Powerhouse Ultimo Revitalisation

I'm writing to express my concern over the lack of details regarding exactly how the Ultimo Powerhouse Revitalisation is going to affect the public use of this site going forward.
Will it continue to provide local residents including those living in the recently redeveloped Darling Quarter, Inner West, Eastern Suburbs and Sydney's Southern suburbs access to the impressive collection of artefacts and vehicles belonging to the Museum of Applied Arts and Sciences?
This new development should be seen as an opportunity to solidify Sydney's place on the international tourist map with a world class Science-based Museum Facility on the doorstep of Sydney's CBD.
Due in part, to this lack of detail, it has been speculated that this newly refurbished set of buildings might, instead, be converted into some kind of Arts venue, which seems a bit odd given that the Cutaway in Barangaroo is currently being redeveloped in a similar direction.
If true, such a move strikes me as counter-productive to the promotion of STEM topics to school kids and the larger community, especially as we move further into an age where knowledge of technology will be essential no matter what career path you choose to follow.
Instead, this refurbishment of the site could be the perfect opportunity to showcase to an even greater degree many of the items previously hidden away in the extensive archives of the MAAS in a more modern and functional space. An opportunity to expand the collection on display and show how amazing humans have been and continue to be at developing useful technologies in all of its forms.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

I have strong rational and emotional reasons for supporting the Save The Powerhouse Community Organisation and campaign based on my own individual knowledge and experiences of Sydney's Powerhouse Museum.

I took my son Benjamin Mangold to Sydney's Powerhouse Museum many times when he was a boy. As an adult he became a world leading Google certified authority on Google Analytics and Google AdWords. He was the first Google Analytics Certified Trainer outside the USA and was authorised to present Google Seminar for Success.

My son's company Loves Data, Google Certified Partner, presented the first Google Analytics User Conference (GAUC) in Australia, in Sydney 2102. It attracted digital analytics experts from Google's headquarters in Mountain View, California, and attendees from across Australia and NZ. The venue was Sydney's Powerhouse Museum. His choice!

Benjamin has taken his children, my grandchildren to Sydney's Powerhouse Museum, so have I. The history and heritage of Sydney's Powerhouse Museum are part of our family's history and heritage and our family's history and heritage are part of Sydney's Powerhouse Museum's history and heritage.

Please see attached my PDF plea for Sydney's Powerhouse Museum.

I remain very concerned about the future of the Powerhouse Museum. There are currently no science, technology and decorative arts exhibitions in NSW and won’t be for many years. Ultimo should be maintained and repaired rather than completely rebuilt. It is a waste of government funds and destroys many of the heritage values of the place. The removal of interior mezzanines and floors greatly reduces the floor space for exhibitions. The Powerhouse collection of over half a million objects are 95% small to medium in size. Collections such as ceramics, glass, music, scientific instruments, coins, philately, silver, furniture, clothing and textiles are world class. These require mostly smaller scale display spaces, Castle Hill is primarily a store, not a museum. The current direction of the museum does not appear to include any elements of traditional museology at all. New ideas and approaches are important, but not at the expense of continuing the primary responsibility of a State museum, which is to provide exhibitions based on the rich and fascinating State collection. Large volume spaces such as those proposed are almost useless in terms of a museum based on displaying collection objects.

I strongly object to the revitalisation plans of the Powerhouse Museum Ultimo. Before it's closure, the Powerhouse Museum displayed many priceless items as part of permanent displays. Disappointingly, the current plans drastically reduce exhibition space and only three of the 3000 items previously displayed are confirmed to make a return.
I have lived in Sydney nearly all my life, and like many Sydneysiders, I have made many memories in the Powerhouse Museum and want to see it continue to be a place of learning and education as well as documenting and enriching Sydney's historical and cultural scene. The current plans will not allow this to happen as the reduction in exhibition space means that less items will be displayed.
The Powerhouse is not only a place of history and culture, but also of innovation and creativity, especially highlighting local talent. I am a design student and one of the things I love about the Powerhouse is that the work of emerging designers has been showcased at the museum for many years through recurring exhibitions like Shape and Future Fashion. By reducing exhibition space, less Australian innovation will be able to be showcased, and designers lose a place for their work to be shared and recognised.
Not only is the large reduction of exhibition space an issue, but there has still been little transparency to the public on plans and budgets. It has not been known to the public what is going to happen to the museum collection or how it will be protected during and after the renovations. These plans are estimated to take much longer than the estimated time due to budget, and there is still no transparency on how the money will be spent.
I would love to see the Powerhouse Museum be revitalised, but this should not come at the cost of significant downsizing of exhibition space and the museum collection or the extended closure of the museum with minimal transparency to the public. I hope that the Department of Planning and Powerhouse Museum Management take into consideration the concerns of the public and reconsider the revitalisation plans to keep exhibition space and the collection to be open to the public so the Powerhouse Museum in Ultimo can resume being a place for generations to learn and connect with Sydney history, culture, and innovation.

I entirely OBJECT to this faulted and misleading EIS version II for the Powerhouse Museum Ultimo which fails the Secretary of Planning's rules and regulations as found under:
https://majorprojects.planningportal.nsw.gov.au/prweb/PRRestService/mp/01/getContent?AttachRef=SSD-67588459%2120240219T215112.939%20G)
in categories: 2,3,4,6,7,9,19,21,27 as detailed in the attached submission

I object strongly to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum, which drastically reduces its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

This project is being completed in clear disregard for public interest. There has been a continued negative opinion against this project by the public and still people try to push this project forward. This is clearly for the personal gain of others. The powerhouse museum is an educational building and institution which works not only to inspire but also further teach youth. It would be a terrible shame for young children to be raised in Sydney and for them to not have full access to the contents of the powerhouse museum. I remember when I first went there and I was obsessed with its contents. I remember taking my younger cousins there and watching there faces light up as they looked around the place. To see this place be ruined in this manor would be an awful shame.

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

Please find attached our submission to the Powerhouse Ultimo "Revitalisation"

I strongly object to the latest round of Powerhouse revitalisation plans. While a renovation is welcome, the revitalisation hides the extent of downsizing the Powerhouse’s function as a museum by drastically reducing its exhibition space and potential to display its collection to the public.

The Department of Planning should reconsider the prior planning decision allowing ‘programming of museum spaces…not [being] a matter requiring approval’. Shouldn’t alarm bells be ringing if Powerhouse management cuts the Museum’s existing exhibition space in half from 15,318m2 to 7,500m2 (SMH May 10 2023, Budget Estimates September 6 2024)? Management’s response to the latest round of public objections is unacceptable, claiming the new museum would have ‘improved flexible international standard exhibition spaces’ that ‘provides new levels of access to the Powerhouse Collection’ (Detailed Response to Submissions, September 10 2024). In the same Budget Hearing, Powerhouse CEO Lisa Havilah admitted from the 3000 objects currently in the Powerhouse’s permanent galleries, only 3 would return. It looks like a serious downgrade in public access to the Powerhouse Collection particularly when ex-Powerhouse Director Terence Measham noted the Powerhouse in 1997 had ‘some ten thousand objects on view in the permanent galleries, as well as about twenty temporary exhibitions each year. And we carry out frequent changes to the permanent displays.’

The confirmed demolition and offsite relocation of the Powerhouse’s Steam Exhibition removes the steam engines from their historical context, stopping the live steam engine demonstrations enjoyed by generations of Australians in the Powerhouse’s original Engine Room. Even though the renovation aims for a ‘5-star Green Star rating’, rebuilding the steam infrastructure at Castle Hill (if it even happens) makes no economic and contextual sense when the infrastructure already exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

exists in Ultimo. The Greenest Star rating would be to reduce unnecessary demolition, instead adapting and re-using existing infrastructure.

Further unnecessary demolition of internal ramps and mezzanines is also supported by heritage consultant Curio to ‘allow for a much greater readability of the fabric’. The previous heritage consultant Alan Croker (the Sydney Opera House’s Heritage Architect) did not support the demolition and had his contract terminated. What made the Powerhouse special were its layers of floors, where visitors could experience the collection and building features at different levels and perspectives. The mezzanines also housed many interesting smaller exhibitions, including a reconstruction of the art deco Kings Cinema that was both cinema and exhibit. It has not been confirmed to return post-renovation, among many other permanent displays such as the Central Station Indicator Board, Strasburg Clock, NSW State Governors Railway Carriage, and the full-sized replica of the Space Station habitation module. It would go a long way for Powerhouse management to be more transparent with the public in confirming which longstanding items from the Powerhouse Collection will return, if not permanently, at least on a long-term exhibition basis.

Plans to renovate and improve the Powerhouse are a good start, but it should not come at the cost of significantly downsizing the Powerhouse’s exhibition space and displayed collection. The argument that ‘management of the museum’s collection is not a planning matter’ should be invalid if museum management uses planning applications to demolish more than half of its existing exhibition space. The proposed plans would be fine for a new museum, but the problem is that this is for the Powerhouse. If plans remain unchanged, the Powerhouse’s external fabric may be ‘revitalised’, but its function as a museum will be greatly diminished.

See attached submission received by email 2/10/2024