What is transpiring at the
Eveleigh Locomotive Workshops must rank as one of the saddest episodes in
Australian heritage machinery conservation. This collection that is considered
by the Smithsonian Institute- Washington DC as “the largest most integral
collection of steam powered blacksmithing equipment left in the world” is
gradually having its value and viability eroded by a money hungry authority
with short-term expectations.
The Heritage and
Conservation bodies and community were promised early on that the correct
approach would be taken. This was backed up with a large number of reports and
studies, which have subsequently been largely ignored, making a mockery of
Planning Policy.
Early discussions at the
Planning Stage of the ATP made much of keeping the blacksmithing bays in tact
and operational. The Consent Conditions of the Development Application imposed
by the then Minister of Planning – Craig
Knowles specifically mention the Blacksmiths as having a lease and that two
half bays were to be kept operational. This was the ‘trade off’. The site could
be developed into the ATP providing the blacksmithing company of Wrought
Artworks remained, that the heritage blacksmithing equipment was operational
and they were to accommodate them by design. A $600,000 acoustic wall
was built to isolate the noise of the working museum, and vibration dampening
was incorporated into the floors of the adjacent bay. This is now being
disputed by Robert Domm – CEO of the RWA, who are saying “all prior agreements
are history”, implying that they have no bearing in the future. In point of
fact the prior agreements are binding and the RWA must honor the heritage
obligations they have inherited.
These representations and promises made to
Guido Gouverneur and Wendie McCaffley of Wrought Artworks gave them the
confidence to build up a business based on the Victorian
blacksmithing equipment in their care. They are now considered top of their
field by heritage architects and work primarily on conservation and Victorian
style reproduction ironwork for greater Sydney. In 2002 they won a
commendation from the National Trust for their work reproducing a Gate and
railings for Centenial Park Reservoir and in 2001 Guido was awarded a Citizen
of The Year award for conservation work on the Eveleigh machinery
collection.
In the early years sweat, toil and a
collective of enthusiasts with a passionate spirit for the place kept
the collection intact. Guido and Wendie have been instrumental for the only Trade
Course in Blacksmithing in Australia at Ultimo Tafe to remain viable. They
presently have 3 young people apprenticed in this rare trade skill and many
more have been trained in the workshop.
In 1997, on a recommendation from the
Heritage Council and as the result of extensive lobbying, a $300,000 State
Heritage grant was given by the Planning Minister, (supposedly to be matched
dollar-for-dollar by the ATP), for the restoration of the machinery collection
to become operational. It proposed to train young people on the project.
The grant did not get spent on its intended purpose. The only restoration to
make machinery operational has been done by the self –funding Wrought Artworks.
The past SHFA Manager of the ATP was
extremely pro-active and supportive of the heritage operation and its
integration into the Park. However for the entire three years the RWA have been
the managing body all requests for discussion on the operating heritage
blacksmithing workshop, or any property maintenance issues have been largely
ignored. The request for approval for Wrought Artworks to fix a floor problem
themselves was met with a letter of eviction and a notice to quit.
Wrought Artworks are the only people to have
cared for the machinery constantly, and to come up with a philosophy for the
long term. No doubt Robert Domm thinks if he gets rid of the blacksmiths he
also gets rid of any heritage machinery obligations or ‘watch-dogs’. Wrought
Artworks are now being considered as unnecessary. Possibly bolstered by the
completion of the building for The Ministry of Defense, by the commencement of
a new building for Channel Seven, and the hosting of some celebrity events
(such as the MTV Awards, and Top Model). the RWA have sent the eviction
unconscionably.
It wouldn’t take long for the idle machinery
to lose its interest, to lie languishing and forlorn as they do in the northern
bays of 1 & 2. The Henry Berry
Cranes from the Wheel Press Shop are rusting away in the out door elements,
unprotected and in pieces. It has become apparent by Robert Domms actions that
he has no interest in anything but commercial return and development. Why RWA want control of the blacksmithing
shop is undisclosed ,but according to Robert Domms exact words “You’ve had
long enough.
Without the human factor, the value of the
collection, the trade skilling fostered here, along with the usefulness of the
facility for Sydney’s
metal heritage maintenance, will be lost forever.
You can
find out more about Wrought Artworks and their campaign to continue to operate
the ATP Blacksmith Shop from this 10 minute video posted on Youtube at www.youtube.com/watch?v=vHLvipjAbBU
.
Wrought
Artworks is having an open day with tours and trade demonstrations on Sunday 17
August. 10 am to 3 pm
Bays
1 & 2 South , Eveleigh Locomotive Workshop
Australian
Technology Park
Cnr
Garden and Boundary Streets Redfern.