Industrial Cathedral

Industrial Cathedral
"Industrial Cathedral" charcoal on paper 131 x 131 cm Jane Bennett. Finalist in 1998 Dobell Drawing Prize Art Gallery of NSW Finalist 1998 Blake Prize Winner 1998 Hunter's Hill Open Art Prize

About Me

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Sydney, NSW, Australia
I'm an Industrial Heritage Artist who paints "en plein air".If it's damaged, derelict, doomed and about to disappear, I'll be there to paint it.
Showing posts with label Millers Point. Show all posts
Showing posts with label Millers Point. Show all posts

Saturday 5 December 2015

Darling House, Millers Point- It's not dear it's darling

Darling House, at 8-12 Trinity Avenue, Millers Point, is an exquisitely restored Georgian-style Old Colonial sandstone building only a stone's throw from the Sydney Harbour Bridge. It's as sweetly pretty as the proverbial chocolate box. But it has a chequered past, & more than its fair share of scandal, conflict & controversy. 
The land upon which Darling House now stands was granted to Susanna Ward by Governor Darling in 1823 and transferred to Susanna Elizabeth Douglas in 1831. The name of the house refers to the original land grant by Governor Darling.
Plein air oil painting of restored 19th century sandstone building in Millers Point painted by Jane Bennett
MP28 'Darling House' 2014 
oil on canvas 51 x 41cm
Available for sale


 

















 
 
 
Previously there had been a sandstone quarry on this site & the convict hand carved sandstone blocks from which the house is built were probably from the original quarry.
 The current sandstone building now standing on the site was built over an earlier structure built in the early 1830s. Darling House retains traces of the foundations, retaining walls, stonework, cobbled paving and part of a brick cavity wall from the original building. The existing sandstone house now known as "Darling House" was built by Joseph Farris in 1842, during a period of financial depression in Sydney. It was a large fashionable house of 8 rooms (when most houses in Millers Point were only 2-4 rooms). With the increasing number of wealthy merchants and wharf owners moving into Millers Point and Dawes Point, it became an affluent enclave, with Argyle and Lower Fort Streets known as 'Quality Row.'
Farris was a well known publican, holding licences for the Whalers Arms Hotel on the corner of Windmill Street & Lower Fort Street, the Young Princess Hotel (now the Hero of Waterloo) and the Shakespeare Hotel. It seems that Farris never lived at Darling House, but leased it out to various middle-class, educated residents, including artists, musicians, teachers and police officers
During the 1860s the ground and first floor Victorian verandas were added, & the first floor windows were converted into French doors. English bald faced buildings give little protection against the sun while the French doors and veranda allowed for greater air circulation through the house during summer. Australian architectural styles were forced to change from traditional English styles to adapt to the vastly different Australian climate. 
Caraher's Stairs, named after Owen Joseph Caraher, a local soap merchant, was built in 1857. These flanked the northern wall of Darling House & gave access up to Princes Street (now the site of the Sydney Harbour Bridge) making a thoroughfare between Millers Point and the CBD. However there were many complaints that it was the haunt of thugs & street gangs, the infamous Rocks 'Push'. During the construction of the Sydney Harbour Bridge, Caraher's Stairs were demolished. There are still small remnants of this lost stairway at the northern boundary of Darling House. A fragment of the original material, part of the original sandstone side wall and coping remain, and a darker colour to the brickwork on the building that was built while the stairway existed shows the outline of the stairway.
The Farris family leased the property out, until after the outbreak of bubonic plague in 1901, it was resumed by the Sydney Harbour Trust. The Sydney Harbour Trust resumed almost every property in The Rocks, Millers Point & Darling Harbour between 1900 and 1902 to set quarantine measures in place. As many houses, even streets were demolished at this time, Darling House was lucky to survive. However, the area went rapidly down market & upon resumption, the Sydney Harbour Trust converted Darling House into a boarding house. One of the most notorious residents was Rosaleen Norton, the so-called 'Witch of Kings Cross', who lived in Darling House in the early 1900s. She scandalized the society of Sydney when she published her 'satanic' drawings in local tabloids.
 In 1948-49 Darling House was converted into a warehouse, resulting in the demolition of most of the internal walls and outbuildings on the property to allow vehicle access to the back of the house. The house was then leased to various commercial companies. 
The last known commercial tenant of Darling House was Lep Transport who installed a petrol tank and bowser. After they left the property became vacant and increasingly dilapidated.
“The Rocks Cottage Type Hospital” (later Darling House) was the first major project of the newly formed Millers Point Resident Action Group (MPRAG) in 1975. After much community effort a lease was signed with the State for the site in 1983. During that time funds were raised through “raffles and jumble sales of  chocolate wheels, and games of housie.” (Darling House – A Community Achievement – Shirley Fitzgerald 2015 )
By 1993 the Committee had capital funding of $500,000 from the Federal government approved. The State Liberal government promised a matching amount, the City Council promised $20,000 and a matching $20,000 from the community. At that time the State Housing Commission “couldn’t believe the value they got for their $500,000.” (Shirley Fitzgerald)
In 1994 Darling House underwent extensive renovations under the design of heritage architect Howard Tanner, including the construction of a new dwelling on the southern allotment, in order to convert the house into an aged care facility. The conversion into an aged care facility was a community initiative of MPRAG in Partnership with the Rocks Cottage Type Nursing Home Committee. It was a community funded and supported organization from the time of its opening on 4 October 1994 until 2015. In 2014 the State Government decided to sell 293 Government owned houses in Millers Point and Dawes Point to private purchasers. In 2015 the State Government of New South Wales decided that instead of a “peppercorn” rent of $50 p.a. the full market rent would be charged – hundreds of thousands of dollars. This led to the closure of the aged care facility in 2015, just twenty years after it had opened, and its subsequent sale..
Apart from the uncosted community time and effort in 'sweat equity', specific payments of over $200,000 have been noted, as well as about $500,000 for ongoing maintenance.
In February 2016  Darling House property was purchased for $7.7 million from the New South Wales Land and Housing Corporation at public auction by Dr Shane Moran. MPRAG was not reimbursed for their time, effort or money spent. It has been estimated that at least 20% of the value of the property & probably more, was directly attributable to the efforts of MPRAG, so they should have been reimbursed over $1.5 million from the sale. 
But this didn't happen, & the residents were furious at their betrayal by the State Government.
Since its acquisition by Provectus Care in 2016, the property has been refurbished into a boutique luxury retirement home. The extensive restoration has preserved Darling House’s original Georgian features  including original Victorian marble fireplaces, historic lead-light windows and period joinery.
However, Mr John McInerney, Chairman of MPRAG, said that although he wasn't opposed to the new aged care facility he was angered that the New South Wales government "has taken a community facility, cashed it in for $7 million odd dollars and has now made it inaccessible to the bulk of residents around here".
 
Related posts 
 
 
 
 
 
 

Saturday 21 November 2015

Hotel Palisade redux


There's just so much history in the walls of the Palisade.
It was the scene of the last drinks for many Anzacs before they left Australia during the First World War, and the 'local' for the engineers and navvies working on the construction of the Sydney Harbour Bridge. Desperate wharfies seeking work at the Hungry Mile during the Great Depression would either drown their sorrows or celebrate their good fortune in finding a day's work, depending on luck. It was the haunt of 'colourful characters', the much loved centre of the Millers Point community and the headquarters of activists during the era of the Green Bans and the Patrick's dispute. 
It stood on the corner of Argyle and Bettington streets in Millers Point like an exclamation point at the end of High street. For many years it was the tallest building in Sydney, and overlooked the wharves of East Darling Harbour which provided most of its clientele. At the time of its building, workers terraces to house the wharfies were being constructed in High Street which was carved into the sandstone escarpment above the Fingerwharves and Bond stores below.
This painting shows one of the landbridges over Hickson Road, and the railings preventing revellers falling into the deep cutting in front of the Palisade. This strange configuration of the landscape makes the quirky, slightly ramshackle style of the Palisade even more startling.

In 2014, when I painted this canvas, there was a small park in front of the Palisade. It was overgrown, but its figtrees were a welcome source of shade in summer. Since the redevelopment of this area, the park is now a wide green lawn with a few saplings which will need a lot of time before they provide shade.Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett

MP7A Hotel Palisade 2014
oil on canvas 36 x 46cm
Available

There had been an earlier, much smaller hotel built on this site in the 1880s but it was pulled down in the frenzy of slum clearances at the beginning of the 20th century.
After the end of the bubonic plague crisis in the first decade of the 20th century, the population in Millers Point increased so much that the Sydney Harbour Trust had to build replacement hotels to cater to the port workers. Henry Deane Walsh was commissioned to build the new Palisade Hotel, one of 4 that were built by the Trust, the others being Dumbarton Castle, the 'Big House' (Moretons in Sussex Street- now the Sussex Hotel) and the Harbour View Hotel.
Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett
MP30 The Reopening of the Palisade
2015 oil on canvas 51 x 25cm

Enquiries about similar paintings
The 5 storey hotel was built in 1915-16, and was one of the last Sydney buildings to be designed in the 'Federation Free' style, with parapets, and sandstone banding decorating the red brick masonry.
From the 1920s the head lease for the hotel was owned by Tooth and Co. who sub let it to various licensees.
Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett
MP30 The Reopening of the Palisade
2015 oil on canvas 51 x 25cm

 Enquiries about similar paintings 

From 1936, when the role of the Sydney Harbour Trust was taken over by the newly formed Maritime Service Board, title to the hotel was issued to the MSB, although Tooths continued to lease it until 1950. At that time the licensee, P. K. Armstrong, obtained the lease.
In February 1987 title passed from the MSB into private ownership, then in 1994, Palisade Properties Pty Ltd obtained title.


Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett
MP30 The Reopening of the Palisade
2015 oil on canvas 51 x 25cm 
Before redevelopment, the Palisade loomed abruptly on the hill overlooking the wharves. Many wharfies joked that they didn't need to have built the Harbour Control Tower, just use the roof of the Palisade.
Plein air oil painting of the Hotel Palisade in Millers Point by landscape artist Jane Bennett
MP30 The Reopening of the Palisade
2015 oil on canvas 51 x 25cm 
The Barangaroo Headland Park has been terraced up from the shoreline so that the path leads to the Palisade.
There's also now a series of sandstone steps from the edge of High Street leading to nothing in particular that serve as a prelude to the Barangaroo Headland Park further down.


Related Posts

 
 

Saturday 26 September 2015

Sign of the Palisade

The Hotel Palisade was closed in 2008, just after the World Youth day celebrations and spent seven years in hibernation.
Plein air oil painting of the Hotel Palisade, a historic pub in Millers Point near Barangaroo painted by landscape artist Jane Bennett
MP7 Sign of the Palisade 2014
acrylic on canvas 10 x 10cm
Available for sale
During its long sleep, many locals worried that the Palisade would never reopen, and would end up as apartments like so many other historic buildings, but it reopened in 2015, appropriately just in time for its 100th birthday.
Plein air oil painting of the Hotel Palisade, a historic pub in Millers Point near Barangaroo painted by landscape artist Jane Bennett
MP39 'Sign of the Palisade' 
2014 oil on canvas 31 x 31cm
Available for sale
The renovations added a rooftop cocktail bar boasting sweeping 360 degree views of the Harbour, Millers Point and Barangaroo, as well as a new main bar and boutique accommodation.
I'm not a personal fan of the blocky design of the new roof, which to me spoilt the line of the original roof-top design, but at least it's not too obtrusive from ground level.
I'm so used to seeing it from a bird's eye view from the top floor of the Harbour Control Tower, which has been my studio for well over a decade.
Although a waterfront pub, it wasn't the pub of choice for the smarter wharfies - at least not since 1972 when the Harbour Control Tower was built, anyway, for the good reason that being directly opposite the Harbour Tower, the HarbourMaster had an excellent view of the comings and goings of any stevedores that might have clocked off early for a long liquid lunch. Moreton's (aka 'The Big House') where Sussex Street becomes Hickson Road, was overshadowed by the escarpment below High Street, and there was an entrance to the Lord Nelson in Kent street that also wasn't able to be overlooked. The entrance of the Hero of Waterloo in Lower Fort Street also wasn't visible to any sticky beaks in the eye in the sky.
The Hotel Palisade is now a seven-storey masonry building banded with strips of sandstone. There is a basement, five storeys of rooms and the new roof-top enclosed bar and terrace.
Plein air oil painting of the Hotel Palisade, a historic pub in Millers Point near Barangaroo painted by landscape artist Jane Bennett
MP39 'Sign of the Palisade' 
2014 oil on canvas 31 x 31cm
This small canvas, painted 'en plein air' just before the re-opening, features the iconic name plate which is attached to the parapet. I'm fascinated by the way that the "is" of the Palisade sign is enclosed inside a sandstone vignette, while the rest of the word is painted on the brick facade.

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Monday 15 June 2015

Open House

A not very architecturally distinguished housing commission in the hinterland of Glebe/Ultimo was being demolished in 2011. 
I jumped the fence and painted some small plein air canvases while it was being demolished.
plein air oil painting of housing commission apartments in Cowper Street Glebe/Ultimo by artist Jane Bennett
 "Half demolished apartment block
in Cowper Street Glebe/Ultimo"
2011 oil on canvas 15 x 15cm

Enquiries
 

























The 'Mirragang' at first sight looks quite presentable, until the lack of glass in the windows hints at something not quite right....
plein air oil painting of housing commission apartments in Cowper Street Glebe/Ultimo by artist Jane Bennett
'Open Plan'  -half demolished apartment block 
in Cowper Street Glebe/Ultimo"
2011 oil on canvas 13 x 18cm

Enquiries

 
The shell of the 'Mirragang' apartments on the left, and the 'Mirrabooka' on the right, frame the handsome dark brick building in the centre.
This former wool bond store, the Farmers and Graziers No 2 Store, was the last of the great bond stores, and replaced a swath of houses in 1936. The low-lying swampy area of Glebe and Ultimo has always been known for cheap and often nasty housing.
 From the 1850s onwards, a jumble of workshops, slaughter yards, boiling-down works and other scrappy industries sprang up around the noxious waters of Blackwattle Creek. Cramped cottages without water or sewerage, were erected by landlords for the working poor. People lived cheek by jowl with domestic animals. Refuse and offal from the slaughter yards often remained to rot on the mudflats. The abattoirs provided the bones to be burnt in the Char Tower of the CSR Distillery, which were used to filter sugar. And all of the residue was pumped right back into the Blackwattle Creek.
However uninspired these redbrick tower blocks looked, they were a vast improvement on their predecessors.
Mind you, that wouldn't have been hard.
Almost anything would have been.
plein air oil painting of housing commission apartments in Cowper Street Glebe/Ultimo by artist Jane Bennett
 'Open House' -
2011 oil on canvas 25 x 20cm

Available

Enquiries
The patch of sky behind the half-demolished windows gives a feeling of a stage set.
These 15 public housing apartment blocks in Cowper Street, Glebe, were demolished by the state Labor government in 2011, resulting in the eviction of 130 tenants. Although new housing on the site was promised, to be funded by the proceeds of money raised by the sale of 99-year leases to Millers Point terraces, the land was left vacant for years as a development application was lodged and contested in court.
The O'Farrell cabinet approved construction plans for 153 public housing units, 95 affordable housing units and 247 private apartments on the site in 2013.
Now the Baird government has finally announced plans to rebuild this demolished public housing estate on Cowper Street as a mixed private, public and affordable housing community.

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Tuesday 17 February 2015

Banners, Millers Point

plein air oil painting of heritage terraces in Millers Point by artist Jane Bennett
 "Dalgety Terrace Millers Point"
2014 oil on canvas 46 x 61cm 
Collection : Mitchell Library, State Library of NSW
Enquiries about similar paintings 
The Harbour Control Tower looms ominously over the row of ramshackle terraces on the sandstone block wall of Dalgety Road.
Some of the houses sport protest banners :"Millers Point not 4 sale" "Our community is worth more than money"
Fortunately some of the banners were still there long enough for me to paint them, however, a few weeks afterwards the Housing NSW Millers Point Relocation Team had torn them down.
Housing NSW's Relocation Officers and their security and "cleansing" teams have been removing banners and photos of residents throughout Millers Point. The banners on the Garrison Church Rectory and on St Brigid's Church were removed in January 2015.  

plein air oil painting of heritage terraces in Millers Point by artist Jane Bennett
 "Dalgety Terrace Millers Point"
2014 oil on canvas 46 x 61cm 
Collection : Mitchell Library, State Library of NSW
Enquiries about similar paintings
Luckily I finished painting this canvas just before the roadwork started.
I was set up between 2 of the hideous new apartments built several years ago to replace a set of old Maritime Services Board warehouses.
plein air oil painting of heritage terraces in Millers Point by artist Jane Bennett
 "Dalgety Terrace Millers Point"
2014 oil on canvas 46 x 61cm
Collection : Mitchell Library, State Library of NSW
Enquiries about similar paintings
To add insult to injury,there is now a serious attempt to remove even the name "Millers Point" from the suburb- see Don't erase Millers Point Facebook Page
This canvas, which I exhibited in my solo exhibition "Under the Hammer" Frances Keevil Gallery 2014, was recently acquired for the collection of the Mitchell Library, State Library of NSW.
My canvases are banners that can never be torn down.

Monday 8 December 2014

On location - A Short film of my paintings

This is the link to view a short film of me painting on location in Millers Point and talking about the paintings in my solo exhibition "Under the Hammer"

Short film of "Under the Hammer" 

 While I was painting some tiny quick studies of terrace houses in Argyle Place in October-November 2014, I was filmed by Lachlan Bennett (no relation!). In the film, I speak about industrial heritage, the de-industrialisation of the city and my latest solo exhibition, 'Under
the Hammer'.

It's impossible to convey the same sense of wonder and beauty that I experience while painting on location, but it's worth a try.


plein air oil painting of terrace house in Millers Point by artist jane Bennett
"36 Argyle Place"  2014
 
oil on canvas 15 x 10cm
Available
Enquiries : janecooperbennett@gmail.com























As well as capturing me at work, Lachlan also visited the Frances Keevil Gallery to film an interview with me, and to view the paintings of Millers Point in the context of my previous work. Just before my solo exhibition opened, Lachlan visited High Street, Millers Point to film me painting the finishing touches on the large panorama of the Harbour Tower from High St.

Saturday 30 August 2014

Stairway to Nowhere

No way in, & no way out. 
No way up & no way down. 
High above street level and clinging to the northern end of the sandstone escarpment fringing Hickson Road in Millers Point, is a stairway to nowhere.
The entrance and exit are totally bricked-up. 
Everyone has heard of 'ghost signs' - but these are 'ghost stairs'.
Where are these spooky steps meant to lead?
Plein air oil painting of 'Tomason' bricked up stairway in cliff Hickson Road, Millers Point painted by Jane Bennett
MP2 Hickson Road stairs to nowhere
 



 
 
 
 
 
 
 
 
 
 
 
 
 
 




 
2014 acrylic on canvas 31 x 26cm
It just sits there embedded in the sandstone.  
No-one can climb into the section in the centre, as the base is totally bricked-in.
Presumably it wasn't fully bricked up because of financial considerations, & the partial enclosure would serve to prevent even the most determined parkour enthusiast from climbing to the top
'Tomason' aka Thomasson or Hyperart Thomasson (Japanese: Tomason トマソン or Chōgeijutsu Tomason 超芸術トマソン) is a type of conceptual art named by the Japanese artist Akasegawa Genpei , a member of a Japanese art & architecture collective formed in 1986 known as Rojo Kansatsu (Roadside Observation). It's a term for useless, abandoned leftovers, which have been inadvertently preserved & even maintained as unintentional art created by the city itself. They are strange & haunting vestiges of the incessant churn of building, destruction, and redevelopment that characterizes the city. The equivalent of a human appendix or the vestigial remnants of tiny non-functional limbs on a snake's skeleton. 
The inspiration for the term was Gary Thomasson, a baseball player signed with great fanfare & given a huge contract, but who put in a such a disappointing performance that his name became a byword for uselessness. His position on the team was a fitting analogy for "an object, part of a building, that was maintained in good condition, but with no purpose, to the point of becoming a work of art." A 'Stairway to nowhere' is a type of 'Tomason' also known as a "Pure Staircase"(Japanese: Muyō kaidan 無用階段 )
It makes a quirky counterpart to 2 fully functional steps at opposite ends of the wharf precinct - High Steps & Agar Steps. The High steps were cut into the cliff face at the southernmost end of High Street. Agar Steps is on the western side of Observatory Hill, connecting Kent Street and Upper Fort Street. They were designed as a continuation of Agar Street, (now High Street) named after Thomas Agars, a merchant and City councillor. Originally called the Flagstaff Steps, Agar Steps was built to provide access to the Model School &Sydney Observatory.
During the early 20th century, the streetscapes of Millers Point were in a state of turmoil subsequent to large scale resumption by the Government as part of its program to eradicate the Bubonic plague.
By the 1920s whole streets had disappeared, new cliff faces had been carved into the bedrock and hundreds of houses were demolished & replaced. Quarrying to sea level along Hickson Road resulted in the creation of a platform carved into the exposed sandstone, creating a new urban terrace, 'High Street' by the Sydney Harbour Trust. 
The stairs cling to the wall above Hickson Road, leading up towards High Street & the deck of one of the three bridges built across Hickson Road.
The three bridges which carry Argyle, Munn and Windmill Streets over Hickson Road are rare examples of Monier Arch bridges. They were constructed along with the cuttings and other civil works in the area between 1910 and 1914 as part of the redevelopment of Walsh Bay by the Sydney Harbour Trust.  For the time, they were controversial & cutting edge technology as they were some of the earliest bridges to be built in Sydney using a new material called ferro-concrete (now known as reinforced concrete). 
The stairway to nowhere is a relic left over from the construction of the Monier bridge over Argyle street.

Yesterday, upon the stair,
I met a man who wasn't there
He wasn't there again today
I wish, I wish he'd go away...

When I came home last night at three
The man was waiting there for me
But when I looked around the hall
I couldn't see him there at all!
Go away, go away, don't you come back any more!
Go away, go away, and please don't slam the door... (slam!)

Last night I saw upon the stair
A little man who wasn't there
He wasn't there again today
Oh, how I wish he'd go away.
..
 
'Antigonish (I met a man who wasn't there)'
by Hughes Mearns
 
Except it was the stair that wasn't there.
In metaphysics, a paradoxical argument by Willard Van Orman Quine in his 1948 paper "On What There Is" used the phrase 'Plato's beard' as a term for the philosophy of understanding something based on what does not exist. 
'Plato's beard' may blunt 'Occam's Razor'.


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Sunday 6 April 2014

Another one bites the dust

plein air oil painting of heritage terraces in Millers Point by Jane Bennett, industrial heritage artist
Starting a large panorama on Sunday 30th March about 10am
"Harbour Control Tower and Barangaroo
from High Street, Millers Point" 
2014 oil on canvas 61 x 183cm
Enquiries about this painting :

I have spent most of the past week painting a large panoramic canvas to show the Harbour Control Tower from High Street in Millers Point.

On the far left hand side is a view of the Barangaroo construction site, with giant chunks of recently excavated yellowblock sandstone forming a pseudo-naturalistic cove. 
On the far right hand side, the workers cottages of High Street stare down disapprovingly onto their brash new neighbour. 
In the centre of the picture is the last bastion of the Hungry Mile, the mushroom topped column of the Harbour Control Tower.
plein air oil painting of heritage terraces in Millers Point by Jane Bennett, industrial heritage artist
 Monday 31st March about 1pm
"Harbour Control Tower and Barangaroo
from High Street, Millers Point" 
2014 oil on canvas 61 x 183cm
Enquiries about this painting :


The Harbour Tower was also jokingly known as ''the Pill" because it "controlled all the berths" in the harbour. According to the National Trust, it should be conserved and reused as it symbolizes more than 200 years of shipping in Sydney.
However, this is an unlikely fate, as the Barangaroo Delivery Authority then bought the concrete, steel and glass structure from Sydney Ports for $2.6 million. 
Despite its unsurpassed 360 degree harbour views, the Harbour Control Tower quite obviously doesn't fit into their vision for Barangaroo, so its days are numbered.
plein air oil painting of heritage terraces in Millers Point by Jane Bennett, industrial heritage artist
Tuesday 1st April about 11am
"Harbour Control Tower and Barangaroo
from High Street, Millers Point"
2014 oil on canvas 61 x 183cm
Enquiries about this painting :























Sydney Ports once manned it 24/7, but it has not been operational since April 11th 2011, when vessel control services for Sydney Harbour finally moved to Port Botany.

plein air oil painting of heritage terraces in Millers Point by Jane Bennett, industrial heritage artist
 Wednesday 2nd April about 11am
"Harbour Control Tower and Barangaroo
from High Street, Millers Point"
2014 oil on canvas 61 x 183cm
Enquiries about this painting :






















The tower opened in 1974 to give Harbour Control the best possible views of the harbour to ensure safe passage for thousands of ships each year. The architectural drawings and plans for its construction used to be hung in the foyer of the amenities level, just in front of the lift, until some light fingered wharfie pinched them.

plein air oil painting of the Sydney Harbour Control Tower in Millers Point by Jane Bennett, industrial heritage artist
'Evening Harbour Control Tower
from Moore's Wharf' 2013
oil on canvas 178 x 122cm


























This is my huge canvas painted from my Moore's Wharf studio, showing the last time that the gorgeous sandstone escarpment was completely visible.
It has by now totally disappeared under a layer of scaffolding and the retaining wall for the North Barangaroo Headland Park.
The park will slope from its soi disant naturalistic 1788 coastline up to Clyne Reserve and Merriman street. Obviously the Tower will get short shrift. It is an emblem of another era and different values.
It looks as though Precision Demolition will be getting more work!
I last caught their act at Port Kembla, where they lived up to their name, neatly and precisely dropping the Port Kembla Copper Stack onto the grounds of Port Kembla Copper. Previously I had met them during the saga of the sinking of ex-HMAS Adelaide.
I am surprised, and more than a little concerned, that as the demolition of the Harbour Control Tower was virtually a foregone conclusion, that it wasn't demolished before construction of the headland was so far advanced. However neatly they drop it, it would make a bit of a dent in the painstakingly arranged faux natural headland. Unless they are planning to leave the pieces there as a giant water feature or a Brutalist concrete novelty sundial in the centre of the park. 
It would certainly be a conversation piece.
Or perhaps the charming terraces of Merriman Street are also superfluous to their requirements?
There's no accounting for taste.
oil painting of the interior of Sydney Harbour Control Tower in Millers Point by Jane Bennett, industrial heritage artist
'The Shipping News - Last  view of interior
of Harbour Control Tower '
 2011 oil on canvas 25 x 51cm
Enquiries about this painting :

I had been "Artist in Residence" in the Harbour Control Tower by Sydney Ports Corporation for nearly a decade.
This is the final view of the interior of the top floor. The whiteboard has a list of the very last shipping movements on April the last operational day of the Harbour Control Tower.
The clock has stopped at 10.44am, Tuesday 24th May, and has been left that way.
After the last operational use of the Tower, maintenance staff had to still have access to be able to remove furniture, cables and other equipment. If I arrived early enough, I would be allowed to tag along and do a bit more painting. 
My very last visit was just before its eventual demolition.

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