| Historical notes: | Statement of Country:
The Powerhouse Museum Complex is on Gadigal land and for many thousands of years was used by Aboriginal people for traditional practices such as ceremony, fishing and resource gathering. Despite the impacts of colonisation Aboriginal people express an ongoing connection to Gadigal Country and enduring social significance. This tangible and intangible connection to Country is expressed via potential sources of pre and early contact information, and as a symbol of the strong cultural resilience demonstrated in historic Aboriginal protests against the Bicentenary celebrations. The enduring connection to Country is recognised and respects are paid to elders past and present.
Gadigal Country:
The site sits on the land originally occupied by Aboriginal people of the Cadigal/Gadigal, Gommerigal and/or Wangal clans.
The Pyrmont peninsula appears to form part of the boundary between the Wangal and Gadigal clans. Wangal Country extended from Tumbalong (Darling Harbour) west to Rose Hill (near today's Parramatta), while the Gadigal occupied land from the entrance of the (Sydney) harbour, along its southern shore towards Tumbalong. Despite these 'boundaries', Aboriginal people camped on both sides of Tumbalong and smaller, more diverse groups ('bands') fished its waters.
Compared with nearby areas, the Ultimo-Pyrmont peninsula remained largely undeveloped for decades (after 1788), affording retention of a stronger measure of Aboriginal presence not equalled in areas such as Sydney and Farm Coves. This is demonstrated through historical and archaeological records. Archaeological evidence demonstrates how new materials were adopted into traditional practices, such as fashioning a tool from a piece of glass. Colonial descriptions and images depict Aboriginal people camping and fishing around Tumbalong into the 1820s (Curio Projects, 2022, 32).
It was not until the late 1830s and early 1840s that colonists began to turn attention to the Pyrmont peninsula for more rural uses, resulting in land clearance and dislocation of Aboriginal people. The area remained significantly under-developed, in comparison to larger nearby industrialised areas like Darling Harbour, until the late 1880s, and historic records suggest it continued to be used by local Aboriginal people during the mid-19th century for gathering oysters and cockles (ibid, 2022, 32).
In addition to Cadigal/Gadigal and Wangal descendants still living in Sydney today, Aboriginal people from across the state have been attracted since the 1930s to suburbs such as Pyrmont, Balmain, Rozelle, Glebe and Redfern (Heiss, n.d.).
Ultimo Estate:
Ultimo forms the southern half of Pyrmont peninsula, bounded by Darling Harbour on the east, Blackwattle Bay on the west and Broadway on the south. It was first leased from 1796 and in 1803, part of the estate of surgeon John Harris (ibid, 2022, 33). The ridge that is its spine was covered at the Ultimo end by rich alluvial soil. This attracted early market gardens, but Harris's vision for his property was not development, but creation of a country seat.
Industries were attracted to watercourses in the area and Harris moved to rural land (Shane Park) further west in 1821 and rented his Ultimo house. He died in 1838 with no children, leaving his (Ultimo) estate and surrounding properties to be divided equally between brothers William and George. Complications with his will meant that into the mid-19th century Harris Estate land remained underdeveloped (ibid, 2024, 36). By the 1840s the subject property was being surrounded by industry, small commercial properties and abattoirs toward Blackwattle Creek. From the 1850s it was filled with cramped quarters: no fresh water or sewerage, but much flooding. Refuse and offal from slaughter yards was intended to be taken out on the tide, but often remained to rot on mudflats.
Darling Harbour Goods Line (1854-55):
In 1849 Sydney Railway Company approached the Harris family to buy seven acres for a railway connecting what's now Central Station with new wharfing facilities proposed for Darling Harbour, including additional acreage for a goods terminus. This was bought in 1853, but management of railway and land was taken over by the government in 1854 after company failure. A new embankment was built along the western edge of Darling Harbour to support the Goods Line, requiring importing large volumes of soil (ibid, 2024, 36).
Opening in 1855, Darling Harbour Goods Line extended along the east boundary of Ultimo and ended south of the future Pyrmont Bridge. It effectively severed direct connection between Darling Harbour and Harris Street, with the (future) power house site in between. Isolation from the harbour, and underuse of the line in early years, created tension between the Harris family and government, with land around the railway described in 1863 as 'dilapidated, the railway merely an embankment with the rails set on and the terminus undeveloped' (ibid, 2024, 36).
Following the deaths of William and George Harris in 1859 the estate was subdivided (ibid, 2024, 36). The Harrises distributed land to several second- and third-generation family members. There were a few cottage-dwellers dotted around, using land under grace and favour to run cattle or do quarrying, while contemporary reports indicate the area was so unsettled as to remain hospitable to Aboriginal people who still frequented the area.
Government reclamation of the south end of Darling Harbour and 1874 construction of the Iron Wharf reactivated the Goods Line. It became vital transporting wool, coal, shale, timber and wheat in and out of Sydney. With the subsequent industrial boom, Darling Harbour Railway Goods Yard was built 1874 - 88 at the head of the Goods Line (north of the subject site) and grew until the 1920s. The Goods Line became vital transporting large quantities of coal for Ultimo Power House's use, 1899+.
Sydney Technical College (1892) and Technological Museum (1893):
In 1892 Sydney Technical College was built on Mary Ann Street, alongside the Technological Museum, (then, in construction). The college expanded into nearby streets and new buildings, eventually taking in the Harris' Ultimo House. As 1900 approached, the college, in various incarnations, provided a new focus for industrial Ultimo, opening the possibility of further education through night classes in practical and applied sciences for locals. (The Dictionary of Sydney).
The staff and contents moved to the new museum from 1892 - 93. On 4 August 1893 the new museum was opened by Sir Robert (NSW Governor).
Ultimo Tram Depot (1871 / 1898):
The Ultimo Tram Depot is also known as the Ultimo Tram Shed / Car House / Sydney Tram Company Stables and, the Harwood Building.
The development of the tramway public transport system began in a horse drawn tram along Pitt Street from Circular Quay to the Redfern (now Central Station) Terminal, opening 1869. A steam-powered network grew in the 1870s through the city, then rapidly expanded as a commuter service from suburbs. Steep topography saw addition of cable drawn trams in North Sydney and towards Rose Bay in the 1880s.
In 1871 the newly formed Sydney Omnibus Company built stables and hay shed on Block 20 of Ultimo Estate (future site of, Ultimo Tram Depot).
In 1893, the first complete electric line opened on the north shore, its success leading to the decision to adopt electricity for the whole system. A single large electricity generating station was deemed necessary to power it. In 1895, the Minister for Public Works investigated building an electric tram between Circular Quay and Pyrmont (George Street to Harris Street), a proposal accepted in 1896. This was followed by a policy to electrify all tram lines. An Act of Parliament sanctioning the electric tramway, supporting Power House and Car House at Ultimo, was approved in 1896 (ibid, 2024, 37).
In 1897, two blocks between Mary Ann and William Henry Streets were resumed for Ultimo 'Car House', and new power station. The Tram Shed was built in 1898 (ibid, 2024, 64) and opened on 8/12/1899, occupying the whole block. A Store and Repairing Shop, built by T.E. Spencer & Co., adjoined it at the rear and featured the same sawtooth design of (roof of) ibid, 2024, 37, abridged).
This was the first Sydney early 20th century electric tram depot. While its functionality was inextricably linked the neighbouring Power House, both operated completely independently in staffing and function (ibid, 2024, 120).
Conversion of tramlines proceeded rapidly, and expansion of the power station followed in stages. Sydney's electric trams proved popular, tramlines shaped the city's development, and the system became one of the most extensive in the world.
Although an important link, low Pyrmont Bridge (1858) kept ships off Darling Harbour when increased exports made access vital. The solution was to rebuild to open allowing ships through. The government bought the bridge and held an international competition to replace it. The new bridge designed by Percy Allen, was built in 1902 and powered by electricity from Ultimo Power Station.
As other depots came into service, Ultimo was re-organised In 1908 its capacity increased by rear extension of roads (tracks) 1 - 10 for 150'. Roads 11 and 12 were unchanged, 12 continuing west to connect to railway sidings feeding Ultimo Power House (National Trust of Australia (NSW), 1997, 2).
As western tram lines were amongst the earliest closed, tram accommodation requirements shrank from the late 1940s. The Ultimo Tram Depot ceased operating as a traffic depot with conversion of the Drummoyne and Pyrmont Lines to buses in June 1953 and was the first decommissioned in 1963. It was used for storage until the 1970s (ibid, 2024, 120).
Ultimo Power House (1899 - 1963):
Ultimo Power House was the original station supplying power to Sydney's tram network and locally. It was the first large-scale electric plant in Australia. Its location was selected via several factors including: access to Darling Harbour Rail Corridor (Goods, now light rail) lines for coal supply and ash disposal; access to Darling Harbour for sea water for condensers and distribution of electrical current, cheap land and space to expand (ibid, 2024, 37, abridged).
The majority of contracts to construct the tramway, Stabling Shed (and Power House) were let 1897 - 98. J. Stewart & Co. was contracted to build Ultimo Power House and Tram Shed and Justin McSweeney to build the water conduit connecting Darling Harbour to the Boiler House, supplying seawater to condensers (i.e.: water-cooling system and manifold). Power House construction started in 1898. The original facility occupied the north of the block bounded by William Henry Street (to the north). It consisted of Engine House, Office, (Old) Boiler House, Pump House, and original pump house brick chimney stack extending c.91m above flue level (ibid, 2024, 37).
The first power was supplied to the tramway for an experimental ride on 22 November 1899. Ultimo Power House was completed on 29 November and the line's official opening was on 8 December. It was incredibly popular, with 95,000 passengers in 2 days. Originally supplying power for traction for trams, it later extended supply to Eveleigh Railway Workshops (1900) and Central Railway Station (1907) (ibid, 2024, 37). It was of such importance to the Electrical Trades Union it was painted on their union banner by Edgar Whitbread in 1922 (Unions NSW submission, 4/2024).
Ultimo Post Office (1901 - 80s):
The purpose-built Post Office opened in 1901 (on the southeast corner of William Henry and Harris Streets (part of the subject block), replacing a postal operation at 484 Harris Street. It was designed in brick and sandstone in Federation Queen Anne style by the NSW Public Works Department's Government Architect's Branch under (the direction of) Government Architect, Walter Liberty Vernon. It formally commenced operating in July 1901, and continued until the 1980s (ibid, 2024, 37). Since the conversion of the site to a museum in the 1980s it has been used to support the museum function including as a childcare centre and museum volunteers' centre.
Switch House (1922 - 27):
This was built 1922 adjacent to the southern wall of the Turbine Hall. It was purpose-designed to house a new control room, switch gear, and transformers. Works enabled major upgrade of switching of the tram network (ibid, 2024, 38). While the 1980s museum design proposed its demolition and replacement, budget constraints resulted in retention and adaptive reuse. A new roof annex addition was built, which appears to have been initially intended to function as a cafe (ibid, 2024, 250).
Modernisation and Upgrade (1927 - 32):
Between 1927 and 1932 Ultimo Power House saw major modernisation and remodelling for greater efficiency. It became for a time the largest (electricity) plant in the Southern hemisphere (ibid, 2024, 38). From 1927 - 29, it was officially called 'Ultimo Power House'. By 1930, its title was 'Ultimo Power Station'. This continued in use by Electricity Commission and Railway Department until 1979 plans were announced for redevelopment, when its name reverted to 'Power House'.
In the 1920s, electrification of suburban railways led to substantial extension and re-equipping of Ultimo Power House, and White Bay Power Station started up as the second NSW Railway and Tramways Department generating station. These worked closely together until the 1950s.
Sydney Glass and Tile Co. / Herman Haege / petrol station / Dalton Building (1948 - 1963):
The Commissioner of Railways bought 550 Harris Street in 1948 for a frontage to Harris Street. State Railways operated the Power House until 1953 (ibid, 2024, 40). In 1954 Sydney Glass Co. sold their land to paper merchants Herman Haege Ltd. A section was leased to Ampol for a petrol station from 1957. In 1960 the 'Dalton Building' and store was built on Harris Street site of the former Sydney Glass Co. Building (next to Ultimo Post Office). A 1963 Sydney Water map shows Ultimo Post Office on the corner, adjoined by Herman Haege P/L, a right-of-way and service station (ibid, 2024, 69).
In 1953 all NSW power generation facilities were brought together under the Electricity Commission, to deal with chronic post-war power shortages. As the network expanded and new stations came online, Ultimo's old machinery and location saw progressive redundancy. Allied was closure of the tram system, in favour of buses from the 1950s, completed by 1963.
Ultimo Power House was decommissioned in 1963 (Engineers Australia citation, 1994) and closed on 11 October. It had become a minor component in the grid (mostly for trams), superceded in output since 1923 by White Bay Power Station (ibid, 2024, 40).
From its closure until the late 1970s, a range of options of what to do with it were explored, from demolition to reconstruction and intervention. This coincided with a period when the Musuem of Arts and Applied Sciences (MAAS) were investigating options for relocation from Sydney Technical College.
The Museum of Applied Arts and Sciences (MAAS): 1879 - 1981:
The MAAS was founded in 1880 after government acquisition of exhibits from the 1879 Sydney International Exhibition (in 'The Garden Palace', Sydney Botanic Garden) and known initially as the Technological, Industrial and Sanitary Museum of NSW, it suffered early loss with fire destroying The Garden Palace in 1882. With most collections lost, it was re-established in the Agricultural Hall (aka 'Tin Shed') near the State Library in 1883, under Joseph Henry Maiden. The conditions proved inadequate, and in 1893, the Technological Museum moved into a purpose-built home on Harris Street, Ultimo, within Sydney Technical College, where it stayed until 1988 (ibid, 2024, 41). By 1979 the Technological Museum had outgrown the 1893 building.
On 13 August 1979, Premier Neville Wran announced Ultimo Power Station and Tram Depot would become the new home of the MAAS. Dr Lindsay Sharp was appointed Director (MAAS) to oversee the transition and planning started with resumption of the William Henry and Macarthur Street block by the NSW Public Works Department in 1980. The design was coordinated by NSW Public Works Department in close association with the museum's in-house design team (ibid, 2024, 41).
The original construction plan for the new museum was to be undertaken in four stages.
Stage 1: Tram Depot to the Harwood Building:
Stage 1 was opened in 1981 by Premier Wran in an adapted Tram Shed, with exhibits including first railway locomotive (No. 1) in Australia, first car made in Australia, (Hector) Bleriot's monoplane and a replica of Lawrence Hargrave's box-kite. The building was renamed 'Harwood Building' to acknowledge the huge contribution of curatorial driving force behind development of Stage 1 and associated exhibition, Norman Harwood. He was at the peak of a 30-year career at the museum, largely building up transport and engineering collections. From other curators, he gathered object lists, specifications, ideas and aspirations and brought these into meetings with the Government Architect's Branch, public and private contractors. The aim was a sympathetic blend of respectful treatment of historic building envelope and a flexible and functional facility that would become 'Australia's most sophisticated museum services complex'. The close collaboration between museum, Government Architect's Branch and Public Works Department set the standard for Stage 2 (see 19th and early 20th century Tram Depot / Harwood building history, above).
The Harwood Building had five main functions: major workshop; state-of-the-art conservation laboratory; offices for collection management, exhibit design and specialist technical staff; climate-controlled storage area and a loading / receiving dock for secure object handling. Early on a decision was taken to include an exhibition gallery to provide the public with a foretaste of what to expect in Stage 2 exhibitions. It continued as the museum's primary exhibition space (until 1988's opening of the museum alongside) with exhibitions, interactive experiences and a learning laboratory.
Stage 2 Main Powerhouse Museum:
Stage 2 would occupy the former Ultimo Power House buildings next door. 1982 saw funding made available and works started on reconstruction. Primary individuals responsible were Lionel Glendenning, architect; Peter Johnson, Director of Design; Peter Root, Project Director; and Lindsay Sharp, PHM/MAAS museum director. They worked with structural and mechanical engineers, acoustics, interiors and exhibit designers, graphic designers, furniture makers and designers, curtain and carpet designers. The works involved many local firms and contractors, with over 250 people employed on site daily and over 300 individual building contracts let to local firms. Between 1981 and 1990, in anticipation of the new facilities, 24,948 objects, including donations and bequests, were accessioned into the MAAS collection.
A heritage report (Godden et al, 1984) reported on the condition of power house buildings (although the adaptation of Ultimo Tram Shed was undertaken prior to this, without detailed heritage assessment and recommendations (being) prepared. While the report made recommendations for retaining Power House equipment and machinery in its adaptive reuse and interpretation, the majority were overridden in the design process for budgetary and time reasons (ibid, 2024, 41).
Adaptive reuse works mostly resulted in the buildings remaining as shells only, with most original equipment, plant, machinery and finishes removed, refit(ted) with exhibits, amenities, services as required. The bulk of alterations and additions were along the Harris Street frontage, including the new Wran Building. The water conduit (Water Cooling System and Manifold) connecting Power House and Darling Harbour was repurposed to serve as part of air conditioning system (and continues to, today). According to Lionel Glendenning, the design of the Wran building responded to 'the golden mean proportion' of the Turbine Hall, with Vault 1 making reference to MAAS's first home the 1879 Garden Palace, and Vault 2 to the arches of the Boiler House (ibid, 2024, 41).
In 1984 the Darling Harbour Authority was formed to redevelop Darling Harbour as a tourist destination with museums, shops, entertainment, restaurants, hotels, monorail and bars, created as a gift to the people of NSW in celebration of Australia's Bicentenary as a nation, in 1988. This brought about major changes to Ultimo and Pyrmont. The new Powerhouse Museum was an integral part of this project of national importance.
The Bicentenary was a highly significant historic event also in raising the issue of Aboriginal rights on the international stage, with over 40,000 Aboriginal people and non-Aboriginal supporters staging the largest protest march held in Sydney (at the time), during celebrations. Aboriginal people from other states, rural and remote communities joined. It challenged white Australia's construction of the 1788 Botany Bay and Sydney Cove landings of the First Fleet, founding of the colony of New South Wales and what that represented. The march (through the city to Hyde Park) was both affirmation of indigenous Australians' survival and stark reminder of the falsity on which the celebration was premised, which ignored injustice, suffering and dispossession for Aboriginal peoples (Curio Projects, 2024, modified).
Stage 2 saw adaptive reuse of Power House buildings along with the newly constructed Wran Building (ibid, 2024, 42). This saved buildings from further deterioration and demolition. It was an important early heritage conservation activity following the Green Bans of the 1970s. This adaptive reuse is an early and important Australian example of this practice. Developing a museum in the cavernous spaces presented a unique opportunity to interpret MAAS's transport and engineering collections that documented the technological revolution in power around 1900 within a space contemporary with that transformation. Interiors were cleared, with the exception of gantry cranes and base of two Boiler House chimneys (re-purposed for ventilation). New internal floors were laid with reference to both the 1893 museum and 1879 Garden Palace, spaces created and new buildings (Wran Building and the Galleria) erected on the western side.
At completion, the museum was state-of-the-art in curatorial standards. Exhibition spaces were designed to be used flexibly, galleries with high floor and ceiling loadings and soaring spaces capable of enormous digital projections, suspended aircraft, steam engines and aerial acrobatics. The sea-water heat exchange and cooling system, reusing Ultimo Power House's redundant water-cooling system, provided 24-hour air-conditioned climate control, at 22 degrees Celsius, 60% humidity, high filtration of micro dust and gases. Low UV lighting and glass was installed; existing historic overhead travelling cranes refurbished and recommissioned, steam boilers and a bespoke reticulated steam supply system installed for the steam engine collection.
Stage 2 opened to the public in March 1988, as flagship MAAS exhibition space, with the Harwood Building becoming offices, workshops, and state of the art conservation laboratories and storage for the collection. The complex saw 20,000 visitors the first day and 25,000 the next. By September, it had received its 1 millionth. Between July 1988 and June 1989, there were 2,112,001. Architect Gae Aulenti who designed the interior of Musee d'Orsay (Paris, 1986) was an early visitor. It presaged London's Tate Modern, a converted Bankside Power Station - and yet-to-be adaptive reuse of Blackhawk Generating Station into Beloit College Powerhouse (USA).The Director of London's Science Museum, Dame Margaret Weston, stated at (the) opening that 'This museum will rate among the best in the world. The architecture of the old building blending with the new building and the exhibition design is splendid' (SMH, 11/3/1988). Other key early visitors included Sir Terence Conran, Trustee of (London's) Victoria and Albert Museum, later Chairman of the Design Museum; Richard McCormack, President of the Royal Institute of British Architects; Rt. Hon. Margaret Thatcher, UK Prime Minister; Her Majesty Queen Beatrix of the Netherlands; Daryl Jackson, architect for Museums Victoria; and designers Marc Newson, Philippe Starc, Karim Rashid and Ron Arad.
The re-design won numerous awards including Australian Institute of Architects (AIA) - NSW Chapter's Sir John Sulman Medal for public buildings (Powerhouse Museum) in 1988, the AIA National President's Award for Recycled Buildings, AIA NSW Chapter Belle Interiors Award for Interior Design, Australian Tourism Awards winner - tourist attractions (1988), and was a finalist for the National Sir Zelman Cowen Award. It won the ACROD Award for barrier free circulation, the 1988 Illuminating Engineering Society of Australia's Meritorious Award for display lighting in NSW, Westpac Museum of the Year Award (1988), the Australian Tourism Commission's Best Tourist Attraction in Australia Award (1988). It would win NSW Tourism Commission Tourism Award for excellence, major tourist attraction (1988), NSW Tourism Industry Association (ATIA) Award of distinction for outstanding contribution to tourism in NSW (1990) and a Building Owners and Managers' Association of Australia (BMOA) Award for excellence (1990). Further ATIA Awards flowed for excellence (1993), distinction in cultural tourism (1994), cultural tourism and distinction in the NSW Tourism Awards - major tourism category (1994). It was no. 3 in the top ten - the only venue that was not a dedicated event venue in the National Business Magazines' Top 100 Conference Venues (1997) and no. 5 in the top ten event venues (1998) and top ten finalist (2001) in those Australia wide National Business Bulletin annual surveys) (Sanders, 2008).
The complex influenced other adaptation projects in New South Wales, Australia and internationally (e.g. Casula Powerhouse (Liverpool) and Carriageworks (Eveleigh / Redfern) in NSW; Brisbane Powerhouse; and Longreach Powerhouse and Historical Museum in Queensland; Spotswood Pumping Station conversion into Scienceworks; and the Malthouse Theatre in Victoria; and adaptive reuse of Blackhawk Generating Station into Beloit College Powerhouse, Wisconsin in the USA (ibid, 2024.42) and of the Birkside Power Station into Tate Modern, in London, UK.
The Powerhouse was unique in being a museum devoted to applied arts, science and technology. Its nearest equivalents are the Victoria and Albert Museum in London, whose brief is 'art and design' and the Smithsonian Institution in America, which divides its operations between 19 separate museums. The diversity and extent of collections was notable.
The opening of the Sydney Monorail in July 1988 provided access to the new museum from Darling Harbour (and the City), with a nearby station (named Powerhouse Museum in 2002) and covered pedestrian walkway from it to the museum. The line was raised above ground and traffic and ran past the former Ultimo Power House's Boiler Hall alongside the light rail line (ibid, 2024, 42).
The learning environment, a direct result of the relationship of purpose-designed exhibits in the context of purpose-built and adapted buildings, was one of the first new Australian museums designed to move away from static displays to interactive engagement. The 1980s saw a movement towards exploration, interactivity and hands-on. These ideas were put into museum practice in science centres, focusing on experiential learning and the role of the museum to facilitate rather than dictate meaning. Glendenning's design lauded opportunities afforded by the Power House, accommodating both traditional style museum and more radical, experimental display spaces.
One review in the journal 'Technology and Culture' described the Powerhouse Museum as setting 'new standards for the emergent generation of Australian museums' and it was applauded for its 'interactive displays'. Its opening predated Questacon in Canberra and Scitech in Perth (1988); the Maritime Museum in Sydney (1991); Science Works in Melbourne (1992); the Melbourne Museum (2000). In 1986-87, William Burch, Assistant Director of the Australian Science and Technology Centre, Andrew Reeves, Deputy Director of the Museum of Victoria, and John Barker, Executive Officer of the Western Australian Science, Industry and Technology Council, all visited.
The Powerhouse Museum was the first of several post-modern developments in Ultimo, along with the ABC Centre and the University of Technology, building on the area's history of education and leading the way for newer and different industries centred around information and entertainment.
When it opened in 1988, there were 25 permanent exhibitions and, for the first two decades, these were updated with a program of partial or complete changes of content. Permanent exhibitions and galleries were supplemented with special events and visiting exhibitions.
In 2014 the government announced plans to relocate the museum to a new facility in Parramatta and sell the site for redevelopment. The ensuing public furore, with advocates on both sides, has dominated operation and perception of the museum until the present (2020) (National Trust of Australia (NSW).
In 2015 the Ultimo site was suggested for redevelopment whilst keeping a cultural use. The museum's heritage halls were expected to close on 30 June 2020. On 4 July 2020 the government announced it had abandoned plans to sell the site and will use the Parramatta site as a second Western Sydney location for the museum. This meant the MAAS would soon boast 4 centres, at Ultimo, Sydney Observatory, the Museums Discovery Centre at Castle Hill and Parramatta.
In 2020 the Ultimo Power House was listed on the State Heritage Register. Treasurer Dominic Perrottet and Arts Minister Don Harwin announced the Ultimo Powerhouse Museum would be retained and renewed (Curio Projects, 2022).
In 2021 the first post-COVID exhibition - one of 12 - featured largely homegrown displays embedded with social and oral history.
On 4 December 2023, Minister for the Arts John Graham announced a revised project scope for the Powerhouse Ultimo revitalisation, with a budget of $250 million (Curio Projects, 2024).
In February 2024 the museum closed to the public for three years in anticipation of regeneration as one ongoing home for the Museum, along with a new facility currently being built in Parramatta.
The Harwood Building in 2024 is still used by the Museum and staff for administration, conservation and exhibition construction (MAAS submission, 2024). |