CIRCULAR QUAYREVISITED

2013

CIRCULAR QUAYREVISITED

Edited by:Melanie RaymentLindsay AsquithLucy Kaldor

Enquiries:Designing Out Crime Research CentreLevel 3, 235 Jones St, UltimoUniversity of Technology Sydney

Postal Address: PO Box 123 Broadway NSW 2007

T +61 2 9514 4674E douglas.tomkin@uts.edu.au W www.designingoutcrime.com

Designing Out Crime research centre is a partnership between the NSW Department of Attorney General and Justice and the University of Technology Sydney.

Layout design by:Jessica L WongAshlyn Park

First Edition© Designing Out Crime July 2013

Spiral boundISBN 978-0-9923180-3-1

Designing Out CrimeFaculty of Design Architecture & Building

University of Technology, Sydney

Winter School

2013

01/ CONTENTS

01/ CONTENTS

02/ INTRODUCTION

03/ URBAN CONTEXT

04/ THE PROBLEM & THE BRIEF

05/ RESEARCH METHODS

06/ FRAME CREATION

07/ THEMES & FRAMES

IMAGE 1Underpass Graffiti

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08/ BLIND DATE VS OLD FRIEND overview detail of access ramps + structure new view platform + seating ground level + elevated level plans

09/ WARM EMBRACE branding + identity undercroft + amphitheatre installation activation + cultural programming

10/ CONCLUSION

11/ WITH THANKS TO

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02/ INTRODUCTION

This booklet presents the design explorations from a student project aimed at enhancing the beauty and amenity of the Circular Quay area while mitigating the risk of a possible terrorist attack.

The project, undertaken during July 2013, formed part of Designing Out Crime’s annual, intensive four-week Winter School program, in which students from different disciplines develop design explorations based on a brief posed by an external client. The client for the Circular Quay project was the NSW Police Counter Terrorism and Special Tactics Command (CTSTC).

The project group included undergraduate and masters students enrolled in Architecture, Visual Communications, Interior Design, Fashion and Industrial Design, led by a tutor with expertise in interior design.

Drawing from research undertaken by DOC staff, a site visit and brief from the client, the student-tutor group looked at how they might approach the

problems of public space management and mass gathering in a different way.

The 2013 Winter School students built on work that had been undertaken in the previous 2010 Winter School, as well as ideas that arose in discussions about Circular Quay at the Design and Crime Conference in December 2012.

The design explorations shown in this booklet showcase the fresh approach of the student-tutor group. They also represent the latest design iteration in a long-standing collaboration between Designing Out Crime and various stakeholders in Circular Quay, led by NSW Police. This report will outline the story of the design process for the Circular Quay project, from preparation and research through to the design explorations shown in detail at the end.

IMAGE 22010 Winter School

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03/ URBAN CONTEXT

Circular Quay holds a prominent place in the history of Sydney. For some, Circular Quay undeniably marks the invasion point of European settlement, for others the most iconic destination of an internationally renowned city. It is also a bustling transport hub, and for many Sydneysiders represents the start or end of their daily commute.

A working harbour from the 1800s, Circular Quay continues to operate with a flurry of activity, ferrying commuters and tourists alike to its shores. With an iconic vista featuring Sydney’s two most significant landmarks - the Harbour Bridge and the unmistakable sails of Utzon’s Opera House - against a backdrop of the glistening harbour, Circular Quay provides the ‘postcard perfect’ snapshot of Sydney.

With the Sydney Botanic Gardens to its east and the new Barangaroo development to its west, Circular Quay is at the heart of Sydney. On a weekday in summer it can attract up to 28,000 pedestrians and on a Saturday this number is in excess of 45,000.

Circular Quay represents both the start and the end of George Street - Sydney’s first and arguably most important street. However, the important historical, functional and visual relationship between Circular Quay and George Street is somewhat marred by the Cahill Expressway (built in the late 1950s), a massive concrete freeway that looms over circular quay divides the city from its harbour foreshore both visually and physically.

Circular Quay’s last major upgrade was for the bicentennial celebrations of 1988, with additional changes made in the late 90s, including changes to the Sydney Cove Passenger Terminal and the inclusion of retail opportunities within the new design.

A high number of stakeholders, private and public, have direct influence or interest in the Circular Quay precinct, creating a myriad of building and service styles, not to mention bureaucratical complexity.

IMAGE 4Circular Quay

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04/THE PROBLEM & THE BRIEF

The problem as presented by the client is that of the threat of terrorist attack or other large-scale catastrophe within Circular Quay. With high numbers of pedestrians, and such important infrastructure, Circular Quay is viewed as an obvious target. But features both natural and artificial make Circular Quay difficult to protect.

The precinct itself does not operate with a clear and defined vision: as many as 20 stakeholders contribute to the economic, environmental and social management and activities of the site. This creates a lack of communication and shared services within Circular Quay and threatens safety during emergency situations.

Lack of ownership over the physical environment has resulted in rather a lower-quality aesthetic environment than would be expected of one of Sydney’s most important tourist destinations. Lack of guardianship combined with the naturally awkward physical layout of train station, ferry wharves and bus terminals restricts natural surveillance; along the foreshore, pedestrian flow is limited by space and complicated by the large (and fluctuating) volume of visitors across the year. The open spaces within the precinct are disconnected

as a result both of topography and infrastructure and this disconnection creates ‘un-activated’ spaces - dead zones. Additionally, the overseas passenger terminal has long periods of disuse.

Management of Circular Quay and its protection from terrorism is hampered by a number of contradictions inherent to the place. Owing to its geography and urban layout, as well as its unique dual function as both transport hub and major tourist destination, Circular Quay plays multiple roles in the lives of thousands of people each day. A great many access points - which are essential for retail tenants and event management - create additional vulnerability, while the necessity of vehicle access into the Quay’s public spaces leaves the precinct open to the threat of a hostile vehicle. The need for unrestricted public access to the Opera House - arguably Sydney’s most precious architectural asset - is directly at odds with the need to protect it. These contradictions make the design challenge a unique one indeed. To this end the students were given the brief:

“To improve the safety and security of all visitors to Circular Quay while enhancing the area as an iconic Sydney destination”

IMAGE 5Images from the site visit to Circular Quay

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05/RESEARCH METHODS

In addition to research material provided by DOC staff, the students had a guided visit to Circular Quay with members of the NSW Police Counter Terrorism & Special Tactics Command. The purpose of the visit was to assess the risks associated with a terrorist attack on Circular Quay.

The students took photographs, made sketches and assessed the area from the point of view of security, but also pedestrian amenity and user-friendliness.

Subsequent to the site visit, students undertook research into crime statistics and gathered data on pedestrian movement - the numbers of people visiting the area during different times of the day and week.

Students conducted user profiling and scenario building exercises so that they could envisage the area through the eyes of a commuter or tourist. They also undertook offender profiling activities to further understand the potential trouble spots and highlight specific areas of risk. Recent crime statistics from the Bureau of Crime Statistics and Research were examined to identify what types of crime were common to the area. This data was used to inform students’ understanding of the crime risks pertaining to Circular Quay.

IMAGE 6Circular Quay site visit

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FUTURES

FRAMES

THEM

ES

FIEL

D

CONTEXT

PARADOX

ARCHAEOLOGY

INTE

GRAT

IONTRANSFORM

ATION

06/FRAME CREATION

Frame creation is a process of ideation based on the analysis of a complex problem, and the identification of relevant stakeholders, their objectives, needs and aspirations. Frame creation involves a process of synthesis that reveals themes based on human needs and desires that are the foundation for the development of conceptual frames and design explorations. Human centred design is one of the main principles in frame creation. This analysis not only focuses on end users (of products or spaces) but also on the requirements of the larger network of stakeholders involved in the design, maintenance and operations related to the problem in question.

For the Circular Quay project, a group of DOC staff members engaged in this ideation exercise to develop the design brief for the Winter School students. The frame creation process began with capturing the recent history of the problem arena: the vulnerability of Circular Quay to a terrorist attack as well as other associated crime risks - lack of surveillance, lack of ownership, poor lighting and prevalence of under-used spaces.

Following this, stakeholders having direct influence on the problem were defined, as were those with relevance to the context but with less decision-making power. Further to this, an analysis of individual stakeholders’ interests and values was undertaken, and synergies between them were identified. From this process of synthesis, some of the paradoxes of the problem became apparent, as did themes, new frames and visualisations for future transformation.

The students used this background to develop new themes and ultimately new frames through which to view the problem.

ARCHAEOLOGY:analysing the history of the problem owner & of the initial problem formulation

PARADOX:analysing the problem situation: what makes this hard?

CONTEXT:analysing the inner circle of stakeholders

FIELD:exploring the broader field

THEMES:investigating the themes

in the broader field

FRAMES:identifying patterns in the themes to create frames

TRANSFORMATION:investigate the change in practices

required for implementation

FUTURES:exploring the possible outcomes

and value propositions

INTEGRATION:draw lessons from the new approach & identify opportunities

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07/THEMES & FRAMES

In preparation for the Winter School, DOC staff used the frame creation process to identify themes complex problems associated with Circular Quay.

The guiding themes settled upon were ‘freedom’, ‘flow’ and ‘awe and wonderment’, words (and concepts). These themes encapsulate human values common to all or most stakeholders in their experience of Circular Quay, and can also easily be translated into metaphors, which are valuable in the ideation of design interventions.

The students split into two groups to further analyse and reinterpret these themes and their relevance to the Circular Quay, with the aim of generating a frame to guide their designs. The students drew on the observations they made during their site visit; they recalled the sensations of immersion in an iconic and beautiful harbourside location, but also of being a pedestrian in a busy, crowded and somewhat chaotic public space.

From this process, Group One framed Circular Quay by juxtaposing the metaphors of ‘old friend’ and ‘bad blind date’. They reasoned that for many people, the experience of Circular Quay can be like a disappointing blind date - full of inflated expectation and concomitant letdown; but that with the right interventions, Circular Quay could become an ‘old friend’ - warm, inviting and always there. This dichotomy helped to focus the design process by emphasising current shortfalls and future possibilities.

Group Two came up with a frame of ‘a warm embrace’, likening the natural curve of the harbour to the shape of arms in a hug; this frame focused their ambition to create a design intervention that would unify, encompass and enfold Circular Quay’s public space and mitigate the disjunction that results from multiple stakeholders.

These design frames and the interventions that resulted are explained in the following section.

A new view of our famous old friend, a familiar and welcoming public space that encapsulates all that you love about Circular Quay and Sydney with the dynamism of an international city ripe for discovery.

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08/AN OLD FRIEND

With the frame of ‘an old friend’ in mind, this design aimed to:

• Improve pedestrian flow in the area across different times of the day

• Increase public surveillance (‘eyes on the street’)

• Introduce mid-range food retail to bridge the current divide between cheap, low-end fast-food options and expensive restaurants, and thus to attract a wider market

• De-clutter the space below the train station• Engender a sense of pride among locals• Eliminate possible ‘runway’ effect along east

and west foreshore, preventing high speed motor vehicle access (terrorist risk)

OVERVIEW

The major feature of this design is a pedestrian overpass that utilises the space on top of the wharves to create a new plane between the train station and the ground level.

This structural device could help to relieve congestion and improve flow and function by separating those users who want to enjoy Circular Quay at different paces - ie. commuters vs tourists.

The elevated walkway creates a new public space that both locals and tourists can visit to sightsee, relax, buy a coffee or enjoy food. The elevated viewpoint optimises the harbour vista, and provides additional opportunities for public seating, public programming and green space.

Mid-range cafes and restaurants would be positioned along the back of the overpass (not shown here) to showcase Australia’s love of good food and its multicultural heritage.

IMAGE 7New Pedestrian overpass in front of train station

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DETAIL OF ACCESS RAMPS + STRUCTURE

The structure envisioned is one that does not hinder pedestrian movement and access on the walkway below. Access via two ramps provide a gentle and enjoyable walk, while elevators provide access for those less mobile.

The supporting structures at the east and west corners help to reduce opportunities for the foreshore to be used as a ‘runway’ in the event of a hostile vehicle attack.

The ramp is finished with a variety of textures: concrete, grass seating areas and a wooden boardwalk. The boardwalk allows for drainage and water management.

08/AN OLD FRIEND

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NEW VIEW PLATFORM + SEATING

The elevated walkway design provides extensive additional public space above the wharves. This space allows for open-air dining and open public space with a spectacular, newly created view of Sydney Harbour.

Options for seating include outdoor dining settings, as well as novel grass/ turf seating. The latter uses a frame filled with soil, upon which grass is grown. These can be topped with timber. The grass seating offers endless potential for shapes and sizes and gives the overpass a sense of personality and uniqueness, while the lack of a cavity space underneath the seats reduces opportunities for hiding explosive devices.

08/AN OLD FRIEND

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i ii i

GROUND LEVEL FLOW AND ACCESSWALKWAY FLOW AND ACCESS

08/AN OLD FRIEND

Jan Gehl’s George Street redesign identifies a great street as having:

• Generous Footpaths• Lighting for people• Trees and Shade• Active and open facades• Street furniture• Human scale• Artworks and cultural markers

These considerations were incorporated into the design of the proposed and existing pedestrian spaces at Circular Quay.

GROUND LEVEL PLAN

The proposed design, as seen in the ground level diagrams opposite, allows for de-cluttering of the space at ground level (below the train station), creating clear pathways for commuters to transfer between and access all forms of transport. Two information centres are proposed, to be centrally located.

ELEVATED LEVEL PLAN

The diagram illustrates the access ramps and elevators, along with the proposed location of green seating, open-air dining areas, timber boardwalks and anticipated pedestrian corridors for ‘meandering’ visitors.

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The metaphor of a warm embrace frames the design solutions, which include a branding solution, amphitheatre installation, station undercroft design and cultural programming plan to activate dead areas and unify the locality.

09/WARM EMBRACE

Branding

IMAGE 8The frame of a ‘warm embrace’ physically embodied in logo and amphitheatre designs

BRANDING + IDENTITY

Circular Quay is visually iconic yet, paradoxically, lacks a cohesive visual identity. The logo proposed uses circular elements drawn from the frame of warm embrace as well as the physicality of Circular Quay, and aims to give the place a strong identity and consistency.

This circular notion is echoed in the design of the amphitheatre and undercroft spaces. The branding of Circular Quay will form an identity to create instant recognition and greater sense of place.

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UNDERCROFT + AMPHITHEATRE INSTALLATION

The installation is composed of two main elements: an amphitheatre in the present location of First Fleet Park, and a connecting sculpture that links the bleak train station undercroft with the proposed amphitheatre.

The idea of the amphitheatre references both the notion of the Roman amphitheatre - the traditional European public space design - and the gunyah, a local Cadigal domed structure signifying a meeting place. The sculptural structure that forms the centre of the meeting place also references the gunyah design. This sculpture continues into the undercroft, makes reference to the first manmade structures that occupied the land in and around Circular Quay.

09/WARM EMBRACE

Aboriginal meeting place symbol

GUNYAH:Aboriginal dome hut structure

IMAGE 9 (TOP LEFT)Aerial plan of the amphitheatre

IMAGE 10 (BOTTOM LEFT)Amphitheatre model showing central sculpture structure

The strong similarity between the two ancient cultures speaks to us of a common bond, a space where different cultures can be embraced and parallels drawn.

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IMAGE 11Undercroft concept render

IMAGE 12Light installations

These ropes or conduits are formed from braided ABS plastics much like anchoring ropes, but conceal internal lighting. The ABS ropes are supported by an interior armature of stainless steel tubing, and the conduits are supported in tension from a series of ship-type cleats as the structure twines along the underside of the Cahill expressway.

The conduits, which symbolise cultural and common connections and Circular Quay’s maritime history, also have a practical function and can be used for:

• A wayfinding system, leading users from the new light rail to our proposed amphitheatre

• Emergency communication - containing a speaker system that can be used to communicate emergency information, with a central rope system that can be programmed with lights and light arrows for a emergency directional system. This can enhance existing emergency systems.

09/WARM EMBRACE

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The ultimate realisation of this project would be the use of the new amphitheatre space to bring stakeholders together, to air concerns, discuss hopes and aspirations for Circular Quay.

ACTIVATION + CULTURAL PROGRAMMING

The improvement of the undercroft via the installation encourages connection between the new amphitheatre and the proposed light rail systems, activating this under-utilised area of Circular Quay. This will improve pedestrian flow, by creating an ambient and attractive place to walk and drawing people from more crowded areas. It will also improve surveillance discourages its use for service vehicles and storage.

The undercroft and the amphitheatre provide a new range of opportunities for activation via night markets, artistic and cultural events, bringing life to this under used corner of Circular Quay.

IMAGE 13 (left)Light installations at Vivid 2012

IMAGE 14 (right)Sydney noodle market

09/WARM EMBRACE

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10/CONCLUSION

The 2013 Winter School project on Circular Quay brought a fresh perspective to the question of how to make the place function more safely and effectively. Using the frames of ‘blind date vs. old friend’, and ‘warm embrace’, the students tried to approach the problem in a wholistic way.

These design explorations are still at a conceptual level and require further work to be able to be implemented in an effective way. A starting point would be to bring stakeholders together in a conversation about how they could jointly improve the safety and security of all visitors to Circular Quay while preserving its status as an iconic Sydney destination.

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11/WITH THANKS TO

Sincere thanks are due to the following people for their assistance with this project:

Luke Wolstencroft Government Architect’s Office

Glenn McIntosh Government Architect’s Office

Gordon Dojcinovic NSW Police Counter Terrorism & Special Tactics Command

Tutor: Melanie Rayment

Student Group 1:Bonney Leslie-O’NeillScott PeltonenShehani Senarath

Student Group 2:Michael ManziBarbora NemeckayovaKayla Park

REFERENCES:IMAGE 13:Richard 2012, The Vivid Sydney light show 2012, design addicts platform, viewed 26th September 2013, < http://designaddicts.com.au/platform/2012/06/04/vivid-sydney/screen-shot-2012-06-04-at-6-18-51-pm/>

IMAGE 14: 2012, Night noodle markets extacy, Fresh traveller, viewed 26 September 2013, <http://fffreshtraveller.wordpress.com/2010/10/19/night-noodle-markets-extacy/>