The Museum of Old and New Art Design Brief
ARCT4461 - Architectural Practice
Matthew Burleigh - 20950992 Zhifan Qiu - 20642154 Gordon Wong - 21230972
“Art in general, breaks down the frame of shared reality. Or, if it enhances that framework we call it beautiful.� - David Walsh
Contents Introduction
02
The Vision
04
The Site
06
The Museum and Gallery
14
Schedule of Accommodation
15
The Outdoor Spaces
18
Technical Considerations
20
Budget and Programme
22
Appendix: Drawings
A1
Assumptions
A7
Bibliography
A8
Museum of Old and New Art (MONA)
Introduction 01 -
Image 01: David Walsh Source: http://thenorthsider.com.au/spirit-david-walshs-tasmania/
Design Brief
Introduction The client, David Dominic Walsh, is a Tasmanian born businessman and professional gambler. He became a self-made billionaire through gambling shortly after leaving the University of Tasmania where he studied computer science and mathematics in 1979.1 Since the acquisition of his personal fortune, David Walsh has begun to pursue one of his long time passions; the collection of art. He began with the collection of various pieces of antique art, however, in recent years he has begun to expand his collection to also include numerous pieces from contemporary and modern times.2 David Walsh is the current owner of the Moorilla Estate, a large expanse of land located on the Berriedale peninsula, 12km North of the town centre of Hobart. Upon this land exists a winery that was founded in 1947 and despite the change of owners, continues to function to this day.3 It is also of note that in 1999, Walsh founded the Moorilla Museum of Antiquities within the Moorilla Estate’s boundaries just to the south of the winery itself. David has jokingly stated “nobody came”, so he has decided to expand.4 Although initially a joke, David Walsh has become very serious about expanding, and that’s where Fender Katsaladis architects will come in. Nonda Katsaldis and Fender Katsaladis architects have been chosen by David Walsh himself to become the masterminds behind the design of the Museum of Old and New Arts.5 This museum has the potential to become one of the largest privately owned museums within the entirety of Australia and David Walsh would like for your firm to be a part of this excellent opportunity. It is of note that in conjunction with the Museum of Old and New Art, your firm has been asked to design a number of guest accommodations that will need to be designed and built within the same time frame as the Museum. As a result, the brief concerning the design of the MONA Pavilions will need to be read and considered in conjunction with this document which is specific to the design of the Museum. David Walsh has also expressed an interest in the architects playing a major role in the layout of his eventual museum and the placement of his vast art collection. He looks forward to working alongside your firm to create a new architectural and cultural experience and landmark for not only Tasmania, but Australia as a whole.
1.
“Our mystery billionaire?,” James Thomson, published August 10, 2009, http://web.archive.org/web/20110126002204/http://www. smartcompany.com.au:80/entrepreneur-watch/20090810-our-mystery-billionaire.html 2. “Museum of Old and New Art,” World ebook Library, last modified 2014, http://www.ebooklibrary.org/articles/museum_of_old_ and_new_art#cite_note-14 3. “Winemaking History,” Moorilla, http://www.moorilla.com.au/winemaking/history/ 4. “MONA Building Fact Sheet,” Art Processors.net, last modified January, 2011, http://artprocessors.net/news/resources/MONA_ Building%20Fact%20Sheet_Jan2011.pdf 5. Ibid.
The Client - 02
Museum of Old and New Art (MONA)
The Vision 03 -
Image 02: Poo Machine Cloaca Professional by Wim Delwoye Source: http://thefoodpornographer.com/2014/06/mona-hobart/
Design Brief
The Vision “A subversive adult Disneyland”6 , these are the words that David Walsh uses to describe his vision. The Museum of Old and New Arts will serve as a location for the storage and display of the client’s personal art collection of over 400 pieces, ranging from antiquity to contemporary and modern.7 It will also be a forum for artists to express themselves in a way that has never been possible before. The client believes that Australian museums have placed far too much emphasis on showing art pieces that are both typical and traditional of already existing American and European museums.8 As a result of this, the client has envisioned a museum that is very unique within Australia and aims to “challenge the very notions of how art is experienced.”9 He wishes to show case pieces of contemporary and modern art, often of a potentially controversial nature, that can remain uncensored within the Museum of Old and New Arts.10 These pieces will come from his own collection and from the minds of contemporary artists. When discussing the exterior look of his future museum, the client has often stated that he pictures it being “deliberately underwhelming”,11 with the ability to “sneak up on visitors rather than broadcasting its presence.”12 In saying this, the client has made it clear that he does not want a large, imposing building within the surrounding landscape. He envisions something hidden and not immediately obvious to those who look upon it. This is something that must be considered in the planning stage as a large floor space will be required, and this will need to be accommodated without creating an imposing, multistorey structure. This understated artistic monument will serve as “the culmination of the vision and perseverance of one man”- David Walsh.13 To fulfil his vision, the client has deemed it necessary to fund the entirety of the museum himself. He is concerned that if he receives funding from elsewhere, he may lose autonomy over the project. This could interfere with the vision that he wishes to keep pure and entirely his own.14 The client believes that the proposed museum has the potential to become one of the largest privately owned museums in Australia. It will serve as a major tourist attraction within Tasmania, capable of enlivening the economy and boosting tourism within the state.15 It will respect the existing heritage of the Moorilla estate while simultaneously becoming an integral part of the site, and eventually an important part of its history. The Museum of Old and New Arts will represent the client through the embodiment of his philosophy and vision, and will become an iconic landmark of Tasmania. 6.
“Tasmania’s subversive adult Disneyland opens with MONA,” Carol Raabus, published January 21, 2011, accessed March 29, 2016, http://www.abc.net.au/local/photos/2011/01/21/3118505.htm 7. World ebook Library, “Museum of Old and New Art.” 8. “MONA, a Museum at the End of the World,” Matt Siegel, published March 2, 2012, accessed March 30, 2016, http://www.bloomberg. com/news/articles/2012-03-01/mona-a-museum-at-the-end-of-the-world 9. Katelin Butler, Rachel Hurst, Jason Smith, “Museum of Old & New Art (MONA),” Architecture Australia 100, no. 5 (2011): http://architectureau.com/articles/the-museum-of-old-new-art/ (accessed March 29, 2016). 10. Michael Connor, “MONA’s Brutal Banality,” Quadrant 55, no. 4 (2011): 28-32. http://search.informit.com.au.ezproxy.library.uwa.edu.au/ fullText;dn=942158539847984;res=IELLCC (accessed April 1, 2016). 11. “MONA Museum of Old and New Art: Tassie’s controversial museum is the vision of one man,”Australian Concrete Construction 25, no. 1 (2012): 24-25. http://search.informit.com.au.ezproxy.library.uwa.edu.au/fullText;dn=998908884110327;res=IELENG (accessed March 31, 2016). 12. “Museum of Old and New Art,” David Neustein, published July 28, 2011, accessed March 29, 2016, http://www.australiandesignreview. com/architecture/2280-museum-of-old-and-new-art 13. “MONA Museum of Old and New Art: Tassie’s controversial museum is the vision of one man, “ 28. 14. Connor, “MONA’s Brutal Banality, “ 28. 15.
“MONA Museum of Old and New Art: Tassie’s controversial museum is the vision of one man, “ 28.
The Vision - 04
The Museum of Old and New Art (MONA)
The Site Image 03: The Moorilla Estate Winery
05 - Source: https://www.tripadvisor.com.au/Hotel_Review-g1783376-d501739-Reviews-Mona_Pavilions-Berriedale_Glenorchy_Greater_Hobart_Tasmania.html
Design Brief
The Site Location Hobart was founded in 1803 as a penal colony and has in the present day become the capital of the Australian Island state of Tasmania.16 In addition to this, Hobart can also be considered the financial and administrative centre of Tasmania. As of 2001, the population of Hobart has been estimated at approximately 47,300 people in total.17 Hobart plays host to a large tourist industry. Tourists come to the small city to explore its vibrant nightlife culture, historic inner suburbs as well as its numerous acclaimed restaurants and cafes. Hobart also serves as a place in which many tourists use as a base when further exploring the entirety of Tasmania.18 Within Hobart is the northern suburb of Berriedale which sits only 12km north of Hobart’s city centre. Within the suburb exists a 3.5 hectare peninsula19 upon which the Moorilla Estate is located. The Site The proposed location of the Museum of Old and New Art is to the south of the Moorilla Estate winery. Upon the site exists two Roy Grounds houses possessing heritage value. The first of these is the Round House, while the second is the Courtyard House. It is of note that in 1999 the Courtyard house underwent a series of upgrades to turn it into the current Moorilla Museum of Antiquities.20 It is of upmost importance that these structures be respected and taken into consideration throughout the design process. It is expected that the Courtyard house be incorporated into the final design with the potential for the Round house to be utilised as well. There are a number of trees amongst other landscaping elements that are able to be removed from, or maintained upon the site. It is also of note that the site consists of an undifferentiated Alluvial Soil21, while the cliff faces consist entirely of natural sandstone.22 As soon as a design has reached approval, the site will be cleared accordingly and be prepared for construction. The only immediately obvious limitation upon construction and design is the existence of the heritage structures that the client has asked to be respected.
16.
“Tasmania History,” about Australia, accessed March 30, 2016, http://www.about-australia.com/facts/tasmania-history/ “Demographics,” City of Hobart, accessed April 1, 2016, http://www.hobartcity.com.au/Hobart/Demographics 18. “Hobart and South,” Discover Tasmania, accessed March 30, 2016, http://www.discovertasmania.com.au/about/regions-of-tasmania/hobart-and-south 19. Art Processors.net, “MONA Building Fact Sheet.” 20. Ibid. 21. “Reconnaissance soil map series of Tasmania: Hobart,” Department of Primary Industries, Parks, Water and Environment, accessed April 1, 2016, http://dpipwe.tas.gov.au/Documents/hobasoil.pdf 17.
22.
“MONA Museum of Old and New Art: Tassie’s controversial museum is the vision of one man,” 24.
The Site -
06
Site Location
Hobart
Transport Map
The Berriedale Peninsula 12km North of Hobart’s City Centre
Site Plan
Moorilla Estate Winery
Moorilla Museum of Antiquities
Roy Grounds: Courtyard House
Roy Grounds: Round House
Existing Structures
Site boundaries
Site Boundaries
The Museum of Old and New Art (MONA)
The Museum and Gallery Image 04: The Moorilla Estate/ Wine Labels - Paul Barbera Photographer
13 - Source: http://www.paulbarbera.com/Moorilla-Estate-Wine-Labels-On-location-in-Tasmania
Design Brief
The Museum and Gallery The galleries within the museum will be defined by the character and identity of the art pieces within. These galleries will aim to embody the vision and aspirations of not only David Walsh, but his unique and vast art collection as well.23 The client has asked that the architect play a hand in the eventual planning and arrangement of his vast art collection within the museum. The Client wishes to create an unorthodox and unconventional museum. The design must stand out and separate itself from other museums within Australia.24 There must be no “white cube” or traditional museum elements, everything within the museum must work towards creating an unconventional and “subversive adult disneyland.” The available site and existing structures within the Moorilla estate can be seen in the Appendix. It is encouraged that the Museum of Old and New Art makes use of the already existing museum and aims to work cohesively with the heritage structures upon the site.25 Upon studying the site plan, it will become clear that it is recommended that the southern side of the Berriedale peninsula is utilised for the Museum of Old and New Art. With limited space for expansion, it will become clear that building upwards or downwards will become an appropriate method of construction in order to accommodate the required number of galleries and spaces. It is also of particular note that disability access will need to be considered and provided within the museum It has been envisioned that the final resulting museum will be designed and constructed in tandem with the exterior landscaping projects in order to accommodate large festivals and performances, as well as with the heritage of the already existing structures in mind.
23.
Butler, Hurst, Smith “Museum of Old & New Art (MONA) “. Ibid. 25. Ibid. 24.
Design Objectives - 14
The Museum of Old and New Art (MONA)
Schedule of Accommodation Assigned Areas (Space)
Net Square Meters (m²)
Exhibition Galleries
140 - 170
- Flexible performance theatre - Control room - Seating, stage, equipment storage area - Technician Office - Dressing Room
Retail - Museum Gift shop - Stock room and Offices
Library - Library - Study Facilities - Storage
Cafe - Cafe - Kitchen - Receiving - Trash Room - Storage - Offices
Offices - Administrative Offices - Curatorial Office - Conference Rooms - File Storage/Work room
Storage - Perminent Art Storage - Temporary Art Storage - Shipping/Receiving - Crate Storage - Art preparation/Conservation Storage - Storage Offices
Maintenance - Control Room - Custodial Office - IT and Workrooms - Equipment Storage - Grounds Maintenance Equipment - Staff Breakroom - Locker rooms
Total Assigned Area
15
play a major role in the eventual placement of Walsh’s collection.
4,700 1,300
Theatre for Time Based Art
- Ticketing and Information Desk - Coat Check/Lockers - Storage
Notes (Comments)
6,000 Approx. 75% It is requested that the architect
- Exhibition Gallery Space - Touring Gallery Space
Visitor Services
Net Area (%)
Approx. 2% Must be able to accommodate 65 seats with the potential for additional temporary seating.
-
140 - 170
Approx. 2% Includes all required help desk
service space. Does not include potential queuing areas.
30 - 40 100 - 110 10 - 20
310 - 330
Approx. 4% For the sale of merchandise. Additional storage will be provided off site as well.
260 - 270 50 - 60
160 - 190
Approx. 2% Space required for the storage and display of various books acquired by the client.
90 - 100 40 - 50 30 - 40
190 - 250 Approx. 3% The client is open minded
towards the idea of a potential restaurant and/or bar in which the Moorilla Estate wines may be showcased.
80 - 90 40 - 50 10 - 20 10 - 20 30 - 40 20 - 30
300 - 340 Approx. 4% Encompasses all office facilities for all staff within the museum.
110 - 120 90 - 100 60 - 70 40 - 50
350 - 410
Approx. 5% Highly controlled
environmental storage will be required for pieces that may be sensitive to temperature or lighting.
100 - 110 50 - 60 50 - 60 50 - 60 70 - 80 30 - 40
220 - 290 Approx. 3% It is of note that hydraulic,
electrical and mechanical services have been classified as unassigned to allow more flexibility within the design.
20 - 30 20 - 30 40 - 50 40 - 50 20 - 30 60 - 70 20 - 30
Approx. 7810 - 8150
100%
Design Brief
Unassigned Areas (Space) Lobbies Circulation Restrooms Mechanical Spaces Electrical Spaces Hydraulic Spaces Structural Spaces Stairs Elevators External Landscaping Spaces Total Unassigned Area Total Gross Museum Area
Net Square Meters (m²) -
Net Area (%) -
Notes (Comments) All unassigned areas are open for interpretation and may take up as much or as little space as is required for an appealling design to work effectively.
Approx. 1500 - 2000 Approx. 9310 - 10,150
Design Objectives - 16
The Museum of Old and New Art (MONA)
The Outdoor Spaces 17 -
Image 05: Traverse City Wine and Art Festival - Example of what the client wishes to achieve Source: http://www.prweb.com/releases/2013/1/prweb10366692.htm
Design Brief
The Outdoor Spaces Objective With the intention of hosting large scale art festivals and live performances,26 it is important that the greenery surrounding the museum is taken into consideration. As the Berriedale Peninsula already possesses extensive greenery throughout the site, it should be noted that much of this can potentially be preserved and expanded upon to create the space required. As the client has already begun discussing the idea of hosting a number of art festivals, it is imperitive that the final design provide a number of large open spaces. These external spaces will aim to frame the museum, create space for festivals and performances, while also creating areas to simply be enjoyed and relaxed in. Requirements - Festivals and Performances The outdoor spatial layout will serve as a location for Festivals, live performances and large art exhibitions.27 As a result, the outdoor areas must be able to accommodate facilities typical of festivals and performances, including but not limited to: toilets, stage and sound equipment, potential coverage and the setting up of food and merchandising stalls. The outdoor spaces must be planned in order to accommodate a diverse range of functions, activities and events. The space should be left largely open and free from fixed structural elements, as to provide more freedom for any temporary requirements that may need to be met. - Lighting For the most part, the external spaces will be left largely open and free from obstruction. As a result, it is expected that natural lighting will be prominent within the site. However, as a number of events may be hosted after twilight, it is a requirement that additional artificial lighting be provided to provide illumination when natural light may not be available. - Greenery The provided outdoor spaces will be left largely open with maintained and landscaped grassing areas. These spaces are expected to become a part of the proposed museum and include a number of native foliage and trees while still providing large open spaces. - Accessibility Similar to the museum, the outdoor spaces should encourage universal access and welcome a large diversity of people within its boundaries.
26. 27.
“MONA: Festivals,� MONA.net, accessed April 1, 2016, https://www.mona.net.au/what’s-on/festivals Ibid.
Design Objectives - 18
The Museum of Old and New Art (MONA)
Technical Considerations 06: View of Hobart City Centre 19 - Image Source: http://tcbatasmania.com.au/background/about-weather-hobart/
Design Brief
Technical Considerations Infrastructure Infrastructure already exists upon the site for the existing structures including the winery and heritage housing. However, it is of note that no current infrastructure is in place at an appropriate scale to accommodate the new museum. As a result, mechanical, electrical and hydraulic services will need to be implemented in conjunction with the museum. Scale The client has made it clear that he wishes for a structure that appears undersized for a museum of its scale.28 To meet the site boundary requirements, it is suggested that building underground rather than above ground may be the most suitable course of action. However, it should be noted that the client is willing to consider larger, more prominent designs as long as they are appealling. Inclusion of Heritage Structures With the existence of the heritage listed Roy grounds round house and courtyard house within the proposed site boundary, it is recommended that these two structures be incorporated into the design of the museum.29 It is believed by the client that these two structures will be able to adopt a new functional use within the Museum of Old and New Art. Tasmanian heritage laws must be taken into consideration throughout the design process. Transportation A number of transportation options have been considered and are intended to be implemented in conjunction with the construction of the museum30: - Fast ferry services There are intentions to create a ferry route that leaves from the centre of Hobart and will take approximately 30 minutes to reach the Museum of Old and New Art. - Bus An express bus service is intended to be offered, departing from the same terminal within the city centre of Hobart or the airport. Once again, the coach will take approximately 30 minutes. - Car Parking will be available and free, however, available space is expected to be limited. - Bike Bike hire is additionally intended to be offered from the city bus/ferry terminal for those who are so inclined. Landscaping The Berriedale is a large, open peninsula with a vast amount of greenery. It is of upmost importance that a level of landscaping and greenery be incorporated into the museum’s design. These green spaces will serve as areas for festivals, live performances and large scale art exhibits as well as places of relaxation and peace.31 Upon the finalisation of a design, the appropriate land will be cleared as required in preparation. 28. 29. 30. 31.
“MONA Museum of Old and New Art: Tassie’s controversial museum is the vision of one man,” 24. Butler, Hurst, Smith “Museum of Old & New Art (MONA) “. “MONA: Getting Here,” MONA.net, accessed April 1, 2016, https://www.mona.net.au/visit/getting-here/ MONA.net, “MONA: Getting Here”.
Technical Considerations - 20
The Museum of Old and New Art (MONA)
Budget and Programme 21 -
Image 07: The collector, David Walsh by Geoffrey Dyer
Source: http://www.artgallery.nsw.gov.au/prizes/archibald/2011/28915/
Design Brief
Budget The budget: $60,000,000 - $70,000,000 This allocated budget is not inclusive of GST (Goods and Services Tax). It should also be noted that this listed budget is not inclusive of consultant fees. The client has made it clear that there will be no monetary support from alternate sources. As a result of this, it is important that the final design comply with this budget as closely as possible.
Programme Stage
Date
Stage 1 - Concept Design
40 weeks March 2006 - December 2006
Stage 2 - Concept Refinement
4 weeks January 2007
Stage 3 - Design Development
10 weeks January 2007 - April 2007
Stage 4 - Development Application
12 weeks April 2007 - July 2007
Stage 5 - Contract Documentation
20 weeks July 2007 - November 2007
Stage 6 - Closure of Existing Site
November 2007
Stage 7 - Site Preparation
8 weeks February 2008 - March 2008
Stage 8 - Construction
98 weeks April 2008 - February 2010
Stage 9 - Defects Liability Period
52 weeks February 2010 - January 2011
Stage 10 - Grand Opening
21 January 2011, Coinciding with MONA FOMA Festival
Budget and Programme - 22
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Appendix
Drawings - Site Plan - Site Boundary - Existing Structures - Current Transportation - Future Transportation - Site Data
A1 A2 A3 A4 A5 A6
Assumptions
A7
Bibliography
A8
Site Plan
Maximum Site Boundary
Moorilla Estate Winery
Moorilla Museum of Antiquities
Roy Grounds: Courtyard House
Roy Grounds: Round House
Important Existing Structures
Moorilla Estate
Ferry route
Bus and Car route
Hobart
Travel from the city centre to the site
N
100m Public transport
Car
Pedestrian
Transportation within the Berriedale Peninsula
Annual Sun Path Diagram (Degrees) 350°
N0°
10°
340°
20°
330°
30°
320°
40°
310°
50°
300°
60°
290°
70°
280°
80°
W
E
260°
100°
250°
110°
240°
120°
130°
230°
220°
140° 210°
150° 200°
160° 190°
S
170°
Annual Windrose Diagram (Percentage) N
NW
NE
SE
SW
S
Annual Temperatures and Rainfall
50%
40%
30%
20%
10%
W
E
The Museum of Old and New Art (MONA) - Appendix
Assumptions General The entirety of this brief has been written under the assumption that David Walsh, the client, has already decided that he wishes to construct a museum and has enrolled the help of a project manager to organise this brief. The architect Nonda Katsaladis has been approached and both parties have expressed an interest in working together. It can be assumed that the time period in which it was written is placed in 2005. It has also been assumed that David Walsh already possessed the intention of utilising his site for the use of festivals, live performances and large art exhibits. Furthermore, he intended to include the already existing heritage structures in the design of the museum from the beginning. Finally, it has also been assumed that the architects played a major role in the final laying out of David Walsh’s art collection within the galleries. Schedule of Accommodations The Schedule of Accommodation was largely constructed around information provided by the “MONA building fact sheet” found at art processors. From there, the rest was figured out by calculating the total remaining net area and then considering/ applying the standard elements that are required within most museums. Budget The budget has been decided at between $60,000,000 - $70,000,000 based on the knowledge that the final cost reached $75,000,000 and the unlikelihood of a project of this scale staying perfectly within the budget constraints. As such, the initial cost can be estimated to have ranged from approximately $6,000 per square meter, to $7,000 per square meter. Programme The programme has been calculated on prior knowledge of when the original Moorilla Museum of Antiquities closed down and when the Museum of Old and New Art officially opened. In addition to this, the Time and Expenditure chapter of the RBB was used to estimate the time frame in which the design and documentation phase may have taken place. This information has been based on a formula originating from the Division of Building Research of the C.S.I.R.O. Exclusion of the MONA Pavilions This brief focuses specifically on the Museum of Old and New Art. However, it should be noted that the MONA Pavilions were also designed by Fender Katsaladis Architects alongside the Museum. It can be assumed that the details for the design of the MONA Pavilions were issued in a separate brief and intended to be read in conjunction with the brief for the Museum.
A7 - Assumptions
The Museum of Old and New Art (MONA) - Appendix
Bibliography About Australia. “Tasmania History.” Accessed March 30, 2016. http://www.about-australia.com/facts/tasmania-history/ Art Processors.net. “MONA Building Fact Sheet.” Last modified January, 2011. http://artprocessors.net/news/resources/MONA_Building%20Fact%20Sheet_Jan2011.pdf Butler, Katelin, Rachel Hurst and Jason Smith. “Museum of Old & New Art (MONA).” Architecture Australia 100, no. 5 (2011). http://architectureau.com/articles/the-museum-of-old-new-art/ City of Hobart. “Demographics.” Accessed April 1, 2016. http://www.hobartcity.com.au/Hobart/Demographics Connor, Michael. “MONA’s Brutal Banality.” Quadrant 55, no. 4 (2011): 28-32. http://search.informit.com. au.ezproxy.library.uwa.edu.au/fullText;dn=942158539847984;res=IELLCC Department of Primary Industries, Parks, Water and Environment. “Reconnaissance soil map series of Tasmania: Hobart.” Accessed April 1, 2016, http://dpipwe.tas.gov.au/Documents/hobasoil.pdf Discover Tasmania. “Hobart and South.” Accessed March 30, 2016. http://www.discovertasmania.com.au/ about/regions-of-tasmania/hobart-and-south Fender Katsaladis Architects. “MONA Museum.” Accessed March 28, 2016. http://www.fkaustralia.com/project/s/name/mona-museum/ James Thomson. “Our mystery billionaire?.” Published August 10, 2009, http://web.archive.org/ web/20110126002204/http://www.smartcompany.com.au:80/entrepreneur-watch/20090810-our-mystery-billionaire.html “MONA Museum of Old and New Art: Tassie’s controversial museum is the vision of one man.” Concrete Construction 25, no. 1 (2012): 24-25. http://search.informit.com.au.ezproxy.library.uwa.edu.au/fullText;dn=998908884110327;res=IELENG MONA.net. “Museum of Old and New Art.” Accessed April 1, 2016. https://www.mona.net.au/ Moorilla. “Winemaking History.” Accessed March 29, 2016. http://www.moorilla.com.au/winemaking/history/ Neustein, David. “Museum of Old and New Art.” Published July 28, 2011. Accessed March 29, 2016, http:// www.australiandesignreview.com/architecture/2280-museum-of-old-and-new-art Raabus, Carol. “Tasmania’s subversive adult Disneyland opens with MONA.” Accessed March 29, 2016, http:// www.abc.net.au/local/photos/2011/01/21/3118505.htm Siegel, Matt. “MONA, a Museum at the End of the World.” Published March 2, 2012, Accessed March 30, 2016, http://www.bloomberg.com/news/articles/2012-03-01/mona-a-museum-at-the-endof-the-world World ebook Library. “Museum of Old and New Art.” Last modified 2014. http://www.ebooklibrary.org/articles/ museum_of_old_and_new_art#cite_note-14
Bibliography - A8