A Tour of the Sirius Building

Approaching the Sirius building I can see the group I am to join already assembled outside, waiting for the tour. They gather in the forecourt, a brick-paved area with circular garden beds, in which grow banksia trees and jade plants, and a hibiscus flowering with pink blooms. Among the people waiting there moves a tall man wearing a purple shirt. He is handing out flyers, talking with verve as he does so. This is Tao Gofers, the architect who, in 1976, designed the Sirius building, and has been working with the Save Our Sirius group to protect the building from demolition.

The Sirius is one of Sydney’s most iconic buildings, instantly recognisable due to its striking modular design and its prominent position beside the Harbour Bridge. Its stepped shape of concrete blocks and roof gardens with purple funnels rise up alongside the Bridge. It seems almost close enough to be able to reach out from the Harbour Bridge walkway to touch them. At least this is what I imagined as a child, as I, like generations of Sydney residents, wondered what it would be like to live there and explore on the rooftop gardens, looking out over the city.

The Sirius is a building that gives much to the imagination. It’s a people’s building, both because it was designed as social housing and operated successfully as such for four decades, and because it has such a strong physical presence in the cityscape. It’s a building that’s embedded in the city’s collective consciousness, as important and as controversial as it was when it opened in the late 1970s.

Illustration of the Sirius from 1970s Housing Commission brochure, image courtesy of Tao Gofers.

We are taken back to 1976 as Tao Gofers describes the process of designing the Sirius. At that time there had already been demolition of social housing properties and relocation of residents in the area. A condition of lifting the green ban that had been imposed on area by the Builders Labourers Federation was that that there be provisions for the working class community who had been living in the area for generations to remain in The Rocks. Until the Ban was lifted, the government could make no changes to their existing properties in The Rocks, and they were eager for the stalemate to be resolved.

The Sirius was the key factor in the lifting of the green ban. It all happened quickly: there was only 10 days between Gofers first hearing of the project to his presentation to the stakeholders. He describes the scene, the government officials in double-breasted suits, and the Rocks residents “like us”, people in their everyday clothes, who had gathered to see his proposals. He first showed a design for a small development of 14 terrace houses, which was unacceptable to the government. Next he showed a proposal for a 20 storey building with 8 apartments per floor, which was unacceptable to the residents. A third proposal, for a standard tower block of 80 units was also rejected for being aesthetically displeasing. Then Gofers presented the proposal for the Sirius. The design was presented as a compromise between two extremes, but it was the one that Gofers believed in, and the one that came to be built.

Tao Gofers describes the Sirius building planning process.

Sirius was based on The Laurels, an earlier apartment development Gofers had designed in Sans Souci. The model for The Laurels had been made with Revlon eyeshadow boxes, which had the right kind of dimensions for the windows that filled the ends of each concrete module. The Sirius was an expanded version of this design, which combined 1,2,3 and 4 bedroom apartments, as well as apartments specifically designed for the elderly and people with disabilities.

We walk around the building, looking up at the apartments as Tao describes how of the 79 units, 74 have access to a balcony, terrace or roof garden. “If you have just little boxes,” he says “people aren’t going to be happy.” His designs were made with people’s emotional bond to their homes in mind. These were not purely functional spaces, although their simple design made them adaptable to the multi-level site. It included numerous communal areas, including the Heritage Room on the 8th floor, designed as a common area for older residents, and the Phillip Room on the ground floor, with red patterned carpet, wood-panelled walls, and dramatic beams of raw concrete.

The wooden figures that decorate the walls of the Phillip Room.

We cannot even glimpse into the Phillip Room now. The windows are completely blocked off with black plastic, for no other reason but to prevent us looking inside. All we can see is our own reflections moving by. The group is big, around a hundred people. We stand at the back of the building, staring up at the apartment balconies where succulents grow wild and unpruned from the planter boxes. Almost every one of these apartment is empty. The government has been moving residents out since 2014, with the intent to sell the building and have it demolished. Despite the recommendations of its own Heritage Council, heritage listing was refused, and it is this decision Save Our Sirius campaign is working to fight.

 

Accompanied by security guards, we crowd into the foyer, and then go in small groups in the lift up to level 10 for a look inside Myra’s apartment. Myra, who is 90 years old and has lived in this neighbourhood for almost 60 years, has become the face of the Sirius building. Myra is blind, and has no wish to move away from the familiar apartment and area she has been a part of for so long. This morning she is at the front of the building, sitting in the forecourt with a drawing group assembled around her, sketching her on their notepads. Upstairs, groups of people stand in her living room, looking around. It is the homely environment of an elderly person, with its teaspoon collection hanging on the wall, framed photos and knicknacks arranged on the shelves, and a horseshoe hung up in the hallway as a luck charm. The windows fill the entire of the eastern wall and through them is a view across the harbour.

The SOS lights (for Save Our Sirius) in Myra’s bedroom window.

This, Tao says a number of times during the tour, is a sticking point – the idea of people who are not privileged, not wealthy, living with this harbour view. Standing in Myra’s living room, looking out at the clouds moving across the sky and their reflection in the steel-grey water, it is indeed beautiful. No one could deny it, and anyone living with such a scene as part of their daily lives is lucky. But luck and beauty should not be the exclusive province of the wealthy. A city where money and privilege dominates pales even the most glorious view. From its inception the Sirius has been symbolic of the city and the harbour being available to all, and it is even more so now as the majority of its apartments lie empty, and the fight to save it continues.

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Follow the Save Our Sirius campaign here with links to details of future tours and campaign events.

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A Tour of 1980s Community Murals

In the permanent shade of the elevated railway the murals appear like dreams. They are a jumble of city memories, scenes from the past of this place. The forest, the working harbour, protests for land rights and against the redevelopment of Woolloomoloo in the 1970s. In the centre of one mural protesters march under the Green Bans banner, arms linked, feet mid-step. Surrounding the mural is the suburb they marched to save.

WLOO Mural 1

Elsewhere in the city are fading images of dinosaurs and people waving from the balconies of terrace houses. A woman with a parrot in a cage looks down from a trompe l’oeil window, a tiger chases a bird from behind the real trees that have grown to obscure the painted wall behind it.

Dinosaurs Redfern

These community murals are more than thirty years old, painted in the early 1980s by artists and locals. As well as the histories of people and places they retain the traces of a time of optimism for art and social change. They were works that celebrated resistance and the potential of collaboration, and capture a particular era of activism, energised by the culture of protest of the 1970s. Through actions like the Green Bans communities had successfully opposed the destruction of the urban environment for development. Activism carried over to the arts: post punk gigs in abandoned buildings; the political posters produced at the Tin Sheds in primary colours and bright fluoros, protesting nuclear testing and showing solidarity for workers’ and women’s rights.

Royal Nuclear Show

Though they were painted over 30 years ago a surprising number of 1980s murals can still be found around the city and suburbs. Some have been restored, others are now much faded. While there is no shortage of new murals these days the 80s ones have a particular energy and atmosphere that distinguishes them from the mostly decorative recent murals. The 80s murals are time capsules with a gentle and surreal presence suggesting other ways of being and thinking in the city.

In 1982 The Mural Manual was published, a guide to community murals by David Humphries and Rodney Monk which documented new mural projects across Australia and provided practical information on how to organise and paint them. Humphries and Monk, both mural artists, had established a mural company, the Public Art Squad, together in 1978. In the introduction Humphries wrote that murals provide “a release from drabness in the city, a splash of colour in the country, a shiver of unexpected pleasure wherever [they are] found. It allows ordinary people to communicate in unaccustomed ways, to put a personal stamp on their chunk of the world”.

With The Mural Manual as a guide, and after a few years of mural searching, documenting, and information gathering, here is a tour of Sydney’s 1980s community murals. I have noted the principal coordinating artists in the credits, but all were painted by a team of artists and community members.

1. Macquarie University Library (1978, David Humphries)

Macquarie Mural 1

Its sheltered position in the walkway underneath the old Macquarie University library has kept bright this oldest of the remaining community murals. The Mural Manual describes its theme as “the effects on Aboriginal land rights and the environment by the media, nuclear power and intellectual training”. Like many of these murals, it’s a mix of the serious and the surreal: the university campus is pictured like a moon base among a desert; a superhero graduate couple rise up above a forest of televisions which form heads for an army of muscular charging figures.

Macquarie Couple

2. Seven Hills Underpass (1979, Rodney Monk)

Seven Hills 2

Seven Hills 1

One of the most prominent community murals in Sydney is in Seven Hills on the underpass beneath Prospect Highway where it crosses the railway line, making the mural clearly visible from all the trains going by. The mural has been repainted since 1979 but shows the same scene of green fields modified by development and factories and also a bizarre pop cultural lineup of Ginger Meggs, soldiers, and a man with a question mark for a head. Above them Superman powers up into the painted sky, fist aloft.

Seven Hills 3

The blue sky of the mural meets the real sky; Superman looks ready to leave his painted world and go off on a rescue mission. Up close the surface is peeling in parts and there are patches where the paint has peeled off to reveal the original mural underneath and its slightly different landscape of outer-space pyramids, a guess at a possible Seven Hills future.

Seven Hills Mural 1979

The mural in 1979: Photo from The Mural Manual

3. The Crescent Mural, Annandale, 1980 (Rodney Monk)

Crescent 1

The Crescent mural is painted on the railway embankment wall that runs alongside The Crescent in Annandale, where traffic feeds back and forth off the City West Link. Before the mural this wall had been a long stretch of bricks with a spraypainted slogan across it protesting the Whitlam sacking: Kerr-ist Cocky’s got an election (Kerr being the Governer General who dismissed Whitlam’s government in 1975, often caricatured as a cockatoo). The slogan reappears in the mural if you look closely.

Kerr-ist

Like the Seven Hills mural, the Crescent mural has been repainted (this one in 2004) and the design somewhat changed: the stealth bomber became a passenger jet, for example. The looming plane at the centre of the mural is one of its defining features, as is the painted tree trunk that joins up with a real palm tree growing on the embankment above, but there are plenty of details for motorists stuck in traffic to ponder (including a traffic jam of trucks with numberplates like GIVEADAMN and BUGAUP).

Crescent 2

In the 1970s, as elsewhere in Sydney, this area was threatened by plans for redevelopment and road construction. This faced strong community opposition and the mural is in part a celebration of this spirit, as well as an acknowledgement of local history and concerns. It’s also just plain surreal and funny.

Crescent 4

4. CYSS Mural, Rozelle, 1980 (Michiel Dolk)

Rozelle mural6

Image: The Mural Manual/Michiel Dolk

Rozelle Mural Full

This is Sydney’s mystery mural, unchanged since 1980, although now much faded and for most of the year hidden behind trees. In winter, after the leaves have dropped, the mural reappears and is visible from the street. It takes youth unemployment as its theme as it was painted on the wall of what was then the CYSS (community youth support scheme) – the building still offers youth employment services, though under a different name.

Rozelle Mural 3

The mural shows the frame of a house with people occupied in various jobs: a woman saws a plank of wood, a man washes dishes, another man makes a call from a payphone. At the top, one figure passes a yellow sphere to the figure on top of the mural, who is seated on the window frame of the real attic windows of the building. Now this sun is faded, barely visible. Lower down the colours are brighter, and if you look in among the trees, you will find the tiger.

Rozelle Mural Tiger

In 1980 Dolk, with Merilyn Fairskye and Jeff Stewart, also painted the ACI Glassworks mural in Waterloo, which commemorates the suburb’s industrial past.

4. Surry Hills Murals: What Bird is That? (1981, Peter Day)

DSC07899

In 1981 Peter Day was the Surry Hills community artist in residence, and over this time he coordinated the painting of a number of murals. Of them one remains, a bushland scene on the wall of a terrace house that faces a tiny park. Repainted in 2012 the new design, like the old, tricks the eye, so for a moment, the wall becomes a forest.

The other two Peter Day coordinated murals in Surry Hills were the Bourke Street Park mural which had a similar trompe l’oeil appearance, where a wall opened out into a landscape of cliffs and the ocean. The other was the Welcome to Surry Hills map on the side of an electricity substation on Devonshire Street, now a block of apartments.

Surry Hills Now and Then

5. Proud of Our Elders, Randwick (1981, Carol Ruff)

Proud of Our Elders

Randwick’s Proud of Our Elders mural includes six notable locals: Ollie Simms, the oldest Aboriginal woman in La Perouse; Miss Wilhelmina Wylie, swimming champion and daughter of Henry Wylie who built Wylie’s Baths in Coogee; Alice Gundry, founding member of the Coogee Ladies Pool; Doris Hyde, president of the Coogee Ladies Swimming Club who “taught hundreds of children to swim”; Harry Reed, ex-jockey; and Greta Fyson, who “feed the pigeons every day in the park on Coogee Bay Road near the nursing home where she lives”.

The mural was repainted in 2011 as the original was fading, and Doris Hyde’s wise gaze continues to observe the residents of Randwick as they make their way along Belmore Road.

6. Women and Work, Domain (1982, Carol Ruff)

Womens Mural

The mural in 1982, and  photos of the women who worked on the project.

Of all Sydney’s 1980s murals this is the most degraded, in a peeling, sorry state, mostly covered by graffiti and signs for the parking station. It makes me sad to see it this way as it is one of my favourites: every time I pass by I expect it to be gone, but for now you can still make out some of the figures. Painted in 1982 it was part of the landmark Women and the Arts festival in 1982, which included around 1000 events and generated much creative work by women across the arts.

Womens Mural Pel Mel

Judy McGee from Pel Mel is still visible in her blue tights, playing her synthesiser, despite the door cut into the wall behind her. At the tallest end of the mural a woman stands in the kitchen with her dog, although she has now been imprisoned by an overpass.
Womens Mural2

Womens Mural 3

The text reads: “Migrant Women Working Overtime on the Assembly Line”

7. Green Bans/Woolloomooloo Murals, 1982 (Merilyn Fairskye and Michiel Dolk)

Wloo Mural 1

Of all of Sydney’s 1980s murals the Woolloomooloo murals have perhaps the greatest status as political artworks. The pylons of the Eastern Suburbs Railway viaducts formed a gallery on which 16 murals about political and social issues – especially the Green Bans and redevelopment threats to the area in the 1970s – were hung. Eight of these have been preserved, although not repainted: the artists requested the works only be minimally restored to keep their patina of age.

Robin Heks; Merilyn Fairskye, Michiel Dolk,  Tim Maguire, designers and painters of the Woolloomooloo murals. Photo: University of Sydney Archives.

1982: Robin Heks, Merilyn Fairskye, Michiel Dolk, Tim Maguire, designers and painters of the Woolloomooloo murals. Photo: University of Sydney Archives.

The murals were the backdrop for the Midnight Oil video “The Power and the Passion” although, as related in this story of the making of the video, to the artists’ consternation the band didn’t ask for permission to film in front of the murals. Nevertheless, the video captures something of the atmosphere of these odd spaces underneath the viaduct, which itself carved up Woolloomoloo, although to nowhere near the extent of the planned developments in the 1970s which were halted by the Green Bans.

8. Redfern Bridge Mural/40,000 Years is a Long, Long Time (1983, Carol Ruff)

Refern Mural 1

The 40,000 years mural, on the railway bridge above Redfern station, is named after the lines from the No Fixed Address song that are painted on the wall. It’s a striking reminder of Aboriginal land and history, and visually underlies the tall buildings of the city which can be seen behind it. The mural is currently undergoing a restoration with images this time being painted on panels rather than the wall. The wall mural is currently much faded, but you can still make out the silhouettes of the Indigenous All Stars, the first Aboriginal rugby team from 1973.

Indigenous All Stars

Redfern Mural 3

9. King George V Mural, The Rocks (1984, Peter Day)

At around 2000 metres squared, this is one of the longest murals in the southern hemisphere. It is painted along the viaduct leading to the Harbour Bridge as a trompe l’oeil. The painted arches of the viaduct trick the eye into seeing a vista beyond of the harbour in front of which, most strikingly, a hot air balloon rises. In front of much of the mural is a recreation centre which obscures it somewhat, although provides an unusual background to basketball games: the full mural can be seen in this aerial photo from before the centre was built.

King George Mural 1

10. Peace, Justice and Unity, Pitt Street (1984, Public Art Squad)

Photo: JAM Project, Flickr

Photo: JAM Project, Flickr

This is perhaps Sydney’s most high profile mural – literally as it is painted up above the city streets on the side of Pilgrim House. The mural was painted over altogether in 2001, before being reinstated two years later after the artists campaigned for it to return.

11. Think Globally, Act Locally, Redfern (1984, Public Art Squad)

Dino Mural 1

This mural, another by the Public Art Squad, can be found in Redfern’s Reconciliation Park on George Street. It shares the dove motif from Peace, Justice and Unity, and shows the residents of the terrace houses and public housing blocks of Redfern and Waterloo, as well as a couple of dinosaurs framed by the outline of a demolished house.

Redfern Dinos 4

Like many community murals, it includes groups of local people, long ago characters: my favourites in this one are the girl on the fence, and the man reading the newspaper which lists the painting’s credits.Redfern Dino 2
Redfern Dino 3

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Murals continued to be painted throughout the 1980s, 1990s, and 2000s, among them notable works such as the Martin Luther King mural on King Street Newtown by Juilee Pryor and Andrew Aiken and the Tunnel Vision mural along the Domain Express Walkway by Tim Guider. Other iconic murals have disappeared, such as those that used to line the Devonshire Street tunnel at Central Station (Public Art Squad): now replaced by dull digital images of trains.

Others have disappeared completely, without trace, such as the oil tank mural of Matraville, painted in 1978 in a project co-ordinated by David Humphries and Rodney Monk. This mural was striking, rising up behind the headstones of the Eastern Suburbs cemetery. Across the tank was painted a blue landscape of ships and planes and dolphins, faces and structures, public memories mixed up into a dream landscape familiar and surreal.

It’s a testament to the work of the mural artists of the 1980s that so many of their works remain, although in some ways its not surprising. They have become iconic images from an era of protest and community engagement and the majority of their messages are as important as ever.

40000 years