Australian Museum

Item details


Name of item:	Australian Museum
Type of item:	Built
Group/Collection:	Education
Category:	Other - Education
Location:	Lat: -33.8743242056 Long: 151.2134070530
Primary address:	6-8 College Street, Sydney, NSW 2000
Parish:	St Lawrence
County:	Cumberland
Local govt. area:	Sydney
Local Aboriginal Land Council:	Metropolitan

Property description

Lot/Volume Code	Lot/Volume Number	Plan/Folio Code	Plan/Folio Number
LOT	3	DP	1046458
LOT	1	DP	1157811
LOT	11	DP	588102

All addresses

Street Address	Suburb/town	LGA	Parish	County	Type
6-8 College Street	Sydney	Sydney	St Lawrence	Cumberland	Primary Address

Owner/s

Organisation Name	Owner Category	Date Ownership Updated
Australian Museum	State Government	19 Jan 99

Statement of significance:


	The Australian Museum is of State significance as Australia’s oldest public museum, first established as a natural history collection of ‘rare and curious specimens’ in 1827. For almost two centuries the Australian Museum has been a leading cultural institution in Australia and the Pacific, undertaking significant educational, research, and community engagement functions. The Australian Museum officially opened in 1857 and is a landmark building within Sydney’s historic civic centre. The sandstone wings are designed in the Academic Classical style and feature the key signifiers of the typology, reflecting the understood architectural language of 19th century cultural institutions as ‘Temples of Art’. The sandstone wings are excellent examples of the works of notable colonial architects Mortimer Lewis, Alexander Dawson, James Barnet, and Walter Liberty Vernon. In addition to the colonial architects, the Australian Museum is associated with celebrated Australian architects Edward (Ted) Farmer, Neeson Murcutt, and Cox Architects, with their sympathetic modernist and contemporary additions reflecting the expansion and modernisation of the Museum over time and its enduring importance in the cultural life of NSW. Internally, the Long Gallery demonstrates antiquarian approaches to research and exhibition, notably the Wunderkammer and ‘cabinets of curiosities’, which were fundamental to the foundations of public museums. The exhibition galleries demonstrate the evolution of museum practices and philosophies from antiquarianism through to contemporary focuses on public engagement and learning. In addition to its built form, the Australian Museum is of State significance for its associations with prominent figures key to its foundation (notably Alexander Macleay and Sir Charles Nicholson), and operations (like former Trustees Ernest Wunderlich and Professor Edgeworth David). This significance also extends to its association with countless researchers whose work continues to bring about major breakthroughs in the natural sciences, archaeology, and anthropology. The Australian Museum is held in high esteem by the people of NSW as a place of symbolic meaning and community identity. The Australian Museum may also be of varied social value to First Nations people of Australia and the Pacific, as a complex place of survival, resilience, and celebration of First Nations cultures, as these communities lead efforts in the decolonisation of Museum spaces.
	Date significance updated: 24 Apr 25
	Note: The State Heritage Inventory provides information about heritage items listed by local and State government agencies. The State Heritage Inventory is continually being updated by local and State agencies as new information becomes available. Read the Department of Premier and Cabinet copyright and disclaimer.

Description


Designer/Maker:	Mortimer Lewis (Long Gallery/Lewis Wing, c1846);
Construction years:	1846-
Physical description:	The Australian Museum is a precinct which has operated as Australia's oldest Museum since c.1850. The place comprises multiple wings which contribute to the main Museum Building and represent the development of the Museum site over time, include Neo-classical wings by Mortimer Lewis and James Barnet; Federation Neoclassical additions by Walter Liberty Vernon; and modern and contemporary additions by various architects. The Australian Museum precinct also includes the former National School Building. The Australian Museum is situated at the corner of College and William Streets, Sydney, within Sydney's historic sandstone precinct along College and Macquarie Streets. The Museum is located on a prominent corner with a grand, pronounced sandstone presentation to the street corner and Hyde Park. The original wing, known as the Great Hall, is no longer evident from the exterior of the building, having been developed around by later Barnet and Vernon additions. The College Street wing - the Barnet Wing - forms part of the second phase of the Australian Museum's development, fronting Hyde Park. It is constructed of ashlar sandstone coursing with protruding central vestibule with pediment, accessed via flanking stone stairs. The vestibule features Corinthian columns, and a pediment with decorative floral leaves, and a mixture of dentil and egg and dart cornices. The building features double-storey wings either side, with a strong balance of solid and void. Fenestrations are sandstone, featuring decorative scrolls, lead capped sills and eaves, and blind niches above each window. The original timber sash windows appear to have been replaced with single panes of glass. The wing features a stone parapet with fluted columns. The Vernon additions to the northern facade (constructed c.1896) were designed to adhere to the architectural language of the Barnet Wing, sharing its form and characteristics. However, the window design references that of the original Lewis Wing, featuring double-hung sash windows and the third-floor windows featuring stone pediments above each window. Fronting William Street is the Parkes-Farmer Wing, designed in the Internationalist Style and completed in c.1961. The Wing features a cladded sandstone facade which adjoins the Vernon/Lewis Wing via a glass connection. On the top floor in the cafe space, large glazed doors and windows with original bronze frames, provide expansive views of Sydney to the north. The Crystal Hall entrance, designed in 2015 by Neeson Murcutt Architects, adjoins the Parkes-Farmer Wing. The Crystal Hall features a glass zig-zag elevation, accessed by an entrance ramp on William Street. At the east corner of the site is the National School Building (1850). The original configuration of the building was a simple, single-storey brick building comprising three classrooms. In 1892 this was extended to feature a second storey and the Gothic faade on William Street. The northern faade features lancet windows with timber joinery, and timber entrance door flanked by stone colonnettes supporting an archivault. The northern gable features three lancet-shaped louvres in the roof space, and terracotta shingles. Today the National School forms part of the Museum's back of house space. Detailing within the stonework includes decorative floral motifs carved into the stone. Internally, the Australian Museum is entered via the Crystal Hall into the Parkes-Farmer Wing. The Parkes-Farmer Wing has been modified over time and little decorative fabric remains internally. The original spatial volume has been altered and subdivided, however original walls and configuration remains legible in certain public facing spaces. The Parkes-Farmer Wing retains its original 1960s circulation staircase, featuring a simple and elegant wrought iron balustrade and terrazzo flooring. Within the Lewis Wing is the Long Gallery, which features a central gallery space with exhibition cabinets around the perimeter of the room, and an upper perimeter balcony on the first and second levels. The Long Gallery retains significant original fabric, including decorative columns on the ground floor, and cast iron columns with Corinthian capitals on the first floor. A 'double-helix' timber staircase is not original, but very early to the space, constructed shortly after opening. The ceiling interprets the earlier skylights, which have now been filled in. While the second floor is not original, added by Vernon, the overall configuration and function remains legible. To the north of the Long Gallery are a series of staff spaces constructed by Vernon, which feature ornate fireplaces and staircases, as well as large cedar windows. At basement level, the configuration and fabric of the original basement is retained, including original window opening, sandstone walls, air vents, and fireplaces cavities. Within the Barnet Wing, the original spatial volume is largely retained (despite the removal of some internal columns in the early 20th century), with the ground floor characterised by high ceilings which articulate the grandeur of the space. The Barnet Wing features a highly significant and ornate central timber staircase, that previously formed the key circulation space for the museum. The Wing is decorated by Corinthian columns, coffered ceiling, ornate cornices, and retains mostly original internal entrances, albeit with some alterations. A similar design intent is continued into the Vernon Wings at the south of the Museum. Vernon's gallery spaces feature a double-height spatial volume supported by cast iron columns with decorative brackets, framing a vaulted ceiling with decorative panelling. At the basement level, the Vernon Wing features a series of storage and research spaces, retaining large original timber and glazing doors, windows, and original ashlar sandstone with drafting margins and sparrow-pecked detail. The first and second Vernon Wings are largely indistinguishable at the upper levels, however at the basement level, the two additions are clearly evident by the difference in door styles. The first wing features simple, rectangular timber doors, while the second wing features grand double-height arched doors with decorative transom windows and sidelights. Original timber mezzanines have been removed in some of these spaces but retained in others. The interior of the National School Building retains much of its original fabric and spatial volume, featuring painted brick walls, largely unmodified timber windows (although some have been infilled), and a timber vaulted ceiling. At the northern side of the School Building, the 1890s Gothic addition is evident, built adjoining the earlier north elevation. This features a later, steel staircase which provides access to the upper level. From the central Still Addition and Atrium, the intersections and relationships of the various wings is legible and easily interpreted, providing a view of the original elevations which previously looked over the rear courtyard, interpreted by the Atrium space. Original windows, doors and decorative features of each addition are retained and this key space provides an overview of the many phases of the Museum's significant history.
Physical condition and/or Archaeological potential:	The Australian Museum is largely in excellent condition both externally and internally.
	Date condition updated:19 Feb 25
Modifications and dates:	As early as the 1850s, additional funds were needed for glass display cabinets, flagging of the basement, drainage repairs, and construction of an internal staircase between the two gallery levels (Orwell & Peter Phillips 2024, 107). However, by the late 1870s its impracticalities were evident and modifications were required. By the late 1870s more space was needed and the Barnet wing's impracticalities were evident, including leaky skylights, faulty windows, unsafe staircases, and internal pillars and small doors which prevented movement of large items (Orwell & Peter Phillips 2024, 118). A new workshop was built in 1876 and in 1878 plans for an additional art gallery were approved. Spaces between the columns in the Long Gallery were enclosed to hold exhibits, and twin timber staircases were constructed (Orwell & Peter Phillips 2024, 126). A third floor with glazed roof was added to the Long Gallery. Additional works included the construction of a freestanding Spirit House, mineralogist stores, and osteological stores (Orwell & Peter Phillips 2024, 134-5). In 1908 another Vernon extension was built, connecting the freestanding south wing with the College Street wing. This included two new galleries for Ethnological and Mammal Collections and the University Lecture Hall, completed in 1909. Simultaneously, the 1910s brought major expansion of scientific workrooms as the research institution bloomed. During the first world war minor modifications were made as public spending was reduced. Modifications in the 1910s were limited to new lavatories, drinking fountains, and minor stonework repairs. During the second world war temporary protection measures were made: such as sandbagging and reinforcement of the glass roofs with Oregon timber bearers and boards (Orwell and Peter Phillips 2024, 157 In 1957 shed workshops were demolished to make way for the Parkes-Farmer Wing. Remodelling of the entrance hall of the Barnet Wing was completed in 1967, including new flooring; alterations to the stairs; new automatic glass entrance doors; and re-roofing in copper. In the same year, the new four storey Spirit House was completed. In 1972, the Museum acquired the National School Building (William Street Public School), situating the Anthropology Department within this building. 1983: Neville Wran promised a new wing to alleviate issues such as cramped exhibition, library and staff spaces, and provided air conditioning. These works saw demolition of the Education Centre (the original Spirit House) and construction of a new rear wing, opened in 1988 by Premier Nick Greiner (Orwell & Peter Phillips 2024, 169). In 2006 the new Collections and Research Building was constructed, and the Barnet and Vernon Wings were refurbished. From 2010 Director Kim McKay OAM revitalised galleries and the visitor experience. In 2015 the Crystal Hall was opened on William Street, creating a new entrance at the Parkes-Farmer Wing and returning the College Street ground floor to exhibition space. Designed by Neeson-Murcutt, the Crystal Hall won the Award for Public Architecture at the 2016 NSW Architecture Awards (Australian Museum 2016). The Long Gallery was also renewed in 2017 with the exhibition 200 Treasures of the Australian Museum, which showcased the history of the institution through some of its most famed objects. In 2019 'Project Discover' was announced and established a state-of-the-art gallery for blockbuster exhibitions. Project Discover was a $57.5 million renovation, designed by Cox Architecture with Neeson Murcutt. The project opened in 2020 (Vince, C., 2018).


Current use:	Museum
Former use:	Aboriginal land, farm estate, public museum

History

Historical notes:

Statement of Country
Sydney is Gadigal country and forms part of the Eora nation. Prior to changes resulting from colonisation, the precinct was located opposite a large marsh (now Hyde Park) that was popular for bird hunting and would have provided a range of resources to the Gadigal.

With the British colony established at Warrane (Sydney Cove) in 1788, the Gadigal were displaced and impacted by colonisation, including dispossession of resources and exposure to illnesses such as smallpox. Despite this, Gadigal Country has many stories of resistance and resilience, from Bennelong to Arabanoo, to enduring community and resistance in suburbs such as Redfern.

The Australian Museum works closely with Aboriginal, Torres Strait Islander, and Pacific communities to develop exhibitions, manage collections, and undertake repatriation projects. However, separation of cultural objects from Country and Traditional Owners demonstrates ongoing impacts of colonialism and as such, the Australian Museum may evoke a range of emotions for First Nations peoples.

Early use of the College Street site (1800-1840s)
The earliest post-contact use of the Australian Museum site was for the Hyde Park Barracks Convict Garden (c.1819 - 1830). It featured an octagonal gardener's lodge and masonry wall near Yurong Street (Bigge 1822, 35).

In 1849 the Board of National Education required a new school site in Sydney. Half an acre on William Street was selected (Orwell Peter Phillips 2014, 95) for the National School. In 1851 a single-storey brick building comprising three main classrooms was completed (Orwell Peter Phillips 2014, 96). In 1867 the school was renamed the William Street Public School. In 1892 a second storey and new Gothic faade were constructed (Australian Museum 2021). The William Street Public School closed in 1950 and was then utilised as offices for the Child Welfare Department, before being acquired by the Australian Museum in 1972 (Orwell & Peter Phillps 2024, 166).

The Colonial Museum (1827-1840)
In 1827 the Colonial Museum was established at the former Macquarie Place post office (Australian Museum 2017a). Its foundation was driven by naturalist Alexander Macleay, a collector who used his connections with England's elite to advocate for a museum and cultural centre in Sydney. A Committee to superintend the Museum was created in 1836 (Orwell & Peter Phillips 2024, 97).

Foundation of the College Street Site (c.1840-1855)
By the 1840s it was determined that the renamed Australian Museum required a permanent home. Sir Charles Nicholson requested funding, architectural plans and costings in the Legislative Council. In 1844 the site of the former convict gardens was chosen (Orwell & Peter Phillips 2024, 98).

Colonial Architect Mortimer Lewis (1835-1850) prepared plans for the building, which were exhibited to the Committee in 1845. Literature has noted the "explicit correlation between a museum and a church or temple" (Robson 2010, 125), emphasised by the revival of the Classical form in 19th century museum architecture, which declared the museum as temple of art. This philosophy influenced Lewis' design of a double-storey sandstone building, known as the Great Hall, which fronted William Street. It featured a central entrance with fluted Corinthian columns and double bays of windows with stone pediments (Orwell & Peter Phillips 2024, 99).

Internally, the Long Gallery featured a central exhibition space full of 'cabinets of curiosities' and a first floor perimeter balcony. The gallery followed the principles of the Wunderkammer, meaning 'wonder rooms'. The construction, however, was behind schedule and over budget (Orwell & Peter Phillips 2024, 102). Lewis resigned amongst criticism, leaving his successors Edmund Blacket, William Weaver, and Thomas Abbott to complete the building (Orwell & Peter Phillips 2024, 105).

The first exhibition, curated by William Sheridan Wall, opened on 14 November 1854 and displayed artefacts destined for the 1855 Paris International Exhibition, including taxidermy, animal specimens, botanical specimens, paintings, wood carvings, classical statues, minerals, and textiles (Orwell & Peter Phillips 2024, 105).

The opening of the Museum - to great success - reflected the 'arrival' of Sydney as a modern city with its own identity and stories. The role of Museums in nation building has been long acknowledged, accompanied by the "cultivation of a national culture" and construction of "national narratives" (Elgenius 2015, 148). Not only tasked with presenting 'Australian' culture to the rest of the world in Paris, the Australian Museum is a major institution for ethnographic collections from the Pacific, also representing the Oceania region at this time (Australian Museum 2017b).

While the exhibits opened to public acclaim, the building was criticised by the Museum Committee as 'utterly unfit for the display of objects of Natural History'. In May 1857 the whole Museum was officially opened (Orwell & Peter Phillips 2014, 108) and attracted approximately 10,000 visitors in its first week alone (Australian Museum 2017b).

Expansion of the Museum (1855-1890)
In 1857 Colonial Architect Alexander Dawson planned a new wing on College Street, which was quickly approved by the Committee. However, funding issues delayed the works and they were expanded upon and completed by his successor James Barnet (Orwell & Peter Phillips 2024, 108). Barnet's addition (c.1866) is designed in the Academic Classical style, with central vestibule, pediment and symmetrical wings. Barnet's addition - one of the largest buildings in the colony - included curator rooms, committee rooms, hall, library, vestibule, and extensive galleries (Orwell & Peter Phillips 2024, 109-117).

The Vernon Wings (1890-1910)
In 1890 Colonial Architect Walter Liberty Vernon altered the Lewis wing, continuing the proportions and character of the Barnet/Dawson wing. He demolished the original north faade, built a new north elevation, added a third floor to the Long Gallery and reoriented the entrance to College Street.

Vernon's southern wing (1896) included basement workshops and new exhibition galleries (Orwell & Peter Phillips 2024, 138). By the turn of the 20th century and heading into Federation, the Australian Museum had established itself as a prominent and grand cultural institution befitting the new nation.

The turn of the 20th Century
The turn of the century brought changing demographics and needs. Large numbers of school students prompted the introduction of 'Gallery Demonstrations', educational talks in the exhibition spaces and the University Lecture Hall, completed in 1909 (Orwell & Peter Phillips 2024, 145). This connected the south wing to the Barnet Wing.

These additions reflect the changing functions and philosophy of the Museum, from antiquarianism through to a focus on education. While the origin of the public museum is inherently linked to democratisation of learning (Prottas, N., 2019; Hein, G., 2006), the 20th century signalled a major shift to 'progressive education', characterised by a new focus on visitors, public programs, and active engagement (Hein, G., 2006).

These changes were well received. It was noted that "the museum was no longer a storehouse of curios... the National Museum is becoming daily more and more a place of general education and special study" (Sydney Morning Herald, 12 April 1910, 7).

The War Years (1914-1945)
World Wars and the Great Depression stagnated the Museum's growth, however innovation continued in the exhibition spaces, notably through the creation of celebrated dioramas of natural habitats.

During the Second World War (1939-1945) temporary protective works to the Museum building were made. However, protecting the collections was the highest priority and items were sent to various country towns (Australian Museum 2017c).

Late 20th Century to Present
After the War John William Evans was appointed as Director. He was critical of the outdated, crammed, and unengaging exhibitions. Evans established the Department of Art and Design in 1956, ensuring that a designer worked on all exhibition spaces and displays. The brief was simple yet revolutionary: use "colour, good design and simplicity and [enable] scientific information to be presented in an interesting way" (Australian Museum 2017d).

An Internationalist style addition on William Street was designed by Joseph Van Der Steen and Government Architect, Edward (Ted) Farmer, known as the Parkes-Farmer Wing. Farmer oversaw a 'golden age' within the Government Architects Office (SLNSW 2022), being awarded six Sulman Awards, two Blacket Awards, and the RAIA Gold Medal in 1972 (Jackson, D., 2015. Edward Herbert (Ted) Farmer). The lower floors of the Parkes-Farmer Wing were opened in 1961, while the upper floors and rooftop cafeteria opened in 1963. Existing galleries were upgraded for new blockbuster exhibitions, with their success prompting additional funding from the Wran Government.

Outreach programs, including the Australian Museum Train and the Wales Wandervan, took exhibits to regional towns in New South Wales in the 1970s-80s (Australian Museum 2017e). The repatriation program expanded, starting with the return of a rare ceremonial slit drum to traditional owners in Vanuatu. These efforts have continued, with the return of items to traditional owners alongside a program of community consultation, outreach, and amplifying First Nations voices in collection management and exhibition spaces, best exemplified through the new Garrigarrang: Sea Country and Wansolmoana exhibitions (Australian Museum 2017f).

Historic themes

Australian theme (abbrev)	New South Wales theme	Local theme
3. Economy-Developing local, regional and national economies	Science-Activities associated with systematic observations, experiments and processes for the explanation of observable phenomena	(none)-
3. Economy-Developing local, regional and national economies	Technology-Activities and processes associated with the knowledge or use of mechanical arts and applied sciences	(none)-
6. Educating-Educating	Education-Activities associated with teaching and learning by children and adults, formally and informally.	(none)-
8. Culture-Developing cultural institutions and ways of life	Creative endeavour-Activities associated with the production and performance of literary, artistic, architectural and other imaginative, interpretive or inventive works; and/or associated with the production and expression of cultural phenomena; and/or environments that have inspired such creative activities.	(none)-
8. Culture-Developing cultural institutions and ways of life	Leisure-Activities associated with recreation and relaxation	(none)-

Assessment of significance


SHR Criteria a) [Historical significance]	The Australian Museum is of State significance as Australia’s first museum, established in 1827 and specialising in the natural history and cultural anthropology of Australia and the Pacific. The formation of the Museum, symbolised by the construction of its grand College Street site in the 1850s, signified a key moment in the cultural life of the colony, at a time when Sydney and the colony had become established as a city that warranted a major cultural institution. The Museum buildings, designed by many of Australia’s most eminent architects, are a vital part of Sydney’s historic civic precinct, attesting to the importance of the institution at the centre of public life. The Museum played a fundamental role in creating narratives of Australia and represented the natural and cultural life of Australia and the Pacific at major international events including the Paris International Exhibition of 1855. First opened in 1854 as the Great Hall (the Long Gallery), the enduring stature of the museum as one of Australia’s premier cultural institutions continues to the present day. This is reflected through more than a centuries’ worth of additions to the original building form as the Museum has expanded and modernised. The Museum is of State significance for its ability to demonstrate the evolution of museum practices and philosophies across its built form, collections, and research, community, and educational functions. Cabinets of curiosities are retained in the Long Gallery and symbolise the antiquarian Wunderkammer, contrasted with contemporary industry-leading exhibitions designed with a focus on engagement and working with community. This demonstrates the changing nature of the museum to reflect the needs of contemporary society.
SHR Criteria b) [Associative significance]	The Australian Museum is of State significance for its associations with prominent figures associated with its foundation, operations, and built form. Further, the Australian Museum has made a substantial contribution to the history of NSW as an organisation, with a strong influence in the cultural life of NSW and working with various communities throughout NSW, Australia and abroad. This includes its association with countless researchers whose work continues to bring about major breakthroughs in the natural sciences, archaeology, and anthropology. The Australian Museum is of State significance for its associations with early colonial figures who advocated for the establishment of the Museum and contributed to its collections, notably Sir Charles Nicholson and Alexander Macleay, prominent collectors of classical sculpture and natural history specimens, respectively. The Museum is also associated with a range of important board members, Trustees, and colonial administrators, including Ernest Wunderlich, Professor Edgeworth David, Governor Gipps, Governor Denison, and Edward Deas Thomson. The Australian Museum is associated with several of NSW’s most renowned architects, including Mortimer Lewis, Alexander Dawson, James Barnet, Walter Liberty Vernon, and the Colonial and Government Architects Offices more broadly, who designed the historic sandstone wings. The 20th and 21st century additions have been designed by important Government architects including Edward (Ted) Farmer, and by celebrated Australian firms Cox Architects and Neeson Murcutt. These associations demonstrate the ongoing expansion of the Museum to meet contemporary needs with high quality architectural responses sympathetic to the form and character of the Lewis, Barnet, and Vernon wings.
SHR Criteria c) [Aesthetic significance]	The Australian Museum is of State significance as a landmark building designed by several significant architects, and which reflects the key characteristics of Academic Classical architecture. The principal wings of the Australian Museum were designed in the Academic Classical style, with some elements of the Victorian Free Classical, reflecting the grandeur of major cultural institutions and reference to classical forms to promote the stature of the museum as ‘temple’ of art and knowledge. The Australian Museum was the first of this type in NSW and influenced the design of the State Library of NSW and the Art Gallery of NSW, which together establish a cultural precinct surrounding the Domain. The sandstone wings are excellent examples of the Academic Classical style. Internally, the gallery spaces feature decorative elements befitting a major public building and demonstrate the evolution of museum exhibits and requirements over time. This is best exemplified within Lewis’ Long Gallery, which retains significant original features and provides an insight into the cabinet of curiosity display and its contrast with contemporary techniques and technology. The Parkes-Farmer Wing, designed c.1960 by prominent Government Architect Edward (Ted) Farmer, demonstrates the key characteristics of the Internationalist style, including rectilinear form, simple design, and stripped elevations. The Parkes-Farmer Wing responds to the historic sandstone wings and reflects the continuity and expansion of the Museum’s purpose and requirements. The former National School Building contributes to the historic character of the Australian Museum site and includes key elements of the Victorian Free Gothic style, including lancet doors and windows, parapeted gable, and pinnacles.
SHR Criteria d) [Social significance]	The Australian Museum is of State significance for its important role in the cultural life of NSW, as a premier cultural institution of value to the State’s people for close to 200 years. The Museum has made a substantial contribution in shaping and framing the natural and cultural history of Australia to its visitors, having an influential role in representing Australia and telling the stories of the people of NSW. Its numerous functions meet the needs of the community, being a key institution of education and learning and creating community identity. The Australian Museum is a significant community service and its research programs are dedicated to scientific matters which benefit the people of NSW. Further, community outreach and repatriation programs, operated in regional areas by the Museum since the mid-20th century, ensure that the Museum’s reach is further afield than its physical location. The Australian Museum is important to First Nations communities in Australia and the Pacific as a place symbolic of survival, resilience, and ongoing efforts in the decolonisation of museums, galleries, and cultural knowledge. Recent exhibitions can be seen as celebratory spaces of First Nations cultures, developed with community to amplify their voices, supported by the Australian Museum’s repatriation programs. However, there is ongoing complexity due to the occurrence of these activities within colonial buildings and institutions, which have a history of being associated with cultural material taken from First Nations people. As such, the Museum holds a complex but significant space for First Nations communities. Through these functions, the Museum is of State significance for its importance in linking the past and present through its exhibition spaces, community programs, and enduring role as a cultural institution for the people of NSW.
SHR Criteria g) [Representativeness]	The Australian Museum is of State significance as an excellent example of a cultural institution in the Classical Academic architectural style. It demonstrates the key characteristics of the typology, which references classical Greek and Roman temples and asserts the position of the buildings as ‘Temple of Art’. The architectural and internal character of the museum represents all phases of the history of museology from the 19th century to the present, displaying changing ideologies about the philosophical purposes and design language of major cultural institutions. These aspects remain intact and legible, and the evolution of internal exhibition spaces, techniques and narratives is of historical importance, being the first museum in Australia.
Assessment criteria:	Items are assessed against the State Heritage Register (SHR) Criteria to determine the level of significance. Refer to the Listings below for the level of statutory protection.

Procedures /Exemptions

Section of act	Description	Title	Comments	Action date
57(2)	Exemption to allow work	Heritage Act - Site Specific Exemptions	Exemption Order for Australian Museum listing on the SHR No. 00805 under the Heritage Act 1977 I, Penny Sharpe, the Minister for Heritage, on the recommendation of the Heritage Council of New South Wales dated 6 May 2025, make the following order under section 57(2) of the Heritage Act 1977 (the Act) granting an exemption from section 57(1) of the Act in respect of the engaging in or carrying out of any activities described in Schedule C by the owner, manager, mortgagee or lessee (or persons authorised by the owner or manager) of the item described in Schedule A on the land identified in Schedule B. This Order takes effect on the date it is published in the NSW Government Gazette. Dated this 30th day of June 2025. The Hon Penny Sharpe MLC Minister for Heritage SCHEDULE A The item known as Australian Museum, situated on the land described in Schedule “B”. SCHEDULE B All those pieces or parcels of land known as Lot 1 DP1157811, Lot 3 DP 1046458, and Lot 11 DP 588102 in Parish of Alexandria, County of Cumberland shown on the plan catalogued HC 2504 in the office of the Heritage Council of New South Wales. SCHEDULE C It is recommended that the following specified activities/ works to an item do not require approval under section 57(1) of the Heritage Act 1977. The following exemptions apply in addition to the ‘standard exemptions’ for items listed on the State Register (SHR) made under section 57(2) of the Heritage Act 1977 and published in the NSW Government Gazette. GENERAL CONDITIONS These general conditions apply to the use of all the site specific exemptions: a) If a conservation management plan (CMP) is prepared for the item, it must meet the following conditions: i. It must be prepared by a suitably qualified and experienced heritage professional. ii. It must be prepared in accordance with the requirements for a detailed and best practice CMP as outlined in the Heritage Council of NSW document Statement of best practice for conservation management plans (2021) or any subsequent document prepared to replace or supplement this document. iii. It must be consistent with the Heritage Council of NSW documents: Guidance on developing a conservation management plan (2021) and Conservation Management Plan checklist (2021) or any subsequent document prepared to replace or supplement this document. b) Anything done under the site specific exemptions must be carried out by people with knowledge, skills and experience appropriate to the work (some site specific exemptions require suitably qualified and experienced professional advice/ work). c) The site specific exemptions do not permit the removal of relics or Aboriginal objects (excluding those in the Museum collection) as part of any ground disturbance works. If relics are discovered, work must cease in the affected area and the Heritage Council of NSW must be notified in writing in accordance with section 146 of the Heritage Act 1977. Depending on the nature of the discovery, assessment and an excavation permit may be required prior to the recommencement of work in the affected area. If any Aboriginal objects (excluding those that form part of the Museum collection) are discovered, excavation or disturbance is to cease, and Heritage NSW must be notified in accordance with section 89A of the National Parks and Wildlife Act 1974. Aboriginal object has the same meaning as in the National Parks and Wildlife Act 1974. d) Activities/ works that do not fit within the exemptions described in this document or the ‘standard exemptions’ for items listed on the State Heritage Register made under section 57(2) of the Heritage Act 1977, and published in the NSW Government Gazette would require approval under the Heritage Act 1977. e) The site specific exemptions are self-assessed. It is the responsibility of a proponent to ensure that the proposed activities/ works fall within the site specific exemptions. f) The proponent is responsible for ensuring that any activities/ works undertaken by them, or with their landowners consent, meet all the required conditions and have all necessary approvals. g) Proponents must keep records of any activities/ works for auditing and compliance purposes by the Heritage Council of NSW. Where advice of a suitably qualified and experienced professional has been sought, a record of that advice must be kept. Records must be kept in a current readable electronic file or hard copy for a reasonable time. h) It is an offence to do any of the things listed in section 57(1) of the Heritage Act 1977 without a valid exemption or approval. i) The site specific exemptions under the Heritage Act 1977 are not authorisations, approvals, or exemptions for the activities/ works under any other legislation, Local Government and State Government requirements (including, but not limited to, the Environmental Planning and Assessment Act 1979 and the National Parks and Wildlife Act 1974), or construction codes such as the National Construction Code. j) The site specific exemptions under the Heritage Act 1977 do not constitute satisfaction of the relevant provisions of the National Construction Code for ancillary works. Activities or work undertaken pursuant to a site specific exemption must not, if it relates to an existing building, cause the building to contravene the National Construction Code. k) In these exemptions, words have the same meaning as in the Heritage Act 1977 or the relevant guidelines, unless otherwise indicated. Where there is an inconsistency between relevant guidelines and these exemptions, these exemptions prevail to the extent of the inconsistency. Where there is an inconsistency between either relevant guidelines or these exemptions and the Heritage Act 1977, the Act will prevail. l) Where relevant The Heritage Manual (1996, Heritage Office and Department of Urban Affairs and Planning) and The Maintenance Series (1996 republished 2004, NSW Heritage Office and Department of Urban Affairs & Planning) guidelines must be complied with then undertaking any activities/works on an item. EXEMPTION 1: APPROVED WORKS Specified activities/ works: (a) All works and activities which are in accordance with a current development consent in force at the date of gazettal. EXEMPTION 2: INTERNAL WORKS Specified activities/ works: (a) All works and activities that meet the descriptions below and where there will be no adverse impact to heritage significance (as assessed by a suitably qualified heritage professional or in accordance with a conservation management plan): i. Installation, upgrade, repair or replacement of lighting, electrical, plumbing, audio-visual, air-conditioning, fire safety and security services in all exhibition and education spaces (including within the Barnet, Vernon and Lewis Wings) that support the ongoing functions of the Museum. ii. Internal works such as hanging systems for display of artworks, installation of shelving, installation of signage or lighting. iii. Installation, upgrade, and reconfiguration of exhibition spaces, including all displays, and installation of temporary structures and internal partitions. Displays and partitions within the Lewis, Barnet and Vernon Wings must be reversible. iv. Temporary curatorial and public programming activities, including temporary signage, lighting, structures, partitions, and installations. v. Upgrades, maintenance and reconfiguration of all amenity spaces, hospitality fit-outs and associated back of house and kitchen spaces. vi. All internal upgrades within the Crystal Hall. vii. Introduction of new services, including telecommunications and conference equipment, in staff office spaces, meeting and conference rooms. viii. Upgrading of research laboratories and associated equipment. ix. All works to internal storage and collections management spaces required to upgrade storage spaces and facilitate the ongoing function of the Museum. This includes but is not limited to: a. creation of controlled environments, including air-conditioning (new and upgrades), humidity and temperature monitoring, and pest management; b. creation of secure environments, including security measures; c. shelving and structures required for storage of artefacts; d. disaster management measures. Note: ‘Temporary’ is identified as a maximum of 18 months. EXEMPTION 3: LANDSCAPING AND EXTERNAL PROGRAMMING Specified activities/ works: a) External works within the Australian Museum curtilage which would have no adverse impact to heritage significance (as assessed by a qualified heritage professional or in accordance with a conservation management plan), including: i. Maintenance, repair, like-for-like replacement, or repositioning of non-significant signage, lighting, bollards, flagpoles, rubbish bins (and associated amenities), or public seating, where there would be no fixtures to significant fabric ii. Pest management including, but not limited to bird, rodent or termite deterrents iii. Maintenance, redesign or replacement of plants and landscaping iv. Maintenance of existing entry ramp to the Crystal Hall b) External display of artworks, exhibition signage and marketing material (excluding dynamic digital signage displays), including but not limited to installation of new temporary (no longer than 18 months) elements to facilitate the ongoing functions of the Australian Museum, where these elements would not impact the significance of the place and are in accordance with the Australian Museum: External Wayfinding and Signage Strategy (29 November 2023). c) Landscaping and hardstand carparking management and maintenance, including of the William Street loading dock. d) Maintenance, repair and like-for-like replacement of deteriorated end of life fabric, including walls, fencing, gates, and security measures at William Street and Yurong Street vehicle and pedestrian entrances. EXEMPTION 4: EXTERNAL BUILDING WORKS Specified activities/ works: a) Maintenance, repair and like-for-like replacement of significant fabric where the significant fabric is deteriorated beyond repair, and where there would be no adverse impact to heritage significance as assessed by a suitably qualified heritage professional or in accordance with a conservation management plan. b) Replacement of non-significant, non-original glazing for security, sustainability measures and sound management, including the installation of double-glazing, where there would be no adverse impact to heritage significance as assessed by a suitably qualified heritage professional. c) Installation of solar panels and other sustainability measures on roof planes where there would be no adverse impact to heritage significance and where these elements would not be visible from the public domain, as assessed by a suitably qualified heritage. d) Maintenance, repair or sympathetic upgrading of all rainwater goods. EXCAVATION 5: ACCESSIBILITY Specified activities/works: (a) Modifications and alterations to provide disability access in accordance with the Disability (Access to Premises – Buildings) Standards 2010 or as required to comply with any other applicable accessibility legislation within all spaces where there will be no adverse impact to heritage significance including significant fabric or spatial configurations. This exemption is not applicable to the Long Gallery and Barnet Wing.	Jul 4 2025
57(2)	Exemption to allow work	Standard Exemptions	HERITAGE ACT 1977 ORDER UNDER SECTION 57(2) TO GRANT STANDARD EXEMPTIONS FROM APPROVAL I, Penny Sharpe, the Minister for Heritage, on the recommendation of the Heritage Council of New South Wales and under section 57(2) of the Heritage Act 1977: revoke the order made on 2 June 2022 and published in the Government Gazette Number 262 of 17 June 2022; and grant an exemption from section 57(1) of the Act in respect of the engaging in or carrying out the class of activities described in clause 2 Schedule A in such circumstances specified by the relevant standards in clause 2 Schedule A and General Conditions in clause 3 Schedule A. This Order takes effect on the date it is published in the NSW Government Gazette. Dated this 29th day of October 2025 The Hon Penny Sharpe MLC Minister for Heritage For more information on standard exemptions click on the link below.	Nov 7 2025

Standard exemptions for engaging in or carrying out activities / works otherwise prohibited by section 57(1) of the Heritage Act 1977

Listings

Heritage Listing	Listing Title	Listing Number	Gazette Date	Gazette Number	Gazette Page
Heritage Act - State Heritage Register		00805	02 Apr 99	27	1546
Heritage Act - s.170 NSW State agency heritage register
Local Environmental Plan	CSH Local Environmental Plan 4		07 Apr 00
National Trust of Australia register	Australian Museum	6167	25 Nov 74
Royal Australian Institute of Architects register	South Galleries, Australian Museum		31 Mar 79
Register of the National Estate			21 Mar 78
National Heritage List	The Governors' Domain and Civic Precinct, Macquari	106103	10 Feb 21

References, internet links & images

Type	Author	Year	Title	Internet Links
Tourism	Attraction Homepage	2007	Australian Museum	View detail
Written	Australian Museum	2017	1940s: The Australian Museum - Breaking Out	View detail
Written	Australian Museum	2017	1950s: Colour, good design and simplicity	View detail
Written	Australian Museum	2017	1970s: Reaching Out	View detail
Written	Australian Museum	2017	1980s: Repatriation - A significant step towards the future	View detail
Written	Australian Museum	2016	Australian Museum's Crystal Hall Wins Major Public Architecture Award	View detail
Written	Burge, Roslyn	2018	'1863-1878' Kalouan - David and Kate Ramsay
Written	Chris Bennett of Evolving Picture	2014	Australian Museum Sydney: photographic survey of existing site features December 2014
Management Plan	Clive Lucas Stapleton & Partners Pty Ltd	2005	The Australian Museum, Sydney, Conservation Management Plan
Written	Cork, J.	2015	Australian Museum reveals new branding as key part of transformation	View detail
Written	Cultural Resources Management	2008	The Australian Museum Sydney : archaeological investigation collections & research building
Written	Davina Jackson	2015	Edward Herbert (Ted) Farmer	View detail
Written	Design 5 Architects	2016	Long Gallery, Australian Museum - Exemption from Development Consent - upgrade and repair works
Written	Elgenius, G.	2015	National Museums as National Symbols: A survey of strategic nation-building and identity politics; nations as symbolic regimes;
Written	Hammond, Gina	2009	'The Curious Case of the Living Dead', in "History Council of NSW Bulletin" Autumn 2009
Written	John Thomas Bigge	-4	State of the Colony of New South Wales
Written	Lopez, I.P.	2021	Museum Education and the Epistemological Turn
Written	McDonald McPhee Pty Ltd.	1994	Heritage Assessment, Barnet Wing, Australian Museum
Written	National Museum of Australia / Sydney Morning Herald - content partnership (insert)	2020	Behind the Scenes at the Museum (newspaper insert)	View detail
Written	Orwell & Peter Phillips	2024	Conservation Management Plan: Australian Museum
Written	Power, Julie	2016	'Museum's ambitious plan - exclusive: $285m proposal for a grand exhibition space'
Written	Prottas, N.	2019	Where does the History of Museum Education Begin?
Written	R.Strahan et al.	1979	Rare and Curious Specimens: An Illustrated History of the Australian Museum 1827-1979
Written	Robson, J.	2010	Faith in museums: on the confluence of museums and religious sites in Asia
Written	State Library of NSW	2022	Ted Farmer: Architect, Facilitator, Bureucrat	View detail
Written	The Australian Museum	2021	Our Buildings Through Time	View detail
Written	The Australian Museum	2017	1850s: The Australian Museum opens its doors on William Street	View detail
Written	The Australian Museum	2017	1820s: Celebrating 190 Years	View detail
Tourism	Tourism NSW	2007	Australian Museum	View detail
Written	Vince, C.	2018	Australian Museum to undergo $50m refurbishment to host international blockbuster exhibitions	View detail

Note: internet links may be to web pages, documents or images.

(Click on thumbnail for full size image and image details)

Data source


The information for this entry comes from the following source:
Name:	Heritage NSW
Database number:	5045644
File number:	S92/01919/2, EF14/5322

Every effort has been made to ensure that information contained in the State Heritage Inventory is correct. If you find any errors or omissions please send your comments to the Database Manager.

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