PERTH WATERFRONT Public Art
Strategy
April 2012
Public Art Strategy
CONTENTS
Contents1
PART 1 - MRA STRATEGY
1.1 PUBLIC ART3
1.2 STRATEGY OVERVIEW5
1.3 MRA’S PUBLIC ART PROGRAM
6
1.4 LOCATING PUBLIC ART7
1.5 ARTWORK COMMISSIONING PROCESS
9
1.6 ARTWORK APPROVAL PROCESS
13
1.7 MANAGEMENT OF PUBLIC ART
14
PART 2 - THE PROJECT AREA
2.1 PERTH WATERFRONT PROJECT AREA
17
2.2 HISTORICAL CONTEXT18
2.3 WATERFRONT PRECINCTS 19
2.4 EXISTING PUBLIC ART20
2.5 PUBLIC ART THEMES20
2.6 PUBLIC ART OPPORTUNITIES
22
2
PART 1 - MRA STRATEGY
1.1 PUBLIC ART
What is Public Art?
Public art is an artistic work that is created and located for
public accessibility. The defining 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 technical
college qualification 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 defined 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.
Artwork: 1. Public art Tokyo 2. Urban art by Banksy 3. Light Year by Peter Fink & Anne Bean
3
Industrial: artwork that serves an operational function within the built environment, such
as seating, bike racks, paving, fencing or lighting that has been designed by an artist.
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 respond to public or
environmental interaction.
Multimedia: artwork produced or displayed through the use of technical media such as
digital imagery, film, 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 that are specifically
commissioned to be created by indigenous artists and/or to have involvement of local
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 collaboration between a qualified artist and the community group.
The Role and Benefits of Public Art
Essentially public art provides physical enhancement of a locality, however an understanding
of its many benefits reveals that public art is an important part of MRA’s goal of sustainable
urban renewal. Public art provides social, economic and environmental benefits, including:
• physically enhancing public places and the public realm, through creating points of
interest, animating spaces and making them more aesthetically pleasing;
• 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 or expressing 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;
4
• 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 flow on benefits to the local economy,
such as their suppliers and manufacturers.
1.2 STRATEGY OVERVIEW
This public art strategy provides the foundation of MRA’s
commitment to enhance each project area within MRA’s
jurisdiction 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 significant
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 MRA’s Central Perth
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 MRA, other government
agencies, arts providers, and private land developers
within MRA’s redevelopment areas.
The strategy is provided in two parts:
PART 1 - MRA STRATEGY provides an overview of
MRA’s public art program and sets out principles and
procedures for the acquisition, placement and management
of public art within the redevelopment areas.
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 MRA’s
redevelopment areas 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
1. Ferns by Neil Dawson 2. I See What You Mean by Lawrence Argent 3. Building Facade by Stuart Green
Perth
5
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 benefits that a Percent for Art program provides.
• 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
would be suitable for different places and precincts.
• To guide the acquisition and location for artworks procured by MRA with MRA’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 MRA’S PUBLIC ART PROGRAM
MRA is composed of what were formerly the East Perth Redevelopment Authority, Subiaco
Redevelopment Authority, Midland Redevelopment Authority and Armadale Redevelopment
Authority. These Redevelopment Authorities have been leaders in the integration of
public art in land development projects within Western Australia since the early 1990’s. In
accordance with the State government Percent for Art Scheme, a public art program was
implemented in the Central Perth redevelopment area from the commencement of the first
project area, Claisebrook Village, which included the commission of 28 permanent artworks
to create the “Claisebrook Village public art walk”. Public art has been commissioned in
other Central Perth project areas, such as “Nexus” in Plateia Hellas in New Northbridge and
new pieces in various parks and urban plazas, as well as regular funding of temporary and
ephemeral public art projects.
In 2005, the public art policy for the Central Perth redevelopment area was amended so to
apply to all public agencies and to private landowners, where all development approvals with
a construction cost of $1 million dollars or greater must provide 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 $3.5 million dollars
worth of public art being installed on building facades and development sites within the
Central Perth redevelopment area since 2005.
The Impossible Triangle by Brian McKay & Ahmad Abas
Nexus by Simon Gauntlett & Russell Kingdom
6
Some landowners may opt to pay the equivalent of 1% of their construction costs to MRA
instead of providing public art as part of their development (i.e. “cash-in-lieu”). MRA is
committed to using these cash-in-lieu funds to procure artwork to enhance the public realm
of the relevant project area. MRA will accumulate these payments in a special fund for each
project area and periodically procures public art with these funds.
MRA will produce a public art strategy for each of its project areas to guide the artwork
themes for the area, including specific 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 MRA’s project areas are developed the public and private collection of public art
within the redevelopment area will continue to grow and enrich the city.
1.4 LOCATING PUBLIC ART
Public Art on Public Land
MRA has a strong belief in the importance of the public realm and public places as critical
elements in the experience of a city. MRA’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 redevelopment areas are:
• Urban plazas and city squares;
• Parks and gardens;
• Key street intersections;
• Main pedestrian routes;
• Gateways between key locations or entries into project areas; and
• Laneways that would benefit from activation and beautification.
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,
enhance how people currently understand or use the space, or provide new meanings.
• Site-Specific - artworks are to be designed specifically for the site responding to the site
context - its surrounds, its use and users, and reflecting the relevant precinct art themes
identified in the Public Art Strategy for a project area.
7
• Scale - the scale and size of artwork needs to be consistent
with the artwork brief/intent - i.e. it could be a single
landmark piece, a series of artworks, or a small element of
surprise. The scale of an artwork 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 function as an “attractor” for
visitors and tourists. Landmark and popular interactive
artworks, and seasonal art programs 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.
Jack Mackie
Broadway Dancesteps
Seattle
• 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.
Public Art on Privately Owned Land
The Authority’s Central Perth Development Policy 4 Providing
Public Art requires those undertaking developments in the
Central Perth Redevelopment Area 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 benefit for the developer from the contribution,
by enhancing the visual amenity and value of the development.
The artwork requires the MRA’s approval prior to installation.
The MRA and our public art consultant will use the Authority’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.
1. Dance Steps on Broadway by Jack Mackie 2. Flying Saucer Grove, Martha Swhartz 3. Stravinsky Fountain, Niki
de Saint Phalle, Paris
8
Locations
Public art on private land needs to be visible or accessible from the public realm.Appropriate
locations include:
• Applied to or integrated into facades of buildings.
• Applied to 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 Specific – the artwork is to be designed specifically for the site and to be responsive
to the site context, including consideration for surrounding buildings and activities, and
reflecting the relevant precinct art themes from this Strategy.
• Integration - the artwork design should integrate with the building design and site
layout and be responsive to the building materials and colours. The early involvement of
the artist in a collaborative design process is the best way to achieve this.
• Management – the artwork must be designed, constructed and installed with best
practice risk and asset management. Ongoing maintenance of the artwork on private
land will be the land owner’s obligation (such as strata bodies).
1.5 ARTWORK COMMISSIONING PROCESS
MRA Funded Artworks
As a State Government agency MRA 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.
MRA is committed to leadership in this initiative and in accordance with MRA’s Central
Perth Development Policy 4 Providing Public Art, MRA 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 MRA’s account for the purposes
of accumulating cash in lieu contributions provided by developers and land owners under
9
Central Perth 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 sufficient amount is collected for a project area to enable commissioning
of one or more significant artworks within the same project area as the contributing site/s.
• The cash in lieu funds are to be used by MRA, or persons nominated by MRA (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 insufficient funds are available in the project
area fund to purchase new works.
MRA Commissioning Process
Whether commissioning public art with MRA’s own funds or the cash in lieu funds, MRA
will employ best practice public art commissioning processes to ensure an equitable and
transparent process and the acquisition of quality public art. MRA’s Public Art Consultant
will coordinate and 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. Best practice procurement for projects between $20,000 to $150,000 is
to request at least three proposals for consideration. In this process three artists may be
contacted directly for an Expression of Interest (EOI), or MRA may publicly advertise the
EOI to gain a wider choice of artists and proposals.
A curated process, where MRA’s public art consultant 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 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
final proposal. The Panel must have a minimum of three members and will usually include a
representative of MRA, a representative of the relevant local government and a representative
from an arts agency (such as Department 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.
10
3. Artwork Brief - an artwork brief will be prepared by the MRA’s public art consultant
and agreed to by the Selection Panel. The brief should provide artists with clear direction
on MRA’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
finished artwork but rather leave sufficient flexibility 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 written responses to selection criteria, a short CV, marquette
and relevant images of past artworks.
4. Expressions of Interest - a call for Expressions of Interest (EOI) is held by releasing the
Artwork 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 MRA may also be appropriate to gain exposure and interest from a wide field 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 final 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 briefing session is usually held at the start of the Design Concept
process for all shortlisted artists with MRA and other design professionals working on the
project. Artists will usually be paid a nominal fee for preparation of the Design Concept
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.
8. Contract - once selected, the artist is provided with a written contract from MRA 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 a Design Development Report with
final detailed design documentation and engineering specifications and certification.
Further documentation may be required for any government approvals, such as to obtain a
development approval, or a building licence. If development approval is required on MRA
owned land, the MRA will prepare and lodge the application. The artist will be responsible for
obtaining any building licence or other local government approvals, with MRA’s assistance
where required.
11
10. Preparation of Artwork - the artist works to produce the artwork. MRA makes
progress payments in response to Tax Invoices submitted by the artist as per the schedule
outlined in the signed Commission Agreement. The artist is also required to submit written
progress reports (with images where appropriate) when submitting Tax invoices for progress
payments. A visit to the artist’s studio is also usually arranged by MRA’s public art consultant
to view progress of the artwork.
11. Installation & Handover - the artwork is to be finished and delivered to the site by the
agreed completion date. MRA arranges 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 MRA’s
Redevelopment Areas, either under their obligations under the State Government Percent
for Art Scheme or to meet Development Approval requirements - in accordance with MRA’s
Central Perth 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 public art procurement process.
Private Commissioning
All development within the Waterfront Project Area valued at $1 million or greater will be
required to comply with the Authority’s Central Perth policy on providing public art. This
requires the provision of public art as part of the development or a cash in lieu contribution
which the Authority will spend on public art within the Waterfront Project Area.
Various options and opportunities are available for Developers with respect to how to utilise
their Public Art contribution including:
• Commissioning artwork for the development site that is either located in or clearly seen
from the public realm, or public space close by / adjacent to the development site; or
• Providing a cash in lieu payment equal to the applicable public art contribution to the
Authority’s Public Art Fund to be spent on public artworks and /or public art activation
events throughout the Waterfront Project Area; or
• A combination of the above such as commissioning artwork for the development site with
80% of the public art allocation, and contributing the remaining 20% to the Authority’s
Public Art Fund.
Where a landowner or developer is commissioning public art to meet Development
Approval requirements under Central Perth Development Policy 4 Providing Public Art,
the procurement process is the responsibility of the landowner. For large budget projects
it is recommended that the landowner engage an art coordinator / public art consultant to
assist them with the public art procurement process. For smaller projects they may wish to
contact agencies such as Artsource to gain contact details for artists or for assistance with
12
contracts. MRA is not involved in this procurement process and does not recommend any
particular artist or service. MRA can however provide some general advice and direction
to the landowner. It is also advisable for the landowner and selected artist and architect
to meet with MRA’s public art consultant and planning staff to outline the draft public art
proposal to gain feedback prior to submitting for final approval to MRA.
The landowner will be responsible for arranging quotes, contracts, insurance and all other
administration with the selected artist. The process set out above for MRA’s Commissioning
Process may provide a useful guide to landowners to develop their own commissioning
process.
MRA recommends that the landowner commence 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 Central Perth 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 MRA’s approval prior to its
implementation.
Where a developer elects to commission public artwork, it is recommended that they engage
a Public Art consultant to undertake the following tasks:
1. Develop a Public Art Strategy for the site by:
• identifying one or more potential projects;
• proposing locations for the public artwork(s);
• confirming themes for the public artworks;
• outlining a budget for all public art projects proposed to add up to the required sum to
be expended on public art;
• outlining an Artist selection process;
• outlining an overall timetable for the public art (including design concept work, MRA
approval process, design development work and implementation); and
• proposing the Commission Agreement to be used to engage the selected Artist.
2. Implement an Artist Selection Process and a Design Concept Stage (with one Artist
selected or a number of Artists invited to prepare Design Concepts for final Selection by the
Developer).
3. Put in place a suitable Commission Agreement between the Developer and the Artist.
4. Prepare a public art approval submission to the Authority and progress reports as
requested.
5. Meet with the Authority’s Public Art consultant and planning staff as necessary.
6. Administer the Commission Agreement (further design development and implementation
stage).
13
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
MRA 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 MRA’s Central Perth Development Policy 8 Hosting Public Events - refer to the
Policy or contact MRA 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 MRA.
Land Owner Consent for Public Art on Public Land
All public art (permanent, temporary and ephemeral) requires approval from the landowner
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 the
Department of Regional Development and Lands), MRA, or another government agency.
It is the responsibility of the person commissioning the artwork to identify the landowner
and obtain their permission. Development approval from MRA may also be required, in
accordance with the above requirements. The landowner must give their consent to the
development application and sign the application form.
Charnock Woman, Jenny Dawson, Sandra Hill & Miv Egan
Functional art Tokyo
14
Public Art Assessment Criteria
The following criteria are used to assess development applications for public art within
MRA’s redevelopment areas. Each proposal will be assessed by MRA’s planning team with
the assistance of MRA’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 including plans (and a maquette where appropriate) has
been submitted for assessment, in accordance with the requirements of MRA’s Central
Perth Development Policy 4 Providing Public Art;
• The proposal complies with the ‘Performance Standards for Development Approval’ of
MRA’s Central Perth 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
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 modified
by anyone but the artist, unless the artist has given consent for conservation or restoration
reasons. MRA 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 Art
Ownership of public art is defined 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 MRA
or the local government. Where MRA 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 Art
The 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
15
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.
• Artist’s direction should removal or relocation of the artwork be required.
Decommissioning Public Art
It may become necessary for MRA 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 significant 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 file, as well as any contractual
agreements between the artist and the commissioner regarding the maintenance or
decommissioning of the work.
16
• 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 first
right to acquire or purchase the work, otherwise all reasonable effort should be made to
find 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.
PART 2 - PROJECT AREA
2.1 PERTH WATERFRONT PROJECT AREA
Vision
The vision for the Perth Waterfront Project Area is to create a seamless extension of Perth
city’s north-south axis with an exciting new urban development that connects the city
centre to the Swan River. Perth Waterfront is an important step in the evolution of Perth
from a functional centre of commerce and trade, to a more diverse, international centre for
living, visiting, business, entertainment and culture. It will be a primary visitor and tourist
destination and therefore must provide a high quality public realm and experience befitting
of Perth. The site will make a significant contribution to the city’s public domain, with over
five hectares of public space catering for a variety of recreational and social needs.
Establishment of the Perth Waterfront Project Area will include creation of a new river inlet,
framed by a continuous public promenade and a new island within the inlet that will provide
a unique location for recreation and public events. Built form surrounding the inlet will be
of a scale and quality befitting Perth as a capital city and adding to the critical mass of the
city through multi-storey buildings providing new residences and workplaces. The project
area will be a major transit oriented hub of development that is directly serviced by train,
bus and ferry, with excellent pedestrian connectivity through to the wider Perth city area.
Opportunities exist for public artwork of international quality and significance within the
Perth Waterfront Project Area which reflect the high profile of the area within the Perth
central city context.
18
The Perth Waterfront Project
2.2 HISTORICAL CONTEXT
The land encompassing the Perth Waterfront Area has a long and significant history in the
development of Perth. Being located on the edge of the Swan River, the area formed 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 Perth Waterfront Project Vision
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. Aboriginal
people have had a long and continuing association with the land, an association dramatically
altered by European settlement and European laws limiting rights and enforcing places of
habitation. Over time, development of the waterfront has changed from a natural riverbank
into a constructed landscape.
The place was the site of the first major reclamation project on the Swan River. It was
developed as Perth City’s first dedicated recreational zone and has been the site of many
recreational uses and community gatherings since its inception. Since Europeans first settled
there, the waterfront has been the subject of numerous development schemes and continual
human intervention.
2.3 WATERFRONT PRECINCTS
Precinct 38: Riverfront
The Riverfront Precinct is intended to be the home of a major cultural, arts and learning centre
focused on Australian Indigenous culture. This Indigenous Cultural Centre is proposed to sit
over the Swan River at the foot of William Street and act as a centrepiece for Aboriginal art,
performance, history and knowledge-sharing. This major new civic and tourism facility will
be a focal point for the Perth Waterfront project, both as a public destination and as a distinct
piece of architecture.
It is envisaged that a cable car from the Riverfront Precinct to Kings Park will be developed
to enhance connectivity between the city’s unique natural assets of the Swan River and Kings
Park, and to enhance the Perth waterfront as a key Perth city destination.
19
39
PERTH WATERFRONT
Proposed Precinct
Boundaries.
38
40
38 - Riverfront
39 - Inlet
40 - Barrack Square
The Perth Waterfront Project Precincts
Precinct 39: Inlet
The Inlet Precinct will be Perth’s southern hub of urban mixed-use development, extending
the city centre down to the river’s edge. Building and public realm development will be
focused around the newly created Waterfront inlet. New development will overlook generous
promenades, community gathering points and the shared use zone incorporating a new
shared street connection between William Street and Barrack Street.
The Precinct will have a high quality public realm with various landscaped settings. A splitlevel continuous pedestrian promenade will wrap around the inlet and a newly created island
within the inlet will form the green heart of the Precinct. A new park will be developed at the
north-west entry to the Precinct, opposite the train station, and soft and paved landscaped
areas will be provided throughout.
The Inlet Precinct will include a mix of residential, commercial, retail, dining and
entertainment land uses. The scale and intensity of development will capitalise on the central
city location, excellent public transport and pedestrian connectivity and the beautiful views
across the Swan River. Buildings will be of high quality architecture, focused on sustainable
design and will provide an activated, human scale interface to the public realm.
Precinct 40: Barrack Square
Central to the development of Perth Waterfront is the objective of providing a more vibrant
and connected context for Barrack Square and the Bell Tower. These icons of Perth will be
an integrated component of the broader Waterfront project and will benefit from the critical
mass of visitors that the redevelopment will bring.
20
Barrack Square will continue to be a focal node for visitors and the wider community, as
well as the key embarking point for commercial boating activities. An active mix of uses
will be fostered in the Precinct, focused primarily on hospitality, retail and short stay
accommodation.
A high quality public realm, mirroring that of the redevelopment of the Inlet Precinct, will
add to the existing popularity of the Barrack Square Precinct.
2.4 EXISTING PUBLIC ART
The Waterfront Project Area, specifically Precinct 40: Barrack Square contains several public
artworks that were developed in the project area prior to the preparation of this Strategy. The
location, theming and scale of these existing artworks should be considered when designing
new artworks within the same precinct. The existing artworks include the Swans sculpture
the community tile project and the Vlamingh memorial.
2.5 PUBLIC ART THEMES
Public Art Aim
Public art in the Waterfront Project Area is to contribute positively to the creation of a vibrant
contemporary public domain that explores and celebrates the waterfront – its natural features
and rich social history - through the development and integration of contemporary artworks.
Public art in the project area must be of a high quality, contemporary design that reinforces
the quality of the redevelopment project and strengthens and celebrates its identity as the
city centre by the river’s edge.
Public art should seek to engage with the public through interactive and legible works that
contribute to the creation of a sense of place.
As a multi-use high profile project area, the Waterfront will have a number of different
audiences for public art:
• Residential (residents living on site)
• Workers (office workers and retail workers based on site)
• Tourists (metropolitan, interstate, international)
• Recreational (riverfront walkers, runners, and cyclists)
• Community (audiences gathering for particular events held in public spaces in the area)
Public Art Themes
Both the future vision for the Waterfront Project Area and its natural and social heritage
were used to identify appropriate themes for public art within the project area. All public art
within the Waterfront Project Area should address one of the following four themes:
21
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 ‘River Life’ theme may explore the natural history of the Swan
River, its natural beauty and unique qualities at various times of the day and night, as well
as its ecology and flora and fauna. The importance of water to human life and its many
attributes may also be explored.
Theme 2: City and River Connection
The Waterfront Project Area design is an extension of the city grid down to the river and
will transform Perth into ‘a city on the river’. It will anchor the city along an axis that links
Northbridge, the Cultural Centre and the CBD to the waterfront. Increased development
and public space activation in the project area is important to creating a stronger overall city
centre and defining the edge or arrival point of the city.
Strategically located and at times integrated public art projects should be developed to help
define and reinforce the project area as a vibrant waterfront precinct of Perth city. These
artworks should provide strong landmarks in a contemporary urban form, and provide a
sense of arrival to the water’s edge. Artworks may respond to working near to, living along,
utilising, travelling along, conserving or enjoying the river and foreshore area.
Theme 3: Indigenous Culture: Past, Present and Future
The significance of the river to Aboriginal people warrants a specific public art theme. Public
art should be commissioned to record and share this important history and social value.
Key story lines include: general occupation of the south-west, Swan River, water source and
camping ground and continuing use after European settlement.
In accordance with the project vision of a vibrant urban community, the project area should
include contemporary artworks by Aboriginal artists and not be limited to historical pieces.
Theme 4: European Settlement and City Development
Integrated public art is a suitable vehicle for heritage interpretation in the Waterfront Project
Area. There are many stories that may be researched and told. These have been identified
in the Perth Waterfront Project Heritage Interpretation Strategy and key storylines include:
• Foundation of the colony of WA and the establishment of Perth town site;
• Bazaar, river trade (and its decline after 1881 railway construction);
• Jetties – William Street, Barrack Street, and Barrack Square;
• Land reclamation – between William and Barrack Streets – 1873 – 1885, and Barrack
Square;
• Recreation – including Esplanade Reserve;
• Perth Yacht Club clubhouse; and
• Perth Baths, Public functions, Memorials, and Swan Bells.
22
Public Art Themes for Each Precinct
Appropriate public art themes have been designated for each precinct within the Waterfront
Project Area as follows:
Precinct
Public realm design elements
Themes
Precinct 38: Riverfront
William Street Landing
River Life; or
Indigenous Culture: Past, Present and Future
Precinct 39: Inlet
The Promenade, William Lane, The Ferry
Terminal, Station Park, The Landing,
Riverside Lane, The Island, The Edge
River Life; or
City and River Connection; or
European Settlement and City Development; or
Indigenous Culture: Past, Present and Future
Precinct 40: Barrack
Barrack Square, Barrack Lane
Square
River Life; or
City and River Connection; or
European Settlement and City Development
2.6 PUBLIC ART OPPORTUNITIES
Locating Public Art
Careful selection of appropriate locations for public art within the public open space of the
project area will be fundamental to the success of the Waterfront Public Art Strategy. Public
art should be located in or integrated with other landscape features to enhance the visual and
cultural amenity of the location, providing both larger scale legible landmarks and smaller
scale interpretive artworks.
The following map shows the various areas where public art may be located throughout the
Waterfront Project Area. The identification of more specific locations for public art will be
undertaken as a part of the further design development of the Waterfront Precincts.
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 - enlivening a place and
engaging the public. Permanent artworks, temporary installations and ephemeral events are
all important to place making and activation in the key public places of the Waterfront Project.
Integrated and functional artwork, such as unique seating and lighting is also appropriate as
it would enhance the experience of visitors.
All artworks are to be developed in accordance with the Authority’s policy on providing public
art and this Public Art Strategy - including the public art themes allocated to each precinct.
The Landing
The northern edge of The Inlet has a major urban element ‘The Landing’ which is the site of
Perth’s colonial origin. It is located adjacent the mid-point of New Riverside Drive, and is a
major node within the Perth Waterfront public domain. It is inspired by the idea of the original
edge of the Swan River, an undulating and organic experience offering the opportunity to get
right down to the water’s edge. The landing incorporates a series of terraces that step down
from New Riverside Drive to meet the water level while a stage can be floated on the water to
the south of The Landing for events and performances.
23
There is an opportunity to create a major public artwork of International significance in this
location to celebrate ‘The Landing’ as a key destination point within the Waterfront Project
to meet, socialise or gather for major events and performances.
The Island
The Island is predominantly a passive garden space that is a destination within the overall
circuit of the promenade and will be of international significance. Pedestrians can access
The Island from both the western and eastern promenades and access for service vehicles is
provided from the eastern bridge.
The Island will be designed as an engaging space providing a unique experience for both
children and adults to view the city from a new perspective and to interact with the water in
a landscaped setting.
There are opportunities for small, medium and large scale public art on The Island. Artworks
may be designed as interactive works while place making through island based events is also
encouraged.
William Street Landing
This is where the pedestrian bridge takes off from, and where the planned Indigenous
Cultural Centre may be located in the future. There is an opportunity here for both small
scale integrated artworks and a landmark artwork exploring the themes of River Life and
Indigenous Culture: Past, Present and Future.
Station Park
Station Park is located opposite the Esplanade Train Station and provides a gateway into the
new Perth Waterfront. It marks the meeting point of the water, promenade, William Street,
Esplanade Station, and the new east-west street connection, and is the location for a major water
feature, ‘the water skin’ which represents a recurring wet/dry lake. It is a gateway area and a
meeting place designed to encourage people to occupy it for longer periods. The park receives
lunchtime sun all year round and is protected from strong southerly winds. It is framed by figs
with tall palms and planting to frame the water feature. The water feature is able to operate as
a plaza when it is dry and doesn’t read as a water body.
Small and medium scale artworks (freestanding and integrated) may be located in Station Park,
particularly in the areas adjacent to William Street and across the road from the Esplanade
Train Station. There are terrace walls around the water feature itself that will have integrated
seating. These walls and associated seating and shading provide an opportunity for integrated
and interactive artworks expressing one or more of the themes: River Life, City and River
Connection, Indigenous Culture: Past, Present and Future and European Settlement and City
Development.
The Promenade
The Promenade forms the outer edge of the inlet and allows for continuous pedestrian access
along its entire length. It provides a generous amount of open space for public use. The
promenade on the west side and the east side of the inlet, in conjunction with the Landing
to the north, is the primary public open space of the waterfront. It enables a circulatory walk
with universal access around the whole development including a connection point to the
island.
24
The paving, planting and furnishing of The Promenade will demarcate the Waterfront as
public open space with pedestrian priority. Although one continuous public open space, The
Promenade’s character differs subtly throughout its length by virtue of altering its width, tree
locations and the inclusion of the Ferry Terminal on the west side and a kiosk and jetty on the
east side. The variations in The Promenade experience are designed to accord appropriately
with the surrounding urbanism and different public space functions.
The Promenade will be split into two distinct levels with the lower level pedestrian promenade
providing a greater sense of connection with the water while the wider upper level promenade
will be framed by buildings and localised promenade tree plantings to provide shade for
alfresco dining. The Promenade includes bespoke furnishings and a strong definitive ‘ribbon
of trees’. The transition area between the upper and lower promenades provides informal
seating opportunities.
There are opportunities for integrated and small scale artworks along these promenades,
drawing on examples and expressing the themes identified in the Perth Waterfront Project:
Heritage Interpretation Strategy. The Precinct themes for public art are: River Life, City and
River Connection, Indigenous Culture: Past, Present and Future, and European Settlement
and City Development.
Consulting Artist for The Promenade and Station Park: It is recommended that a consulting
Artist be engaged to develop a Design Concept for a series of related small to medium scale
integrated and/or free standing public artworks that explore and express the themes and
messages outlined in the Heritage Interpretation Strategy for the promenade around the
inlet, and Station Park.
The Ferry Terminal: West Promenade
There is an opportunity here for the integration of public art works as a part of the Ferry
Terminal Project. The artwork needs to express the themes identified for Precinct 39 in this
strategy document.
The public art project and the selected Design Concept is to be submitted to the Authority
for final approval.
The Edge
The Edge refers to the edge of the promenade that frames the inlet. There is an opportunity
to create an interesting edge detailing the vertical section that meet the water. The Edge
will be highly visible from all around the promenade and there is also an opportunity to
incorporate lighting to create a vibrant night-time presence.
Consulting Artist for the Edge: It is recommended that a consulting Artist be engaged to
develop a Design Concept for the Edge treatment around the inlet.
The Water Body of the Inlet: There is an opportunity to develop an annual event/festival
where artists are invited to create temporary artworks such as floating sculptures for the
inlet.
The Bridge
The Bridge is an important part of the public circuit of the Waterfront providing a link for
pedestrians and cyclists between the Western Promenade and The Island. The Bridge will
25
be a significant element in the public domain, designed as a landmark structure that will
provide a unique public vantage point across the water to the south and towards the city and
the inlet to the north while accommodating access for ferries and smaller private craft.
Consulting Artist for the Bridge: It is recommended that a consulting Artist be engaged to
collaborate on the development of a Design Concept for this new pedestrian/cycle bridge.
Barrack Square
Barrack Square is located on the southern side of the intersection of Barrack Street and
Riverside Drive and provides a flexible space that can accommodate various events such as
markets and parades while promoting activation through the commissioning of temporary
artworks.
It is envisaged that a new road layout and landscaping setting will complement the Bell
Tower and visually connect the project area to the river. The de Vlamingh memorial will
be relocated to the meeting place of the Barrack Street axis with the river, evoking the early
exploration of the Swan River landscape.
26
Figure 1. Perth Waterfront Project Area - Indicative Locations for Public Art
N
Site
Site
4
5
Site
2
9
William Street
Landing
39
Ferry
Terminal
The Promenade (East)
William Lane
8
Site
The Promenade (West)
3
Site
7
6
The Landing
Station
Park
Site
Site
Site
The Island
Riverside Lane
Site
10
Barrack
Square
Barrack Lane
The Bridge
38
Key.
Major Landmark Artworks
Small/Medium Scale Artworks
Temporary Public Art and Place Activation Opportunities
Key Locations for Public Art on Private Developments*
Existing Public Art
* Note – Developers may make a cash contribution to the Authority’s Perth Waterfront
Public Art Fund in lieu of providing public art on their development site. Funds collected
will be spent on procuring public art for the Perth Waterfront Project in accordance with
this strategy and the Authority’s Development Policy 4 Providing Public Art.
40