statement of enviromental effects

PREPARED BY: Blacktown Arts, on behalf of the BNI Project

PROPOSED PUBLIC ART INSTALLATION ON THE BLACKTOWN NATIVE INSTITUTION SITE

Contents1. Introduction......................................................................................................................................22. Site Location and Description..........................................................................................................33. Legislative Context...........................................................................................................................5

3.1. Heritage Act 1977 (NSW).........................................................................................................53.2. National Parks and Wildlife Act 1974......................................................................................63.3. AHIMS Search..........................................................................................................................63.4. Blacktown Local Environmental Plan (BLEP) 2015................................................................6

4. Proposal Description........................................................................................................................8..............................................................................................................................................................9............................................................................................................................................................105. Project Background: Community Consultation.............................................................................116. Development Considerations.........................................................................................................14

6.1. Materials and Finishes.............................................................................................................14........................................................................................................................................................15........................................................................................................................................................15........................................................................................................................................................156.2. Visual Impact Statement.........................................................................................................166.3. Installation Details...................................................................................................................176.3. Ongoing Maintenance Scheme................................................................................................176.4. Fire Resistance of Structure....................................................................................................176.5. Waste Management.................................................................................................................176.6. Cut/Fill/Retaining....................................................................................................................18

7. Conclusion......................................................................................................................................198. Annexure........................................................................................................................................20

8.1 Compliance with Blacktown Development Control Plan 2015...............................................208.2. Materials and Finishes.............................................................................................................228.3. BNI Flower Sculpture: Ongoing Maintenance Scheme..........................................................238.4. Waste Management Scheme...................................................................................................25

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1. Introduction

This Statement of Environmental Effects has been prepared in support of a Development Application for a semi-permanent public art sculpture to remain at the Blacktown Native Institution (BNI) site in Oakhurst for a period of 3-5 years.

The BNI flannel flowers sculpture was installed at the BNI site on 8 June 2018. A temporary exemption to the requirement of DA was granted on 1 June 2018 under Part 5.10(3) of the Blacktown Local Environment Plan 2015 (BLEP) to approve the installation of the sculpture. The temporary exemption was granted on the condition of a Development Application being submitted for approval of the sculpture to remain on-site on a semi-permanent basis for 3-5 years.

The proposed artwork, commissioned by the BNI Project, will consist of three stems and seven flannel flower heads that have been communally woven using marine rope. Created by Nyoongar artist Sharyn Egan, in collaboration with the Baabayn Aboriginal Corporation and local artists, the sculpture will act as a living memorial to the children of the BNI and Australia’s Stolen Generations. Situated inset from the corner of Richmond Rd and Rooty Hill Rd North, the sculpture was developed through extensive community consultation, and reflects the desire of local Aboriginals to have a marker on site that draws attention to the site’s cultural and historical significance.

A heritage-listed site of national, state and local significance, the BNI features the earliest remaining physical evidence of the institutionalization of Aboriginal people in Australia. Since 2013, the Blacktown Native Institution Project, a collaboration between local Aboriginal artists and communities, Blacktown Arts, Blacktown City Council the MCA’s C3West Program, has delivered a series of initiatives aimed at using art to ‘reclaim the site’ and facilitate discussion about the history and future of the site.

We submit that the proposed development will be of significant benefit to the BNI site from a cultural, historical and community perspective, which are outlined in the following Statement. Taking into account these benefits and the absence of adverse archaeological, environmental and social impacts on the site, the application is submitted to the Council for assessment. We recommend the approval of the application, subject to necessary, relevant and appropriate conditions of consent.

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2. Site Location and Description

2.1. The proposed flannel flower structure will be installed on the Blacktown Native Institution site on Lot 5001, inset from the corner of Rooty Hill Road North and Richmond Road, Oakhurst.

2.2. The portions of the Blacktown Native Institution site are currently owned by the following entities:

• UrbanGrowth: Lot 5001 - DP869400, Lot 5003 - DP869400• Blacktown City Council: Lot 60 - DP1055132, Lot 5 - DP792478• Department of Planning: Lot 5002 - DP869400• Transport for NSW: Lot 1 - DP1043661

Sharyn Egan’s flannel flower sculpture is situated on land owned by Landcom. The consent of owner Landcom has been submitted as part of the accompanying Development Application, pursuant to the DA submission requirements of Blacktown City Council.

2.3. The Blacktown Native Institution site lies on the Cumberland Plain, within the traditional lands of the Darug people.

2.3. The BNI site holds historical, social and archaeological value, and has been identified as a site of national, state and local significance. The BNI site features the earliest remaining evidence of the institutionalisation of Aboriginal people, specifically children, in Australia. For Aboriginal Australians, it represents a key historical site symbolising dispossession and child removal whose legacy can be seen in the Stolen Generations.

2.4. The Blacktown Native Institution was a residential school for young Aboriginal and Maori children that operated from 1823-1829. Established by Governor Macquarie’s colonial administration in 1823, the Institution potentially housed hundreds of young Aboriginal and Maori children over the course of six years.

2.5. Between 1833 and 1876, the former BNI site was owned by William Bell, and subsequently his daughter Maria Bell. In 1877, the property was bought by Sydney Burdekin and re-named it Lloydhurst. The former Institution house was destroyed by a fire in 1924.

2.6. A fibro house was built over the ruins of the BNI schoolhouse, and the property was used as a dairy farm until 1986. The site was subsequently acquired by Landcom.

2.7. The site has undergone numerous levels of disturbance as a result of it being used as working property in the 19th Century up until 1985. Post-1985 activities, including the clearing the vegetation, the piping of Bells Creek, and the construction of a sewer and open drain, have also caused considerable disturbance to the site.

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2.3. Today, the BNI site is a largely vacant lot of land bounded by the residential subdivision of Hassall Grove to the west/southwest, and arterial roads to the east and south. The M7 Richmond Road interchange lies adjacent to the BNI site to the east.

2.4. The site is predominantly cleared and is bisected in the north by Bells Creek, which has been modified and piped. The changes made to Bells Creek have led to substantial changes to the landforms associated with the creek and original vegetation

2.5. There is very little remnant original/indigenous vegetation on the BNI site. Remnants of vegetation communities such as Eucalyptus moluccana (grey box), Eucalyptus tereticornis (forest red gum), Eucalyptus cerebra (narrow-leaved ironbark) and Angophora floribunda (rough-barked apple) border the site today, across Richmond Rd.

2.7. The Colebee-Nurragingy Land Grant lies northeast of the BNI site. Selected by Nurragingy as the location of a land grant, the site was used as a settlement that became a centre for Aboriginal life in the early colonial period, and influenced the siting of the Blacktown Native Institute.

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3. Legislative Context

3.1. Heritage Act 1977 (NSW)

3.1.1. The Heritage Act 1977 (NSW) outlines provisions for identifying and protecting items of environmental heritage. The State Heritage Register (SHR), an instrument of the Heritage Act, lists items assessed items as being of state significance.

3.1.2. The Blacktown Native Institution site is listed on the NSW HR (Item No. 01866), and has has been identified for its historical, social and archaeological significance.

3.1.3. Section 57(1) of the Heritage Act stipulates that any proposed development within sites listed on the SHR requires the approval of the Heritage Council. This includes the installation of public art on heritage listed land. A Section 60 application must be made to the Heritage Council to gain approval to carry out a development on a SHR listed site.

3.1.4. A Heritage Impact Statement has been submitted to the OEH as part of this Development Application. The report was prepared by Catherine Snelgrove of Gordon McKay Logan (GML), on behalf of the Blacktown Native Institution Project.

3.1.5. A S60 Application was made by Catherine Snelgrove of GML to the Office of Environment and Heritage. Approval for the S60 Application was granted on 1 June 2018 on the condition that the proposed works ‘shall be designed to be free-standing and reversible, leave no permanent damage to any significant fabric, and involve no excavation as part of the works.’

3.1.6. Pursuant to of S63 of the Heritage Act 1977, the following requirements were submitted and complied with for S60 consent to be granted:

Design Drawings, prepared by artist Sharyn Egan, dated 14 May 2018 Heritage Impact Statement, prepared by GML Heritage, dated May 2018 Drawings and specifications of the proposed pre-cast concrete pad footings, prepared

by Event Engineering Dr Tim Owens of GML was nominated as the on-call project archaeologist in the

event that Aboriginal objects are identified during the course of works Protective mats were placed over the ground during installation to prevent damage to

the subsurface areas of the BNI site by truck movements

3.1.7. A notice of Compliance with Conditions of S60 under the Heritage Act 1977 was provided by the Heritage Council of NSW on 13 June 2018.

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3.2. National Parks and Wildlife Act 1974

3.2.1. Section 84 of the National Parks and Wildlife Act 1974 (NSW) (NPW Act) provides protection for all ‘Aboriginal places’, defined as areas of cultural significance to the Aboriginal community. Section 90 of the NPW Act extends this statutory protection to all Aboriginal objects, understood to be any material evidence of the Indigenous occupation of New South Wales.

3.2.2. The process for determining whether Aboriginal objects are present at a site and whether proposed activities will harm them is outlines in the Due Diligence Code of Practice for the Protection of Aboriginal Objects in New South Wales (OEH 2010).

3.2.3. An Aboriginal Heritage Impact Permit (AHIP) application is required in instances where an activity will likely harm an Aboriginal object. However, Sections 87A and 87B of the NPW Act permit exemptions from an AHIP in activities where Aboriginal people and their dependents are carrying out ‘non-commercial traditional cultural activities.’

3.2.4. We propose that the Sharyn Egan’s work be considered a ‘non-commercial traditional cultural activity’ for the purposes of ss 87A and 87B NPW Act on the following ground:

The process of creating the flannel flower heads engages with traditional Aboriginal weaving practices. The collaborative effort involves the contributions of local Aboriginal communities and traditional custodians, in particular the Baabayn Aboriginal Corporation, resulting in the production of woven art pieces.

3.3. AHIMS Search

3.3.1. A search on the Aboriginal Heritage Information Management System (AHIMS) has revealed the following:

Site number 45-5-0398: Blacktown Native Institute (whole site) Site number 45-5-0486: Bells Creek (A) Rooty Hill – Open campsite with

concentration of artefacts Site number 45-5-4531: Bells Creek E – Open Camp Site

3.4. Blacktown Local Environmental Plan (BLEP) 2015

3.4.1. Schedule 5, Part 2 of the BLEP lists the Blacktown Native Institution as an archaeological site (Item No. A121): Lot 1, DP 1043661; Part of Lot 60, DP 1055132; Part of Lot 5, DP 792478; Lots 5001-5003, DP 869400

3.4.2. The BLEP Land Zoning Map Sheet LZN_008 classifies the BNI site as a Zone E3 plot of land: Environmental Management.

3.4.3. The objective of the Zone E3: Environmental Management are:

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To protect, manage and restore areas with special ecological, scientific, cultural or aesthetic values

To provide for a limited range of development that does not have an adverse effect on those values.

3.4.4. The BLEP sets out three categories of use for Zone E3 land: permitted without consent, permitted with consent, and prohibited. We propose that Sharyn Egan’s flannel flower sculpture satisfies the definition of ‘community facility’ outlined in the BLEP, and should be considered a development that is ‘permitted with consent.’

3.4.5. Part 5.10(3)(a) of the BLEP outlines instances in which ‘consent is not required’ for proposed developments on sites containing Aboriginal heritage sites or items. Development consent under this clause is not required if:

(3)(a) The applicant has notified the consent authority of the proposed development and the consent authority has advised the applicant in writing before any work is carried out that the proposed development:

(i) Is of a minor nature or is for the maintenance of the heritage item, Aboriginal heritage item, archaeological site or building, work, relic or tree within the heritage conservation area, and

(ii) Would not adversely affect the heritage significance of the heritage item, object, place etc.

3.4.6. An application for a BLEP Part 5.10(3) exemption has been submitted in the form of memo by Blacktown Arts Managing Director Jenny Bisset to Trevor Taylor (Manager, Development Policy).

The application was sought on the basis that the proposed public artwork is of a ‘minor nature’ that does not ‘adversely affect the heritage significance of the heritage site’. Consideration has been given to the following grounds:

The flower sculpture has been designed to mitigate the need for excavation through the use of above-ground concrete plinths

The proposed artwork is placed well-clear of areas of high archaeological value The size of the sculpture is minor within the overall space of the BNI site The artwork will be placed on the site on a semi-permanent basis, and is easily

removable Flannel flowers reflect both the history and native flora of the area, and were

chosen through extensive consultation with local Aboriginal communities, in particular elders Julie Bukari-Webb, Corina Marino and Nene Brown.

3.4.7. A temporary exemption to a DA under Part 5.10(3) of the BLEP was granted on 1 July 2018. The exemption was granted on condition that a DA would be subsequently submitted for approval to keep the BNI flannel flower sculpture on-site for a period of 3-5 years.

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4. Proposal Description

4.1. This Development Application seeks consent for the installation of a flannel flower sculpture by artist Sharyn Egan on the Blacktown Native Institute site. The proposed public artwork will be located at Lot 5001 on the corner of Rooty Hill Rd North and Richmond Rd.

4.3. The proposed artwork will consist of three stems with seven flannel flower heads woven from polypropylene marine rope. The assembled rope flowers will be lashed to steel frames which maintain the structural integrity of the flower heads while allowing them to maintain an organic shape.

4.3. The stems will be fixed on concealed steel structural posts, and will be anchored by concrete base plates. The footings will be above ground self-supporting structural concrete plinths, pre-cast and placed on top of the existing ground level to mitigate the need to excavate for installation.

4.4. Each of the flower sculptures will vary in height, with the tallest flower reaching a maximum of 8m above ground level, measured from the base of the stem to the uppermost tip of the flower head. All three free-standing concrete plinths stand at 400mm.

4.5. The artist Sharyn Egan is a Nyoongar weaver from Western Australia who was a member of the Stolen Generations. Sharyn’s work evokes a personal and cultural history of dispossession, institutionalization and loss experienced through government policies which can trace their origins back to the BNI site.

4.2. The flower sculptures have been woven in collaboration with local Aboriginal communities, most notably the Baabayn Aboriginal Corporation, and local weavers.

4.5. The choice of flannel flowers is symbolic of both the innocence of the children who attended the Blacktown Native Institution, and the deep connection that local Aboriginal communities, past and present, share with the site and the surrounding landscape.

4.4. Cranes will be used on the BNI site to install the flannel flower sculpture. Based on a recommendation on Gordon McKay Logan’s Heritage Impact Statement, protective mats will be placed over the ground to prevent truck movements damaging the sub-surface areas of the site.

4.5. The proposed installation plays an integral role in Ngara - Ngurangwa Byallara (Listen, Hear, Think - The Place Speaks), an arts initiative by the Blacktown Native Institute Project that honours and acknowledges the largely unrecognised significance of the Blacktown Native Institution site. The project features artists Tony Albert and Sharon Egan, and members of Moogahlin Performing Arts, working with Aboriginal communities in Blacktown and local artists to honour the BNI site as a living memorial to Australia’s Stolen Generations.

4.7. The flannel flower sculpture is proposed to remain on the BNI site for a period between 3 - 5 years. The semi-permanent arrangement is a strategic response to the local

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Aboriginal communities’ desire to have a marker on the site that calls attention to its cultural and historical significance.

Figure 1: Completed BNI Flannel Flowers sculpture installed at the Blacktown Native Institution site. Photograph taken in relation to position of flowers to Richmond Rd

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Figure 2: Placement of flannel flower sculptures on existing ground level

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Figure 3: Elevations of flannel flowers (from concrete base to tip of stem)

5. Project Background: Community Consultation

5.1. The Blacktown Native Institution Project is a collaboration between local Aboriginal communities and artists, Blacktown Arts, Blacktown City Council and the Museum of Contemporary Art (through their C3West Program). Since 2013, the Project has delivered events, art installations and performances at the Blacktown Native Institution site. The Project aims to use art as a way to both reclaim the historical site, and generate discussion about the history and future of the BNI site.

5.2. The proposed flannel flower sculpture has come about through extensive consultation and engagement with Blacktown’s Aboriginal communities, including the traditional custodians, the Darug. The development of the public installation has been informed by three arts projects and one planning project occurring between 2013 and 2018, which are outlined briefly below:

2013: Darug artists Leanne Tobin and Robyn Caughlan met with a range of community organisations including Darug Tribal Aboriginal Corporation in a creative collaboration. Historians Jim Kohen and Jack Brook also took part. Blacktown Arts worked with UrbanGrowth NSW to hold a community day on-site to discuss the future of the Blacktown Native Institution.

2013 Draft Plan of Management: UrbanGrowth NSW facilitated a series of community consultations and established the Interim Management Committee. Members of this Committee included individual traditional owners and representatives of organisations such as the Darug Tribal Aboriginal Corporation and the Darug Custodians Aboriginal Corporation. The consultations informed the Draft Interim Plan of Management, which set out the current and intended uses of the site, and identified key objectives surrounding the need to protect and promote the cultural significance of the BNI site.

2014 - 2015: Blacktown Arts, the MCA’s C3West and UrbanGrowth worked on a collaborative project that delivered two artist camps to the BNI site. These camps invited local Aboriginal people to discuss the future of the site with Aboriginal experts in a range of fields, including educator Michael McDaniel, historian Julia Torpey and architect Linda Kennedy. The local community also participated in the creation of temporary on-site works with artists including Leanne Tobin and Darren Bell. The two artist camps culminated in a major public celebration, Corroboree, which was held in late 2015.

5.3. In the current phase of the BNI Project (2018), an Aboriginal Steering Committee was convened to provide cultural advice and direction on the future of the BNI site. The Steering Committee includes Aboriginal people, artists, elders and traditional custodians, as well as representatives from the Darug Tribal Aboriginal Corporation (DTAC), the Darug Custodian Aboriginal Corporation, Australian Museum and Museum of Applied Arts and

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Science. Julie Bukari Webb, Corina Marino, Nene Brown, Uncle Wes Marne, Uncle Danny Eastwood, Uncle Greg Simms, Debbie Higgison-Bradley and Sharni Jones.

5.4. The development of the flannel flower sculpture has been shaped by consultation with the Aboriginal Steering Committee and local Aboriginal communities. Artist Sharyn Egan also conducted research on the BNI and traditional weaving practices, which have shaped the concept and creation of the work.

5.5. The design of the proposed public artwork was refined into its current form through a consultation process with elders and weavers from the Baabayn Aboriginal Corporation, and the BNI Project Steering Company. Traditional custodians Julie Bukari Webb, Corina Marino and Nene Brown selected flannel flowers for the BNI sculpture as they are a beloved species of flower native to the area.

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Figure 4: Nyoongar artist Sharyn Egan and design consultant Linda Kennedy working on a flannel flower head for the BNI sculpture

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Figure 5: Woven flannel flower head in progress

6. Development Considerations

6.1. Materials and Finishes

6.1.1. The proposed floral sculpture will consist of the following materials and finishes:

Flower heads and petals are woven from 12mm polyethylene marine rope Main frame of flower heads: 8.0mm steel rod welded main frame Back frame of flower heads: 10.0mm steel rod welded framing, connected on to

10.0mm steel plate with M16 G8.8 Bolts Framing within flower petals: 6.0mm steel rod welded framing The assembled rope flower will be lashed to the steel frame with 2.0mm rope and

Sikaflex 11-FC (poly-urethane sealant) Stems of flower structures: CHS (circular hollow section) steel segments of varying

CHS dimensions that have been telescoped (min 400mm) Plug and fillet welds have been used in the construction of the steel stems All steelwork used in the floral sculpture will be galvanized or painted with a zinc

primer Free standing concrete plinth footings: Concrete grade 40MPa, with a minimum

concrete cover of 40mm. Each of the three concrete footings will be attached to the steel stems using 8 M20

threaded rods, galvanized grade 8.8, with 300mm engagement Sand has been compacted under the base of each concrete plinth

6.2. How do the materials and finishes complement the heritage values of the site?

6.2.1. Polyethylene marine rope was selected in the project for its durability and capacity to keep its colour. More notably, the rope plays a strategic role in acknowledging the Aboriginal history of the BNI site by promoting collaboration between artist Sharyn Egan and members of local Aboriginal communities through traditional weaving practices.

6.2.1. The concrete footing plinths were developed to mitigate the need for ground disturbance or excavation for the installation of the flannel flower sculpture. The solution addresses issues raised by previous iterations of the flannel flower structures, which proposed Krinner screws embedded into the ground to fix the sculpture place. As such, the concrete footing plinths will have little to no archaeological or environmental impacts on the BNI site.

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Figure 5: Polyethylene rope cladding on stems Figure 6: Example of rope cladding

Figure 7: Free standing concrete plinths and threaded rods used for steel stem attachment

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6.2. Visual Impact Statement

6.2.1. The proposed flannel flower sculpture will be visually prominent both on and within the Blacktown Native Institution site. The 8m-high flowers will be visible to passing traffic and pedestrians travelling Rooty Hill Road North, Richmond Road and the M7. The flowers will also be visually noticeable to the west from Colebee Crescent, Hassall Grove, and to the south of the BNI site from Romley Crescent in Oakhurst.

6.2.2. The height of the flannel flowers is a strategic decision by the artist and the BNI Project to create a culturally appropriate site marker that draws attention to the significance of the site. The visibility of the flowers in this regard responds to the community desire for a physical marker that commemorates the historical and cultural significance of the Blacktown Native Institution.

Figure 8: View of sculpture from pedestrian junction on the corner of Rooty Hill Rd North and Richmond Rd

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6.3. Installation Details

6.3.1. The BNI flannel flowers have been designed to ensure easy assemblage and installation on-site. Two trucks with cranes were used to deliver and assemble the pre-made concrete bases and fabricated woven flowers. Track mats were used to ensure that the ground of the BNI site was not damaged by the truck tires during the process of installation on 8 June 2018.

6.3.2. Sand was compacted underneath the three concrete bases of the flannel flower sculpture. This was done to minimize any damage that could be caused to the ground of the Native Institution site by the installation of the public artwork.

6.3.3. No permanent machinery or vegetation has been installed on the BNI site to facilitate the assemblage of the BNI flannel flowers.

6.3. Ongoing Maintenance Scheme

6.3.1. A table outlining the ongoing maintenance scheme for the BNI flower installation has been attached as part of this DA submission. Included in the scheme are key considerations of maintenance, details of maintenance procedures, and the contact details of relevant parties.

6.4. Fire Resistance of Structure

6.4.1. In the event of fire, the steel and concrete used for the structure are both fireproofed to a high level. No existing fuel in the site vicinity has been identified as being of a notable risk or value in the event of a grass fire or equivalent that may take place on the site.

6.4.2. Based on the Material Safety Data Sheet (MSDS) provided, the rope cladding used in the structure is small in volume and will not sustain flame. The fire risks posed by the rope material will be minimal in the event of a grass fire or equivalent incident.

6.5. Waste Management

6.5.1. The flannel flower sculpture will require minimum waste management, as no building or manufacturing works will be done on site.

6.5.2. The weaving of the flower heads was completed at the Leo Kelly Blacktown Arts Centre and at the home studios of local weavers. Fabrication of the steel frame and stems, the construction of the concrete plinths and assemblage of the flowers will be completed in workshops offsite.

6.5.3. Anticipated waste will only come from the packaging and protecting wrappings of the sculpture, as required. Installing contractors will remove all waste from the BNI site and return it to their respective workshop.

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6.6. Cut/Fill/Retaining

6.6.1. There has been no cut/fill/retaining as part of the construction or installation of the BNI flannel flower sculpture. The integration of concrete plinth bases enables the structures to be free-standing and has mitigated the need for any cutting, filling or retaining to secure the artwork.

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7. Conclusion

The BNI Flannel Flowers sculpture will have a major positive impact on the local community, particularly for Blacktown’s local Aboriginal communities. The sculpture acts as a powerful visual marker that respectfully memorializes the children of the Blacktown Native Institution, and draw attention to the cultural and historical significance of the site. It is anticipated that the level of curiosity generated by the sculpture will encourage greater interest and discussion about the history and future of the BNI site.

Considerable effort has been made to actively collaborate with local Aboriginal communities as part of the project. This has been reflected in both the conceptual development and construction of the woven flower sculpture, notably through the involvement of the local elders and the Baabayn Aboriginal Corporation.

The public artwork has been designed to respect the cultural and archaeological importance of the BNI site. The use of pre-cast concrete plinths has removed the need to excavate for installation, ensuring that the sculpture has a neutral impact on the archaeology of the site. Careful attention was also exercised in the placement of the work, which does not directly or indirectly harm any Aboriginal artifacts.

On these grounds, we submit that the BNI Flannel Flower sculptures be granted Council approval to remain at its current location on the Blacktown Native Institution site for the next 3-5 years.

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8. Annexure

8.1 Compliance with Blacktown Development Control Plan 2015

OUTLINE OF PROPOSAL

The Blacktown Native Institution Project 2017-2018 is a collaboration between C3West, a program of the Museum of Contemporary Art Australia, and Blacktown Arts on behalf of Blacktown City Council. The BNI flannel flower sculpture plays a central role in the programming of the project, which also involves collaborations between local Aboriginal communities in Blacktown and Aboriginal artists Tony Albert and Moogahlin Performing Art. As part of the project, artist Sharyn Egan will be working with local weavers to create large-scale sculptures that respond to the culture and history of the Blacktown Native Institution site. The BNI sculpture will consist of three large-scale flannel flowers woven with polypropylene rope and clad on to steel frames. The flowers are designed to reach a maximum height of 8m. Concrete plinths will be used to anchor the sculptures, and mitigate any damage done to the site due to excavation. The choice of flannel flowers was made through extensive consultation with local Aboriginal elders. Native to the Cumberland plain, the flannel flower is symbolic of the memory of the children held at Blacktown Native Institution. The sculpture will act as a visual marker that draws attention to the legacy of the BNI site and imagines a future for this important place. REGULATORY FRAMEWORK

The Blacktown Development Control Plan (BDCP) 2015 details the standards, policies and guidelines related to construction and development for Blacktown City. The BDCP applies to all areas covered by the Blacktown Local Environmental Plan (BLEP) 2015, which specifies how land is zoned with the Blacktown LGA and what types of development are permitted.

Under the BLEP Land Zoning Map Sheet LZN_008, the Blacktown Native Institution site is classified as a Zone E3 land: Environmental Management.

The objectives of Zone E3: Environmental Management are as follows:

To protect, manage and restore areas with special ecological, scientific, cultural or aesthetic values

To provide for a limited range of development that does not have an adverse effect on those values.

The BLEP sets out three categories of use for Zone E3 land:

Permitted without consent Permitted with consent, and Prohibited

Development designated as ‘permitted with consent’ under Zone E3 classification includes community facilities, dwelling houses, environmental protection works, flood mitigation works, home industries, kiosks, recreation areas and facilities and water reticulation system.

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SATISFYING CRITERIA OF BDCP 2015 AND BLEP 2015

We submit that Sharyn Egan’s flannel flower sculpture satisfies the criteria of a ‘community facility’ under Zone E3 of the BLEP, and should be considered as a development that is ‘permitted with consent’.

A ‘community facility’ is defined in the BLEP as a building or place:

(a) Owned or controlled by a public authority or non-profit organization, and(b) Used for the physical, social, cultural or intellectual development or welfare of the

community

Pursuant to the guidelines set out under Zone E3, permission with consent should be granted on the following grounds:

Zone E3 Objectives

The BNI flannel flower sculpture is located on the Blacktown Native Institution site, which has been identified by the NSW Office of Environment and Heritage as a place of significant historical value. The sculpture has been commissioned to respond to the desire from local Aboriginal communities to have a visual marker on-site that draws attention to the history and legacy of the BNI site. As such, the proposed development compliments the first objective of Zone E3 land use by ‘protecting, managing and restoring’ the cultural significance of the BNI site.

The sculpture was also designed to maintain the archaeological integrity of the site. Concrete plinths have been used as the bases for the floral structures to mitigate any damage caused by excavating for installation. Considerable planning and consultation was involved in ensuring that the flower sculptures had minimal to no adverse impacts on the cultural and archaeological values of the BNI site.

Community Facility

In accordance with the definition of ‘community facility’, the BNI flower sculpture is managed by a partnership of public authorities including Blacktown Arts (on behalf of Blacktown Council), the Museum of Contemporary Art Australia (via C3West), and representatives of local Aboriginal communities.

The development of the BNI flower sculpture is the result of extensive community consultation with local Aboriginal communities in Blacktown. Local elders from the BNI Aboriginal Steering Committee and the Baabayn Aboriginal Corporation in particular informed the design and concept of the floral sculpture. The importance of community was further reflected in the process of creating the flowers, with local Aboriginal weavers engaged to assist in the weaving of the works.

The floral sculpture contributes to the social and cultural development of local Aboriginal communities in Blacktown by providing a landmark that creatively engages with the legacy of Native Institution site.

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8.2. Materials and Finishes

BNI FLOWER SCULPTURE: MATERIALS AND FINISHESSTRUCTURAL COMPONENT MATERIAL DETAILFlower heads and petals Polypropylene marine

rope 12mm width To be clad on to welded steel

framing Rope chosen for its durability and

ability to retain its colour over timeMain frame of flower heads Steel rod welded

framing 8.0mm steel rod welded main

frameBack frame of flowers - Steel rod welded frame

- Steel plate- M16 G8.8 Bolts

10mm steel rod welded framing, connected on to 10.0mm steel plate with M16 G8.8 bolts

Framing with flower petals Steel rod welded framing

6.0mm steel rod welded framing

Lashing of woven flowers on to steel frames

- Rope- Sikaflex 11-FC

The assembled rope flowers will be lashed on to steel frames with 2.0mm rope and Sikaflex 11-FC (poly-urethane sealant)

Flower stems - CHS (circular hollow section) steel segments- Plug and fillet welds- Polypropylene marine rope- Sikaflex 11-FC

CHS steel segments of varying CHS (min 400mm). The telescoping allows the stems to mimic the natural curvature of flowers

Plug and fillet welds have been used in the construction of the steel stems

Concrete footings x 3 - Concrete grade 40MPa, with a min concrete cover of- 8 x M20 threaded rods- Sand

Concrete grade and coverage selected to adequately support the weight of the flannel flowers and allow the concrete footings to be free-standing. This mitigates the need for excavation.

The concrete footings will be attached to the steel stems using 8 x threaded rods, galvanized grade 8.8, with 300mm engagement

Sand has been compacted under the base of each concrete plinth to protect the ground from damage

Steel finish Zinc primer All steelwork used in the floral sculpture will be galvanized or painted with a zinc primer

8.3. BNI Flower Sculpture: Ongoing Maintenance Scheme BNI FLOWER SCULPTURE: ONGOING MAINTENANCE SCHEMEAREAS OF CONSIDERATION

DETAIL CONTACT

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Life Span of Sculpture

The life span of the flannel flower sculpture is projected to be up to 5 years, conditional to agreement on site ownership

Jenny Bisset:(w) 9839 6081(m) 0401 147 800

Maintenance in the event of damage to flannel flower sculpture

1. Damage to weaving :The artist, Sharyn Egan, will be immediately contacted in the event of noticeable damage to the flannel flowers. Sharyn will advise on the best way to restore weaving, and recommend weavers which can assist in restoration.

2. Damage to steel structure :In the event of damage to steel structure, Event Engineering should be contacted to advise on the best course of action for repairs. Steel fabricators Quality Manufacturing Engineers (QME) will be engaged to work on repairs.

Artist:Sharyn Egan(e) sharynegan@yahoo.com.au

Event Engineering:17-19 O’Connor St, Chippendale NSW 2008Contact: Jeremy Sparks (Director)(e) Jeremy@eventengineering.com.au(w) 9690 1734

Quality Manufacturing Engineers:19 Mcilwraith St, Wetherill Park NSW 2164(w) (02) 9756 6155

Cleaning of flower heads and stem cladding

The polypropylene rope cladding should be cleaned every 6 months. The regularity with which the structure is to be cleaned will depend on the build up from the expressway and other detritus that may accumulate on site.

Artist Sharyn Egan (QME) has advised that due to the durable nature of the polypropylene rope, a normal hose and water can be used to clean the rope cladding. Consultation from Crackpots Fishing & Rural and Yacht Grot, suppliers of polypropylene rope, has advised that a high pressure hose up to 3000 psi can be used for cleaning.

In the event that the flowers get really dirty, a little soap can be used while hosing the structure. Chlorine can also be added to the water to whiten the flower heads during cleaning.

Note: Cleaning schedule is modelled on the cleaning of bus shelters and public furniture. Consultation for cleaning the

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flower cladding was provided by Jeremy Sparks of Event Engineering.

Maintenance of concrete plinths

The surface of the concrete plinth footings will require cleaning at least once every 6 months.

Note: Cleaning schedule is modelled on the cleaning of bus shelters and public furniture. Consultation for cleaning the flower cladding was provided by Jeremy Sparks of Event Engineering.

Supervision and WH&S

A designated staff member from Blacktown Arts will be allocated to supervise any maintenance happening on-site, in accordance with Council’s WH&S guidelines.

A risk assessment will be conducted before undertaking any maintenance

8.4. Waste Management Scheme

OUTLINE OF PROPOSAL

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The Blacktown Native Institution Project 2017-2018 is a collaboration between C3West, a program of the Museum of Contemporary Art Australia, and Blacktown Arts on behalf of Blacktown City Council.

The BNI flannel flower sculpture plays a central role in the programming of the project, which also involves collaborations between local Aboriginal communities in Blacktown and Aboriginal artists Tony Albert and Moogahlin Performing Art. As part of the project, artist Sharyn Egan will be working with local weavers to create large-scale sculptures that respond to the culture and history of the Blacktown Native Institution site.

The BNI sculpture will consist of three large-scale flannel flowers woven with polypropylene rope and clad on to steel frames. The flowers are designed to reach a maximum height of 8m. Concrete plinths will be used to anchor the sculptures, and mitigate any damage done to the site due to excavation.

The choice of flannel flowers was made through extensive consultation with local Aboriginal elders. Native to the Cumberland plain, the flannel flower is symbolic of the memory of the children held at Blacktown Native Institution. The sculpture will act as a visual marker that draws attention to the legacy of the BNI site and imagines a future for this important place.

SITE ADDRESS

Blacktown Native Institution SiteLot 5001 Corner of Richmond Rd and Rooty Hill Rd NorthOakhurst NSW 2761

APPLICANT’S DETAILS

Name: Jenny Bisset (Manager Arts & Cultural Development), on behalf of Blacktown Arts Address:

The Leo Kelly Blacktown Arts Centre78 Flushcombe RdBlacktown NSW 2148

Telephone: (02) 9839 6081 Facsimile: 0401 147 800

BUILDINGS AND OTHER STRUCTURES ON SITE

Archaeological remains of the Blacktown Native Institution siteThe details on this form are intentions for managing waste related to this project.

Signature of Applicant: _____________________ Date:________________________

WASTE MANAGEMENT: CONSTRUCTION AND INSTALLATION PHASE

The flannel flower sculpture will require minimum waste management, as no building or manufacturing works will be done on site.

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The weaving of the flower heads was completed at the Leo Kelly Blacktown Arts Centre and at the home studios of local weavers. Fabrication of the steel frame and stems, and the construction of the concrete plinths will be completed in workshops off-site. Anticipated waste will only come from the packaging and protective wrappings of the sculpture, as required. Installing contractors will remove all waste from the BNI site and return it to their respective workshop/s.

Table 1: Management of Installation Waste

MATERIALS ON SITE

DESTINATION

Types of Materials

Re-use and Recycling DisposalSpecify proposed reuse or on-site

recycling materials

Specify contractor and recycling outlet

Steel All steel fabrication will be done in workshops off-site. There will be no steel waste on site.

Nil Nil

Polypropylene rope

Weaving of flannel flowers will take place prior to assemblage on-site.

Nil Nil

SandConcrete Construction of

concrete plinths done off-site.

Nil Nil

Protecting and Packaging Material

Installer contractors to remove any packaging and protective wrapping waste off-site, and return to their respective workshops.

ONGOING WASTE MANAGEMENT The BNI flannel flower sculpture is static, and will produce no foreseeable waste once installed on-site. No waste bins or waste collection is required on the site for the sculpture. A designated staff member from Blacktown Arts will be allocated to supervise any maintenance and respond to any unforeseen waste issues relating to the BNI flower sculptures. Supervision will be conducted in accordance with Blacktown Council’s WH&S guidelines.

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