PR OTECTION AND PROMOTION PROJECT - Heritage - Heritage · 1.0 Introduction 1 1.1 Royal Exhibition Building and Carlton Gardens 1 1.1.1 The site 1 1.1.2 The building 1 1.2 Summary

PROTECTION AND PROMOTION PROJECT

ROYAL EXHIBITION BUILDING

Heritage Victoria Permit Application

Heritage Impact Assessment

Prepared for

Museum Victoria

April 2017

L O V E L L C H E N I

TABLE OF CONTENTS

1.0 Introduction 1

1.1 Royal Exhibition Building and Carlton Gardens 1 1.1.1 The site 1

1.1.2 The building 1

1.2 Summary of proposal 3 1.3 Documentation 3 1.4 References and reports 6

2.0 Heritage listings and controls 7

2.1 Victorian Heritage Register 7 2.2 World Heritage listing 12 2.3 National Heritage Listing 14 2.4 Heritage Overlay 16 2.5 National Trust of Australia (Victoria) 16

3.0 Overview of proposal, with reference to CMP objectives and guidelines 18

3.1 Introduction 18 3.1.1 Client brief and design objectives 18

3.1.2 Promenade Experience 18

3.2 CMP objectives, policies and guidelines 19 3.3 Internal works 21

3.3.1 Basement 21

3.3.2 Lift and stair to Dome Promenade 23

3.3.3 New screened viewing area at gallery level 29

3.3.4 Glazed doors to internal south opening 31

3.4 External works 33 3.4.1 South façade 33

3.4.2 Dome Promenade 35

3.4.3 Dome Promenade Pavilion 44

3.5 Repairs and restoration 46 3.5.1 Conservation methodologies 46

3.5.2 Dome and cupola 48

3.5.3 Roof 48

3.5.4 Facade 49

3.5.5 External joinery 49

4.0 Impacts on heritage values 50

4.1 World Heritage Values 50 4.1.1 Justification for Inscription: Criterion (ii) 50

4.1.2 Brief Synthesis 51

4.1.3 Integrity 51

I I L O V E L L C H E N

4.1.4 Authenticity 51

4.1.5 Protection and management arrangements 51

4.1.6 Significant Impact Guidelines 51

4.2 State Heritage Values 53 4.2.1 Victorian Heritage Register 53

5.0 Conclusion 55

Appendix A Victorian Heritage Register citation

Appendix B World Heritage List citation

Appendix C National Heritage List citation

L O V E L L C H E N 1

1.0 Introduction

This Heritage Impacts Statement (HIS) has been prepared for Museum Victoria, and addresses the

proposed Royal Exhibition Building Protection and Promotion Project (‘the project’) at the Royal

Exhibition Building (REB), Carlton Gardens, Carlton. The Royal Exhibition Building and Carlton Gardens

are included in the Victorian Heritage Register (VHR), National Heritage List (NHL) and World Heritage

List (WHL). The statutory heritage controls which apply as a result of the VHR listing are addressed in

this report, which accompanies a permit application to Heritage Victoria under the Victorian Heritage

Act 1995. A separate referral is made to the Commonwealth Department of Environment under the

Environment Protection Biodiversity and Conservation Act 1999 (EPBC Act), as required for places

included on the National and World Heritage lists.

The project involves ‘protection’ works (conservation, restoration and repairs) and ‘promotion’ works.

1.1 Royal Exhibition Building and Carlton Gardens

1.1.1 The site

The Royal Exhibition Building is located in the Carlton Gardens, Carlton, bordered by Victoria, Nicholson,

Carlton, and Rathdowne streets (Figure 1). Both the Royal Exhibition Building and the Melbourne

Museum are located within an area excised from the broader Carlton Gardens, which is known as the

‘Exhibition and Museum Purposes Reserve’ (generally referred to below as the ‘Exhibition Reserve’).

The East, West and South Forecourts to the Royal Exhibition Building, and the Museum Plaza, are also

located within the Exhibition Reserve. The Carlton Gardens additionally comprise the South and North

Gardens, being the southern and northern garden components separated by the Exhibition Reserve.

The REB is sited south of Melbourne Museum and north of the Carlton Gardens, surrounded by a

trafficable curtilage of either asphalt or gravel with formal garden beds and driveways off set from the

building. A large public plaza separates the REB from Melbourne Museum entrance to the north, while

the southern drive separates the REB from Carlton Gardens to the south. The eastern and western

forecourts provide a frontage to Nicholson and Rathdowne streets respectively. Carlton Gardens are

formal in design and execution, providing tree-lined pathways, fountains and lakes, as an integral part of

the overall site design and setting for the Exhibition Buildings.

1.1.2 The building

The Royal Exhibition Building is cruciform in plan, with a pair of elongated rectangular wings extending

east and west which comprise the Great Hall, a transept to the north and a truncated transept to the

south. It incorporates components which are typical of nineteenth century exhibition buildings,

including the dome, large portal entries, viewing platforms, towers, and fanlight windows (Figure 2).

Architecturally, the building displays elements of the Byzantine, Romanesque, Lombardic and Italian

Renaissance styles.

The walls are constructed of painted cement stuccoed (rendered) brickwork. The roof is timber framed

and clad with corrugated galvanised steel and slate; and windows and doors are of timber. The current

building was part of a more substantial complex of structures erected for the 1880 Melbourne

International Exhibition. It was conceived as a permanent structure, to be used beyond the

International exhibition stage. Other temporary structures were removed post the exhibitions.

2 L O V E L L C H E N

Figure 1 Royal Exhibition Building and Carlton Gardens, north is at top

Source: Nearmap February 2016


Figure 2 Royal Exhibition Building, north is at top

Source: Nearmap February 2016

1.2 Summary of proposal

The Protection and Promotion Project comprises the following principal components:

Protection works

Repairs, restoration and reconstruction works (described in this project as ‘protection and

conservation works’) to the external fabric including the dome cupola, dome roof, dome drum,

nave and gallery roofs, flagpoles, pavilion roofs and facades, and east, south and west rendered

facades

Promotion works

Internal works

o Partial upgrade and adaptation of the basement

o Provision of lift and stair access to the Dome Promenade

o Provision of a new screened viewing area at gallery level

o Provision of new internal glazed doors (wind-lock) to the south entry

External works

o Creation of a new doorway in the south facade

o Upgrade of the Dome Promenade, including construction of upper and lower

promenade decks

o Construction of a pavilion to the lower promenade deck

o Construction of access ramps and modification of ground levels and landscape

treatment on the south side of the building, west of the central entry

The proposed works are further described below, while the attachments to this report provide

additional detail, including in relation to the repairs and conservation works.

1.3 Documentation

In preparing this revised HIS report, reference has been made to the following documentation (Table 1

& Table 2).


Table 1 Application drawings

DWG

NUM.

DWG TITLE REVISION

A0.01 Location Plan and Drawing Register HV-3

A0.02 Site Establishment Plan and Promotion Extent of Work HV-3

A0.03 Protection Extent of Work HV-3

A1.10 Existing and Demolition Basement Plan HV-3

A1.11 Existing and Demolition Basement Plan HV-3

A1.12 Existing and Demolition Ground Floor Plan HV-2

A1.13 Existing and Demolition Gallery Plan HV-2

A1.14 Existing and Demolition Main Stair Area – RL 53.66 Plan & RL 58.89 HV-2

A1.15 Existing and Demolition RL 64.12 Plan HV-2

A1.16 Existing and Demolition Roof Plan HV-3

A1.20 Existing and Demolition Section A-A HV-2

A1.21 Existing and Demolition Section B-B HV-2

A1.22 Existing and Demolition Section C-C HV-2

A1.23 Existing and Demolition Section D-D HV-3

A1.24 Existing and Demolition Section E-E HV-2

A1.25 Existing and Demolition Section F-F HV-2

A1.30 Existing and Demolition South Elevation HV-3

A2.10 Proposed Basement Plan (Stage 1 Deleted) HV-3

A2.11 Proposed Basement Plan (Stage 1 Deleted) HV-3

A2.12 Proposed Ground Floor Plan & Internal Elevation (Stage 1 Deleted) HV-3

A2.13 Proposed Gallery Plan & Internal Elevation (Stage 1 Deleted) HV-3

A2.20 Proposed Lower Promenade & RL 61.65 Plans (Stage 1 Deleted) HV-3

A2.21 Proposed Upper Promenade Plan 1:100 (Stage 1 Deleted) HV-3

A2.22 Proposed Sections A-A (Stage 1 Deleted) HV-3

A2.23 Proposed Sections C-C (Stage 1 Deleted) HV-3

A2.24 Proposed Section D-D (Stage 1 Deleted) HV-3

A2.25 Proposed Section H-H (Stage 1 Deleted) HV-3

A2.26 Proposed South Elevation (Stage 1 Deleted) HV-3

A2.27 Proposed South Elevation (Stage 1 Deleted) HV-3

A2.28 Proposed South Elevation and Ramp, Entry and Stair Sections HV-3

A2.40 Proposed Section C-C – View lines HV-3


DWG

NUM.

DWG TITLE REVISION

A2.41 Proposed 3D Rendered Views HV-3

A3.10 Conservation Works East Elevation HV-2

A3.11 Conservation Works Pavilion 4 – Elevations HV-2

A3.12 Conservation Works East Elevation Portico HV-2

A3.13 Conservation Works Pavilion Five – Elevations HV-2

A3.20 Conservation Works South Elevation – Transept HV-2

A3.21 Conservation Works South Elevation – West Section HV-2

A3.22 Conservation Works South Elevation – East Section HV-2

A3.23 Conservation Works South Elevation – Pavilions HV-2

A3.24 Conservation Works South Elevation – Portico HV-2

A3.25 Conservation Works South Elevation – Rear and Pavilions HV-2

A3.30 Conservation Works West Elevation HV-2


A3.32 Conservation Works West Elevation Portico HV-2


A3.40 Conservation Works North Elevation – Transept HV-2

A3.41 Conservation Works North Transept Elevations HV-2

A3.42 Conservation Works North Elevation – East Section HV-2

A3.43 Conservation Works North Elevation – West Section HV-2

A3.44 Conservation Works North Elevation Pavilions HV-2

A3.45 Conservation Works North Elevation Portico HV-2

A3.50 Conservation Works Upper Promenade Elevations HV-2

A3.51 Conservation Works Upper Promenade Rear Elevations HV-2

A3.52 Conservation Works Dome Elevations HV-3

A3.53 Conservation Works Dome Roof Elevations HV-2

A3.54 Conservation Works Cupola Elevations HV-2

A3.60 Conservation Works Roof Lantern East – Elevations HV-2

A3.61 Conservation Works Roof Lantern West – Elevations HV-2

A3.80 Conservation Works Roof Plan HV-2

A3.81 Conservation Works Roof Access Plan HV-2


Table 2 Application Schedules and Information

Promotion Works Schedule (5 pages)

Photomontages (Before and After) (7 pages)

REB Protection and Promotion Works Menu of Method of Repairs (6 pages)

General Render Repair Works Schedule (3 pages)

Itemised Render Repair Works Schedule (31 pages)

Roof Repair Works Schedule (2 pages)

Joinery Repair Works Schedule (17 pages)

Door Repair Works Schedule (10 pages)

1.4 References and reports

A number of reports of relevance, including several which are statutory requirements of the National

and World Heritage listings, have also been referred to in preparing this HIS report, as follows:

Royal Exhibition Building and Carlton Gardens World Heritage Management Plan,

(October 2013), prepared by the Steering Committee for the Royal Exhibition Building and

Carlton Gardens as appointed under the Heritage Act 1995. As per its ‘Introduction’:

o ‘The Management Plan provides information on the World Heritage, National

Heritage, State Heritage and Local Heritage values of the Royal Exhibition Building and

Carlton Gardens. It also provides detail on the statutory and management framework

that will ensure these values are protected and conserved. This document contains the

information necessary to meet the requirements for accreditation by the

Commonwealth Minister for Sustainability, Environment, Water, Population and

Communities under s46 of the Commonwealth Environment Protection and

Biodiversity Conservation Act 1999 (EPBC Act).’

Royal Exhibition Building and Carlton Gardens, Carlton, Conservation Management Plan

(October 2007, updated June 2008), prepared by Lovell Chen for Heritage Victoria and the

Steering Committee. Referred to below as the CMP.


2.0 Heritage listings and controls

In summary:

The Royal Exhibition Building and Carlton Gardens is inscribed in the World Heritage List, under

Criterion (ii).

The Royal Exhibition Building National Historic Place is included in the National Heritage List, as

per Place Id 105708, and Place File 2/11/033/0235.

The Royal Exhibition Building and Carlton Gardens (World Heritage Place) is included in the

Victorian Heritage Register, as H1501.

The Royal Exhibition Building and Carlton Gardens (World Heritage Place) is included in the

Schedule to the Heritage Overlay of the Melbourne Planning Scheme, as HO69.

The following addresses the VHR listing and controls, with reference also to the World Heritage and the

Heritage Overlay listings and controls. The National Heritage listing is not addressed below, but is dealt

with separately in the referral to the Commonwealth Department of Environment under the EPBC Act.

Reference to the World Heritage List and World Heritage Values is made in accordance with the Royal

Exhibition Building and Carlton Gardens World Heritage Management Plan (October 2013). Under

Section 9.1.3 ‘Permit assessment and approval process under the Heritage Act’, the Plan states:

When assessing a heritage permit application for works to the Royal Exhibition

Building and Carlton Gardens the Executive Director must consider (in accordance

with s73(1) of the Heritage Act):

…the extent to which the application, if approved, would affect the world heritage

values of the listed place and any relevant approved World Heritage Strategy Plan

Section 73(1) of the Heritage Act relates to ‘Matters to be determined in considering applications’, and

states that ‘In determining an application for a permit, the Executive Director must consider’:

(S.73 (1b) (f)) any matters relating to the protection and conservation of the

place or object that the Executive Director considers relevant.

2.1 Victorian Heritage Register

The VHR listing for the Royal Exhibition Building and Carlton Gardens includes the following ‘Statement

of Significance to the State of Victoria’:

What is significant?

The Royal Exhibition Building was constructed in 1879-1880 to house the

International Exhibition of 1880. It is the only major extant nineteenth century

exhibition building in Australia and one of only a handful remaining world wide. It is

set within the Carlton Gardens, one of Melbourne's finest public parks. The design

by noted architect Joseph Reed was awarded first prize of £300 in an architectural

competition. The successful tenderer was David Mitchell at a price of £70,257.

Governor Sir George Bowen laid the foundation stone on 19 February 1879 and the

main building was ready for the opening of the International Exhibition on 1

October 1880. Temporary annexes to house some of the exhibition were

demolished after the exhibition closed on 30 April 1881. The subsequent 1888

Centennial International Exhibition was one of the largest events staged in

Victoria's history. By the turn of the twentieth century the buildings and environs

had become a combination of concert hall, museum, art gallery, aquarium and

sports ground. The Royal Exhibition Building played an important role in

Federation. On the 9 May 1901 the Duke of York presided over the opening of the

first Federal Parliament, and from 1901 to 1927 the western annexe was used as a

temporary State Parliament while the new Federal Parliament occupied the

Victorian Houses of Parliament. In 1919 the buildings became an emergency


hospital for influenza epidemic victims and during the Second World War were

used mainly by the RAAF. From 1948 to 1961 part of the complex was used as a

migrant reception centre. The Royal Exhibition Building was still widely used in the

post-war era for popular exhibitions such as the Home Show. The building is

cruciform in plan with the nave known as the Great Hall on the main east-west axis.

The main dome is 60 metres high and sits over the crossing of the nave and

transepts. The southern transept, which contains a 13 metre wide semi-circular

fanlight and is flanked by two towers, forms the main entrance. The decorative

scheme by John Anderson for the opening of Federal Parliament saw the dome was

decorated in imitation of the sky and the pendentives adorned with murals. An

unusual and interesting aspect was the decorated exposed roof trusses throughout

the building. The decorative scheme, hidden under layers of paint, was recovered

and restored in a major renovation in the 1990s. In 2001 the Royal Exhibition

Building hosted centenary celebrations of the opening of the first Federal

Parliament. On 1 July 2004 the Royal Exhibition Building was inscribed on the World

Heritage List.

Superintendent Charles La Trobe first planned the 26 hectare site of the Carlton

Gardens in 1839 as part of the green belt encircling Melbourne which included

Batman Hill, Flagstaff Gardens, Fitzroy Gardens, Treasury Gardens and the Domain.

The original layout of the gardens was by Edward La Trobe Bateman and dates to

1856. Further redesign and planting took place under the direction of the State's

leading landscape designers and horticulturists, including Clement Hodgkinson,

William Sangster, Nicholas Bickford, John Guilfoyle and architect Joseph Reed. Reed

and Sangster, who was also a nurseryman, worked in conjunction to ensure a

suitable setting for the building, planning gardens, paths, entrances and other

features. As well as the Royal Exhibition Building and the 1891 Curator's Lodge, first

lived in by John Guilfoyle, the gardens contain three important fountains: the

Hochgurtel Fountain, designed for the 1880 Exhibition by Joseph Hochgurtel; the

French Fountain; and the Westgarth Drinking Fountain. The original perimeter

fence was removed in about 1928 leaving only a small remnant and all of the

bluestone plinth. The Melbourne Museum, designed by architects Denton Corker

Marshall and constructed in the gardens immediately to the north of the Royal

Exhibition Building, opened in 2000.

How is it significant?

The Royal Exhibition Buildings and Carlton Gardens are of historical, architectural,

aesthetic, social and scientific (botanical) significance to the State of Victoria.

Why is it significant?

The Royal Exhibition Building is historically significant as the only major extant

nineteenth century exhibition building in Australia. It is one of the few major

nineteenth century exhibition buildings to survive worldwide. Together with the

associated landscaped gardens, the building forms one of the major surviving

nineteenth century exhibition precincts in the world. The building demonstrates

the wealth and confidence of the colony of Victoria in the late 1870s. It has been

the stage for highly significant and historic national events, including the

Melbourne Exhibition of 1880, the Centennial Exhibition of 1888, the opening of

the Federal Parliament in 1901 and as the venue for the Victorian State Parliament

from 1901 until 1927. The decorative scheme by John Anderson for the opening of

Parliament in 1901 is of historical and aesthetic significance and is among the finest

public art works in Victoria.


The Royal Exhibition Building is architecturally significant as one of the finest and

largest nineteenth century buildings in Australia. The stylistic choice of Renaissance

motifs and the modelling of the dome on that of Brunelleschi's Florence Cathedral

is emblematic of the sense of confidence of the young colony of Victoria in 1880.

The Royal Exhibition Building is architecturally significant as the largest design

carried out by renowned Melbourne architectural firm Reed and Barnes, who were

responsible for many of Melbourne's most prestigious public buildings, including

the Melbourne Town Hall and the State Library.

The Carlton Gardens, the setting for the Royal Exhibition Building, are aesthetically

significant for their nineteenth century 'Gardenesque' style featuring specimen

trees, parterre garden beds, in a symmetrical design with the use of axial views and

foci. The landscape features outstanding tree avenues, rows and specimen trees on

the lawns, a curator's lodge, two lakes with islands, shrubberies and elaborate

annual bedding displays along the southern promenade. The nineteenth century

path layout is enhanced by magnificent avenues of trees, including the grand

avenue of 26 Plane trees which frames the Exhibition Building dome, Elms, Cedar,

White Poplar, English Oak and an uncommon avenue of 35 Turkey Oaks. Carlton

Gardens is notable for the creative achievement demonstrating skilful garden

design, and a landscape character which features plantings of Pines, Cedar,

Araucaria, Cypress, Gums, Figs, Pepper trees, Elms, Planes, Oaks, Poplars, Canary

Island Date palms and Washington palms, that display contrasting colours and

forms which enhances the Gardens, Royal Exhibition Building and the local urban

area. Josef Hochgurtel's Exhibition Fountain of 1880 is the only known work of the

artist in Australia and is historically significant as an expression of civic pride in

Victoria's emerging international importance. Hochgurtel's fountain is the largest

and most elaborate fountain in Australia, incorporating frolicking putti, fish-tailed

Atlantes, goannas, platypus and ferns. The fountain and the 'Grand Allee' lined with

Plane trees is integral to the setting of the Royal Exhibition Building.

The Carlton Gardens are of scientific (botanical) significance for their outstanding

collection of plants, including conifers, palms, evergreen and deciduous trees,

many of which have grown to an outstanding size and form. The elm avenues of

Ulmus procera and U. x hollandica are significant as few examples remain world

wide due to Dutch elm disease. The Garden contains a rare specimen of Acmena

ingens (only five other specimens are known), an uncommon Harpephyllum

caffrum and the largest recorded in Victoria [Removed Sept 2010], Taxodium

distichum, and outstanding specimens of Chamaecyparis funebris and Ficus

macrophylla, south west of the Royal Exhibition Building.

The Royal Exhibition Building and the Carlton Gardens are of social significance for

their continuing involvement in the lives of Victorians. The buildings have hosted

countless major exhibitions as well as other community uses such as an influenza

hospital, wartime military use, migrant reception centre and a venue for several

events during the 1956 Olympic Games. The gardens have been enjoyed by visitors

for passive recreation, entertainment and social interaction and have been the

venue for the successful International Flower and Garden Show.

The ‘Extent of Registration’ (Figure 3) is:

1. All of the buildings and structures marked as follows on Diagram 1501 held by

the Executive Director:

B1 Royal Exhibition Building

B2 Curator's Cottage

B3 Hochgurtel Fountain

B4 French Fountain

1 0 L O V E L L C H E N

B5 Westgarth Drinking Fountain

B6 Stawell Sandstone Sample

B7 Palisade Fence and Gate

B8 Remnants of Bluestone Base to Palisade Fence

B9 Iron Rod Fence

2. All of the landscape features marked as follows on Diagram 1501 held by the

Executive Director:

P1 Pathways (south garden)

P2 Pathways (north garden)

P3 Pond and Island

P4 Pond and Islands

3. All the trees and palms, including avenues, rows and individuals growing in the

Carlton Gardens including the following species:

Acmena ingens

Angophora floribunda

Araucaria bidwillii

Araucaria cunninghamii

Araucaria heterophylla

Cedrus deodara

Chamaecyparis funebris

Corymbia citriodora

Cupressus macrocarpa

Cupressus torulosa

Eucalyptus cladocaylx

Ficus macrophylla

Ficus platypoda

Harpephyllum caffrum

Magnolia grandiflora

Phoenix canariensis

Pinus canariensis

Pinus nigra var. corsicana

Pinus pinea

Pittosporum undulatum

Platanus x acerifolia

Populus alba

Populus x canadensis 'Aurea'

Quercus acutissima

Quercus bicolor

Quercus canariensis

Quercus cerris

Quercus ilex

Quercus robur

Robinia pseudoacacia

Salix babylonica

Schinus molle

Taxodium distichum

Tilia x europaea

Ulmus procera

Ulmus x hollandica

Washingtonia robusta

Waterhousea floribunda

L O V E L L C H E N 1 1

4. All of the Crown Land Reserve Rs 9990 (Carlton Gardens) and Rs 37130 (Royal

Exhibition Building and Museum of Victoria), crown allotment 19A, shown on

Diagram 1501 held by the Executive Director, being the land bounded by

Rathdowne Street, Carlton Street, Nicholson Street and Victoria Street.

The ‘Permit Policy’ includes:

Royal Exhibition Building:

Given the exceptional significance of the Royal Exhibition Building particular care is

be taken to control any changes through the permit process. For works on the

building reference should be made to the Royal Exhibition Building Conservation

Management Plan, Allom Lovell & Associates, August 1999.

The VHR documentation also includes a suite of ‘Permit Exemptions’, however these are not relevant to

the proposed works. In addition to the above, the documentation includes a history and an assessment

against criteria. This full VHR entry or citation is not reproduced here, but is included in Appendix A.

Figure 3 VHR extent of registration

Source: Victorian Heritage Database


2.2 World Heritage listing

UNESCO World Heritage List entry

The Royal Exhibition Building and Carlton Gardens was inscribed in the World Heritage List in 2004,

under Criterion (ii) (refer Appendix B for the full citation).1 UNESCO’S World Heritage website includes

the following components for the WHL entry.

The Royal Exhibition Building and its surrounding Carlton Gardens were designed

for the great international exhibitions of 1880 and 1888 in Melbourne. The building

and grounds were designed by Joseph Reed. The building is constructed of brick

and timber, steel and slate. It combines elements from the Byzantine,

Romanesque, Lombardic and Italian Renaissance styles. The property is typical of

the International Exhibition movement which saw over 50 exhibitions staged

between 1851 and 1915 in venues including Paris, New York, Vienna, Calcutta,

Kingston (Jamaica) and Santiago (Chile). All shared a common theme and aims: to

chart material and moral progress through displays of industry from all nations.

Under ‘Outstanding Universal Value’:

Brief Synthesis

The Royal Exhibition Building and Carlton Gardens are a surviving manifestation of

the international exhibition movement which blossomed in the late 19th and early

20th centuries. The exhibition building was constructed as a Great Hall, a

permanent building initially intended to house the Melbourne International

Exhibition of 1880 and the subsequent 1888 Melbourne Centennial International

Exhibition. These were the largest events staged in colonial Australia and helped to

introduce the world to Australian industry and technology.

The site comprises three parcels of Crown Land in the City of Melbourne, being two

Crown Land Reserves for Public Recreation (Carlton Gardens) and one dedicated to

the exhibition building and the recently-constructed museum (Exhibition Reserve).

The inscribed property consists of a rectangular block of 26 hectares bounded by

four city streets with an additional 55.26 hectares in the surrounding buffer zone.

Positioned in the Exhibition Reserve, with the Carlton Gardens to the north and the

south, is the Great Hall. This building is cruciform in plan and incorporates the

typical architectural template of earlier exhibition buildings: namely a dome, great

portal entries, viewing platforms, towers, and fanlight windows. The formal Carlton

Gardens, with its tree-lined pathways, fountains and lakes, is an integral part of the

overall site design and also characteristic of exhibition buildings of this period.

Criterion (ii)

The Royal Exhibition Building and the surrounding Carlton Gardens, as the main

extant survivors of a Palace of Industry and its setting, together reflect the global

influence of the international exhibition movement of the nineteenth and early

twentieth centuries. The movement showcased technological innovation and

change, which helped promote a rapid increase in industrialisation and

international trade through the exchange of knowledge and ideas.

Integrity

The completeness of the inscribed property has been retained with the same

boundaries as set out in 1879. The Melbourne Museum was constructed in 1998-

2000 to the north of the Royal Exhibition Building.


The present state of the conservation of the Great Hall is very good. Conservation

work has recently been undertaken on the building’s dome and structure, the

external joinery and stonework, and timber floors. Additionally, upgrades to

building services have been completed. The scroll and parterre gardens on the

southern side of the exhibition building, which were part of the 1880 Melbourne

International Exhibition, have been restored. As part of the restoration of the 1880

German Garden, an extensive water harvesting and storage system has been

installed that involved the installation of underground water tanks in the western

forecourt to capture roof and surface runoff. The formal ornamental palace garden,

being the southern part of the Carlton Gardens, provided the context for the Palace

of Industry and is substantially intact in form including its treed avenues. These

works contribute to maintaining the integrity of the Royal Exhibition Building and

Carlton Gardens.

Authenticity

The property of the Royal Exhibition Building and Carlton Gardens has retained

high authenticity of setting, maintaining its original form on the international

exhibition site defined in 1879. The site is still surrounded by city streets and is

edged by the bluestone plinth, the base of the iron railings that bounded the 1880

exhibition grounds.

The 1880 Great Hall survives substantially intact in its form and design, internally

and externally. Authenticity of form is manifest in its survival as the only Great Hall

from a major industrial exhibition of the late 19th and early 20th century. The east

and west annexes, not part of the original design and intended to be of temporary

use only, were demolished in the mid 20th century. Some modern interventions

have been reversed including two structures attached to the north elevation in the

1960s and 1970s which were removed and the original structure repaired. Recent

restoration works have included the reinstatement of missing ornamentation

around the parapet line.

Interior spaces have been largely retained and are once again used for large-scale

exhibitions demonstrating a relatively high authenticity of function within the Great

Hall. Prompted by fire safety concerns, most of the original timber staircases were

replaced by concrete early in the 20th century, an acceptable risk-sensitive

reduction in material authenticity. In 1994, major restoration work included the

reworking of the interior colour scheme to the documented era of 1901. The

ornate internal paintings have mostly been replaced by the third decorative

scheme of 1901, however, parts of the 1880 murals are still intact.

The museum’s construction removed part of the north garden although the

surviving garden has retained its late 19th century layout. The original axial layout

of the south garden survives with its formal paths, tree clumps and central

avenues, lawn areas and two lakes (although reduced in size) and fountains. One

fountain, the 1888 Westgarth Fountain, has been relocated. A high number of the

trees extant on the site are from the 1880s and 1890s layout. Restoration of garden

pathways and plantings are based on research.

Protection and management arrangements

The property has effective legal protection and a sound planning framework. The

management system takes into account a wide range of measures provided under

planning and heritage legislation and policies of both the Australian Government

and the Victorian Government. The Burra Charter principles support the

Conservation Management Plan for the Royal Exhibition Building and Carlton

Gardens and the World Heritage Environs Area Strategy Plan. Together these


documents provide the policy framework for conservation and management. The

property is maintained and preserved through regular and rigorous repair and

conservation programs undertaken at all levels of government.

The Royal Exhibition Building is managed as an integral part of Museum Victoria,

the state museum. The Carlton Gardens are managed by the City of Melbourne.

The Royal Exhibition Building and Carlton Gardens was included in the National

Heritage List in 2004 under the Commonwealth Environment Protection and

Biodiversity Conservation Act 1999 (EPBC Act) and on the State Heritage Register of

Victoria in 1998 under the Heritage Act 1995. Inclusion in the National Heritage List

requires that any proposed action to be taken inside or outside the boundaries of a

National Heritage place or a World Heritage property that may have a significant

impact on the heritage values is prohibited without the approval of the Federal

Minister. Inclusion in the Victorian Heritage Register means that works inside the

boundaries of the registered place are prohibited without approval under the

Heritage Act 1995.

A Conservation Management Plan for the whole site was finalised in 2009. A buffer

zone, the World Heritage Environs Area, covering an additional 55.26 hectares, was

established in 2010 and has been supplemented by the World Heritage Environs

Area Strategy Plan. Changes to local government heritage overlays have been made

to give effect to this plan. Any future developments immediately outside the World

Heritage Environs Area, which are likely to have a significant impact on the World

Heritage values of the Royal Exhibition Building and Carlton Gardens, are subject to

the provisions of the EPBC Act.

2.3 National Heritage Listing

The Royal Exhibition Building and Carlton Gardens is a listed place in the National Heritage List. The

summary statement of significance is included below and the full citation is included at Appendix C.

The Royal Exhibition Building and Carlton Gardens, the venue for the grand opening

of the first Australian Parliament in 1901, has outstanding national historic value

for its role in the defining event of Federation. It is the place where the nation’s

first Parliament was commissioned and sworn in, on 9 May 1901 (Criterion a).

The Royal Exhibition Building and Carlton Gardens is a tangible symbol of the

country's pride in its technological and cultural achievements in the latter part of

the nineteenth century. The Royal Exhibition Building and its garden setting has

outstanding historic value as the most significant extant nineteenth century

exhibition building in Australia (Criterion a).

The Royal Exhibition Building in its purpose-designed gardens with associated

ornamental features has outstanding historic value as the major extant nineteenth

century international exhibition building and gardens complex in Australia

(Criterion b).

The Royal Exhibition Building in its garden setting is a rare surviving example of an

Australian response to the international exhibition movement (Criterion b).

The Royal Exhibition Building is one of the few major nineteenth century exhibition

Great Halls to survive substantially intact worldwide, and the only one where the

original purpose of the building, as an exhibition hall, is maintained. It represents a

rare example of the nineteenth century international exhibition movement’s belief

in the benefits of industrialisation, the transmission of ideas and social progress,

and the development of an extensive international economy (Criterion b).


The Royal Exhibition Building and its garden setting forms one of the major

surviving nineteenth century exhibition precincts in the world (Criterion b).

The Carlton Gardens is a significant example of nineteenth century classicism in an

Australian public garden, featuring earlier nineteenth century 'Gardenesque' style

elements and later more classical features. These more classical features are seen

in the south garden. These classical elements include the main north-south tree-

lined avenue (Grande Allee), the east-west terrace, the Hochgurtel fountain with

surrounding circular garden bed, the eastern forecourt with surrounding circular

garden bed and the French fountain, the radial pattern of tree-lined linear

pathways converging on the Hochgurtel fountain (patte d'oie), the formal garden

beds (parterres), the incorporation of axial views and vistas and the planting of

trees in groups or clumps (bosquets). The ponds, the diagonal tree-lined pathways

in the north garden and the mature nineteenth century specimen trees, some of

which are rare, also contribute to the garden’s values (Criterion b).

The Royal Exhibition Building together with its garden setting, the Carlton Gardens,

demonstrates an outstanding achievement in design. They are representative of

the international exhibition movement style, based on a Beaux-Arts axial scheme

with the building as a palace, primarily in the German Rundbogenstil and Italian

Renaissance style for which its designer Joseph Reed, won the competition for the

building design. The soaring dome, based on the Florence Cathedral dome

designed by Brunelleschi, is a landmark on the Melbourne skyline. The gardens to

the south of the building were also designed to create a palatial garden setting

(Criterion f).

Gardenesque and formal classical garden elements have been used in the design of

the Carlton Gardens to create a setting for the Royal Exhibition Building. The main

garden elements creating the setting for the Royal Exhibition Building during the

1880 and 1888 exhibitions are in the south garden. These elements include the

main north-south tree-lined avenue (Grande Allee), the east-west terrace, the

Hochgurtel fountain with surrounding circular garden bed, the eastern forecourt

with surrounding circular garden bed and the French fountain, the radial pattern of

tree-lined linear pathways converging on the Hochgurtel fountain (patte d'oie), the

formal garden beds (parterres), the incorporation of axial views and vistas, the

planting of trees in groups or clumps (bosquets), the ornamental ponds and the

mature specimen trees surviving from Bateman's plan and the later trees planted

by Sangster in c 1879-1880. These Gardenesque and classical elements are integral

to the original 1880 design for the setting of the building and are a major feature of

the place's outstanding national values (Criterion f).

The Carlton Gardens, both north and south gardens together, are a notable

creative achievement demonstrating a classically modified Gardenesque design and

a landscape character with plantings of pines, cedar, araucaria, cypress, gums, figs,

pepper trees, elms, planes, oaks, poplars, Canary Island date palms and

Washington palms that display contrasting colours and forms which enhances the

Carlton Gardens, the Royal Exhibition Building and the adjacent urban area

(Criterion f).

The Exhibition Building is an outstanding example demonstrating the principal

characteristics of the Victorian Free Classical architectural style to express the form

and ideas of the international exhibition movement. As one of the largest and

finest nineteenth century buildings in Australia at the time, it represented a temple

to industry rather than a palace (Criterion d).


The original Carlton Gardens were developed to create a public park for passive

recreation. Later, more classical garden modifications were made forming the

setting for the Royal Exhibition Building. The main garden elements include the

main north-south tree-lined avenue (Grande Allee), the east-west terrace, the

Hochgurtel fountain with surrounding circular garden bed, the eastern forecourt

with surrounding circular garden bed and the French fountain, the radial pattern of

tree-lined linear pathways converging on the Hochgurtel fountain (patte d'oie), the

formal garden beds (parterres), the incorporation of axial views and vistas and the

planting of trees in groups or clumps (bosquets). The ornamental ponds, the

diagonal tree-lined paths of the north garden and the mature specimen trees

surviving from Bateman's plan, the later trees planted by Sangster c1879-1880 and

those planted c1890 as part of the north garden restoration are also important

garden design features. All of these features are integral design elements of this

unique nineteenth century style of public garden (Criterion d).

The Royal Exhibition Building and its garden setting retain continuity of public use

and its original purpose of exhibitions and displays has been maintained

(Criterion d).

The Carlton Gardens are of outstanding aesthetic significance for their nineteenth

century classically modified 'Gardenesque' style (Criterion e).

The Royal Exhibition Building as an architectural/landscape ensemble continues to

inspire Melbourne and Victorian communities (Criterion e).

2.4 Heritage Overlay

The Royal Exhibition Building and Carlton Gardens (World Heritage Place) is included in the Schedule to

the Heritage Overlay of the Melbourne Planning Scheme, as HO69. As per Clause 43.01 Heritage

Overlay, no permit is required under the Heritage Overlay ‘to develop a heritage place which is included

on the Victorian Heritage Register’.

2.5 National Trust of Australia (Victoria)

The Royal Exhibition Building and Josef Hochgurtel Fountain, also described as the Royal Exhibition

Building and Carlton Gardens, is classified by the National Trust, and identified as being ‘significant for

aesthetic, architectural, historical, social, and scientific reasons at an International level’. No statutory

permit approvals are required as a result of the classification.


Figure 4 Heritage Overlay map, showing the coverage for the Royal Exhibition Building and Carlton

Gardens (HO69)

Source: Melbourne Planning Scheme


3.0 Overview of proposal, with reference to CMP objectives and guidelines

3.1 Introduction

This section of the report describes the principal components of the works associated with the

Protection and Promotion Project. The architectural drawings and documentation, attached schedules,

and annotations to the images below provide further explanation and description of works. Some

partial demolition and removal of fabric is associated with aspects of the works, and identified below.

Reference is also made to the CMP, including to Chapters 6 and 7 which contain objectives, guidelines

and general and specific conservation policies relating to the REB building and its component parts; and

to Appendix G of the CMP which identifies the relative significance of the building components. For

each aspect of the works described below, a comment on the heritage impacts is provided. This is more

in the way of a comment on the specific work being described; Chapter 4 provides higher level

comments and analysis of the impacts as per the identified World, National and Victorian (State)

heritage values.

3.1.1 Client brief and design objectives

The following project objectives and requirements have underlined the approach to the Protection and

Promotion Project. They derive from an awareness of the heritage values of the REB and Carlton

Gardens, and an understanding of the history and historical use of the place:

Public access to the Dome Promenade will reinstate a popular historic experience of the 1880

and 1888 international exhibitions.

Access to the upper levels of the REB exterior, including close proximity to the dome, will

engender greater public appreciation of the form and architecture of the building.

The visual dimension of the new attraction is paramount, with no interference with internal

views within the REB, or the (newly) publicly available elevated panoramic views in four

directions across Melbourne.

The Dome Promenade will be an interpretive experience, with new forms of interpretation

provided to ensure that participants come away with an enhanced understanding of the history

and significance of the REB.

The built outcome of the reinstated attraction will minimise physical impacts on the original

fabric and form of the REB.

The attraction will relate to and engage with Carlton Gardens, with its focus on the south side

of the REB.

The Dome Promenade experience will operate on a seven day a week basis, enabling all year

round public access to the World Heritage listed place.

Access to and operation of the Dome Promenade will not hinder or impact negatively on

commercial events and activities of the REB.

3.1.2 Promenade Experience

The Promenade Experience will reinstate the historic dome Promenade Experience of the 1880s

international exhibitions, and will utilise a separate public entrance on the south side of the REB which

will operate in tandem with, but separate to, exhibitions. It will allow participants in the Promenade

Experience to enter and exit the REB independently of (ticketed) visitors to exhibitions, and vice versa.

The new experience has been designed so that participants will move through the building, mostly via

vertical access, but with opportunities to view the interiors of the REB at basement, ground and gallery

levels, before reaching the top (roof) of the building and stepping out onto the new lower promenade,

where the new pavilion is also proposed.

Participants in the Promenade Experience will:

Enter the REB at basement level via ramps or stairs where a new ticketing desk and amenities

will be located;


Take the lift from the basement to ground and then to gallery levels. If there are no exhibitions

or events in operation, participants can exit the lift at these points and explore the spaces. If an

event is in operation, participants can still exit at gallery level where a new screened viewing

area will separate participants from exhibition visitors, and allow views of the inside of the

dome and decorative schemes to the gallery walls.

Move up to the roof to enjoy an open air walk and viewing opportunities from the Dome

Promenade (lower and upper promenades), and to access the proposed pavilion to the lower

promenade.

3.2 CMP objectives, policies and guidelines

The following section reproduces the most relevant general conservation objectives and guidelines from

Chapter 6 of the CMP. These are referred to below in relation to the proposed works.

The more specific policies in Chapter 7, are referred to separately.

Managing heritage impacts

Objectives

To manage, minimise or avoid impacts on the World Heritage and National Heritage

values of the Royal Exhibition Building, Exhibition Reserve and Carlton Gardens.

To ensure that actions which will have unacceptable or unsustainable impacts on the

heritage values (in particular actions that will have a significant impact on the

relevant World Heritage or National Heritage values) are inconsistent with the

objectives of this plan and cannot be approved.

Use

Objectives

To encourage the ongoing use of the Royal Exhibition Building and Carlton Gardens

for exhibitions, trade fairs and the like, public performances and gatherings, in

accord with the original raison d’être of the site and the conservation of the values

for which it was inscribed on the World Heritage List.

To ensure that future use, including frequency of use, does not compromise the

identified cultural significance and values of the place.

Guidelines

Ensure that all temporary exhibition infrastructure, e.g. stands, booths, marquees,

etc are installed and removed in a manner which does not cause damage to

significant fabric (these elements).

Ensure that floor loadings are not exceeded by excessive loads or large vehicles.

Provide and locate all permanent infrastructure e.g. power, lighting, catenary wires,

etc. in the building in a manner which is unobtrusive when it is not in use.

Ensure that users do not affix anything to the built fabric in a manner which causes

damage.

Ensure that fork lifts and other vehicles are not driven in a manner which causes

impact on the fabric.

Adaptation, New Works & Structures

Objectives

To discourage new development that would have an adverse impact upon

the cultural significance and identified heritage values of the place.


To ensure that adaptation, new works and structures in significant spaces

or elements do not detract from the overall cultural significance of the

place.

To ensure that new development generally (including buildings,

structures, sculpture, garden features, signage and other elements) does

not detract from the cultural significance of the place.

To ensure that new development, where permitted, is carefully sited and

appropriately designed so that it will not be visually dominant or intrusive.

Guidelines

Royal Exhibition Building

Accepting that within the overall life of the building, new works will

typically be temporary and ultimately replaced, any interventions to

original building fabric to facilitate the execution of such works should still

be kept to a minimum so as to avoid longer term physical impacts and

degradation.

All new works should respect the aesthetics and appearance of their

immediate surroundings and the building overall, and should not be

intrusive or damaging.

…limited new development may be permitted where it can be

demonstrated that it will not have an adverse impact upon the

significance of the place and:

o Physical conservation of the site and its individual elements is

essential.

o It is essential for operational requirements (such as firefighting,

garden irrigation, waste management, ticketing or gate control

etc.) or public safety or amenity (such as toilets) and can be

removed if required.

Exhibition Reserve & Carlton Gardens

Development that has the potential to dominate or visually impact on the

landscape of the gardens should not be contemplated. This would include

service areas, new roads and other potentially visually intrusive works.

Interpretation

Objectives

To convey the World Heritage and National Heritage values and

significance of the Royal Exhibition Building, Exhibition Reserve and

Carlton Gardens to all of its visitors through a co-ordinated, high quality

visitor interpretation programme.

To ensure that interpretative signage and other interpretation devices are

discreet elements that do not detract from the setting of the Royal

Exhibition Building and the Carlton Gardens.

Guidelines

Interpret the World, National and State cultural heritage significance of the Royal

Exhibition Building and Carlton Gardens as a single entity to all of its visitors. This


should be undertaken by Museum Victoria and the City of Melbourne with other key

stakeholders as considered appropriate.

Interpretation should be implemented in conjunction with, or as a part of, the World

Heritage Management Plan and should be co-ordinated with other on-site

interpretation i.e. in the Royal Exhibition Building and via the Melbourne Museum

and its website, in addition to the surrounding Carlton/Fitzroy area and Melbourne.

Interpretive ‘design’ can be incorporated into new works, where this is appropriate

and not inconsistent with other conservation objectives, and alternatives to static

signage should be sought where possible.

Give consideration, where appropriate, to using provenanced objects and documents

relating to the buildings, gardens, exhibitions and Parliament can, in future displays.

Access

Objective

To maintain and wherever possible improve access to the site for people

with disabilities.

Guidelines

It is considered that the building is presently sufficiently compliant from a

heritage perspective and that no additional access provisions are required.

Given the high level of access which presently exists, modification to

significant fabric to enable further access should only be considered where

all other options, including modifications and dispensations, have been

considered and eliminated, and where it will not have an adverse impact

upon the significance of the place or the individual elements.

3.3 Internal works

3.3.1 Basement

Description

The proposal for the basement involves the removal of the majority of existing non-original partitions,

joinery, services, equipment and the like. The proposed Promenade Experience will utilise the existing

central door on the south elevation of the REB which provides access to the basement (see Figure 21),

as the new main entry and exit point for participants in the Promenade Experience. This aspect of the

works is further described below under ‘External works’. This will provide for separation of pedestrian

traffic away from the exhibition traffic at other entries. The basement will function as the bottom or

entry level of the vertical access through the building, via a new lift and stair to be constructed in the

west pavilion to the south entry portal.

The proposed basement works include the introduction of new toilets and services infrastructure.

Conservation Management Plan

The CMP identifies the ‘original structural elements’ of the basement as being of primary significance.

The ‘sundry tea rooms, offices, museum fitout and infrastructure in the basement’ are identified as not

being significant. The CMP recommends that the ‘original structural elements’ should be retained, and

if possible revealed if the existing non-original fitout is removed. The proposed works to the basement

are also covered by the CMP objectives and guidelines which relate to adaptation and works to the REB;

interpretation; and access (see Section 3.2).


Heritage impacts

It is proposed to retain and reveal the ‘original structural elements’ of the basement, as per the CMP

recommendation. This is a positive outcome of the proposal for the basement space. The design of the

proposed basement works will also ensure there will be minimal impacts on the exterior, as seen on the

south side of the building. The removal of the current non-original fitout and fabric to the basement will

not have a heritage impact.

Overall, the proposed works will not impact on the significance of the basement. It is currently not

publicly accessible, and its use as part of the new Promenade Experience will introduce visitors to this

space, including the public for the first time. This will enhance an understanding of the original REB

building form and function, and enable greater appreciation of its design. This is also broadly consistent

with the CMP objectives and guidelines relating to interpretation and access.

Figure 5 Basement interior


3.3.2 Lift and stair to Dome Promenade

Description

The proposed new lift and stair will be located internally in the west pavilion to the main south entry

portal, which in turn is located in the REB south transept. It will provide compliant access, and will

extend from the basement to a lobby space located at the lower promenade level on the roof of the REB

south transept. This area is above the south entry portal and on the south side of the dome.

The new lift and stair will connect to (i.e. stop at) the following levels/spaces of the REB:

Basement (as described above).

Ground floor. The lift and stairs will connect to this level to maintain a connection between the

basement and ground floor for operational and maintenance purposes primarily. There will

also be an ability for participants in the Promenade Experience tour to incorporate this level in

their vertical access through the building, should the ground floor be unoccupied by an

exhibition.

Gallery (first floor) level. While this connection will also be used for operational and

maintenance purposes between the basement, ground and gallery levels, the proposal

incorporates a new screened viewing area to be directly accessed at this level by the

Promenade Experience tour, irrespective of an exhibition occupying this area of the gallery.

This is described separately below.

Lower promenade, from where views are available. Participants in the Promenade Experience

tour can also climb steps to the upper promenade, which surrounds the dome, or utilise an

additional platform lift between the lower and upper promenade levels.

The west pavilion to the south entry portal will also provide the space for internal vertical risers to

accommodate new services. An existing window opening in the west wall of the west pavilion at ground

floor level will be modified to provide a fire egress door, associated with the new stairs (see Figure 7 for

an internal view of this opening). The new stair will be the maximum width to fit within the existing

envelope of the west pavilion, allowing also for the lift insertion. It will be of steel construction, with the

lift contained within a concrete block lift shaft, with all new walls of masonry/concrete block.

The works will involve the removal of existing fabric in the west pavilion including parts of original walls,

timber stairs and ceilings/floors which extend up through the levels. Some of these elements are

illustrated in the images at Figure 6 to Figure 11. The removal of this fabric is required for the new lift

and stair structure, and to provide for the various connections to the internal spaces described above.

The removed fabric will be salvaged, and set aside for reuse and repairs, as required elsewhere in the

building and possibly also for interpretation purposes.

One arched opening at ground floor level, where the lift will be inserted behind, will be infilled with the

non-original timber gates removed. It will be treated as a blind opening with timber panelling. This

treatment matches that of the arched openings in the complementary east pavilion at this level, which

flanks the east side of the main south entry portal. The remaining non-original timber gates to the

arched openings of the west pavilion, which provide access to the Great Hall, will be retained. The

complementary east pavilion accommodates the original timber stair which rises from gallery level to

the roof. It is proposed to retain this staircase unchanged and minimise the extent of any upgrades to

what is necessary to retain it in a sound structural condition.


The CMP identifies the ‘whole of the interior of the naves and transepts’ – which includes the west

pavilion to the south entry portal - and the remaining timber stairs and floors as being of primary

significance. The ‘reconstructed’ gates at ground floor level are identified as being of contributory

(secondary) significance.

The proposed works to the west pavilion are also covered by the CMP objectives and guidelines which

relate to adaptation and works to the REB; interpretation; and access (see Section 3.2).


Regarding the specific objectives and guidelines which apply to the interior of the Great Hall, nave and

transepts, from Chapter 6 of the CMP, those of relevance are:

Retain all elements of primary significance, including remnant original fabric and decoration, as

they presently are.

Ensure that any new work is sympathetic to original fabric and design and is unobtrusive.

On ticketing and public access, the objective is:

To maximise visitor access to the Royal Exhibition Building.

Heritage impacts

The proposed works will involve removal of original fabric within the envelope of the west pavilion, and

through to the roof, including some removal of wall fabric. This is acknowledged to be inconsistent with

the CMP policy to retain ‘remnant original fabric’. However, the fabric proposed for removal is for the

most part not visible to the public, or from within the Great Hall, which is the main public space of the

REB. Through being substantially concealed within the pavilion envelope, this aspect of the proposal is

consistent with the CMP policy on new works being ‘unobtrusive’.

Where the walls or form of the west pavilion are visible internally to the Great Hall, there will be

minimal change, and it will be sympathetically detailed. For instance, the arched brick openings and

majority of gates to the stair entries will be retained. One gate will be removed, but it is non-original

and of contributory (secondary) significance. While one arched opening will be infilled as a ‘blind’

opening, it will retain evidence of its form and detailing. The proposal also has regard for the

complementary east pavilion, ensuring that the changes to the internal appearance of the west pavilion

will not detract from the visual relationship between these two elements of the south transept, as seen

from inside the building. The original form and architectural detailing of the west pavilion, as it reads

externally, will also be very minimally changed.

The works associated with the proposed new lift and stair are also consistent with the CMP in relation to

adaptation, interpretation and access. Regarding adaptation, the proposed works will not ‘not detract

from the overall cultural significance of the place’; and are ‘appropriately designed so that [the works]

will not be visually dominant or intrusive’. The works will also ‘respect the aesthetics and appearance of

their immediate surroundings and the building overall’ and will ‘not be intrusive or damaging’. The new

access to the Dome Promenade will also improve access, as anticipated in the CMP, while at the same

time limiting unacceptable impacts on the building.

Other locations for the stair and lift were explored. Utilising an existing lift in the north transept of the

REB, and extending this through to the roof (it currently stops at gallery level), was considered, together

with the addition of the required fire escape stairs. However the location of this lift would not have

delivered patrons to the south side of the dome, where the promenade was historically located and will

be reinstated. It would have required the introduction of additional infrastructure to the roof, to access

the promenade on the other side of the building. It would also have involved physical and visual

impacts, through extending the lift and adding the stairs to the interior of the north transept. Other

options included introducing the lift and stair to the internal space of the Great Hall beneath the south

transept roof, and externally to the REB on the south side, adjacent to the west pavilion. In both

instances, the stair and lift would have a significant visual impact, given the footprint and height of the

structure required. There would also be physical impacts on the REB fabric associated with these

options, the extent of which would depend on the design.

Of these options, the interior of the west pavilion was seen as having significantly less impacts.

Introducing the new stair and lift to the chosen location is also consistent with the historical use of the

pavilion, in providing vertical access from the bottom to the top of the REB, including access to the roof.

On balance, the physical impacts of this aspect of the proposal, and the limited visual impacts, can be

supported on heritage grounds. The significant and positive outcomes generated by the re-introduction

of the Promenade Experience, can reasonably be seen to compensate for the negative impacts.


Figure 6 Basement level, beneath stairs to internal ground floor level; the wall to the left of this

image will be largely removed to accommodate the new lift shaft

Figure 7 Basement, foot of stairs to internal ground floor level; this staircase will be removed and

the fabric salvaged for reuse; note the new external exit door from the fire stair, on the

west wall of the west pavilion will be located within the arched opening to the left of the

image


Figure 8 Ground floor interior, with non-original gates to top of stairs from basement; the new lift

will be set behind this opening; the gates to the left will be retained and to the right will

be removed

Figure 9 Foot of stairs from ground to gallery level; this staircase will be removed and the fabric

salvaged


Figure 10 Upper flight of stairs from ground to gallery level, this staircase will be removed and the

fabric salvaged; the arched opening will be retained and a new opening made to the right

for the lift landing to match the same door configuration to the east pavilion entry from

the gallery

Figure 11 Stair from ground to gallery level in west pavilion to be removed and fabric salvaged; the

existing arched windows will be retained


Figure 12 Existing west pavilion door to the roof and lower promenade; the floor and door leaf will

be removed and the fabric salvaged for reuse

Figure 13 Top level of the west pavilion; this floor will be removed but the windows retained; note

the glazing to these windows is not original


Figure 14 Top level of the west pavilion, existing stair, boarded ceiling and timber lined partition wall

will be removed and salvaged

3.3.3 New screened viewing area at gallery level

Description

It is proposed to create a glass screened viewing area at gallery level directly below the south fanlight,

accessed from the new lift and a new wall opening in the west wall of the west pavilion. This will enable

the separation of participants in the Promenade Experience from the ticketed exhibition area, on those

occasions when the gallery is occupied by an exhibition. The new viewing area will be screened by a

simply framed glass screen of nominally 1700mm high. The screen will align with the rear face of the

brick piers visible in Figure 15 and Figure 16. Creating the new opening to the pavilion wall will also

require removal of an electrical distribution board in this location.


This area of the gallery is of primary significance, as with the rest of the REB interior. The CMP

objectives and guidelines cited above for the proposed new lift and stair are again of relevance.

Heritage impacts

While the screened viewing area, or more specifically the screen, will constitute a new element inserted

into the significant gallery space, it will be of modest size and form, sympathetically located in terms of

the layout and appearance of the space, and of materials with minimal visual impact. It will not detract

from or conceal any of the important decorative elements in the space; it will also be sensitively located

in relation to the brick piers of the fanlight arch. While there will be removal of some fabric to the west

wall of the west pavilion, the affected part of the wall is already largely concealed by the electrical

distribution board. It is also a wall with restricted visibility, which does not face out into the gallery.

Regarding the CMP policy on adaptation, the proposed screened viewing area will not ‘have an adverse

impact upon the cultural significance and identified heritage values of the place’, and has been designed

so that it is ‘carefully sited’ and ‘will not be visually dominant or intrusive’. It can be supported in

heritage terms.


Figure 15 Gallery level, the new lift will access this space from a new opening at right; a glazed

screen will span across the space at floor level, set behind the brick piers to either side

Figure 16 Gallery level; the new lift will open to this space via a new opening to the wall in the west

side of the west pavilion (as indicated); the services cupboard will be relocated


Figure 17 Gallery level, looking out to the Great Hall; this view will be available from the glazed

screening area

3.3.4 Glazed doors to internal south opening

Description

It is proposed to install automated glazed doors to create a wind-lock to the south entrance. These

doors will mirror the set of doors previously installed to the north entrance, and will enable the south

doors to be opened in conjunction with the north doors, opening the view through the building to

passers-by.


This area of the ground floor is, as with the rest of the REB interior, of primary significance.

The CMP objectives and guidelines on adaptation, as reproduced above at Section 3.2, are relevant to

this proposal.

Heritage impacts

The proposed glazed doors, as with the proposed screened viewing area commented on above, can be

supported in heritage terms. The doors will also be of modest size and form, of minimal visual impact,

and will not detract from or conceal important decorative elements in this area of the ground floor.

They will also assist with the function and operation of the Great Hall, and when in operation will

enhance views into and through the building from outside.


Figure 18 Ground floor, south side of the building, where new glazed doors are proposed to be

placed across the large opening, creating a wind-lock as per the image below

Figure 19 Ground floor, north side of the building, with 3 sets of non-original glazed doors across the

large opening


3.4 External works

3.4.1 South façade

Description

Establishing the entrance to the Promenade Experience will involve some works and changes to the

south façade of the REB. As noted, the new primary entry and exit point will be located in the existing

central paired door entry (Figure 21). The south drive to the west of the main south entrance portal will

be also modified to accommodate the required entry sequence of ramps, low-level retaining wall and

stairs down to the basement level opening.

Two existing single door entries at the west and east ends of this section of the south façade will be

maintained, although an upgraded ramp is proposed for the western-most entry. Also as noted,

associated with the proposed new internal lift and stair, a fire egress door will be created in the west

face of the west pavilion to the south entry portal, involving modification of an existing window opening

(Figure 20).


The CMP identifies the whole of the REB, including all original external fabric, as being of primary

significance. This includes the exterior of the basement, south façade and exterior of the west pavilion,

as subject to these proposed works. The existing ‘external access ramps and balustrades to the

basement’ are not significant.

Regarding the CMP objectives and guidelines, those of relevance which are reproduced above at Section

3.2, address adaptation, new works and structures; specific guidelines relating to the REB; access; and

the Exhibition Reserve and Carlton Gardens guidelines. Guidelines from Chapter 6 of the CMP also

apply, including those relating to building envelope:

It is essential that the facades are not cluttered with structures, enclosures, permanent car

parking, bicycle racks and other items.

It is essential that no further alterations by way of new openings be made to the exterior of the

building where they are visible from any vantage point.

And the objective relating to ticketing and public access


Heritage impacts

It is recognised that the proposed works to the south façade will be visible and will involve some change

to original fabric. Accepting this, the ramp, low-level retaining wall and stairs down to the basement

level opening will not be obtrusive elements. The works are generally limited in extent, minor in scale,

and confined to a localised area of the façade; they will not ‘clutter’ the façade in this area.

The new fire egress door to the west face of the west pavilion will involve modification of an existing

window opening, but it will be in an area of the façade which is not prominent. It will be confined to the

bluestone plinth, where there are other openings, and will not extend up to impact on the rendered

wall. It is also an egress requirement of the new stair, and necessary for its operation. While the

existing window will be modified for the fire egress door, it avoids the creation of an entirely new

opening, which is not supported by the CMP.

The CMP guideline relating to the Exhibition Reserve and Carlton Gardens, which discourages

‘development that has the potential to dominate or visually impact on the landscape of the gardens’ and

‘potentially visually intrusive works’ is also applicable. However, as noted here, the proposed works to

the south façade are not considered to be dominant or visually intrusive, and will not impact on the

reserve or the south garden.


The modifications to the south façade will also enable the Dome Experience to operate year round and

independently of other events and exhibitions in the REB. The works will support the important

operational consideration of separate access into, through and out of the building for the Dome

Experience participants. While access could be provided through one of the original entry portals, this

would compromise the operation of any exhibitions in progress, due to the intermingling of Dome

Promenade visitors and ticketed attendees to the exhibition.

The proposed entry also utilises the basement area, which in turn will support and enhance the

Promenade Experience tour. The basement will provide amenities for the tour visitors, and eventually a

retail outlet, gallery and exhibition spaces. For these reasons, the utilisation of the south entry to the

basement is preferred over other potential entries. To enable this function these modifications are

required.

On balance, the proposed works to the south façade can be supported in heritage terms. These works

will also, as with much of what is proposed with this project, enhance and maximise access to the REB,

which is encouraged by the CMP.

Figure 20 South façade, showing existing entry to basement level, at east end of basement; this door

will be retained while the proposed new fire egress door will be created from the modified

window opening visible to the right of this image (indicated)


Figure 21 Existing central entry to basement level; this will form the main entry and exit point to the

Promenade Experience; the new entry stairs and platform lift will be located here

3.4.2 Dome Promenade

Description

The proposed upgrade of the Dome Promenade comprises the following.

Lower promenade

The lower promenade is the roof level arrival point for visitors to the Promenade Experience. The

primary view from this point is to the south taking in the Carlton Gardens in the foreground and city

beyond.

Visitors will enter the lower promenade via the existing door in the west pavilion. The door opening will

be extended up through the cornice achieve compliant DDA access. The new timber deck at this level

will provide full access to the southern views by abutting the south parapet, extending the full width

between the pavilions and extending back to the south side of the dome. The deck level will be slightly

lower (nominally 110mm) than the existing access walkway.

A metal rod balustrade to 1200mm high will enclose the south, west and east sides of the deck.

The lower promenade will also provide access for visitors to the upper promenade, which encircles the

dome drum, via two single flight stairs which meet at a central landing on axis with the dome at the

upper promenade. Located forward of the projecting cornice, the landing oversails the cornice enabling

the stair to be constructed with no impact on the original element. The opening in the upper

promenade balustrade aligns with the existing and original opening.

Weather protection for visitors and support facilities are to be provided at this level by the introduction

of a glazed pavilion (refer to Section 3.4.3 below), and adapting existing space within the dome base

which is accessed from the lower promenade. Two new openings will be made through the external

wall of the south drum base, to access existing spaces in the roof void, into which a new steel and

timber floor and wall structure will be inserted. These spaces will accommodate a single unisex DDA


compliant toilet, an internal DDA compliant lift to the upper promenade and a store area to support the

activities on the promenade.

Upper promenade

The upper promenade encircles the dome drum on all four sides, but is separated into four distinct

areas (north, east, south and west) by the sloping haunches of the dome structure where it transfers to

the base structure embedded within the transepts. The upper promenade deck will span the full width

of each side, with new stile-type stairs rising up and over the sloping haunches of the dome structure.

As a result only the south side will be fully DDA accessible via the new lift between the lower and upper

promenade. The latter will be located on the south side of the dome. A new compliant glazed

balustrade, nominally 1200mm high, will be set behind the existing parapet, extending above the top of

the parapet by some 200mm.

Roof beneath deck

The existing corrugated galvanised iron roof sheets and box gutters under the new timber promenade

deck will be removed and replaced with stainless steel corrugated sheeting and gutters. This will ensure

a higher degree of integrity for the roofing materials and assist with managing the ongoing maintenance

of these roofs. It is also noted that all these roofs have been modified at some time, possibly when the

original decks were removed.


The Dome Promenade area, to the roof of the REB and associated with the dome, is an area of primary

significance. It is also an area with non-original fabric, including existing walkways, stairs, and roofing

material. The CMP identifies that the existing ‘metal walkways, ladders stairs on roof’ are not significant

elements.

The CMP objectives and guidelines at Section 3.2 are again relevant, including adaptation, new works

and structures; specific guidelines relating to the REB; access; and interpretation. The objective from

Chapter 6 which addresses ticketing and public access is also relevant:


Heritage impacts

The proposed Dome Promenade works, and Promenade Experience, seek to reintroduce a

contemporary equivalent of a key attraction of the 1880s exhibitions, when access to the dome was

provided as a commercial venture. Access at this time was through the east pavilion to the south entry

portal, and not the west pavilion as proposed here. As already noted, the original timber stair which

rises from gallery level to the roof in the east pavilion is being retained with this proposal.

In 1880, people paid an additional 3d to climb the 80 steps to the external promenade; some also

climbed the metal ladder on the exterior of the dome.

On payment of threepence we were permitted to ascend to the dome which is

surrounded by an open gallery, protected by a parapet so that there is no danger of

falling over, there is a grand view of the City, which well repays one for the trouble

of climbing up the long stairs.2

One of the most profitable parts of the Exhibition is undoubtedly the dome. On Cup

Day over 4,000 persons paid 3d each in order to enjoy the fine view from the

parapet, the revenue for the first three days of the present week amounting in the

aggregate to nearly £80. Telescopes can now be hired for a small additional fee,

and the commissioners are now arranging for an additional attraction in the form

of a camera obscura, the framework of which is already in position.’3


By 1888 visitors could take a lift to the dome, with Waygood and Company having installed one as a

working exhibit. This was the first lift that many Victorians had travelled in, and it carried over 127,000

people to see the view from the promenade; the cost was 6d adults and 3d for children. The 1888

drawings of the basement indicate a lift motor room, but the location of the actual lift has not been

identified.

The dome of the Exhibition is the best vantage ground in Melbourne for obtaining a

view of the city and its far extending suburbs. It is reached by a staircase, situated

behind a large gilded statue of Victory, which was presented by the German

Government to the Trustees.4

Then there was the dome. At certain times in the day there were no sightseers up

there; you could sit on the steps or lean upon the parapet, and breathe the lofty

air, and take your bird’s eye view of the far spreading city, undisturbed by strangers

coming suddenly round the corner.5

The Dome Promenade provided visitors with elevated views of the surrounds including landmark

buildings such as Parliament House, State Library, Supreme Court, the town halls of Fitzroy and

Collingwood, various church spires, and the distant tower of Government House.

Introduction of a contemporary version of the Dome Promenade will involve some impacts on original

fabric. These are principally required to achieve DDA compliance, such as the proposed increase in the

height of the door opening to the west pavilion; the works to the drum base to provide a compliant

toilet and compliant lift to the upper promenade; and the new glazed and timber balustrade to the

south, west and east sides of the promenade deck. These compliance, access and amenity related

works are straightforwardly a requirement of a contemporary operation of this nature.

The Dome Promenade will also necessarily be contemporary in terms of materials, but these will not be

visually intrusive. The new promenade fabric will have, save for the balustrade to the deck edge,

effectively no visibility from the grounds surrounding the REB. The balustrade will be visible in some

oblique views from the east and west, but these will be more in the way of glimpses of the new

element. Its sympathetic form will also not detract from an appreciation of this area of the roof, where

the balustrade is seen in oblique views. It is also noted that Figure 22 indicates a balustrade to the

promenade in 1880.

The new promenade fabric will also largely be introduced to the same roof area as the historic

promenade, emphasising the current project’s commitment to emulating the historic promenade use

and experience. The views which will be available from the promenade will also largely mirror those of

the 1880s, accepting also the presence of modern development, and in that way will enhance the

interpretation of the nineteenth century experience.

Regarding the relevant CMP objectives and guidelines on new works and structures, access and

interpretation, the Dome Promenade will on balance not have an ‘adverse impact’ on the heritage

place, and will not detract from the presentation of the roof area or the dome. The physical impacts are

comfortably compensated by the provision of public access to an area of the REB which is currently

restricted. The access will in turn generate greater understanding and awareness of the architecture

and physical qualities of the building.


Figure 22 International Exhibition ‘A view from the balcony’, Illustrated Australian News, 6

November 1880

Source: State Library Victoria

Figure 23 Detail from an image in the Supplement to The Australasian, 4 August 1888, clearly

showing visitors accessing the promenade and deck beneath the dome

Source: State Library Victoria


Figure 24 South side of dome; note the drum structure which connects to the dome base, creating

the need for stile-type steps up and over to accommodate the new upper promenade

Figure 25 Looking down onto the south side of the dome; the new lower promenade deck and

pavilion will be constructed over the roof in front of the dome


Figure 26 West pavilion on south side of dome; the existing door opening head will be extended up

through the cornice to the underside of the slate shelf which supports the upper section

of the cornice; this will achieve compliant DDA access to the new lower promenade deck

Figure 27 East pavilion on south side of dome; the existing door opening to the walkway will remain

unchanged


Figure 28 Existing walkway, looking to west pavilion, this will be removed to accommodate the new

lower promenade deck

Figure 29 Existing walkway, looking to west pavilion, this door opening will be increased in height to

provide access to the new lower promenade deck.


Figure 30 Existing walkway on south side of dome; this will be removed to accommodate the new

deck; the stair and walkway around the dome will also be replaced and upgraded for the

upper promenade

Figure 31 Existing walkway on south side of dome, looking south; this walkway will be replaced with

the new lower promenade deck which will sit slightly lower (nominally 110mm) than the

existing


Figure 32 Existing walkway and parapet in location of proposed new upper promenade deck; note

the roofs to the upper promenade have been modified and fall in the opposite direction to

the as-built situation

Figure 33 Looking down from the stairs and walkway at foot of the dome; the roof below the deck

will be removed and replaced with new corrugated stainless steel roof sheeting


3.4.3 Dome Promenade Pavilion

Description

It is proposed to construct a circular glazed pavilion in the centre of the lower promenade deck to

provide weather protection to visitors, a gathering space for events and opportunity for weather-

protected interpretation. The timber deck will run into this space, providing a visually seamless

integration of exterior and interior.

The pavilion will be a steel-framed column supported structure set back from the perimeter within the

space, with glazed panels in an alternating fixed and hinged arrangement. The roof will have a low

inverted conical form and clad in zinc; a fascia will conceal a box gutter to the perimeter of the roof; and

the inverted central cone will form a circular skylight (oculus), which from within the pavilion will frame

a view of the dome.

Predominantly naturally ventilated, the structure will also have concealed heating and cooling delivered

through the deck from below with plant suspended from the deck and not visible to view.

The height of the pavilion will be below the height of the upper promenade parapet.


This area of the roof of the REB is an area of primary significance. The CMP objectives and guidelines

cited above for the Dome Promenade are also relevant, principally new works and structures; access;

and interpretation.

Heritage impacts

The pavilion is proposed as a component of the Dome Promenade and new Promenade Experience. It is

again a contemporary component of the proposal, with a specific related use. While the form and use

of the structure does not necessarily have a direct precedent with the 1880s promenade operation,

there is evidence of a structure being placed in this location at that time.

One of the 1880 quotes included above in relation to the promenade, identified that ‘…the

commissioners are now arranging for an additional attraction in the form of a camera obscura, the

framework of which is already in position.’6 This structure is evident in an image from 1880, as

reproduced below at Figure 34.

The documentation submitted with the permit application includes drawing A2.40 which illustrates sight

lines or view lines of the proposed pavilion and the dome from ground level, on the south side of the

REB. Drawing A2.40 also shows view lines of the dome from the new lower promenade. This drawing is

supplemented by 3D rendered views in drawing A2.41, and more recently by photomontages.

The documentation and photomontages have been prepared in order to illustrate and identify where

the proposed pavilion will be visible, including in relation to existing views of the REB roof and dome.

Where there is visibility of the proposed structure, then the degree to which this might constitute a

visual impact is an important consideration.

It is firstly noted that the documentation indicates the proposed pavilion will not be a visually dominant

structure in views of the REB. Together with the new balustrade to the edges of the lower promenade

deck, it will have some visibility depending on the perspective of the viewer. As per the photomontages,

views are available from the south, and moving around to the east and west, including an axial view

from the east on Nicholson Street. In these mostly partial views of the structure, the glazed walls and

part of the conical roof of the pavilion will be visible. From the south, the parapet to the south transept

roof will partly screen most views of the pavilion.

Taking all of the above into consideration, the degree of visibility of the pavilion is acceptable. None of

the available views will impact on or compete with views of the dome. It will also not impact on the

presentation of the REB, including its south façade and the main south entry portal.


When on the new lower promenade, the pavilion will feature as a central new structure. It will read as a

component of the contemporary elements introduced to the roof to support the new Promenade

Experience. The proposed materials, including the zinc cladding to the roof, are sympathetic. The

glazed panels will give the structure a lightweight appearance, while the zinc roofing is sympathetic to

that of the dome cladding. Regarding views of the dome from this (new) perspective, the circular form

of the pavilion will enable views to either side of the new structure to continue uninterrupted.

Regarding the relevant CMP objectives and guidelines on new works and structures, access and

interpretation, and as per the Dome Promenade, the pavilion will not have an ‘adverse impact’ on the

heritage place. While it will be a new structure with some visibility, it will not detract from the

presentation of the roof area or in any sense compete with the dome. It will also be in a location where

a structure was historically placed.

No other options for the placement of the proposed pavilion have been explored, as its location is

directly associated with the Promenade Experience. It is also seen as a necessary complement to the

operation, through providing weather protection for Dome Promenade visitors, and a central protected

gathering space on the promenade deck.

The impacts of this aspect of the proposal are again also compensated by the provision of public access

to this currently restricted area, and the benefits to be had from this new and engaging visitor

experience.

Figure 34 Detail of 1880 image, showing a pavilion-like structure to the deck beneath the dome,

which is believed to be the ‘camera obscura’ referred to above

Source: Reproduced from Melbourne’s Historic Public Gardens: A Management and

Conservation Guide, Rex Swanson for City of Melbourne, 1884


3.5 Repairs and restoration

The proposed repairs and restoration works are described below, and outlined in detail in the attached

drawings and in the attachments (schedules) to this report. The following section provides an overview

of the conservation methodologies, and indicates where these are still being explored and finalised in

the process of preparing final detailed documentation.

3.5.1 Conservation methodologies

Detailed paint sampling and analysis of the lead content of the existing paint and render has been

undertaken. It has been established through non-destructive elemental analysis using x-ray

fluorescence (XRF) and Fourier Transform Infrared Spectroscopy (FTIR) that the paint systems are

predominantly lead-based with oil as the paint binder. This aligns with the hazardous materials

sampling which confirmed there is a very high lead content in the paint layers, which penetrates into the

surface of the render.

This has implications for the manner in which repairs are scoped as all paint removal and render repairs

need to be undertaken in accordance with relevant statutory regulations for the handling of lead paint

and removal of hazardous materials. It is noted the chemical removal of lead paint while removing the

lead paint layer, results in absorption of the lead into the render beneath leaving a residual issue of

hazardous materials management.

Although not consistent across the entire building, a significant portion of the building has a very strong

intermediate layer within the early paint systems which is inert when normal paint removal systems are

applied. This layer is an early scheme, but not the earliest as it covers earlier paint layers (refer Figure

35). The earliest known date for paint being applied generally to the REB facades was in preparation for

the 1888 exhibition. As paint removal sampling has indicated that this layer will not break down using

non-destructive chemical forms of removal, and it is strongly bound to the substrates, it is not proposed

to remove this layer where it is found. This has implications for the selection of the paint system to be

used.

The options are for a liquid silicate paint system (e.g. Keim), high build paint system (e.g. Dulux Acratex),

or low build paint system. Although the liquid silicate provides a breathable system with long term

durability this system requires complete removal of the existing paint systems to enable a bond directly

with the render surface. A high build system has the potential to blur the detail when applied and on

this basis the preference is only to use such a system to horizontal flat surfaces where greater durability

is required. The majority of the painted surfaces will have a low build paint system applied, as currently

exists. The paint colour based on recent analysis will remain unchanged.

The overall approach to the conservation works scope has been where possible to maximise retention of

original fabric and scope repair methodologies that achieve this outcome. A review has been

undertaken of previous repair methodologies in areas such as the joinery and orbs to establish whether

the repair methodology previously adopted should be continued. While retention and repair of original

fabric will have implications for the ongoing maintenance regime for the building, which will need to be

regular and consistent, it is considered to be a far better outcome for the overall retention of

significance.

On this basis the approach to render repair is to move away from wholesale removal of drummy areas

of render and provide for pin and injection repair and localised crack repair; and only remove and

replace the render in flat areas to the tops of cornices, string courses and parapets or flat wall surfaces

where the deterioration is well advanced and this system cannot work. Missing or severely deteriorated

decorative elements will be replaced as scheduled to match existing, with others to be repaired insitu

and pinned.

Consideration has been given to whether the horizontal surfaces (cornices, parapets, etc) should be

capped with lead or stainless steel. As this is not a stone building the preferred conservation action is to

provide a breathable repair system with high durability such as a high build system to provide the water


proof barrier with a paint finish which accommodates the movement of the building. This needs to be

coupled with regular maintenance and renewal of the paint system.

Investigation of the urns that were replaced in the 1990s work indicates that although the rods were

upgraded to 316 stainless steel, failure of these elements through water penetration is still occurring.

The method of repair and replacement for these elements is not only an important conservation

consideration but also one of public safety as these elements have the potential for severe damage to

persons and property when they fall. Alternatives are being explored including the wholesale

replacement of these elements with glass reinforced cement reproductions to ensure a safe and

permanent solution.

Figure 35 Magnified view of paint sample showing the hard skim layer with at least two paint layers

below.


3.5.2 Dome and cupola

Description

Cupola

Last refurbished in the 1990s the cupola on the apex of the dome is extremely exposed to weathering,

particularly on the south and west sides. One of the issues identified is the plantation Oregon which

was previously used to effect repairs and replace original timber elements, has failed to weather well.

Being mindful of the difficulty to access the cupola for maintenance, consideration is being given to

whether the timber components should be replaced with a more durable timber or sheeted in lead.

The existing paint scheme to the cupola, including the extent of the gold leaf has been reconfirmed as

being the original based on historic descriptions and review of previous paint sample analysis.

The proposed repairs and restoration works to the cupola comprise the following:

Prepare and paint the flagpole.

Repair and replacement of decayed sections of timber to cupola.

Repair and replacement of existing lead sheet and flashings.

Replacement of 22 karat gold leaf to lead roof.

Prepare and paint timber work and metal flashing.

Dome Roof

The dome roof is in excellent condition. The roof was re-slated 20 years ago and there are only minor

repairs to be undertaken to this area. The cast iron vents exhibit an area of rust in the skirt as a result of

water being trapped behind and these will be repaired as scheduled. The finials to the vents require

repairs and refixing. The roof structure is in good condition and no works are proposed. As elsewhere

in roof areas a full compliance upgrade will be undertaken of access points and this will include access

within the drum for rigging points into the interior and the internal access ladder to the cupola.

Dome Drum

The render to the dome drum while exhibiting a crazed appearance which appears to indicate

substantial areas of drummy render is on closer inspection reasonably sound. As elsewhere in the

building the horizontal surfaces to cornices, string courses and parapets have deteriorated due to

breakdown of the paint system and the resultant water ingress and more wholesale replacement of

render is required in these locations.

The render repairs as scoped include the following:

Crack repair to moulded sections.

Re-run of sections of mouldings to string courses, cornice and plinth where details are missing

or beyond repair.

Removal of areas of localised drummy render to the cornice, parapets, plinth and flat walls

sections.

General removal and replacement of render to the internal face of the dome parapets.

Paint removal and new paint system.

3.5.3 Roof

Description

The galvanised corrugated iron roofs to the REB transepts and rain water goods are generally in good

condition with minor repairs and restoration works including the following:

Remove existing mesh to roof vents and install new plastic coated flyscreen mesh.

Localised lifting and re-fixing of roof sheets.

Repainting of two colour scheme to pavilion roofs.

Repair to pavilion cresting.


Access for maintenance to the roofs generally is non-compliant and therefore the works will include for

the removal of the existing roof access systems and installation of a new system compliant with

AS1657:2013. This will include access ladders, anchor points and lifelines.

Specific roof works associated with the Dome Promenade works are described in 4.5.2 above.

The works will complete the program of flag pole replacement commenced in 2013, replacing non-

original aluminium flagpoles with timber (nos 9 and 10), installing new flag raising systems to nine of the

flagpoles and preparing and painting the existing timber poles.

3.5.4 Facade

Description

As described the approach to the conservation of the render is to retain original fabric where possible

and therefore the proposed repairs and restoration works comprise the following combination of

actions as detailed on the drawings and in the schedules:

Crack repair.

Inject drummy render.

Re-run sections of moulding.

Pin existing mouldings

Cut out drummy or defective render and re-render.

Paint removal and new paint system.

3.5.5 External joinery

Description

The approach to the repair of the joinery is consistent with the overall approach to repairs, which is for

maximum retention of original material. The majority of the repairs are general maintenance and

include filling of cracks with epoxy resin, filling decayed sections of windows, injecting cracks in sills and

cutting out glazing putty and re-putty prior to repainting. Where timber replacement is required the

repair methodology is to splice in new sections and replace staff beads, sills and weatherboards where

required in preference to wholesale replacement of a window.

The doors to all the entries will be repaired including epoxy filler or splice repair to timber elements, and

cleaning of mechanisms with a greater or lesser degree of repair based on their age. Some doors are of

recent origin and only require maintenance painting.

All timber joinery to the exterior is to be prepared and painted.

The repairs to joinery and doors are covered in detail in the attached schedules.


4.0 Impacts on heritage values

In the following higher level overview and discussion of heritage impacts, reference is made to:

The heritage values and significance of the REB and Carlton Gardens, as derive from the World

Heritage listing and inclusion in the Victorian Heritage Register. The National Heritage Listing is

not addressed below, but is dealt with separately in the referral to the Commonwealth

Department of Environment under the EPBC Act.

Relevant CMP policies, both general and specific.

The Commonwealth Matters of National Environmental Significance: Significant Impact

Guidelines 2013.

With regard to the World Heritage listing, the Matters of National Environmental Significance:

Significant Impact Guidelines 1.1. EPBC Act 1999 (Australian Government Department of the

Environment, 2013) are relevant, and contain ‘significant impact’ criteria and tests. ‘World Heritage

properties’ are identified in the Guidelines as relevant to ‘matters of national environmental

significance’. According to the Guidelines:

A person who proposes to take an action that will have, or is likely to have, a

significant impact on a matter of national environmental significance must refer

that action to the minister for a decision on whether assessment and approval is

required under the EPBC Act.

A ‘significant impact’ is identified as:

A ‘significant impact’ is an impact which is important, notable, or of consequence,

having regard to its context or intensity. Whether or not an action is likely to have a

significant impact depends upon the sensitivity, value, and quality of the

environment which is impacted, and upon the intensity, duration, magnitude and

geographic extent of the impacts. You should consider all of these factors when

determining whether an action is likely to have a significant impact on matters of

national environmental significance.

It is the conclusion of this assessment that the proposed works associated with the Protection and

Promotion Project will not have a ‘significant impact’ on the World Heritage values.

4.1 World Heritage Values

4.1.1 Justification for Inscription: Criterion (ii)

The following quotation reproduces the ‘Justification for Inscription’ as per Criterion (ii). This is followed

by comments on the heritage impacts.

The Royal Exhibition Building and the surrounding Carlton Gardens, as the main

extant survivors of a Palace of Industry and its setting, together reflect the global

influence of the international exhibition movement of the nineteenth and early

twentieth centuries. The movement showcased technological innovation and

change, which helped promote a rapid increase in industrialisation and

international trade through the exchange of knowledge and ideas.

The proposed Protection and Promotion Project works to the REB will not impact on these World

Heritage values. The physical or visual impacts of the proposed works will not detract from or diminish

an understanding of the original building as a ‘Palace of Industry’. The design and detailing of the works

is also sympathetic to the existing building and its architecture. While the proposed pavilion to the

Dome Promenade will be a visible new structure associated with the building, it will not be a dominant

or jarring elements. As previously noted, it represents a contemporary approach to the introduction of

elements attached to or abutting the REB, which occurred historically with the temporary buildings

associated with the international exhibitions, and subsequently during the course of the building’s

history.


The REB will continue to be seen and appreciated as an extant ‘Palace of Industry and its setting’. Its

history as a building associated with the international exhibition movement will be maintained, and

importantly interpreted and reinforced through the new Promenade Experience. Its ongoing use as an

exhibition building will also be retained and enhanced with this proposal, particularly through the new

level of access and education afforded by the Protection and Promotion Project.

4.1.2 Brief Synthesis

The ‘Brief Synthesis’ included in the WHL entry provides a description of the REB and its setting.

The works proposed as part of the Protection and Promotion Project will not impact on or detract from

the elements described and identified in the ‘Brief Synthesis’.

4.1.3 Integrity

The ‘Integrity’ included in the WHL entry addresses the ‘completeness of the inscribed property’ and the

‘present state of the conservation of the Great Hall’. Regarding the former, the overall ‘completeness’

of the property will not be diminished with the current proposal. On the ‘present state’ of the building,

excluding the Great Hall, the proposed repair and restoration works will enhance the building fabric and

the building’s appearance and presentation.

The ‘Integrity’ section also recognises recent restoration and conservation works to both the building

and Carlton Gardens, and describes these works as contributing to ‘maintaining the integrity of the

Royal Exhibition Building and Carlton Gardens’. The proposed repair and restoration works can also be

seen in this light.

4.1.4 Authenticity

Under this section, the WHL entry emphasises the ‘high authenticity’ of the place, including the building

form and its setting. The internal and external intactness of the Great Hall is noted. The ‘relatively high

authenticity of function within the Great Hall’ is also recognised, including through the current use of

these spaces for large-scale exhibitions. Works such as the replacement of some original timber

staircases with concrete stairs in the early twentieth century are acknowledged, as being necessary for

fire risk management, and ‘an acceptable risk-sensitive reduction in material authenticity’.

The current proposal will not challenge the ‘authenticity’ of the place. While original timber stairs to the

interior of the west pavilion to the south portal will be replaced and a new lift introduced, and a new

promenade will be introduced to the roof in association with the dome, these modern elements can

reasonably be seen as contributing to the ‘authenticity of function’. Although of contemporary

materials and construction, and meeting contemporary requirements and standards, they will

contribute to the ongoing function and operation of the place. They have historic precedents, and an

important contemporary role to perform. They are also seen as highly complementary to the ongoing

operation of the REB, and enhancing the experience of visitors. The proposed pavilion to the roof is also

complementary to the ‘authenticity of function’. This element additionally has precedents.

4.1.5 Protection and management arrangements

The WHL entry notes the ‘legal protection’ and ‘sound planning framework’ in place for the REB and

Carlton Gardens. This includes the EPBC Act 1999 and the Victorian Heritage Act 1995. The CMP and

2010 World Heritage Environs Area Strategy Plan are also identified as documents which provide the

‘policy framework’ for conservation and management. The former is directly relevant to this proposal,

with the CMP policies addressed in this report.

4.1.6 Significant Impact Guidelines

As noted, the ‘significant impact’ criteria and tests as included in Matters of National Environmental

Significance: Significant Impact Guidelines 2013), are pertinent. The relevant ‘significant impact criteria’

for World Heritage Properties are as follows:


An action is likely to have a significant impact on the World Heritage values of a

declared World Heritage property if there is a real chance or possibility that it will

cause:

one or more of the World Heritage values to be lost

one or more of the World Heritage values to be degraded or damaged, or

one or more of the World Heritage values to be notably altered, modified,

obscured or diminished.

For World Heritage properties with cultural heritage values, the Significant Impact Guidelines further

identify the following:

Historic heritage values

An action is likely to have a significant impact on cultural heritage values of a World

Heritage property if there is a real chance or possibility that the action will:

permanently remove, destroy, damage or substantially alter the fabric of a

World Heritage property

extend, renovate, refurbish or substantially alter a World Heritage

property in a manner which is inconsistent with relevant values

permanently remove, destroy, damage or substantially disturb

archaeological deposits or artefacts in a World Heritage property

involve activities in a World Heritage property with substantial and/or

long-term impacts on its values

involve construction of buildings or other structures within, adjacent to, or

within important sight lines of, a World Heritage property which are

inconsistent with relevant values, and

make notable changes to the layout, spaces, form or species composition

in a garden, landscape or setting of a World Heritage property which are

inconsistent with relevant values.

Other cultural heritage values including Indigenous heritage values

restrict or inhibit the existing use of a World Heritage property as a

cultural or ceremonial site causing its values to notably diminish over time;

permanently diminish the cultural value of a World Heritage property for a

community or group to which its values relate

alter the setting of a World Heritage property in a manner which is

inconsistent with relevant values

remove, damage, or substantially disturb cultural artefacts, or ceremonial

objects, in a World Heritage property, and

permanently damage or obscure rock art or other cultural or ceremonial

features with World Heritage values.

Under ‘Notes’, the Significant Impact Guidelines state:

The above examples are general examples and their application will depend on the

individual values of each World Heritage property. Alteration or disturbance which

is small in scale may have a significant impact if a feature or component of a World

Heritage property embodies values that are particularly sensitive or important.


To have a significant impact on World Heritage values, it is not necessary for an

action to impact upon the whole of a World Heritage property, all of the values of a

World Heritage property, or a whole value of a World Heritage property. It is

sufficient if an action is likely to have a significant impact on a part, element, or

feature of a World Heritage property, which embodies, manifests, shows, or

contributes to the values of that property.

The proposed Protection and Promotion Project will not have a significant impact on the World Heritage

values of the Royal Exhibition Building and Carlton Gardens. The works, or action, will not result in ‘one

or more of the World Heritage values’ being lost, degraded or damaged, or notably altered, modified,

obscured or diminished. The works will not impact on ‘important sight lines’, with views of the dome

being retained. While physical works to the building are proposed, including some partial demolition,

modification and the introduction of new structures, the works are for the most part substantially

consistent with historic uses and functions, will enhance public access to the building, and will result in

greater understanding, awareness and appreciation of the building and its history. The works are also

localised and contained, and in no sense will diminish the architectural and physical qualities of the

building. In this way the alterations are not ‘inconsistent with the relevant values’ and will not have

‘substantial and/or long-term impacts’ on the values.

The proposed repair and restoration works will also enhance the fabric of the REB, and the building’s

appearance and presentation. The works aim to maximise retention of original fabric where possible,

while balancing this with the aim of ensuring the repairs are long-lasting and durable.

4.2 State Heritage Values

4.2.1 Victorian Heritage Register

The Victorian Heritage Register statement of significance for the Royal Exhibition Building and Carlton

Gardens is reproduced above at Section 2.1. The statement identifies the heritage place as being of

historical, architectural, aesthetic, social and scientific (botanical) significance to the State of Victoria.

The key aspects and attributes of significance (paraphrased and summarised from the statement) are

identified below, with comments following.

Historical and architectural values:

The REB is historically significant as the only major extant nineteenth century exhibition

building in Australia, one of few major nineteenth century exhibition buildings surviving

worldwide, and with the associated gardens forms one of the major surviving nineteenth

century exhibition precincts in the world.

The REB demonstrates the wealth and confidence of Victoria in the late 1870s, and has hosted

highly significant and historic national events including the 1880 and 1888 exhibitions, opening

of Federal Parliament in 1901, and the venue for the Victorian State Parliament from 1901 until

1927.

The decorative scheme by John Anderson for the 1901 opening of Parliament is of historical

and aesthetic significance and among the finest public art works in Victoria.

The REB is architecturally significant as one of the finest and largest nineteenth century

buildings in Australia, with the Renaissance motifs and modelling of the dome on that of

Brunelleschi's Florence Cathedral, emblematic of the confidence of the young colony in 1880.

The Royal Exhibition Building is architecturally significant as the largest design carried out by

renowned Melbourne architectural firm Reed and Barnes, who were responsible for many of

Melbourne's most prestigious public buildings including the Melbourne Town Hall and the State

Library.

The proposed Protection and Promotion Project will not impact on these State heritage values. The

project will in fact enhance an understanding of the historical and architectural values, through enabling

greater access to the building and the Dome Promenade. Proximity to the latter will also enable greater

appreciation of the dome and its architectural form and detailing.


Aesthetic and scientific (botanical) values:

Carlton Gardens, the setting for the REB, are aesthetically significant for their nineteenth

century 'Gardenesque' style incorporating specimen trees and parterre garden beds, in a

symmetrical design with axial views and foci.

The landscape has outstanding tree avenues, rows and specimen trees on the lawns, a curator's

lodge, two lakes with islands, shrubberies and elaborate annual bedding displays along the

southern promenade.

The nineteenth century path layout is enhanced by magnificent avenues of trees, including the

grand avenue of 26 Plane trees which frames the Exhibition Building dome, Elms, Cedar, White

Poplar, English Oak and an uncommon avenue of 35 Turkey Oaks.

Carlton Gardens is notable for its creative achievement and demonstrating skilful garden

design, and a landscape character which features a variety of plantings that display contrasting

colours and forms, and enhance the Gardens, REB and the local urban area.

Josef Hochgurtel's 1880 Exhibition Fountain is the only known work of the artist in Australia

and the largest and most elaborate fountain in Australia. The fountain and the 'Grand Allee'

lined with Plane trees is integral to the setting of the Royal Exhibition Building.

Carlton Gardens are of scientific (botanical) significance for their outstanding collection of

plants, including conifers, palms, evergreen and deciduous trees, many of which have grown to

an outstanding size and form.

The proposed Protection and Promotion Project will not impact on these State heritage values. Public

access to the Dome Promenade will afford newly available views of the landscape, particularly the

formal arrangement and plantings of the south gardens. The important south view of the dome, as

framed by the grand avenue of Plane trees, will not be impacted by the proposed pavilion to the roof.

Social value

The REB and Carlton Gardens are of social significance for their continuing involvement in the

lives of Victorians.

The REB has hosted countless major exhibitions as well as other community uses such as an

influenza hospital, wartime military use, migrant reception centre and a venue for several

events during the 1956 Olympic Games.

The gardens have been enjoyed by visitors for passive recreation, entertainment and social

interaction and have been the venue for the successful International Flower and Garden Show.

The proposed Protection and Promotion Project will not impact on these State heritage values. The

increased public access afforded by this project will complement the social value, through opening up

previously restricted areas of the building.


5.0 Conclusion

There are several aspects of the proposed Royal Exhibition Building Protection and Promotion Project

which will involve change to the heritage place. These are as follows:

Removal of the original stairs to the interior of the west pavilion to the south entry portal, and

their replacement with a contemporary lift and stairs.

Introduction of a new promenade to the roof of the south transept.

Introduction of a new pavilion to the new promenade deck.

The new Dome Promenade is straightforwardly an upgrade on, and a contemporary version of, an

historic element and experience of the 1880s. It will meet contemporary standards in terms of access

and amenity, but is entirely consistent with the historic use of this area, and the reintroduction of

historic access. The new roof pavilion has the precedent of the camera obscura structure which was

placed in a similar location in the 1880s.

The introduction of the new lift and stair will have the most physical impact on the REB, through

demolition of the original internal stair to the west pavilion. This is recognised and acknowledged. It is

also a contemporary requirement that equitable access be incorporated into the reinstated Promenade

Experience, and cannot be avoided if the new project proceeds. Alternative options would be

significantly more impactful and visible, and visually intrusive, including an internal lift which rises

through the Great Hall, or an external lift to the south façade. The approach as proposed is the most

preferred, and largely conceals the new lift and stair from the Great Hall. The use of the west pavilion is

also consistent with its historic function in providing vertical access.

On balance, the benefits of the proposal to the REB are significant, and the positive impacts outweigh

any negative impacts or outcomes associated with the Protection and Promotion Project works. The

proposal involves important conservation works. It will bring visitors to the roof, to enable a greater

appreciation of the architecture, including the roof pavilions and dome. Importantly, Melbourne’s most

highly graded heritage building will have enhanced public access.

1 See http://whc.unesco.org/en/list/1131, accessed 10 February 2016.

2 Richard Pope. Diaries, 1855-1896. Vol 4, 11 Feb 1879 – 25 Dec 1884, SLV 6.9.11, MS 2470/4

3 The Argus, Fri 5 Nov 1880: 6g

4 Leavitt, TWH (editor). 1888. The Jubilee History of Victoria and Melbourne, Illustrated. Melbourne: Duffus Bros: 55

5 Morrison, Elizabeth (ed). 1988. Ada Cambridge, A Woman’s Friendship, 1888-1889. Kensington, NSW: New South Wales

University Press: 9

6 The Argus, Fri 5 Nov 1880: 6g

http://whc.unesco.org/en/list/1131

Documents

PR OTECTION AND PROMOTION PROJECT - Heritage - Heritage · 1.0 Introduction 1 1.1 Royal Exhibition Building and Carlton Gardens 1 1.1.1 The site 1 1.1.2 The building 1 1.2 Summary