the requirements of the other projects including; the Amphitheatre; Station Road; Festival Drive and Footbridge (refer ARM drawings SD – A0501 & SD – A0502),

• Relocation of King William Road/ Festival Drive intersection and associated traffic signals,

• All new public realm works, generally up to the façade line of the existing buildings (refer ARM drawings SD – A0501, A0502, A1002, A1010, A1020, A1040),

• Reinstatement of the Festival Theatre ceremonial axis,

• Reconnection of a continuous plaza to the building edges, and

• Revitalisation and expansion of the northern promenade along the Riverbank edge.

The public realm works consist of a number of individual zones which are highly integrated to create the overall precinct, the areas of interest from a heritage perspective include; King William Road; The Square (or Southern Plaza); Dunstan Plaza; Station Entry; The Promenade, Station Road, the Lower Forecourt & Northern Plaza and a new Parliamentary Courtyard Garden. Figure 31: Aerial view of the proposal from King William Road Source: ARM Architecture, 2015



Figure 32: Aerial view of the proposal from Elder Park Source: ARM Architecture, 2015

Appendix 6. Heritage Impact Statement – Flightpath Architects

Documents

Transcript of Appendix 6. Heritage Impact Statement – Flightpath Architects