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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Millers Point Three Years On

In 2012 I wrote a story about Millers Point and mentioned the threats to the community from the surrounding developments and the government’s proposed sale of public housing. Last year it was made official, the houses would be sold and since then residents have been fighting to stay in their homes and keep their community together.

MP Protest 1

It’s almost three years since I wrote about Millers Point, and High Street has a very different atmosphere. It has changed from one of peaceful community to one of struggle. Banners are hung over balconies, spray painted onto sheets in stencil letters: Millers Point Not 4 Sale; Say No to the Total Sell Off of Public Assets. The street has a stripped feeling, some of the houses already empty, others clinging on.

The building site beneath High Street is busy as the Barangaroo project continues. The construction site makes a mechanical churning, digestive kind of noise, and I imagine this is the sound of it chewing up the past. Already the shape of the land below has been altered from the straight lines of the wharves. Now the curved shoreline is a neatly curated return to a past shape, based on an 1836 map. Blocks of sandstone, each labelled with a barcode for correct placement, have been assembled at the water’s edge. A larger sandstone block than the others has been unveiled on the point, renaming it Barangaroo Point.

Barangaroo Point

Image from the Barangaroo website.

Millers Point is facing disappearance. Some of the houses are now empty, their windows blank and curtainless, the residents moved elsewhere. Other residents are fighting, their houses hung with handmade signs: No One wanted to be here when I came here over 30 years ago, so now should I have to go? Some Millers Point residents have lived here for three or even five generations, and all speak with sadness and anger at the loss of their community. Many are elderly and have been fighting to stay in homes where they have lived for much of their life. Most recently, a petition for Mary Vo to stay in her home for the last few years of her life has been collecting signatures.

The state government says the houses must be sold for reinvestment in the public housing system, although how exactly the money will be invested hasn’t been revealed. The houses are being gradually auctioned anyway, and continual pressure is being put on those remaining in their homes to relocate. People fear that Wooloomooloo will be next, then Glebe, until all the city’s social housing has disappeared.

A 1960s plan for Woolloomooloo. From "Sydney 1842-1992" by Shirley Fitzgerald.

A 1960s plan for Woolloomooloo. From “Sydney 1842-1992” by Shirley Fitzgerald.

Last year, just after the announcement the houses would be sold, I went to Millers Point one afternoon and spoke to the industrial heritage artist Jane Bennett who was painting the High Street vista, her easel set up near the fence. I looked through her folder of previous work, paintings of industrial landscapes that have disappeared, most of them around the harbour. It was late afternoon and a soft, sunset light was cast over the street. I watched for a little while as she painted and we talked about the Harbour Control Tower at the end of the street, where she was an artist in residence for more than a decade. Now the tower is owned by the Barangaroo corporation and will be demolished. (See Jane’s paintings of Millers Point, and read about her involvement with the suburb here.)

MP Jane BennettThe scene Jane was painting that day, the houses in the lush afternoon light, has already changed. Construction seems to bear down upon it from all sides, Barangaroo down below, roadworks. Last June I went on the tour of the development. Like all the other visitors I was given a branded water bottle, cap and tote bag as I entered and then spent time trekking around the construction zone, asking the same questions everyone else seemed to be asking: what’s going to happen to the tower, and where had the fire been? The barcoded sandstone and reptile petting zoo was meant to distract me, but it didn’t, or at least not in the right way. My eyes drifted to the streets above, and the banners hung over the railing. I didn’t want the carefully arranged development, the park where I could go down to actually touch the harbour water, if I had to look at the rows of Millers Point houses glossed up and made into exclusive residences.

Millers Point Banners 2 Walking around Millers Point in 2015, I have a grim feeling. For as long as I have known it the suburb has been a gentle place in the city, small, old houses, with miscellaneous window decorations, and always people around, leaning over their front fences, chatting. It was out of step with the cut-throat city surrounding it, and that made it precious.

High Street MP

On Kent Street one house has on its front wall a carefully assembled collection of laminated A4 posters of heroes and villains: Cat memes next to Tony Abbott, Johnny Rotten next to Margaret Thatcher, Clover Moore next to John Howard, amid a storm of laminated monopoly money.

MP Collage

MP Collage 2

The protests continue. Follow their progress at the Millers Point Community, which has resident’s stories, history and links to other resources. There are also a number of facebook groups, including Save Our Homes.

MP Houses 1


Millers Point Map


Sydney’s Other Tower

The Port Operations tower keeps watch over Sydney Harbour from the furthest point of a remote loop of streets in Millers Point. Whenever I travel over the harbour bridge I look for its severe, concrete presence, imagining it like a relative at a family gathering who says nothing but sees everything.

Follow the tower’s concrete stem to the ground and there is Millers Point, a suburb which exists in a bubble of past time. The furthest most people venture into it is Observatory Hill, a place to have picnics under the fig trees and to look out towards the harbour bridge and Luna Park on the opposite shore. The view steals people’s attention away from the place in which they stand.

I approach Millers Point from Wynyard station, walking out from the high rise-lined streets and crossing underneath the vast concrete sweep of the western distributor. Unseen traffic roars overhead on its approach to the Harbour Bridge. I walk a few blocks along Hickson road, past the new residential developments with names like “the Bond” until the Port Observation tower appears in the near distance. The new buildings end suddenly at a zigzag cut into a sandstone wall, the steps leading up to High street.

After I climb the steep flight of steps it becomes quiet, as if this part of the city is under a bell jar. The roar of traffic and the sounds of construction has faded away. Writing in the early 1970s, Ruth Park described the mood of this area as “drowsy and nostalgic”, and there is still something of this that lingers. It’s a lands-end feeling, the High street houses are the last before the wasteland of the deserted foreshore and then the harbour.

 

At the southernmost corner of the High street, at the top of the stairs, is a tiny patch of park, with a bench facing out towards the water. Here a group of hospitality workers sit, smoking and discussing their boss. The Port Operations tower, only a few streets away, watches over them as they grind their cigarettes out and creep back towards the cafe or the hotel they must work in on Kent St. I take their place and sit in their smoky wake, watching the High street residents bringing in their recycling bins and sitting on their porches, soaking in the light. It must be a special thing to live in this row of old houses with tin roofs and white wooden balconies, high up on the ridge above the foreshore, at the city’s very edge.

This long row of High St houses were once owned by the Maritime Services Board and were home to the men who worked on the wharves and their families. In the 1980s the Department of Housing took over, a move which ruptured the community and left residents feeling vulnerable. The area’s early 20th century character, preserved by being public housing, plus the harbour views, peaceful now the container wharves are gone, now make Millers Point prime real estate. Recently a number of the larger Millers Point public housing properties were sold off, after leases negotiated by boarding house landladies in the 1980s expired. Uncertainty over the future of public housing here makes the drowsy quiet of the afternoon seem ominous, as if these are its last quiet moments. Change is inevitable: the area below High Street, once the wharves, is awaiting redevelopment into Barangaroo.

One house near the corner is draped in Canterbury Bulldogs paraphernalia, blue and white scarves, flags, posters, cards. This shrine has, at its centre, a real live bulldog, wearing a blue harness to match the rest of the display. The dog lies snoozing in the afternoon sun, half opening its eyes when I walk past. A piece of cardboard is cable tied to the fence, with a warning written in blue texta: BEWARE OF THE DOG. ENTER AT YOUR OWN RISK. WOOF WOOF WOOF.

Further down the street is another message, written on the glass panel of the door in permanent marker: “Do not knock  after 8pm or before 11am. Sleeping hours due to health.” On the porch of another house is a bird cage with two rainbow lorikeets inside, and a bird feeder weighed down with pigeons, which scatter when I approach. On the windowsill of one house is a row of clear crystals, cut into giant gemstones, on another, a Spiderman figurine guards a small potplant. Every house has a detail like this, a clue to the person who lives inside.

Behind the High St terrace houses is a deserted laneway with maidenhair ferns growing from the walls and asthma weed sprouting from the cracks. It is so perfectly cool and still here that it feels like I’ve slipped into a fissure and I am hiding inside the city’s subconscious. To one side is the back of the High street houses with back gates and downpipes, and the other is a sandstone wall, stained with slow channels of water. Very faintly I can hear the sound of a television from inside one of the houses, but otherwise, nothing. It’s an invisible, backstage feeling.

At the end of High street, a block closer to the Port Operations tower, there’s another sliver of park. The park has two big fig trees and a sign describing how “whole streets” disappeared when the cliff between High Street and Hickson road was cut down. There are plenty of ghost streets in this part of Sydney, erased in both the redevelopment of the wharves and with the building of the Harbour Bridge.

It is a sunny day and feels like the first day of spring, although it is still late August. A man and his daughter excitedly plot their afternoon, tearing the wrappers from their ice creams as they cross over the Munn street bridge and pass the Palisade Hotel. The Palisade is a grand structure, a tall brick sentry for the farthest corner of Millers Point, though with its boarded up windows and fading signs, it too seems like a ghost. I walk up past it and turn right onto Merriman street, following the curve of the road. It’s a shock to see the tower at the end of the street, having only ever seen it from a distance. It rises up from the cliff on a smooth concrete stem, capped with a strip of windows around the top, from where hidden controllers watch the harbour. Across from the tower is a row of pastel painted houses with chimneys, wooden shutters, and iron lace balconies, they look small and delicate by comparison.

From Merriman street, the city buildings are invisible. They are obscured by the lie of the land and the row of houses, as if Millers Point has broken away and formed its own island. At the very end of the street are two worker’s cottages, and across from them is the entrance to the tower, a white hatch crawling with ivy, locked behind a high wire fence. A concrete slab with tarnished metal letters labels the tower as the Port Operations and Communication Centre, property of the Maritime Services Board of NSW.  It was built in 1973, just prior to the construction of Sydney Tower (which I will insist on calling Centrepoint until the end of my days) and on close inspection, both towers have a similarly tiled appearance. This is an alternate universe version of Centrepoint, a 70s office block kind of tower. Inside I imagine men with sideburns and skivvies, sipping instant coffee from Maritime Services Board mugs as they peer through telescopes and talk on clunky olive green phones with curly cords. In this world, the houses across the street are inhabited by the grandchildren of wharfies, who have inherited tales of protests and accidents, and whose dreams are full of ships.

Dalgety’s Wool store, where the Port Observation Tower is now. Photo from State Records NSW.

The Port Operations Tower was built on the site of what was once Dalgety’s Wool Store, a huge warehouse that stored bales of wool before it was sent down to the ships at the wharves below. The busy days of the port are long gone, all that remains is a long stretch of tarmac with building materials piled here and there. I look down over it from the top of the cliff, trying to imagine it in both the past and the future. With the Barangaroo development this area will be converted to a park, the shoreline reconstructed to its 1836 shape. In the 360 degree walk-through interactive simulation of the park online, the Port Operation tower remains, rising from the trees. Many of the traces of the area’s history as a wharf, however, will disappear.

For now there is a weird silence in the wharf area below, which could be secrets or could be emptiness. The tower, too, has a great feeling of secrecy about it; I look up and try to glimpse someone inside, but the windows give nothing away. At the base of the tower is a playground. A pirate ship is half submerged in the foam ground covering that’s laid down to cushion falls and shock the unsuspecting pedestrian who walks across it. Some people are at the picnic area alongside the tower. A man, wearing an apron patterned with flowers, is cooking kebabs on a barbecue, while a woman sits at the table, staring out into the harbour, talking to him. Scraps of their conversation float over to me, but it is in Japanese and I cannot understand it. They look as comfortable as if they are in their own kitchen, even though the tower is only metres away, overshadowing them.

In one of the cars parked along Merriman St is another couple, who stare at me with a look of interruption as I walk past them. This could well be one of those places where people park their cars for romantic interludes. It has the requisite feeling of desertion about it: dead end streets above cliffs are always popular for this sort of thing.

Beyond the picnic area and the playground is a park with steps that lead down to the streets below. I walk a little way along a laneway so damp the sun must never reach it, a street mentioned in Ruth Park’s Companion Guide to Sydney: “In Roden’s Lane, I once found a blacksmith’s shop which occupied a cave in the sandstone, two walls being sootstained cliff. A smith was working there, making handforged firedogs and brackets and domestic ironware.” It seemed entirely possible that he might still be there, for the only details giving away the present were a couple of behemoth televisions dumped on the skinny footpath. In what might have been the blacksmith’s cave is now a garden of moss, ferns and succulents. A broken ceramic gnome lay reconstructed in the damp soil, its smile half missing and eyes lopsided.

Returning to the sunlight, I make my way down to the gates of the wharf area, which are open from sunrise to sunset to allow people to walk along the harbour’s edge. Most of the area has been fenced off, leaving a strip of land around the edge as a thoroughfare. What looked to be the foundations of a sandstone pyramid is stacked up in a pile, inaccessible behind a fence. The only remaining building is a little brick hut, further surrounded by fences, and I wonder what holy grail might be hidden inside.

Few people are walking the harbour’s edge, some German tourists, the occasional cyclist. One man rides his bike in circles, around and around, and I like to think this is just for the pleasure of it until I see he is talking on his phone. He is riding a fixie and talking about real estate, as if he has come to life from the Barangaroo interactive simulation.

The tarmac underfoot is deeply scored with lines and pock-marks, with a crisp blue marathon line painted across it. Bins and signs have been installed, but these details are tiny against the abandoned feeling of the whole place. From here, the Port Operations tower looms on the cliff above, and looks to be at the prow of the city, leading it onwards towards the water. With the park redevelopment, the land below the cliff will be filled in to create a natural slope of land leading down to the harbour, and this wall which has soaked up a hundred years of afternoon sun will be buried.

This sandstone cliff traces the point, then continues along Hickson Road. In 2009, this stretch of Hickson Road was officially renamed its Depression-era nickname, the Hungry Mile. This was one of the names suggested for the entire foreshore redevelopment, of which Barangaroo was chosen, in commemoration of the Cammeragal woman who was Bennelong’s wife. Now her name is shorthand for “spectacular waterfront precinct”.

The Hungry Mile wall is Sydney’s greatest wall, a long, curved stretch which at times can be ghostly, with not another person in sight and few cars parked in the many spaces. Constructed during the wharf redevelopment period in the early 20th century, at points the wall seems to have entombed the structures that it replaced. There are weird clues: a staircase to nowhere, a bunker set into the wall, blotches where graffiti has been chipped away, and abstract intersections of concrete and sandstone.

I walk back along the base of the wall, absorbing the last moments of Millers Point quiet before returning to the present day city. Whatever calm might exist in Millers Point today is only temporary, as soon it will undergo another great change. It will be drawn back into the city, and into the present.

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Radio National documentary about Millers Point.

While I was researching this story I found this image of how the Rocks would have looked if the proposed redevelopment in the 1960s had gone ahead. Thanks Green Bans for saving Sydney from that.