The University of SydneyArchitecture and Enterprise Projects for the Broken Hill Film Studio

The Faculty of Architecture, Design & Planning & the Business School

The publication of this book has been aided by the University of Sydney:

Faculty of Architecture, Design and Planning, the Business School and the Broken Hill City Council.

Copyright 2012 by the University of Sydney

All rights reserved, no part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission.

All images and diagrams are the original works of students.

Grpahic Design: Lilian Tuohy Main

Editing Team: Kevin LiuLilian Tuohy Main Shuang Wu

With additional help from:Michael TawaRichard SeymourMegan Donnelley

The University of SydneyArchitecture and Enterprise Projects for the Broken Hill Film Studio

The Faculty of Architecture, Design & Planning & the Business School

1.0 INTRODUCTION

2.0 BACKGROUND TO PROJECT

3.0 PROPOSAL ONE ART SPACE BROKEN HILL

4.0 PROPOSAL TWO MINERAL AND MINING CULTURAL CENTRE

5.0 PROPOSAL THREE FILM STUDIOS

6. 0 PROPOSAL FOUR FILM TOURISM

7.0 APPENDIX ACKNOWLEDGEMENTS

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13

23

35

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68

WE WISH TO ACKNOWLEDGE THE TRADITIONAL CUSTODIANS OF THE LAND ON WHICH THIS

PROJECT TOOK PLACE, THE BARKINJI PEOPLE. WE ALSO WISH TO PAY RESPECT TO THE ELDERS

BOTH PAST AND PRESENT.

This project was supported by the The University of Sydney's Strategic Teaching Enhancement

Projects, and involved faculty and students from The Faculty of Architecture, Design and Planning

and The Innovation & Enterprise Program at the Business School. The project was first conceptualised

in 2010, when we met and worked together in Alice Springs.

We knew that there were a rich vein of potential projects that could be mined by combining our skills

in design and architecture with business and entrepreneurship. Michael was seeking to challenge

his students to be actively engaged with community needs and opportunities. Similarly, Richard

was seeking to challenge his students to be deeply embedded in the context of entrepreneurship,

and expose them to the complexities and realities of new business development. We wanted to

provide our cohorts the opportunity deliver practical and valuable contributions to communities and

businesses (be they commercial or social enterprises). But above all, we were both keen to ensure our

students were jointly engaged with problem-based learning, knowing it would provide a rich and

safe environment in which our students could develop their functional knowledge (such as design,

finance and marketing), social skills (including communication and negotiation) as well as their

personal attributes and dispositions (such as social awareness, curiosity, passion for excellence etc.).

This collaborative project delivered the opportunity to do all of the above. More importantly, it also

provided a wonderful opportunity for us to learn together. In essence, it allowed us to combine the

entrepreneurial understandings of exchange with the architectural understandings of space. Our

students were required to better understand the architectural approaches to design and development,

as well as the entrepreneurial approaches to business development. They also witnessed how these

approaches must combine if we are to realise change.

Having teams of architecture and business students working together was not without its challenges.

Fortunately these problems were minor, perhaps because there was so little opportunity for ‘group-

think’ and so much demand to share the different ‘ways of seeing’ the problem before us. We all

benefitted from the tensions between expansive thinking and practical constraints.

Though we were working to tight deadlines and were limited by available resources, we consider the

four design master plans and four business plans delivered to our client (The Broken Hill City Council)

to be of high quality. From this short publication we hope that you will enjoy exploring some of the

students’ creativity and analyses. Our visit was enriched by the many generous locals we met, and

we are grateful for your contribution to the success of the unit of study. On reflection our two weeks

in Broken Hill were too short, and so we look forward to deepening our involvement with ongoing

project work. We hope that our learning will continue to support your local visions for growth and

renewal.

Thanks go to the 22 architecture and business students who played the major part in the success of

this project. You have exciting careers ahead of you, and we wish you all the best of luck in the future.

Special thanks also to the people who pulled this together, including Debra Jones & UDRH Broken

Hill, Andrea and Lydall Roberts & Broken Hill City Council, and Megan Donnelley & Remote and Rural

Enterprise. We also gratefully acknowledge the generous support from The University of Sydney’s

Strategic Teaching Enhancement Projects and the Broken Hill City Council. Finally, thank you Kevin

Liu, Lilian Tuohy Main, and Shuang Wu from The Faculty of Architecture, Design and Planning for your

work to document the project outcomes.

We look forward to our next collaboration.

Professor Michael Tawa, Lecturer in Architecture: History and Theory

Dr Richard Seymour, Program Director Innovation & Enterprise,

The University of Sydney Business School

F R O M P R O F E S S O R M I C H A E L TAWA & D R R I C H A R D S E Y M O U R

Students gather around for a group photo outside the Civic Centre, July 2012

A P E R S P E C T I V E F R O M B R O K E N H I L L C I T Y CO U N C I L

The mission for the students was to deliver sustainable and integrated business and architectural

plans for Broken Hill Studios; a captivating 2.5 hectare precinct set to become an economic and

creative hub, pivotal to the future of Broken Hill.

Building on existing plans and data the students took care of the vision that this community has

defined for the site. They heard the local stories and delivered outcomes that were entrepreneurial,

enterprising and innovative. Outcomes anchored in our core brand values to be awe-inspiring,

humanistic, open, original and fearless.

Importantly, their fresh and creative vision resonated with this precinct, which speaks of unlimited

potential and is so physically defined by its historic infrastructure set against the Line of Lode.

This ambitious project is the first tangible realisation of the Memorandum of Understanding signed

between Broken Hill City Council and the University of Sydney.

The project outcomes will continue to be of value as we attract increasing interest in the site.

Andrea Roberts

Manager Economic Development

Broken Hill City Council [BHCC]

The Remote and Rural Enterprise (RARE) Program facilitates two-way learning experiences for

postgraduate students at The University of Sydney. It aims to support entrepreneurship teaching

and learning in a way that also benefits remote and rural enterprises and their communities.

Entrepreneurship is a powerful vehicle for generating change and value (whether that be pecuniary,

social, cultural or environmental). It is empowering, for both students and communities, and has the

potential to address many of the challenges in remote and rural Australia.

Entrepreneurial learning does, however, require additional support and collaboration, and cannot be

learnt through traditional classroom methods of teaching. Since 2011, RARE has facilitated scores of

visits to allow students to experience first-hand the challenges and opportunities facing remote and

rural Australia, and to ensure they can contribute to the sustainable development of local enterprise

initiatives. RARE and her supporters provide the additional resources, know-how and structures to

ensure student engagements are valued by remote and rural enterprises.

This multidisciplinary cohort was RARE’s largest engagement (our typical engagement sees teams

of two students working with local enterprises). As such, it posed many challenges for both students

and the Broken Hill community. We embraced this as a fantastic learning opportunity for the Program,

gaining experience and insights into the coordination, planning, and support required by a larger

multidisciplinary cohort. The overall success of the engagement was ensured by the high calibre of

the students selected, the experience in community-engaged teaching held by Prof Tawa and Dr

Seymour, and the vision, flexibility and support offered by the Broken Hill City Council.

I would like to thank everyone who made this project a success, and hope that this will be the first

of many ‘large scale’ cross-disciplinary projects. I am pleased that RARE could play its part in this

communities of learning, and look forward to our ongoing engagements with enterprises and

communities in the region, and with multiple faculties across the university.

Megan Donnelley

Remote and Rural Enterprise Program Coordinator

USYD Business School

R A R E R E F L E C T I O N S O N B R O K E N H I L L

B AC KG R O U N D TO P R O J E C T

The Broken Hill Film Studio project was set up in 2012 between the Broken Hill City Council, the

Faculty of Architecture, Design and Planning and the Business School of The University of Sydney. It

forms part of a wider institutional engagement in the region by The University - in particular through

the work of The Broken Hill University Department of Rural Health; but now extending by way of a

recently signed Memorandum of Understanding between the University and Broken Hill City Council

to develop engagement and research projects of mutual benefit. The project was supported by the

The University of Sydney's Strategic Teaching Enhancement Projects.

The aim of the project was to explore design options and feasibility studies for adaptively reusing

the obsolete Line of Lode power station and site in south Broken Hill. The intention was to reuse the

site, but also to generate new business activity on that site. For the Faculty of Architecture, Design

and Planning and the Business School, the project offered an opportunity to establish a new, cross-

disciplinary educational setting for community engaged, real-world, problem-based learning that is

rare in mainstream architectural and business education. These two objectives – pedagogical and

professional – provided the framework for the project, whose key objective was to investigate ways

of building financial, vocational and regional capacity through the proposed Broken Hill Film Studio.

Architecture and Business students were organized into collaborative groups of four to undertake the

project. After two short orientation sessions at in Sydney, students spent ten days in the Silver City and

worked intensively to investigate, test and make propositions based on the Council’s brief. Several

consultations with individual and groups enabled students to appreciate in detail the design, site,

social, vocational, touristic and economic contexts for the project. Students mapped and surveyed

the site and buildings, spoke to local educators, artists and indigenous representatives and visited

numerous key tourist sites and museums.

Students developed and collectively applied their disciplinary skills in architecture and business to

address the brief. Each group prepared an architectural design master plan for the site and a business

plan for one of the four key components of the Broken Hill Film Museum: a film studio, an outback film

museum, a minerals museum and an educational and artists in residence facility. Four themes guided

the work: sustainability, education, arts, and indigenous culture. Students presented their interim and

final projects directly to the Broken Hill City Council and a panel of industry experts, receiving direct

feedback. This book is a record of the four master plans and business plans produced by the students.

We trust that the designs documented provide Broken Hill City Council with tangible visualisations

and projections of what the site could look; how it might be organized; how it might function; how it

might reach out into the community and create an inclusive facility for all; and how it might contribute

to capacity building across the region. Though the business plans associated with the film studio, art

space, mineral and mining museum and film tourism are not presented in detail, we are confident

that the work delivered to the Broken Hill City Council can be shared with future enterprises to create

significant value for those businesses and the community.

We hope this project will capitalise on the rich history and landscape of Broken Hill, and look forward

to developing the ideas presented in this manuscript.

Broken Hill is a remote mining town on the border of New South Wales and South Australia;

approximately six hours drive from Adelaide and 14 hours from Sydney. The first mine, Broken Hill

Proprietary (now known as BHP Billiton) was established in Broken Hill in 1885 and helped catapult

the region to the forefront of the mining industry. During the 1950s, the Broken Hill mining industry

employed 6500 people and contributed to significant wealth of its residents. It is this very heritage

that has made the town famous for being the birthplace of the Australian mining industry.

Broken Hill now boasts a population of approximately 20,000, 35% of which are over 55 years of

age. This ageing population has given Broken Hill its reputation of a retirement town, where 40%

of the population receives government benefits including pension, newstart allowance, parenting

payments and youth allowances.

The dilapidated power station on Broken Hill’s south side presents a unique opportunity to transform

the town into an extraordinary cultural and educational precinct for both tourists and locals.

Approximately 12,390m2 in area, the enormous site is only 1.5kms from the city centre and is adjacent

to the historic Line of Lode.

The location of Broken Hill in presents a few geographical issues for the site and the council. The

logistics of materials and access to specialised labour to such a remote destination is restricted. At

the same time, Broken Hill's isolation contributes to its identity and makes it unique in an increasingly

globalised society.

B AC KG R O U N D TO B R O K E N H I L L B AC KG R O U N D TO P R O J E C T ( CO N T. )

A N O V E R V I E W O F T H E S I T E

Figure 1: Site Access

Figure 3: WInd Analysis

Figure 2: Sun Analysis

The location of Broken Hill presents numerous challenges for the design and entrepreneurial

objectives of the project. Some of these challenges include:

Remoteness

1200km to Sydney, 510km to Adelaide and 849km to Melbourne. The distance and central locality of

Broken Hill to key urban centres raises numerous considerations:

Centrally located, meaning Broken Hill can function as a ‘hub’ between various

states and cities.

Broken Hill’s isolation is a major component of what makes it unique. In an

increasingly globalized society, maintaining uniqueness is increasingly a priority.

The supply of materials to the site is more expensive.

Access to specialised labour and construction services is limited and must compete

with local mining operations.

The Landscape of Outback Australia

The harsh climate of the landscape will affect the durability of building materials.

This should be taken into consideration when making choices about the materials

to be used throughout the project.

The dramatic light conditions of Broken Hill should be utilised in the organisation

and orientation of existing spaces and architectural interventions.

Access to water is another consideration. Implementing appropriate landscaping

and conserving and storing water directly on site should be made priority. The

implementation of sustainable water conservation strategies should occur early on

in site development.

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A C I T Y D I V I D E D

Within the context of Broken Hill there is a distinct disconnection between the Northern and Southern

sides of the city. This divide may be attributed to:

1. Geographical Divide

The Line of Lode creates a topographic divide between the two sides of the city. This also disconnects

the site visually.

2. Cultural Imbalance

The majority of cultural organisations (museums, art galleries, cafes etc.) are located on the Northern

side of the city.

3. Insufficient Transport Linkages

- Buses: Buses travel to the Southern side infrequently and along a single route. (This route does not

pass or stop anywhere near the CPS site.)

- Pedestrian: Distances between relevant parts of the city are too far to cover by foot.

- Vehicle: There are only singular roads coming around to the Southern side

4. Tourism Imbalance

All tourist facilities are located on the Northern side of the city. Currently there is no primary attraction

to bring tourists to the Southern side of Broken Hill.

5. Health Concerns

Prevailing Southerly winds mean the Southern side of the city is more directly affected by the ffff

pollution generated from the operating mine.

CPS SITE

BROKEN HILL L LLL LLLLLLLLL L LLL L LLLLLL LLLLREGIONAL ARTARAAARARARARAAAAAAAAAAA GALLERY1

2 BROKEN HILLART EXCHANGE

PRIVATE ART GALLERIESMUSEUMS

N

A R T S PAC E B R O K E N H I L L

Art Space Broken Hill focuses specifically on the use of the buildings on the site as the new campus

for ART SPACE: Broken Hill, The Broken Hill Film Studios and the Broken Hill Museum of Heritage. The

project takes inspiration from a number of international art and cultural precincts which have been

instrumental in transforming the cities and communities they have been a part of.

This summary outlines the process in which this master plan was developed. The project goals were

informed by meetings with people actively involved in the art community of Broken Hill, people

engaged in education at the local schools, the staff at the Broken Hill Regional Art Gallery and finally

those who operate the private galleries that are so characteristic of the Broken Hill Art Community.

An important part of the research process involved the study of numerous international art

communities, which provided examples of where art and cultural precincts have had a positive

impact on the local community around it. This has some bearing on the architectural response of the

master plan as they provided clues and precedents which were then used to help define a brief that

would later be developed on in the master plan.

Following on from that was an analysis of the unique urban character of the site and places the project

in the context of Broken Hill in terms of social, economical and architectural issues. Due to the rural

and distant nature of the site, these were important in developing an appropriate response.

The three prevailing themes of the project can be summarised as thus: concentration of spaces,

programmatic flexibility, and sensitivity as a response to heritage.

The proposal is broken up into three precincts which are then each broken up into 3 construction

stages.

THE ART PRECINCT TEAM

Architecture Students: Yuliya Chistyakova, Kevin Liu, Lilian Tuohy Main

Business Students: Tom Tramby, George Hokhlov

Fig 1. Rendered impression of internal art space. Station A as an artists incubator.

Broken Hill City Council’s overarching objectives are clearly stated in their call for expressions of

interest in the Broken Hill Film Studios and other investment related opportunities.

“BHCC’s overarching objective is to utilise the Broken Hill Studios in an economically and socially

productive manner. This will be done by attracting appropriate interest and investment in the further

development, management and operations of the precinct.”

BHCC Expressions of Interest Document

ARCHITECTURAL OBJECTIVES

Foster local, national and international talent while utilising Broken Hill’s unique desert,

mining and rural character.

Provide a physical location for the collaboration of different disciplines of creative practice.

With the inclusion of an on site art library and Indigenous archive, we aim to promote

education and research in the arts with an emphasis on conserving and preserving Broken

Hill's natural and cultural heritage.

BUSINESS OBJECTIVES

Continue the redevelopment and rejuvenation of the Broken Hill Studios and precinct site.

Provide economic and wider follow-on social benefits to Broken Hill, its community and

the wider region.

Be integrated and coordinated with broader efforts and related opportunities to continue

to promote Broken Hill as a thriving tourist and cultural destination, drawing on the area’s

unique heritage and environment.

D E F I N I N G A B R I E F F O R T H E C P S

PRECINCT 1 Art Space Broken Hill

AS BH

PRECINCT 3Broken Hill Museum of Heritage

MHBH

PRECINCTPRECINCTT 2TTBroken Hill Film Studio

FSBH

A R T S S PAC E B R O K E N H I L L

A R C H I T E C T U R E

Our business plan explores the commercial feasibility of the proposed Broken Hill Art Space (BHAS) as

a development within the Broken Hill Central Power Station (CPS) Site. Broken Hill is a highly cultured

town with a wide variety of artistic opportunities and unique landscapes.

The art scene in Broken Hill is healthy, with the town boasting more galleries than pubs. Broken Hill

has a rich art making history with strong links with prominent Australian artists such as Pro Hart, Julie

Hart, Howard Steer and the members of the Brushmen of the Bush. Broken Hill also has an existing art

exchange program and the region also boasts several existing art retreat programs through initiatives

with UNSW at Fowlers Gap.

The rationale behind the facilities at the proposed BHAS is the generation of an environment where

everything that is needed can be conveniently located on site. The key value proposition is that

of convenience, so the artists are able to concentrate on their work. The vision is to combine rural

getaway accommodation with art education workshops to create a unique space where artists can

live, relax, work and finally exhibit their works. The main market segment for the proposition is made

up of students.

We have also proposed a scheme of governance to account for the management of the precinct's

facilities and activities. A scheme of governance is highly important in making sure such a complex

precinct runs well and is sufficiently financed.

F I N D I N G F E A S I B L E S T R AT E G I E S

TRUST/BHAM

BHAS FILM STUDIO MUSEUM OFHERITAGE

Fig 1: Site Governance Structure (BHAS= Broken Hill Art Space)

Fig 2: BHAS Governance Structure & Programs

DIRECTOR

STRATEGICPROGRAM MARKETING CURATOR ADVISORY

BODY

PUBLIC PROGRAMS

EXHIBITIONHALL

SITE TOURS

PUBLIC ARTSPROGRAM

RESIDENCY

ACADEMY

2 WEEKCOURSE

DAILY COURSES

INDIGENOUSSTUDIES

ARTIST PROGRAMS

EDUATION &OUTREACH

Typical 6 bed student dorm

Each bay in the annex will be converted to 6 bed dorms for student accommodation. The existing Concrete rooms which previously housed cooled air will be converted into a bathroom and provide shower and toilet facilities to each bay.

The existing steel ladders will be retained for access to the concrete roof above for additional workspaces.

A short verandah with stair access to the gardens in front is also provided.

External blinds are used during the summer months to reduce solar heat gain during the day. Otherwise during winter, the expanse of glass provides warmth and sunlight during the colder months.

Typical artist studio / residence

The remaining 4 bays will then be converted into self sustaining artists residences. Studio accommodation is provided within the concrete rooms.

Workspaces in the basement are also included for artists to use during the day or at night.

CONCENTRATED SPACESA SUSTAINABLE APPROACH TO THE CPS SITE

It is evident that resources, both economic and environmental are limited. By 'concentrating’ spatial

elements, internally and externally, the site can be developed and function in a sustainable manner.

Strategies of Concentration include:

1. Concentrated Landscaping:

Remediation of the heavily polluted site will be a costly and time consuming procedure, therefore

this requires a targeted architectural response. If emphasis is placed on smaller areas that are then

developed to a higher quality, the overwhelming task of total site remediation is diminished. The

Inujima Art Project in Japan provides an example of how remediation has been achieved through

architectural intervention. By restricting the amount of land dedicated to landscaping and using only

native, arid-landscape appropriate vegetation, water can also be conserved.

2. Limiting the number of new architectural interventions:

Rather than designing new elements for the site, the strategy is to ‘work into’ the existing buildings.

This saves both on material and construction costs while also preserving the strong character of the

site.

3. Incorporating internal ‘hubs’ in the internal spaces of buildings:

The site's overwhelming scale places its vitality at risk. If activity is distributed throughout the entire

site, the energetic atmosphere of spaces would be threatened. For this reason internal ‘hubs’ have

been designed to concentrate people and activity in smaller spaces that function at a more human

scale.

S M A L L A P P R O AC H E S / B I G I D E A S

V E H I C L E A N D ACC E S S S T R AT E G I E S

HEAVY GOODS ACCESS

> A route for heavy trucks is provided that runs along therear of Station A, B & C. This allows heavy machinery, sets,exhibitions and artworks to be moved around and sharedbetween the three precincts. This access way can be shutbetween the three precincts. This access way can be shut down when required for privacy.

< To the Airport,Broken Hill North

Gate to Film Studio

> Gate to the film studio precinct. Allows the precinct to be shut down to cars and pedestrians during productions.

ACCOMMODATION PARKING

> Drop off area for coachesand buses for large groups. Additional turning circle forlarge vehicles to turn out of the site.

ADDITIONAL PARKING

> Additional parking would be added to the site during laterstages to provide additional capacity during festival and other public events.

N.B Numbers indicate Vehicle Capacity

> Access to Rockwell Street

> To Sydney,Menindee Lakes

> To Fowlers Gap

Architectural rendered impression of the Annex Building

The Broken Hill Minerals and Mining Museum project aims to transform the old Central Power Station

and surrounding precinct into more than just a dilapidated shell of a structure, but rather, into a living,

breathing, public, working institution of film, history, technology, education and entertainment – the

only one of its type in Australia.

It is envisaged that the derelict site could eventually be integrated into and play an active role in the

community. Transforming Broken Hills Central Power Station will be a catalyst for engaging with local

audiences on a much deeper level, and aims to broaden its tourist market by creating a destination

that people want to visit. This plan also recognises the importance of building strong links with the

local community, and developing the educational capacity of the community, as well as making links

to the indigenous community, and bolstering the idea of a two way learning stream.

This development provides an alternative economic driver within the city, and eventually aims to

replace the mining economic dominance, once resources are depleted. The Broken Hill cultural

precinct intends to become a place for a vibrant community to develop and evolve. To become

an artistic centre and destination for Regional Australia. A place of innovation, inspiration and

regeneration.

Four key aspects are woven into the scheme; Indigenous, Art, Education and Sustainability. And

through our design, we have attempted to develop spaces and strategies aimed to promote an

inclusive and interwoven community between all facets.

The Central Power Station is located on the southern side of the Line of Lode. The mullock heap

dissects Broken Hill, leaving the southern side dislocated from the town centre. As a

result this area is neglected. We see the potential of this site to become a new hub of cultural activity,

and bring new life to the south Broken Hill precinct.

THE MINERALS AND MINING TEAM

Architecture Students: Matthew Gardner, Stephanie Gotis-Graham

Business: Brittany Ann Roper, Elisa Chan, Tony Huang

M I N E R A L S A N D M I N I N G M U S E U M

ARCHITECTURAL OBJECTIVES

Foster local, national and international talent while utilising Broken Hill’s unique desert,

mining and rural character.

Provide a physical location for the collaboration of different disciplines of creative practice.

Promote forward thinking education and research in the arts through the conservation and

preservation of Broken Hill’s natural and cultural heritage through the inclusion of an on-site

library and archive.

BUSINESS OBJECTIVES

To be recognised as a leading rural museum where locals, tourists, educators and students can experience the history of Broken Hill’s minerals and mining industry and incorporate the following values:

Engagement: We aim to foster long-term, two way communication and engagement with

local residents, tourists, students and strategic partners.

Discovery: We encourage a sense of discovery and inspire inquisitive, creative minds.

Community: We strive to enrich the vibrant community in which we operate.

Sustainability: We seek to be sustainable in several aspects of the word: environmentally,

socially, culturally and financially.

D E F I N I N G A B R I E F F O R T H E C P S

outdoor garden

education facilities artists studio

soft landscaping“artist playground”

45 angledstreet parking

film studioworkshop

filmstudio

artistsresidence

private parkingfor employers

retail precinctcafe - restaurant

exposed foundationof building A

works as a thoroughfare

gift shopmining museum

film museum

proposed residentialextended public landscaped area

truck route

internal rockclimbing wall

existing residential

M I N E R A L & M I N I N G M U S E U M

M I N E R A L & M I N I N G M U S E U M

B U S I N E S S M O D E L O V E R V I E W

The Broken Hill Mining Association (BHMA) is a nonprofit organisation, which aims to communicate

and preserve Broken Hill’s unique mining heritage through a dynamic, interactive and entertaining

environment. The Broken Hill Mining Experience (BHME), run under the BHMA will act as a hub where

visitors will have the opportunity to discover more about Broken Hills unique mining history.

PROMOTION AND MARKETING

The promotion and marketing of the BHME is crucial for its success due to its remote location. This

can be done in a number of ways including the standard print, online, radio and television. However,

the BHME should first focus on creating an experience that will self promote through word of mouth.

The business should leverage off its business network and partnerships and ensure there are strong,

healthy relationships to support any promotional efforts.

Our recommendation is that the BHME be run under a non-profit entity, the Broken Hill Mining

Association (BHMA). The NSW Government defines non-profits as those organisations that do not

operate for the profit or gain of individual members; rather they operate to reinvest any revenue

back into the organisation. While the BHME will exist under a non-profit status, it should seek to self-

generate 95% of its revenues, while the remaining 5% of required funds should be generated from

government grants, corporate sponsorships and donations.

Figure 1: Demonstration Broken Hill Mining Associations strategic overview. It provides five key supportive structures from which to base organisation’s strategy. The environment, mission, objectives and supporting organisational arrangements each combine to provide the framework for thorough strategy development.(Repurposed from Hambrick and Fredrickson’s 2001 article, ‘Are you sure you have a strategy?’ )

"I know not everybody sees what I see in rocks, but that's what makes them so special...beauty is in the eye of the beholder [...] one mistake people make is that they assume because minerals are rare, people will like them"

- Milton Lavers

MISSION OBJECTIVESORGANISATIONAL ARRANGEMENTS

STRATEGIC OVERVIEW

ENVIRONMENT

OBJECTIVES: (See Table 1)

1. Support Broken Hill Tourism and re-branding.

2. Communicate the social, cultural and economic

history of Broken Hill as it relates to mining and

minerals.

3. Develop a sustainable business model and

encourage the sustainability of the Power Station.

4. Increase capacity of the Power Station Precinct

5. Provide a forum to promote education.

ENVIRONMENT 1. Current situation, context of Broken Hill2. Opportunities and Threats

Interactive Mining History of BH Rock Climbing Gift and Retail Experience Tours Activity Centre Shop

SERVICE DESCRIPTION

The experience will be developed in such a way that it will engage visitors’ auditory, visual, tactile

and olfactory senses. While education will play a role in the experience, it will be incidental to the

entertainment factor, which we believe is what will drive higher visitor numbers. The museum

experience should display the following information in an interactive, dynamic and overall

entertaining way:

1. The history and impact of mining in Broken Hill, Australia and the rest of the world.

2. Personal stories and experiences of miners and miner’s families. For example, long work

days, working by candlelight.

3. A more general history of Broken Hill, as well as its current social and economic situation

(including impact on health, education and the Indigenous population).

4. The basic origins and development process of Broken Hill’s minerals.

5. The future of mining and developments in sustainable land use.

Objective Tactics

Objective #1Support Broken Hill tourism and re-branding metropolitan and regional museums, allowing their

guests to have free access to the BH Mineral and Mining Museum

business community

Objective #2Communicate the social, cultural and economic history of Broken Hill as it relates to mining and minerals

dynamic experiences that can be regularly updated

Objective #3Develop a sustainable business model and encourage the sustainability of the Precinct and Broken Hill’s existing business networks

packages with existing local mining attractions and businesses

Objective #4Increase capacity of the Power Station Precinct and Broken Hill’s existing business networks partners as required

volunteers for our business partners

Objective #5Provide a forum for and promote education to host school children and events

regional students can engage in inquiry and exploration based learning experiences.

Objective #6Promote and increase community engagement

meetings and events

and programmes on social media channels

O P E R AT I O N S , S E R V I C E S A N D O B J E C T I V E S TA B L E O F P R O P O S A L O B J E C T I V E S

Table 1: Minerals and Mining project objectives an artists incubator.

Staging Strategy (Architecture)

Some of the existing structures will be removed to allow for greater spatial relationships across

the site. Southern side of Site A will be subject to demolition to allow greater access and act as a

thoroughfare and provide an entry to the mining museum.

Staging Strategy (Business)

In addition to precinct staging, where the BHME is developed in the fourth stage, it is also

recommended to stage the business. This will be done in three stages:

Stage 1: This is the biggest development stage of the project. In this stage the BHME will be

constructed with its interactive, dynamic and entertaining displays. The visitors will be able to walk

through the whole site. The rock climbing facility will remain hidden from visitor view until stage 2 is

complete. This stage should only use 75% of the available budget for the mining experience.

Stage 2: This step involves the development of the rock climbing facility. It will utilize 75% of the

available space and activate the remaining part of the site to the public.

Stage 3: This final step will begin when adequate visitor feedback has been obtained and relevant

data analysed. The remaining 25% of the BHME budget will be used to make changes to the mining

experience and site according to the visitor feedback. Depending on the capacity and customer

feedback, part of this money will also be used to expand the rock climbing facility.

S TAG I N G A P P R O AC H

Some existing structures will be removed to allow for greater spatial relationships across the site. Southern side of Site A will be subject to demolision to allow greater access and act as a thoroughfare, and entry to the mining museum.

1. Fit-out Studio B2. Fit-out Site C

(workshops)3. Convert wash house to

film offices/admin4. Demolish site office5. Fit-out of gift shop6. Restaurant/cafe new

build7. Adaptive reuse of

Assay8. Carpark changed to

landscaping9. New site parking

10. Site A clearing, partialdemolition, resurfacingof site, acoustics

11. Museum typedevelopment

12. Offices and Administration

13. Water tower partdemolition

14. Annex for residence15. Cleaning site elements

for tourists16. Water cooling station17. Educational, arts, Indig-

enous precinct18. Exhibition spaces19. Indigenous infrastruc-

ture20. Workshop21. Landscaping

22. Basement excavation/demolition

23. Basement redevelopment

24. Underground tunnel 25. Detox oil drums 26. Oil drum refitting 27. Oil drum climbing wall

refitting 28. Landscaping film

tourism area 29. Landscaping around

drums

30. New development31. Demolish existing

residential structures32. Landscape old

residential site +redirect truck route

D E F I N I N G A B R I E F F O R T H E C P S2

35 6666

77

8

99

101100000

111111

12

13

14444111444411

1555555

161617

181920

21

29

222422227

28

2523

26

31 303332

threshold zones

t

entry zonesemining and arts

m

film tourism and studio

MINERAL MUSEUM FILM TOURISM FILM STUDIO RETAIL + CONNECTION ARTIST RESIDENCE EDUCATION ART PRECINCT RESIDENTIAL DEVELOPMENT

Site

Open Space

Primary Road

Secondary Road

The conceptual intention over the site is to create a series of programmatic threads, and a catalogue

of physical fabrics, and begin to weave them together over the site, and over a staged development

process. This interweaving is intended to strengthen the site and the community, creating a resilient

relationship between site, program and community.

The film studio requires direct and isolated traffic routes and parking solutions. The proposal features

a service road which runs along the rear of the site. There is enough space to allow the loading and

unloading of crew trucks and trailers in two lanes whilst through traffic can be maintained in a third.

Provisions have been made for an educational precinct on site. The education facilities will be for

local learning and external placements. An inclusive indigenous program will be integrated within the

Education Precinct. The expansion of the education facility will be linked to the expansion and success

of the site as a whole. As the site expands, capacity will increase and newer more discipline-specific

facilities can be built.

Integration of the precinct within the surrounding neighbourhood is essential. The streetscape

improvements will focus along Eyre and South Streets connecting to local Patton St district.

Suggested streetscape improvements include new footpaths, street lighting, branded street banners

and landscaping.

When the studio is being used for filming it must be isolated from the public. This also includes the

associated workshop spaces as well as a post-production space. A few isolated and secure areas do

allow for public viewing of the studio. This weaving occurs throughout the site. The public exclusion

zone is shown in red.

When filming is not in operation, it is envisioned that the public will have access to most areas, except

production offices in the annex and the dedicated music and photography studio.

THE FILM STUDIO TEAM

Architecture Students: Jamie Hogan, Brenton Romeo, Sebastian Tiong

Business: Greer Ambrose, Brendan Baxter, Devin Periera

B R O K E N H I L L F I L M S T U D I O S

STA

GE

1ST

AG

E 2

STA

GE

3ST

AG

E 4

P R O J E C T S TAG I N G A N D A P P R OAC H

Above: Different, flexible configurations are proposed to suit the various degrees of film shooting.Above: Staging Diagram

Aims:

To value the strength of infrastructure at the Broken Hill CPS site as a means of developing, fostering,

and investing in innovative human capital in the Creative Industries.

Our vision is to create a governing body, Rural Screen, that naturally encourages industry, creativity,

education and economic sustainability in the outback.

F I L M S T U D I O

F I L M S T U D I O

The business model and overarching strategy for the precinct has been designed around four major

stages that can be further subdivided into timely introductions based on two factors: financial

feasibility and commercial need. This strategic allocation of scarce current resources is in response to

the initial available funding being lower than expected.

The business model and in turn the strategy are geared towards creating a Rural Screen Body,

established in Broken Hill, that operate out of the CPS site. This body is made up of a complex network

of partnerships with pre-established rurally geared businesses and organisations.

The precinct offers a unique selling proposition in that they provide low-cost film studio and

production facilities that cater to the unique needs of directors and producers. The red-sands, made

famous by movies like Mad Max, and the near-barren, green landscape in times of precipitation provide

the Council with the ability to market the environment to a wider range of potential candidates.

Education

The proposal provides for educational facilities on the site which would cater to all types of educational

partners so as to ensure that the precinct becomes a focal point of learning in the community. The

establishment of satellite campuses would provide educational institutions an opportunity to develop

more programs such as the University of Sydney’s RARE program and an AFTRS rural development

program.

Indigenous Culture & People

Priority should be placed on providing opportunities to seamlessly incorporate the valued indigenous

people and their unique cultures into the Broken Hill Studios Precinct. This would involve the

formation of partnerships with indigenous broadcaster organisations to promote the commercial,

education and cultural sides of the precinct.

The precinct offers a unique selling proposition in that they provide low-cost film studio and

production facilities that cater to the unique needs of directors and producers. The red-sands, made

famous by movies like Mad Max, and the near-barren, green landscape in times of precipitation provide

the Council with the ability to market the environment to a wider range of potential candidates.

The business model and in turn the strategy are geared towards creating a Rural

Screen Body, established in Broken Hill, that operate out of the CPS site. This body is

made up of a complex network of partnerships with pre-established rurally geared

businesses and organisations.

B R O K E N H I L L F I L M S T U D I O S

Above: Pakistan landscape compared to Broken Hill

Left: Proposed Rural Screen Business Model

Above: Identifying market segments for the Broken Hill CPS site

Government BodiesScreen NSW

Arts South AustraliaAustralian Television

NetworksFox Studios

ImparjaNITV

Intermediaries to the creative industries

Music and photography companiesProduction/advertising companies

ShineFreemantle

Kennedy Miller Mitchell

Complimentary small businessesLawyers

Talent ServicesCatering

Established recognised artistsUndergraduate and post-graduate

creative studentsQUT Fine arts film and TVTAFE & Make Up courses

Individuals seeking storage solutionsIndividuals seeking building

and/or workshop facilities

1st

2nd

3rd

4th

Rural Screen

Film Studio Station C Production

Offices

Station A + Other Buildings on CPS

Site

Broken Hill City Council

Trust (BHAM)

Elevation One

Section One

Section Two

S I T E S E C T I O N S

The Broken Hill Film Attractions Masterplan (BHFAM) is a project focused on cultivating the existing

film culture of Broken Hill. Broken Hill offers a unique range of outback and town locations which

have become backdrops for a number of film, photography, television and various media productions.

Some of the classic films made in Broken Hill include Mad Max 2 (1981), Priscilla (1994) and Wake In

Fright (1971).

The main benefit of filming in Broken Hill is the close proximity of the fantastic outback locations to

the town and its facilities. The BHFAM seeks to capitalise on this by creating connections to key film

sites via bus tours and/or self-guided road tours. The newly proposed tourism precinct will become a

central hub that acts as a starting point for tourists looking to explore Broken Hill and its surrounding

regions.

There is a strong intention for the new precinct to provide a fresh and more dynamic experience

of film for interested tourists (both local and international) which will potentially also increase the

number of visiting tourists substantially.

This Film Attractions proposal also seeks to restore and exhibit the power station’s heritage with the

objectives of adaptive reuse, community, innovation, education and culture. Central to the scheme

is a state-of-the-art film museum; which acts as a cultural repository, showcasing film history and

innovation in Broken Hill to locals and visitors.

THE FILM ATTRACTIONS TEAM

Architecture Students: Angus Henson, Zoe Mairs & Shuang Wu

Business Students: Richard Kroon, Julia Sobishchanska & Senyu Zheng

B R O K E N H I L L F I L M AT T R AC T I O N S

ARCHITECTURAL OBJECTIVES

Adaptive Reuse: The strategy of adaptive reuse will be applied across the precinct to create

new uses for the site while minimising the cost and energy consumption associated with new

works and conserving the unique industrial heritage of the site.

Sense of Community: The project seeks to provide new recreational and educational facilities

for the community. There is also a vision to create new communities between locals, the

Indigenous community as well as visiting tourists.

Education & Culture: The project supports multidisciplinary learning and collaboration by

integrating innovative programs into the arts precinct, film museum, film studio and mining

and mineral museum spaces.

Site Sustainability: The proposal will promote environmental technologies, art installations as

well as native landscaping. These interventions will combine to help regenerate the current

site.

BUSINESS GOALS & OBJECTIVES

Film Archiving: Gather iconic outback film material (stories, locations, objects) and to curate and showcase these treasures to inspire people to visit and stay in Broken Hill.

Public Engagement: To foster a relationship between people and the outback through the

medium of film through festivals and masterclasses.

Innovative Technologies: Explore and create ways of providing a 'living museum' through a

combination of interactive physical and digital technologies. This is intended to deepen the

impact of the museum's physical artifacts and the stories being told about them.

A R C H I T E C T U R E & B U S I N E S S O B J E C T I V E S

12 13

14

15

10

1

2

3

4

5

6

7

8

9

11

LEGEND

Bar + Restaurant (Tanks)

Information Lookout (Water Tower)

Film Museum (Station A)

Film Studio Workshop (Station C)

Offices (Station C)

Storage (Station C)

Workshops (Station B)

Production Offices + Residence (Annex)

Outdoor Art Shed

Indoor Art Workshops

Heritage Gallery

Sunken Gardens + Outdoor Displays

Native Gardens

Residential Park + Playground

Outdoor Performance Spaces

1

2

3

4

5

6

7

8

9

10

12

13

14

15

F I L M TO U R I S M P R E C I N C T

Fig. 1. Landscaping approach masterplanFig 1 Landscaping approach masterplan

Fig. 2. Themed approach masterplang pp p

Fig. 3. Masterplan of public facilities

11

F I L M TO U R I S M P R E C I N C T

Summary

This section outlines the potential for Broken Hill to access three currently untapped local tourism

opportunities. These include a Broken Hill Film Museum, a Broken Hill Film Festival and Film Making

Master classes. These three opportunities are evaluated in terms of economic and community benefit.

The Film Museum is found to be likely to generate sufficient revenue to cover a Broken Hill market rent

on the space required within the CPS site, create jobs for the community and turn a profit but would

require a supportive property developer for it to be feasible. The Film Festival is found to require

relatively little startup capital and ongoing investment, provided the right partners can be engaged

and furthermore, may be viable without the Film Museum needing to be built first. The Master Classes

rely upon sourcing high profile directors to be teachers, but if that hurdle can be overcome then the

model seems sound. Of the three opportunities the Film Festival is the most attractive as it requires

the least amount of start up investment and would bring significant benefits to the community of

Broken Hill.

Mission

To gather iconic outback film material (stories, locations, objects) and to curate and showcase these

treasures to inspire people to visit and stay in Broken Hill. In addition, the plan aims to foster a deep

and meaningful relationship between the general public and the outback through the medium of

film while attracting and inviting film makers and cineastes to engage with Broken Hill. The following

proposal is divided up into four interrelated components:

The Broken Hill Digital App

The app forms the centerpiece of the projects in this proposal. By allowing users to both

view and create content by commenting and video blogging, it would allow visitors to

engage in a more meaningful way. These aren’t just the stories of the high and mighty or the

rich and famous, these are the stories of your peers told through the filter of the outback.

The exploration of the physical and the digital simultaneously is intended to deepen the

impact of both the museums physical artifacts and the stories being told about them. It is

essential to our mission.

B R O K E N H I L L F I L M TO U R I S M

Fig 2. Identifying how digital-physical relationships would work in the proposal.

Strengths:

Unique location

Great story to tell

Accommodation and food value

Weaknesses:

Airport Capacity

Lack of 5 star accommodation

Tyranny of distance

Seasonal dependence

WS O

T

Opportunities:

Large untapped tourists market

Opportunity to develop new

products

Cooperation with other businesses

Threats:

Existing businesses in Broken Hill

Film Studio does not succeed

No guarantees of film success

Fig 1. SWOT Analysis

The Broken Hill Film Museum

The Film Museum will be an exciting and dynamic exhibition space for the physical artifacts

of film creation intertwined with a tablet enabled digital experience that supports visitors

in their exploration of the space. In the museum building there will be spaces designed

to invite the visitor to pause and explore the digital space of the museum, a web of the

digital artifacts that have resulted from the creation of the film. The interaction between

physical and digital will be facilitated by QR codes that can be read by the tablet and used

as a jumping off point into the digital part of the museum.

The Broken Hill International Outback Film Festival

The final component of the proposal is an annual seven day themed film festival, the first

of which would be titled ‘Broken Hell’, which would showcase and rebrand Broken Hill as a

horror film destination with the hopes of attracting more tourists and encourage the local

population to participate in newly created attractions.

Film tourism offers a unique experience to travellers who are willing to follow their idols and

travel to places where films were made while also introducing tourists and travellers to the

wonders of Broken Hill itself. It would offer much more than just seven days of horror movies

by providing additional unique experiences of visiting the magnificent desert where Mad

Max 2 and Wake in Fright were filmed.

The main audience of this festival would be tourists, cineastes, film industry members, the

media, film buffs and an assortment of the general public.

Film-Making Master Classes

Since the number of tourists who visit Broken Hill in summer is less than that in winter, there

is more spare space both in town and on site during summer vacation. The Film Master Class

is designed for those students who intend to start their careers in the film industry. Each

class will have no more than 20 students led by a well-known film professional. The master

class will generally last half a month (two weeks).

Fig 4. Digital devices mediating between spaces and events.

Fig 3. Hambrick and Fredrickson strategy diamond (2001)

CO N T I N U E D

E CO N O M I CLO G I C

A R E N A S

V E H I C L E S

D I F F E R E N T I ATO R S

S TAG I N G&

PAC I N G

FILM MUSEUMWORKSHOPS

The film workshops located within the film museum will provide novice film makers and the public with a creative space for film making.

NATIVELANDSCAPING

Landscaping is a significant intervention on the site. The landscaped areas within the site will make use of flora native to Australia andwill be inspired by the outback qualities of Broken Hill; light quality, red earth and minimalist landscaping.

TANK BAR & RESTAURANT

The larger of the two tanks on site will be converted into a large restaurant/ function space that can be used by families & large groups.

OUTDOOR PERFORMANCESPACE

The outdoor amphitheatre will provide an informal venue for local events to take place such as indigenous dance. It would also be suitable for large family gatherings such as picnics & parties and cultural festivals.

INFORMATIONLOOKOUT

The lookout will provide a point on the site from which the geography of Broken Hill can be experienced.

A R C H I T E C T U R A L I N T E R V E N T I O N S

We'd like to thank the following for their support in this project:

The University of Sydney:

Faculty of Architecture, Design and Planning

The Business School

The Broken Hill University Department of Rural Health

Broken Hill City Council

The Citizens of Broken Hill

Broken Hill Regional Art Gallery

Broken Hill Artist Exchange

Professor Michael Tawa

Dr Richard Seymour

Megan Donnelley

Andrea Roberts

Lyndall Roberts

Deb Jones

Nola Whyman

Louise Fowler-Smith

Susan Thomas

List of participating students:

Group 4 Film Museum

Angus Henson

Zoe Mairs

Shuang Wu

Richard Kroon

Julia Sobishchanska

Sen Yu Zheng

Group 3 Film Studios

Jaime Hogan

Brenton Romeo

Sebastian Tiong

Greer Ambrose

Brendan Baxter

Devin Periera

Group 2 Minerals Mining

Matthew Gardner

Stephanie Gotis-Graham

Elisa Chan

Tony Huang

Brittany Roper

Group 1 Art Space

Yuliya Chistyakova

Kevin Liu

Lilian Tuohy Main

Tom Tramby

George Hokhlov

AC K N O W L E D G E M E N T S