As the Queensland Art Gallery celebrates 40 years on the South Bank of the Brisbane River on 21 June 2022 — in a building dedicated for the display of the State Art Collection — we look back at the story to find a permanent home.
After the Queensland National Art Gallery was established, the Gallery occupied a succession of temporary spaces in various public buildings, originally in Brisbane’s Town Hall (illustrated) in a large upper room placed at the disposal of the Trustees by the Municipal Council for its opening display Friday afternoon 29 March 1895; the Executive Building from 1905 (illustrated) in a purpose-designed room the length of the third floor above George Street; then from 1930 it had been accommodated in the former Concert Hall in the Exhibition Building (Old Museum Building) on Gregory Terrace (illustrated). The Queensland Government took over control of the building and grounds when the National Association was forced into liquidation by the economic depression in 1897 and in 1899, the Exhibition Hall became home to the Queensland Museum before the Art Gallery shared the premises.
All these facilities were less than adequate and the Board of Trustees lobbied the Queensland Government over an extended period for a permanent home. Finally in November 1968, some 73 years after establishment, the Board convinced the Government to act.
RELATED: Part 4: The beginning of South Bank’s transformation
RELATED: Part 3: The Queensland Art Gallery design competition
RELATED: Part 1: The proposals for a Cultural Centre for Queensland
Town Hall, Brisbane
Executive Building, Brisbane
Exhibition Building, Brisbane
In November 1968, prominent Australian art critic and historian Professor Bernard Smith visited the Gallery and told the Courier Mail that ‘one only has to be inside this gallery — even for 24 hours — to see that art in this institution is in a pretty sorry position’.14 The Chairman of the Art Gallery’s Board of Trustees, Sir Leon Trout, agreed. He asserted ‘the gallery is hopeless’ and publicly supported Smith’s claims that art in Queensland was ‘weedy and malnourished, and in a sense, suffering from cultural rickets’.15 These very public disparaging comments prompted an immediate response from the Government. Within two days, the acting Premier, announced an investigation into the future of the Queensland Art Gallery.16 In January 1969, Cabinet approved the establishment of the Queensland Art Gallery Site Committee.17
The committee examined twelve possible sites, and then reduced the number to three for more detailed consideration: Holy Name Cathedral site, Fortitude Valley (illustrated) (The Roman Catholic Cathedral was planned but never-built. Designed in 1925, building began in 1927 and in the 1930s services were held in the crypt chapel on the site. No further construction took place and the site was abandoned in the 1970s); Brisbane City Council Transport depot, Coronation Drive (illustrated); and Riverside Drive, South Brisbane (illustrated).18
Holy Name Cathedral site, Brisbane
Brisbane City Council Transport depot site
Riverside Drive site, South Brisbane
The committee agreed that the site at South Brisbane bounded by Melbourne and Grey Streets and the Brisbane River was the most suitable and in every way it appeared to be the most viable:
It was the Architecturally-preferred site;
The Brisbane City Council would be making a valuable contribution;
It was the site which would do most for the City of Brisbane;
There was potential for use of a similar block on the other side of Melbourne Street for cultural facilities.19
Some of the land was already in public ownership — State and Brisbane City Council — but a substantial number of privately owned allotments had to be acquired for the project. This became a lengthy process and some owners objected to the valuations.
DELVE DEEPER: The history of the Queensland Art Gallery
Not until most of the land had been acquired did the government appoint a Steering Committee to provide a comprehensive report on the various requirements of the new Art Gallery, ‘sufficient to form the basis for the preparation of the design and for the development of planning and construction documents for the new building’.20 The committee was appointed in July 1971 and was chaired by the Assistant Under Secretary in the Department of Works,21 the principal author of the report and went on to play an influential role not only in the development of the Art Gallery but also the Cultural Centre.22
The report was comprehensive and included recommendations on space requirements, costs, method of planning and construction and a detailed planning brief. The committee concluded a building of 140 000 sq feet (13 000 m²) at an estimated cost of $4.5 million was required.23 The report alluded to the possibility that the site could be used to accommodate other cultural activities. The committee recommended that a two-stage architectural competition be held to select an architect for the design of the new gallery.
The planning brief was concise but thorough. It emphasised ‘that the gallery should be an active and human place to which the visiting public will be attracted to participate in the enjoyment of the facilities provided by the gallery’. The brief, also noted, rather presciently, ‘that it is possible that the future activities and requirements of the gallery may call for facilities which cannot be foreseen at present’.24 Significantly, the Planning Brief not only addressed issues such as functional requirements, the site and town planning issues, but also focused on desired design criteria. They included the following principles:
It is desirable that the building itself should be of the highest possible standard of architectural design. This does not mean that it should be either monumental or pretentious in character. It should be a building of its time incorporating the best techniques and materials available within the economic limits of the project.
A public gallery is a symbol of artistic and cultural development. It should have human qualities and attractions of a kind which encourage people to visit the collection, and to take pleasure in being in a place where the artistic achievements of the community are effectively but unostentatiously displayed for their enjoyment.
More informality should be the keynote which should also take advantage of the subtropical climatic conditions which prevail in Brisbane. The site on the Brisbane River selected for the building, suggests that it should be outward looking to take advantage of the views of the tree-clad hills which form the setting for the city of Brisbane. The gallery will be seen to great advantage in views from across the river and from other vantage points in the city.
The fine, Mediterranean-like quality of the Brisbane climate is such that a building, light in colour, but carefully modelled to give interesting effects of light and shade might be most suitable…
The landscaping proposals for the site should be an integral part of the total design. Courts for the display of sculpture and shaded areas for rest and relaxation should be included. The paving, lighting and furnishing of these areas to the relationship of the building and its setting to the river are all matters of particular design importance.25
The design principles also addressed issues of space, volume and scale. The planning brief stressed that the ‘relationship of the exhibition spaces or galleries to each other is of great importance’ and that ‘areas linking the display galleries should be attractively arranged, where possible, with views outside the building to provide contrast and to avoid museum fatigue’. The brief highlighted the importance of access and circulation, stressing that ‘it is of the greatest importance that a major public building of this kind should have an appropriate address’ and that ‘the main public entrance should be clearly identifiable and attractively designed’.26
The planning brief submitted in March 1972 was a key document in the successful design and development of the Art Gallery, due to its clarity, vision and understanding of the context and requirements for a modern art gallery. It was accepted by Cabinet and approval given to proceed with the project.27
This is an edited extract from the Queensland Cultural Centre Conservation Management Plan (published 2017), prepared by Conrad Gargett in association with Thom Blake, Historian and heritage consultant. Thom Blake researched and wrote the chapters on the history of the Cultural Centre and revised statement of significance. The individual building’s architecture, the site’s setting, landscape and fabric were investigated by Luke Pendergast with principal support by Robert Riddel. Alan Kirkwood and Peter Roy assisted with advice on the design approach and history of the planning and construction of the Cultural Centre.
Additional research and supplementary material by Elliott Murray, Senior Digital Marketing Officer, QAGOMA
14 Courier Mail, 14 November 1968.
16 Courier Mail, 16 November 1968.
17 Cabinet decision No 12536, 14 January 1969, QSA Item ID541022.
18 Queensland Art Gallery Site Committee, ‘Proposed Art Centre Site Investigation’, March 1969, QSA Item ID 961664. The initial sites considered were: Exhibition building site; Albert Park, Old Markets Roma Street, Botanic Gardens, Central Railway Station, block bounded by Wharf, Adelaide and Ann Streets, Holy Name Cathedral, Isles Lane, Treasury Building, Lower Edward Street, Riverside Drive near Victoria Bridge, Brisbane City Council Transport depot Coronation Drive.
19 Ibid., p. 2.
20 New Queensland Art Gallery Steering Committee, ‘Queensland Art Gallery Report’, March 1972, QSA Item ID961664.
21 The other committee members were: AE Guymer, Director General of Education; Sir Leon Trout, Chairman of the Board of Trustees; AJ Stratigos, Deputy Chairman of the Board of Trustees, James Weineke, Director of the Queensland Art Gallery, Professor GE Roberts, Professor of Architecture, University of Queensland; Peter Prystupa, Supervising Architect, Department of Works. (New Queensland Art Gallery Steering Committee, ‘Queensland Art Gallery Report’, March 1972, QSA Item ID961664. p. 2).
22 Although Pavlyshyn is not specifically identified as the author, it is clear from other reports he wrote and also the minutes of the Steering Committee on 26 October 1971, that he was responsible for drafting the text on which the committee then provided comment (Minutes of Steering Committee, 26 October 1917, QSA Item ID601046).
23 Land acquisition, site works and a car park were estimated at $2.5 million, Ibid, p. 6.
24 New Queensland Art Gallery Steering Committee, ‘Queensland Art Gallery Report’, March 1972, QSA Item ID961664, Appendix C, p. 4.
25 Ibid., pp. 7-8.
26 Ibid., p. 9.
27 Cabinet decision No 16829, 21 March 1969 QSA Item ID601046.
The Queensland Art Gallery entered the Queensland Heritage Register in 2015
Featured image: Site for the new Queensland Art Gallery, South Bank, 16 March 1976 / Collection: QAGOMA Research Library
Queensland Art Gallery inaadhimisha miaka 40 kwenye Benki ya Kusini ya Mto Brisbane mnamo 21 Juni 2022 katika jengo lililowekwa wakfu kwa maonyesho ya Mkusanyiko wa Sanaa ya Jimbo, tunatazama nyuma kwenye hadithi ili kupata nyumba ya kudumu. Baada ya kuanzishwa kwa Jumba la Sanaa la Kitaifa la Queensland, Jumba la Sanaa lilitumiwa katika majengo mbalimbali ya umma, awali katika Jumba la Jiji la Brisbane (iliyoonyeshwa) katika chumba kikubwa cha juu kilichowekwa kwa ajili ya Wadhamini na Halmashauri ya Manispaa kwa ajili ya maonyesho yake ya ufunguzi Ijumaa alasiri 29 Machi 1895; Jengo la Utekelezaji kutoka 1905 (iliyoonyeshwa) katika chumba cha kusudi la urefu wa ghorofa ya tatu juu ya George Street; kisha kutoka 1930 ilikuwa imewekwa katika Jumba la Maonyesho la zamani. Serikali ya Queensland ilichukua udhibiti wa jengo na uwanja wakati Chama cha Taifa kililazimika kufutwa na msukosuko wa kiuchumi mnamo 1897 na mnamo 1899, Jumba la Maonyesho likawa nyumbani kwa Jumba la Makumbusho la Queensland kabla ya Jumba la Sanaa kushiriki majengo. Vifaa hivi vyote vilikuwa chini ya kutosha na Bodi ya Wadhamini ilishawishi Serikali ya Queensland kwa kipindi kirefu kwa nyumba ya kudumu. Hatimaye, mnamo Novemba 1968, miaka 73 hivi baada ya kuanzishwa, Bodi hiyo ilishawishi Serikali kuchukua hatua. "Mwaka wa 1968 katika jumba la maonyesho la Queensland, katika jumba la maonyesho la Brisbane, profesa Bernard Smith, mwanahistoria wa sanaa wa Australia, aliiambia gazeti la The Courier-Mail kwamba ""mtu lazima awe ndani ya nyumba hii ya sanaa, hata kwa saa 24 ili kuona kwamba sanaa katika taasisi hii iko katika hali mbaya sana.""" "Amesema ""galari haina matumaini"" na kuunga mkono hadharani madai ya Smith kwamba sanaa huko Queensland ilikuwa ""mchanganyiko na lishe mbaya, na kwa maana fulani, inaugua rickets ya kitamaduni.""" "Kama ilivyoelezwa hapo juu, ""Katika Januari 1969, Baraza la Mawaziri lilikubali kuanzishwa kwa Kamati ya Tovuti ya Queensland ya sanaa, ""ambayo ilichunguza maeneo kumi na mawili ya uwezekano, na kisha ikapunguza idadi hadi tatu kwa kuzingatia zaidi: tovuti ya Kanisa Kuu la Jina Takatifu, Fortitude Valley, na Jumba la Kanisa Katoliki la Roma." Jengo hilo lilijengwa mwaka 1925 na katika miaka ya 1930 ibada zilifanywa katika kanisa la crypt. "Kulingana na ripoti ya Brisbane, ""Mji wa Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane, Brisbane Hii ikawa mchakato mrefu na baadhi ya wamiliki alipinga valuations. "Hata hivyo, baada ya kuamua kuanzisha jengo la sanaa la Queensland, serikali iliamua kuanzisha ""Kikundi cha Usimamizi"" ambacho kilikuwa na jukumu la kutoa ripoti kamili juu ya mahitaji mbalimbali ya jengo hilo, ""ya kutosha kuunda msingi wa kuandaa muundo na maendeleo ya mipango na nyaraka za ujenzi kwa ajili ya jengo jipya.""" Kamati hiyo ilihitimisha kuwa jengo la mraba wa mita 140,000 kwa gharama ya takriban dola milioni 4.5 linahitajika. Halmashauri hiyo ilipendekeza kwamba mashindano ya usanifu-ujenzi ya hatua mbili yafanywe ili kuchagua mbuni wa usanifu-ujenzi wa nyumba hiyo mpya. Maelezo ya mipango yalikuwa mafupi lakini ya kina. Ilisisitiza "kwamba nyumba ya sanaa inapaswa kuwa mahali pa kazi na ya kibinadamu ambapo umma wa kutembelea utavutiwa kushiriki katika kufurahia vifaa vilivyotolewa na nyumba ya sanaa". "Kulingana na taarifa ya awali, ""Ni uwezekano kwamba shughuli za baadaye na mahitaji ya nyumba ya sanaa inaweza kuhitaji vifaa ambavyo haviwezi kutabiriwa kwa sasa.""24 Kwa maana, maelezo ya mipango hayakushughulikia tu masuala kama vile mahitaji ya kazi, tovuti na masuala ya mipango ya mji, lakini pia ililenga vigezo vya kubuni vinavyotakiwa." "Hii ni kwa sababu ya kanuni ya ""Ni vyema jengo lenyewe liwe na kiwango cha juu zaidi cha muundo wa usanifu.""" Hilo halimaanishi kwamba inapaswa kuwa ya kifahari au yenye kujigamba. Ni lazima iwe jengo la wakati wake linalojumuisha mbinu bora na vifaa vinavyopatikana ndani ya mipaka ya kiuchumi ya mradi huo. Jumba la maonyesho la umma ni ishara ya maendeleo ya kisanii na kitamaduni. Inapaswa kuwa na sifa za kibinadamu na vivutio vya aina ambayo huwatia moyo watu kutembelea mkusanyiko, na kufurahia kuwa mahali ambapo mafanikio ya kisanii ya jamii yanaonyeshwa kwa ufanisi lakini kwa njia isiyo ya kuvutia kwa ajili ya kufurahia kwao. Zaidi informality inapaswa kuwa keynote ambayo pia inapaswa kuchukua faida ya hali ya hewa subtropical ambayo kutawala katika Brisbane. Jengo hilo lilijengwa kwenye Mto Brisbane, na linaonekana kuwa linaonekana kwa nje ili kufurahia mandhari ya milima iliyofunikwa na miti ambayo ni mazingira ya jiji la Brisbane. Jumba hilo la maonyesho litaonekana kwa manufaa sana katika mandhari kutoka ng'ambo ya mto na kutoka sehemu nyingine za kutazama jiji. "Mtazamo wa hali ya hewa ya Brisbane ni nzuri, ya Mediterania, na hivyo jengo, la rangi nyepesi, lakini lililobuniwa kwa uangalifu ili kutoa athari za kuvutia za mwanga na kivuli, linaweza kuwa sahihi zaidi... ""Mipango ya mazingira ya tovuti inapaswa kuwa sehemu muhimu ya muundo wa jumla." Mahakama kwa ajili ya kuonyesha sanamu na maeneo yenye kivuli kwa ajili ya mapumziko na kupumzika inapaswa kuingizwa. Kuunganisha, kuangazia na kuandaa maeneo haya kwa uhusiano wa jengo na mazingira yake kwa mto ni mambo yote ya umuhimu maalum wa kubuni. Maelezo ya mipango yalisisitiza kwamba "uhusiano wa nafasi za maonyesho au maonyesho kwa kila mmoja ni muhimu sana" na kwamba "sehemu zinazounganisha maonyesho ya maonyesho zinapaswa kupangwa kwa kuvutia, ikiwezekana, na maoni nje ya jengo ili kutoa tofauti na kuepuka uchovu wa makumbusho". "Kufikia sasa, ""ni muhimu sana kwamba jengo kubwa la umma la aina hii liwe na anwani sahihi na kwamba mlango mkuu wa umma unapaswa kutambuliwa wazi na kubuniwa kwa kuvutia"" (Mhariri wa Maendeleo ya Maonyesho ya Sanaa ya 1972), kwa sababu ya uwazi wake, maono na uelewa wa muktadha na mahitaji ya nyumba ya sanaa ya kisasa." "Kama ilivyoelezwa katika makala ya kwanza ya makala hii, ""Mtazamo wa Uhifadhi wa Queensland"" ni mchoro wa mpango wa usimamizi wa uhifadhi wa Queensland wa 2017 uliochapishwa na Conrad Gargett na Thom Blake, Mwanahistoria na Mshauri wa Urithi." Thom Blake alichunguza na kuandika sura juu ya historia ya Kituo cha Utamaduni na marekebisho taarifa ya umuhimu. Usanifu wa jengo la mtu binafsi, mazingira ya tovuti, mandhari na kitambaa vilichunguzwa na Luke Pendergast na msaada mkuu na Robert Riddel. Alan Kirkwood na Peter Roy walisaidia na ushauri juu ya mbinu ya kubuni na historia ya mipango na ujenzi wa Kituo cha Utamaduni. "Kama ilivyoelezwa katika makala ya kwanza ya jarida la ""Kupitia Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti wa Utafiti." 16 Courier Mail, 16 Novemba 1968 "Kama ilivyoelezwa katika uamuzi wa Baraza la Mawaziri la Marekani, tarehe 14 Januari 1969 (QSA item ID 541022): ""Kama ilivyoelezwa katika uamuzi wa Baraza la Mawaziri la Marekani, tarehe 14 Januari 1969 (QSA item ID 54102): ""Kama ilivyoelezwa katika uamuzi wa Baraza la Mawaziri la Marekani, tarehe 14 Januari 1969 (QSA item ID 54102): ""Kama ilivyoelezwa katika uamuzi wa Baraza la Mawaziri la Marekani.""" "Kulingana na ripoti ya Kamati ya Maeneo ya Queensland ya Maonyesho ya Sanaa, ""Utafiti wa Maeneo ya Kituo cha Sanaa"" (QSA, I.D. 961664) ni ""mfano wa utafiti wa eneo la sanaa.""" Maeneo ya awali yalidhaniwa kuwa: Albert Park, Old Market Roma Street, bustani ya Botanic, kituo cha reli ya kati, block iliyozungukwa na Wharf, Adelaide na Ann Streets, Holy Name Cathedral, Isles Lane, Treasury Building, Lower Edward Street, Riverside Drive karibu na Victoria Bridge, Brisbane City Council, na Coronation Drive. 19 Ibid., ukurasa wa 2. Kwa mfano, katika New Queensland Art Gallery, ripoti ya Maonyesho ya Sanaa ya Queensland, Machi 1972, QSA Item ID 961664, ilisema: "Wanachama wengine wa kamati hiyo ni: A.E. Guymer, Mkurugenzi Mkuu wa Elimu; Sir Leon Trout, Mwenyekiti wa Bodi ya Wadhamini; AJ Stratigot, Makamu Mwenyekiti wa Bodi ya Wadhamini; James Weineke, Mkurugenzi wa Queensland Art Gallery; Profesa G.E. Roberts, Profesa wa Usanifu, Chuo Kikuu cha Queensland; Peter Prystupa, Mkurugenzi Mhandisi, Idara ya Kazi.""" Kwa mfano, katika jimbo la Queensland, New Queensland Art Gallery imeundwa na kampuni ya sanaa ya Queensland Art Gallery, ambayo inashughulikia kazi ya sanaa ya Queensland, ambayo inashughulikia kazi ya sanaa ya Queensland. Ukurasa wa 2). "Hata kama Pavlyushin hakujulikana kama mwandishi, ni wazi kutoka kwa ripoti nyingine alizoandika na pia kumbukumbu ya Kamati ya Usimamizi ya Oktoba 26, 1971 kwamba alikuwa na jukumu la kuandika maandishi ambayo Kamati ilitoa maoni yake (Makumbusho ya Kamati ya Usimamizi, Oktoba 26, 1917 QSA Item ID 601046).""" """Kupatikana kwa ardhi, kazi za tovuti na maegesho ya magari yalikadiriwa kuwa dola milioni 2.5,"" alisema." Kwa mfano, katika New Queensland Art Gallery, ripoti ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho. 25 Ibid., ukurasa wa 25. 7 - 8 - 7 - 8 26 Ibid., ukurasa wa 9. "Kama ilivyoelezwa katika uamuzi wa Baraza la Mawaziri la Marekani la tarehe 21 Machi 1969 (QSA No. 16289 - 21 Machi 1969) ""Kuna uwezekano mkubwa kwamba nchi hizo zitakuwa na uwezo wa kuendesha shughuli za kibiashara." Queensland Art Gallery ni jengo la sanaa la Australia lililoanzishwa mnamo mwaka wa 1976 na kuanzishwa mnamo mwaka wa 2015 na maktaba ya utafiti wa QAGOMA.