PUBLIC ART CAPABILITY by TURNER

2022 PUBLIC ART CAPABILITY

PUBLIC ART IS...

‘A form of street life, a means to articulate the implicit values o users occupy the place of determining wh - MALCOLM MILES

TURNER Nominated Architect Nicholas Turner 6695 2

of a city when its hat the city is’.

Public art is...

INTRODUCTION

TURNER is a multi-award-winning design practice of approximately 90 staff. Culturally diverse, our studio hosts equal male/ female representation from 28 countries of origin. We bring the right people together for the right moments to create opportunity. Environmental Graphics and Urban Art are commonly incorporated as part of the service - as well as separately for stand-alone projects. We bring in artists and guest curators as required to deliver on our promise of placemaking. We see design as a collaborative process generating built environments that serve both their purpose well and bring delight to their occupants. We utilise a robust methodology for each project to uncover the particulars of the site and its context, thoroughly interrogate the brief, and understand the processes required for the building to come into realisation. We do not set out with a preconceived idea, the process is evolutionary, and the investigations can take us to places that we never expected. This approach promotes innovation, underpinned by a pragmatic awareness. We always remain aware that a project’s context includes the social, cultural, economic and environmental as well as the physical. It is important that the buildings and environments they create have lasting qualities that will remain relevant over time. Innovative design, environmentally sustainable design principles, issues relating to constructability and market awareness inform the trajectory of the practice. The practice has extensive experience in masterplanning, design, documentation and construction advice, with projects valued at over $3 Billion recently completed or under construction. Turner is a Sydney-based practice and works across all states in Australia. Recently the practice opened a new studio in London offering direct access to opportunities within the UK and broader European markets.

URBAN ART IDENTIFYING LANDMARK OPPORTUNITIES FOR CURATED ARTISTIC STATEMENTS AND PLAY

At TURNER, we create spaces where people want to be. Our Urban Design solutions are fine-grained and are about people and places. Within public spaces, we design architecture and opportunities for urban life. We curate the layering of a place and the urban energy through collaboration and curatorial invitation of artistic contribution. Overlaying our Urban Design and Architectural foundations, we curate opportunities and provide artists with spaces to extend the narrative, ideas and their artistic practice, either in architectural elements or as stand-alone pieces. A rich collaboration is drawn from our dedicated architects and creative hands of artists to breathe new life and narratives into our urban lifestyle.

ENVIRONMENTAL GRAPHICS CONNECTING COMMUNITIES TO THE ENVIRONMENT

At TURNER, Environmental Graphics is a strategic and integral part of our architectural process. As a seamless part of a large architectural office, TURNER Graphics have direct access to an enormous range of skills and experience. We work collaboratively with architects, interior designers and consultant teams to translate the client’s brief into design concepts to create a unique environmental identity. With over ten years of experience, the Graphics team at TURNER has a wide range of experience across residential, retail, mixed-use, public realm and workplace, from independent small-scale to high-end projects across Australia. From arrival experience solutions to complete urban projects, our services are tailored to the needs of our client’s community today and as it grows and evolves.

Design is for everyone. Inclusivity underpins every design. It seeks to unite, inspire and connect.

Public art is...

Client

CABE DEVELOPMENTS Site Area

6.67 ha

ESQ STRATEGY PENRITH, NSW Mixed Use ESQ is an entertainment, leisure and lifestyle destination, comprising a significant asset of Penrith and Western Sydney. An important element in reinforcing the identity of the ESQ Precinct is the public art program. The public art strategy for the ESQ Precinct supports the commissioning of a diverse collection of artworks, ranging in scale, impact and media from stand alone markers and functional elements, to fine-grain embedded discovery works including programmed and interactive interventions, and artworks with distinctive day and night presence.

ESQ Strategy Penrith, NSW

Visioning

PUBLIC ART OBJECTIVES Art objectives were identified to guide the site-specific development of a unique, innovative and site-specific public art program. • • • •

Respect our past and shaping our future. Destination making. Present by day and night. Interactive and inclusive.

These objectives were developed through extensive research into the site. The public artwork should refer to the site’s history and heritage, whilst facilitating and integrating high quality artwork into the urban fabric. The report provides a framework for curation of public art as a sustainable, long term evolving program.

Visioning

COMMUNITY AND OPPORTUNITIES The theme ‘Community and Culture’ celebrates the past, present and future people, community and culture of Penrith as well as the specific identity of the ESQ, creating a sense of place and identity with the awareness of our history, creativity and cultural expression. From extensive research into the Indigenous history, demographics, community and intended uses of the site; opportunities for public art integration were developed and proposed.

ESQ Strategy Penrith, NSW

Overview

PUBLIC ART MASTERPLAN Public art for the ESQ precinct, through a variety of creative mediums, forms and scales, will be a visual reflector of place, conceptually narrating inherent place values. It will reveal the past through history and stories, capture the present through form and function; and frame the future through creativity and innovation. The strategy includes recommendations for the placement and design of a comprehensive collection of unique and diverse permanent public artworks. Public artwork opportunities were presented in sub-precincts and classified by identified artwork types including Destination, Precinct Markers, Discovery and Functional. 12

ESQ Strategy Penrith, NSW

Client

VIVID, DESTINATION NSW

ETHEREAL COLUMNS SYDNEY CBD, NSW Installation

Completed in 2017. Art and lighting installation by Turner in collaboration with Mott MacDonald, Code Green Pty Ltd, LAS Lighting Art + Science, LED Lighting, Automated, Design by Bow and JHA Graphic light installations can tell an artistic story, activate surfaces, are programmable and can be used for navigation.

Ethereal Columns Sydney CBD, NSW

Ethereal Columns was a part of VIVID 2017 which attracted more than 2.31 million people. Flickering columns, displayed at The Rocks, was created collaboratively by the Turner team to address the colourful history of Kings Cross. Ethereal Columns is made up of bold pillars of light which dance and flicker — eventually becoming an “ethereal” structure without mass.

Ethereal Columns Sydney CBD, NSW

s the ognise the e and heritage EstateClient

URBANGROWTH NSW DEVELOPMENT CORPORATION & LAND AND HOUSING CORPORATION Site Area

land of diverse flora and 18.12 ha d finally a key suburb on resulted in an area rich in

of Waterloo are key e’s spirit of place, sense of al diversity.

driven by Waterloo’s sense eristics, driving identity, a WATERLOO land and a celebration of WATERLOO nity

Fig. 7.3.294 Street Art, Redfern

ESTATE & SOUTH, NSW

Public art plan strategy outlines and rial narrativeprincipals will reinforce whilst building upon the ooms’ and connecting Public art is anthe essential component in developing the cultural and creative character of Waterloo South and od.

the Estate. Public art provides the capacity to recognise the sites Indigenous culture and heritage through cultural between community and expression. Expressions of public art can take a variety of forms, from finding methods, pavement treatments blic art as a method ofway way and decoration, installation, temporary works and events, and the establishment of street art and art as function (seating, lighting). Public domain within thediversify Greater art can the landscape, promote a colourful and creative community and improve connections between the diverse community within the Estate.

Fig. 7.3.295 Lata 65, Portugal

The art for Art Plan prepared by Waterloo Milne South goes beyond being a placemaking, way finding and aesthetic initiative. Public tion. art has the capacity to engage the community by allowing them to contribute to the visual landscape of the place. The strategy for public art, signage and way finding has been developed in alignment with the following City of Sydney Codes; Creative City, Cultural Policy and Action Plan (2014 - 2024), Legible Sydney Way finding Strategy (2012) and the City Art Public Art Strategy (2016), as well as the Waterloo South Public Art Plan, Milne and Stonehouse (2020).

Fig. 7.3.296 Kopupaka Reserve in Te Hau

uauru Park, Auckland

PRINCIPLES SITE SPECIFICITY

Fig. 7.3.297 Art and Site

ACTIVATED PUBLIC DOMAIN AND STREETSCAPE

100

Fig. 7.3.298 Art and Community

100

Recognising the site’s Aboriginal and ‘making’ history. Celebrating the stories of Waterloo through art

Offering the streetscape and public domain as a canvas for interpretation and to enhance community social connections

The Waterloo area is rich in heritage, including that of the Indigenous people. Much of the public art throughout the site will focus on representing the characteristic of Waterloo from an area rich in Indigenous culture, to an industrial hub for inner city Sydney, to its eventual emergence as a home to many nationalities in the present day. But perhaps most importantly, the public art plan will look to the future, acknowledging the need for trans-generational thinking when expressing culture in art form giving a voice and opportunity to the local community and its artists.

Waterloo South’s fine grain street grid and open space arrangement provides an opportunity to explore the possibilities of public art as a cultural presence and community builder. The public domain and streetscape will offer a canvas for interpretation, and enhance social connections, strengthening the communities experience at eye level. Public art will contribute to bringing spaces to life and transforming them from day to night, creating vibrant spaces for people to live, work and play.

Legend Waterloo South

Legend Accessible Local Movement Route Art Lanes Water Sensitive Urban Design

APPENDIX 7.3 PUBLIC DOMAIN

E EXCELLENCE, INTEGRITY AND SUSTAINABILITY

Fig. 7.3.299 Art and Environment

100

CULTURAL COMMUNITY

Fig. 7.3.300 Art and Environment

100

Creating an embedded approach through durable and ecologically sustainable public art

Integrated public art projects that recognise existing and future communities

The public art plan for Waterloo South recognises and interprets Waterloo’s environmental heritage, practices and possibilities. Public art will be robust, of high quality and ecologically sustainable whilst initiating conversation and education around sustainability particularly connected with Waterloo South’s water story. Inclusion of numerous WSUD initiatives across Waterloo South, significantly along George Street is where art and environment will seek to express the connection between sustainability, nature and built environment.

The Estate community is culturally complex and multicultural. Through public art, a sense of place and community unique to the Estate will emerge providing opportunities to build knowledge and skills. The quality of this engagement will be apparent through the moments of interaction and participation between community members and the artworks. This diversity in form and subject will contribute to the creation of a supportive, equal and collaborative community.

Legend Water Story George Street / Pedestrian Boulevard

Legend 1. Gateways 2. Major Parks 3. Waterloo Metro Hub 4. Community Spaces PLANNING PROPOSAL _ 31.03.2020 365

Waterloo Estate & Waterloo South, NSW

WATERLOO ESTATE WATERLOO SOUTH URBAN DESIGN & PUBLIC DOMAIN STUDY

PUBLIC ART OPPORTUNITIES

Across Waterloo South, there are many opportunities for public art to work as an important component of the urban landscape. The primary locations for public art are all primary public spaces, streets, laneways and community hubs.

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Ensuring all areas of Waterloo South explore the potential of public art as a mechanism for cultural expression, collaboration and wayfinding

N ROAD

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The opportunities for public art are also maximised by understanding the breadth of public art that is available. Sculpture, lighting, temporary and fixed art, street art, murals, performance or events, and pavement / facade art are just a small assortment of the categories of public art possibilities. As a significant aspect and voice for the Estate, the Waterloo South Public Art Plan aims to explore the contribution of these art forms to the canvas of the Estate, reflecting culture and community life, whilst strengthening the community’s connection to Waterloo at eye level, contributing to an activated public domain that engages the community and creates a welcoming and distinct place.

BUCKLAND

STREET

Refer to the Waterloo South Public Art Plan prepared by Milne and Stonehouse for further information.

Legend Accessible Local Movement Route Art Lanes Bio Retention 1. Gateways 2. Major Parks 3. Waterloo Metro Hub 4. Community Spaces

MCEVOY STREET

Fig. 7.3.301 Public Art

366 PLANNING PROPOSAL _ 31.03.20

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Waterloo Estate & Waterloo South, NSW

Making positive change for people and places. There is a symbiotic relationship between the society design serves and the design itself.

Waterloo Estate & Waterloo South, NSW

Client

DUFFY KENNEDY CONSTRUCTIONS Site Area

1,420 sqm

UNDER THE LEATHER WATERLOO, NSW Public Art Under changing times new people came but we are always here – under the leather. This artwork references a layer of history on this site - from an origin of tanning came a refined, fragrant, elegant and finely considered craft culture. The business has moved but the site history remains.

COW HIDE

LEATHER WAREHOUSE

3D CEILING

LAYERING

Detailing

LOBBY AWNING For generations “NSW Leather Co” was the bricks and mortar home of a quintessential Australian craft a saddle making and leather craft hub in the heart of South Sydney. The inspiration for the artwork at the entry of the lobby was drawn from the aesthetics of hanging leathers within the warehouse environment.

Under The Leather Waterloo, NSW

Visual Identity

DOOR HANDLE The fluid language of lines was incorporated in all details of the entry point. A customised door handle was designed to reinforce the holistic visual identity at every touch point.

Under The Leather Waterloo, NSW

Client

ALTIS PROPERTY PARTNERS Total Gross Floor Area

36,090sqm Units

312

ILLOURA PLACE, NSW Residential Located at 28 Elizabeth Street, Liverpool, NSW, Illoura place is a mixed-use development rising to 34 storeys with a ring of retail at its base, 4 levels of commercial and residential apartments above. Artworks will be site-specific, capturing both the past and future of the precinct by revealing local stories, history and heritage features through visual and conceptual references and interpretive trails; and looking to the future through aspirational and innovative use of design and materials, including digital technology.

Visioning

CURATORIAL RATIONALE This Curatorial Rationale is based on contextual analysis, including research into the site’s history, aspirations, environment, urban character and project use. The Rationale ensures public art is conceptually connected by setting an overarching vision for art, describing what the artworks aspire to achieve and providing thematic inspiration for artists. It directs artists in creating a site-specific response and is a starting point for inspiration; not a prescriptive theme. Public art for the 28 Elizabeth Street precinct will be a visual reflector of place, conceptually narrating inherent place values. It will reveal the past through history and stories, capture the present through form and function; and frame the future through creativity and innovation.

Visioning

ANIMA OF WATER (Mind and Soul of Water) Memory | Essence A sensory pause within our history of a stream that once trickled on this site. The Anima of water, will capture and condense the luminance, vibrancy, essence, history and possibility of the 28 Liverpool Street precinct within the Liverpool City. Here, under the brilliance of the sun, the memory of the shimmering surface of the creek, will be an inspiration for the public art. – shining by day and luminance by night via pathways of light that lead through urban glades, suspended prisms, veils of light and droplets of water.

Illoura Place, NSW

Site Opportunities

LANEWAY ENTRANCE To activate the through site link as a civic link and establish a creative cluster, the entry to the precinct presents itself as a key area with the highest visibility to encourage the oncoming pedestrian movement through to the public domain. The site and neighbouring development restrict the amount of light that can pass through the laneway. The artwork can create a source of light and interest, elevating the space and encouraging laneway interaction. Perforation and transparency allow the dappled light to come through the laneway, while the artwork, at night, will partially illuminate the environment. Elevating the artwork gives maximum space to the pedestrians and allows more versatility to the artworks form.

Site Opportunities

LANEWAY BOUNDARY WALL Considering the users’ journey, experiencing the site, the southern boundary wall separating the site from the police station presents itself as a blank canvas for artful surface treatment, mural artworks and potentially incorporated artistic green walls. It is essential to maintain visibility to the artwork through site links to attract further activation throughout the site and overall precinct. Natural and additive lighting solutions are required to elevate the space and encourage safety and exposure.

Illoura Place, NSW

Client

AOYUAN INTERNATIONAL

BAY CENTRAL WOOLOOWARE, NSW Mixed Use The Bay Central precinct at Woolooware Bay comprises a new mixed use town centre. Stage 3 at Woolooware Bay Town Centre is a highly contextual design that maximises the opportunities of the direct waterfront location. It’s fine grain urban design creates a strong sense of place within this new emerging precinct. The new town centre includes a new retail centre, refurbishment of the existing Leagues Club, hotel/serviced apartments, and 255 apartments. The buildings range from 8 to 16 storeys capturing views across Woolooware Bay towards the city. The development reinvents this waterfront site to the east of the existing stadium by creating a dynamic new mixed use destination.

Detailing

RETAIL FEATURE CEILING The design story for the feature ceiling is centered around the high-end waterfront living, with a fresh urban approach, and the theme of ‘The Good Life’ continued through the architecture and interior design. Located at the main arrival point to the retail plaza, inspiration for the feature ceiling is drawn from the natural world. The paneled ceiling resembling the mass fluid with a whirling and circular motion creates a dynamic artwork that reflects the water formations and geometry of water and the magical reflection of human movement at the main intersection of the plaza.

Bay Central Woolooware, NSW

Client

GTB Total Gross Floor Area

36,961sqm Units

417

420 FOREST ROAD, NSW Mixed-use Hurstville people are the real mixing pot of multicultural Australia. Liverpool people wear their identity proud, are engaged and active and the future is exciting. 420 Forest Road development’s public art plan discloses and celebrates the already diverse and culturally rich community. It aims to promote Hurstville’s diversity and create opportunities that highlight the colourful and culturally diverse community in creative and inclusive ways. The vision for the public domain of 420 Forest Road is to become a platform that connects and engages the community by providing a vibrant and artful destination and be the architect of growth in a culturally expressive urban environment throughout day and night. 46

420 forest road, NSW

Concept and Objectives

ARTWORK DESIGN OBJECTIVES DESTINATION MAKING The major artwork will be both gravitational and memorable, creating a destination at the heart of Hurstville. Destination artworks will build civic pride, the precinct’s reputation and encourage return visitation to the precinct. CONNECTION TO THE PUBLIC DOMAIN Spaces that interact with the publi c domain invite places of gathering and return visitors. PRESENT BY DAY AND NIGHT Artworks will support the 24-hour, 7-day activation of the precinct’s public realm by offering visually intriguing and engaging artworks with distinct day and night presence. By day artworks will utilise bold form, colour and pattern to captivate passersby, and by night artworks will feature ambient lighting and treatments to create safe and inviting public spaces. INTEGRATION WITH ARCHITECTURE AND LANDSCAPE Artworks will interact, capture and merge with both architectural and landscaping elements to allow for a consistent language throughout the site. SCALE Varying spaces inform the scale of artworks, which create appropriate immersive experiences.

Location Opportunities

LOCATION 1 To activate the through site link as a civic link and establish a creative cluster, the arcade entry, presents itself as a key area with the highest impact to encourage the oncoming pedestrian movement through to the central public domain. The through site link serves as a passageway and destination point for the retail zone. Although open, the tall ceiling creates an enclosed space, allowing an immersive and unique experience for the community. OBJECTIVES: • It is essential that this sculpture act as a destination making a feature with high visibility for the pedestrians and vehicles. A Large scale sculpture is proposed for this location, which can be integrated into the architecture in the arcade. • Suspended and elevated feature. The artwork shall not hinder the pedestrian traffic. • Lighting to be incorporated for the night presence

420 forest road, NSW

Location Opportunities

LOCATION 2 Considering the most common ancestries in Hurstville is 49.4% Chinese, it is worth considering the philosophy of feng shui. While all the other elements are essential, water is extremely important in Feng Shui as it is the ancient Chinese symbol of prosperity and abundance. Flowing water symbolises income. Water can be in the form of a river, lake, or pond as long as it flows peacefully. Water’s natural integration with the landscape and surrounding architecture ignites community engagement and cultural resonance. The artwork can utilise the cascading landscape located at the North entry to the site. OBJECTIVES: • Large scale sculptural water feature that can be designed as an integrated part of the landscape. • Lighting to be incorporated for the night presence.

Location Opportunities

LOCATION 3 A community gathering is just as important as community engagement. An artwork placed in the surrounding landscape environment can create a unique place of connection and contrast, interests and amenity. An artwork that creates a sculpted form to meander through, pause, engage and activate the cascading landscape in the retail environment. The artwork’s design must consider the inherited story of its environment, capturing the sun and plays of shadows during the day, and pronounced lighting during the night. This artwork can potentially be a perfect fit for indigenous community artists to create unique patterns for their stories to be told. OBJECTIVES: • Flexible areas for community gatherings, engaging users both for rest and interaction. • Lighting to be incorporated for the night presence • A Large scale, structured artwork in a form of a pavilion, pergola or dome 420 forest road, NSW

Client

ABORIGINAL HOUSING COMPANY Site Area

2,380 sqm

COL JAMES STUDENT ACCOMMODATION REDFERN, NSW Public Art Plan Strategy The design strategy for Pemulwuy stage 3 embraces the Aboriginal Housing Company’s (AHC) emphasis on culture and community and the significance of the site through the built form narrative, an inclusive family model for students and the integration of key public domain spaces and indigenous public art. Turner created the framework for artists to trace their narrative into the urban fabric. The integrated public artwork ‘family of turtles’ was engaged by AHC to pass on the story of a culture of support and nurturing within the community. Coordinating with the artist, Turner integrated a variety of pieces into strategic facade panels and key public ceiling and wall elements. 52

Col James Student Accommodation Redfern, NSW

Client

VIVID, DESTINATION NSW

SUPERNOVA SYDNEY CBD, NSW Installation TURNER made its mark on one of Sydney’s biggest events with a stunning display of dancing lights. As a part of VIVID 2017, which attracted more than 2.31 million people, “Supernova” was a miniaturised astronomical event displayed at Bulletin Place in the CBD. The Vivid installation was created collaboratively by the Turner team. Supernova represented the sudden and bright birth of a star which then fades back into a ‘milky way’ of shifting canopies.

Our goal is to be constantly making life better. Enhancing people’s quality of life.

“Supernova” was a starry night sky made of 45 recycled umbrellas. The umbrellas opened and closed exposing glowing material. When fully open there was a flash of bright light as the supernova is revealed.

Supernova Sydney CBD, NSW

Client

DEICORP Site Area

9,389 sqm

ALL OUR BOYS WESTMEAD, NSW Public Art The residential development comprises 3 buildings set around an internal landscaped podium. The massing of the buildings respects a heritage datum determined by the University of Western Sydney’s (UWS) adjoining heritage buildings - The St Vincent’s Boys’ Home in Lot 1. The inspiration for the public art, designed by Turner, was drawn from the location of the artwork facing the St Vincent’s Boys’ Home which was established by the St Vincent de Paul Society in response to the severe depression of the 1890s. The Home was initially established in Surry Hills in 1891. It moved to Redfern in 1892, Five Dock in 1893 and finally Westmead in 1896.

Public Art Location Ground Level

Location Intercom

LOCATION STRATEGY The main entry point to the development on Student Lane presents an opportunity to create an integrated artwork in the form of a gateway. Inspiration is drawn from the unique location of the artwork. The entrance zone between building A & B becomes the interface between private and public domains, contemporary and heritage sites.

1200

Plan

1200

The design intent for this artwork is to transform the gate and the fence beyond its practical purpose. Aiming to challenge the concept of a gated development, we transformed the gateway to an artwork which provides security but does not block or cease the visual permeability. A gateway which announces the point of arrival leading into the residential podium.

All Our Boys Westmead, NSW

Client

CITY WEST HOUSING Site Area

1,965 sqm

BLACKWATTLE GLEBE, NSW STEPS OF TIME This artwork references a layer of history on this site - creating a timeline of the significant milestones of this place.

Blackwattle Glebe, NSW Steps of time

Client

PAYCE COMMUNITIES & DEICORP Gross Floor Area

545 sqm

PIPE KILN NO.1 KIRRAWEE, NSW Heritage Landmark The Kiln is a blend of modern and historical elements, surrounded with informative and subtle signage, and developed to reinforce the industrial aesthetic and guide the viewer on a journey throughout the exhibition.

AN ARCHITECTURAL PROMENADE TO DISCLOSE AN ART STORY.

PIPE KILN NO.1 Kirrawee, NSW

8500 1200

3630

1200

ENVIRONMENTAL IDENTITY Subtle identity throughout the project allows a strong language to develop without distracting the viewers. The tone of the brand identity must be considered throughout all areas to develop a well rounded design.

PIPE KILN NO.1 Kirrawee, NSW

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BALUSTRADE DESIGN The surrounding rugged environment is integrated into the informative balustrade design and content. A key focus of the product was to engage the viewer without distracting them from their surroundings. Drawing their attention through interactive elements satisfies the viewers need to understand.

30° 200

1240 PIPE KILN NO.1 Kirrawee, NSW

ANISS ADLER

B. Visual Communication, M. FIne Art

Head Of Public Art & Environmental Graphics Senior Associate Aniss has diverse experience in Art Direction, Art Installations, Environmental Graphics and Graphic Design, locally and abroad across all facets of the design industry. As an artist, Aniss has worked with artists, curators, and collaborators across a range businesses and sectors from the architecture industry to fashion industry through the medium of sculptures, costume, theatre and print. She has a concise understanding of creating artworks that are contextual and conceptual and understands what is needed from an artist to enable a true opportunity. From her experience in delivering projects she understand that achieving successful outcomes comes from the sustained engagement of clients and stakeholders and the collaboration of colleagues and suppliers across the many facets of production. Aniss particularly enjoys generating and developing ideas in a team environment and translating those ideas into actions and results that are highly regarded and achieve artistic purity as well as strategic objectives. In her own art, Aniss strives to depict fluid forms through her geometrical structures; through different mediums, the play of light and shade is the repeating theme in her designs. Her Persian heritage and a keen interest in architecture has informed her medium. Her tessellations, geometric patterns with sharp graphical lines tell stories with rhythm and have been the foundation in her body of work. She strives to have her work rooted in lost traditions and breath new life relevant to the present day. This desire for a narrative relevant to today and rooted in the past also guides her curatorial contributions as she find artists who’s story can gain new life in the appropriate context and opportunity. Aniss has received notable local and international design awards to include the Gdansk Museum of WW2 (Shortlisted Winner International Design Competition), plus numerous awards elevating Millinery Design to wearable art. She has also been a regular guest educator within Sydney’s architecture schools and the Australian Institute of Architecture for her ability to integrate art with architecture and promenade. Being regarded for her creative and lateral thinking, Aniss is driven by a desire to deliver and enable high quality and highly engaging art projects and programs with a ‘hands on’ position on both sides of the delivery process from curating and project managing through to fabrication and installation of commissions.

2020 Permanent Public Art, “Under the leather” _ Waterloo, City of Sydney. 2019 Permanent Integrated Public Art, “All Our Boys” _ City of Parramatta. (Under construction) 2019 Permanent Integrated Art_ Bay Central Shopping Centre _ Sutherland Shire. (Under construction) 2019 Cross Cultural Knot Tying_ Temporary Exhibition_Rosebery. 2018 Historical Timeline Installation, “Steps Of Time”_ Blackwattle Development, Glebe City of Sydney. 2016 Yarra Foundation Children’s Art Workshop_Parts of One Body, Greenborough VIC. 2015 Wearable Art Event in association with Myers and AJC_ Caulfield VIC. 2012 “Watching Time Take Form” Group Exhibition, Concordia Gallery, Sydney. 2011 “Body Language“ Group Exhibition, Brenda May Gallery, Sydney. 2010 “The Bird Parliament” Illustrated Narrative Group Exhibition, Gallery of Fine Art, University of Tehran, Iran. 2009 “Shirin and Farhad” Major Group Exhibition , Gallery of Fine Art, University of Tehran, Iran. 2009 “1001 Nights” Solo Exhibition, Gallery of Fine Art, University of Tehran, Iran. 2008 “Typography and Poetry” Gallery of Fine Art, University of Tehran, Iran. 2005 “1001 Nights” Illustrated Narrative, Gallery of Fine Art, University of Tehran, Iran. 2005 “End Game” Gallery of Fine Art, University of Tehran, Iran. 2003 Commissioned Cultural Mural, Khavaran Cultural Centre, Iran.

Meet the leads

CROSS CULTURAL KNOT TYING Art Direction and Strategy and Implementation A light feature was created as a centrepiece of an event. Involvement: Design development and manufacturing supervision.

Cross Cultural Knot Tying

SYDNEY

L7 ONE Oxford Street Darlinghurst Sydney NSW 2010 P: +61 (0)2 8668 0000 www.turnerstudio.com.au

LONDON

10 John Street London WC1N 2EB United Kingdom P: +44 (0)20 3950 1575 www.turner.studio

Cross Cultural Knot Tying