A prominent Circular Quay building, the former MSB building is a fine example of a stripped neoclassical government office building. Designed to be approached from the water, the building largely retains its symbolic decoration, both internally and externally, specially commissioned Australian art works, landscaped setting and relationship with Circular Quay and the water.

The building is associated with the activities of the Sydney Harbour Trust, later the Maritime Services Board in the upgrading of the wharfage facilities in Sydney Harbour. Designed in 1938 by the Board's design office, the building could not be commenced until after World War Two. One of the last major interiors to be constructed in Sydney using Art Deco materials and techniques such as scagliola.

The pattern of use of the site in the early nineteenth century provides evidence of the establishment of wharfage in the colony, and the supply of stores and provisions for the military and convicts by the Commissariat. Constructed fronting Circular Quay, on the site of the first Government wharf and Commissariat stores, the headquarters of the MSB was locally functional and administratively at the heart of Port Jackson. The disuse of the Wharfage Hall indicated changing patterns of use and the allocation of wharfage at the port of Sydney in the late twentieth century, with decentralisation and containerisation.

A landmark building, currently used for cultural purposes, designed as part of a wider scheme for the beautification of, and to increase public access to, Circular Quay.

The former Maritime Services Board Building is a 6 storey masonry clad building (at Quay level) with a central tower and flanking wings. The building exhibits characteristics of the Art Deco style: the use of vertical element to articulate the facades, the stepping up of the central tower and in particular the detailing and materials of the major internal spaces. Its monumental characteristics, symmetry and use of sandstone also denoted that it was a public building.

Stonework
Contemporary descriptions of the building noted that "The building is faced on all sides with sandstone of a deep warm sienna colour, with a rusticated base of polished Rob Roy granite. Adorning the face of the central tower ...is a clock with its aluminium chapters and hands cleared outlined in black against the light shade of the stonework for all ferry travellers to see". (BEL 24 January 1953)

The pink granite was continued to frame each of the major entrances. Wombeyan marble and other NSW stones were used internally, in conjunction with terrazzo and scagliola tiles. The granite base course was supplied by Loveridge & Hudson and the sandstone to the facades by the Hawkesbury Sandstone P/L. (BEL 24 January 1953)

Symbolism
The carved decoration to the sandstone is limited to three carved elements ..."a ships propeller, wheel and anchor signifying respectively the driving force, guiding force and stability of the board. (BEL 24 January 1953) The symbols survive although few would now understand their symbolism.

Terraces
The wings are a storey lower, forming roof terraces with panoramic view over the harbour. The main roof is also in the form of a flat terrace. Photos from the mid 1980s show paved roof terraces. The roof membranes have been modified recently by the DPWS. Terraces are used at ground level also, with specially designed light fittings which survive.

Structure
The structural framework was almost complete prior to the addition of the cladding. The building is not a true curtain wall, nor does the masonry exterior appear to be fully loadbearing. The external pilasters form a U shape around each column, with the columns expressed internally. The detail of how the cladding is tied in is not apparent from the floor plans.

The double height wharfage hall at the southern end of the building is expressed on the exterior by tall windows.

Architectural Metalwork
The building featured a range of architectural metal work: bronze (sliding) doors, metal windows, aluminium grilles with the anchor and wheel motif and aluminium handrails with a wave pattern. The decorative doors with fanlights to the Wharfage Hall, paving and associated light fittings survive. The doors to the northern end of the building are used as a loading dock and have been modified, however the granite surround survives. Confirm west door

Decorative Plasterwork
Internally the building contains examples of decorative techniques which became fashionable in Art Deco buildings of the 1930s such as scagliola and terrazzo. The green scagliola (imitation marble) columns to the Wharfage Hall were undertaken by Melocco Brothers who undertook the marble, scagliola and terrazzo work. These elements were conserved during the conversion of the building c. 1990. The use of these techniques declined rapidly after WW2 and this is probably one of the last major public buildings to contain such applied finishes.

Art Works
The building contains a war memorial and art works commissioned by the MSB, undertaken by artists: Lyndon Dadswell, Emerson Curtis and Norman Carter. Friezes were used internally and externally which survive.

Wharfage Hall
The layout of the wharfage hall, and its floor pattern originally represented the points of a compass. The curved counters were removed (during the conversion). The green scagliola (plaster imitating marble) columns survive. The circular pattern in the paths outside of the Wharfage Hall may also have been inspired by a compass.

Decoration
In contrast to many commercial Art Deco buildings, the decoration both internally and externally is not purely ornamental but was inspired by the functions of the MSB and the associations of the site with the historical development of wharfage for the port.

The War Memorial was retained in the conversion, executed by Lyndon Dadswell it projected off the surface of the wall "by attachment with unseen pins giving a floating effect". "The outline map is executed in inch aluminium tube set slightly away from the marble wall surface. The shape on the wall edged with russet brown embraces the theatres of war in which Australia served. (BEL 23 January 1953).

The site of the former Maritime Services building is vitally important in the development of Sydney Cove and the port of Sydney. The hospital wharf was constructed in the vicinity in 1802, renamed King's Wharf when the hospital functions were relocated by Governor Macquarie to Macquarie Street.

The Commissariat Stores were constructed on this site c. 1812, using convict labour, to an 1809 design by Colonel Foveaux. The stores provided secure and vermin proof storage for provisions for the colony. Associated with the building, which was essentially a warehouse, was a sandstone quay, steps and a seawall. The austere sandstone building was amongst the largest buildings constructed in the colony prior to 1810 and its main frontage was to the water. This pattern of building, with the main facade to the water was to continue as private warehouses, with their own quays were constructed lining Sydney and Campbell's coves.

Little is known of the day to day organisation and running of the Commissariat Stores, one of a number of stores constructed in the colonies to distribute provisions for the military and convict establishments. Responsibility for the buildings for the convict and military establishment came under the control of the Royal Engineers in the 1830s, who proceeded to make major changes to Sydney Cove. In c. 1840 the Semi Circular Quay was constructed to the designs of the Colonial Engineer, Major James Barney. A curved sandstone retaining wall and new steps to the water were constructed. The alignment of the quay in front of the Commissariat Stores was altered. Further alterations were to occur subsequently, forming Circular Quay.

The use of the Commissariat Stores in the last half of the Nineteenth Century is not known. As a response to a series of outbreaks of the Bubonic Plague which occurred between 1901 and 1911 the government quarantined the Sydney Cove, Walsh Bay and Darling Harbour wharves and resumed the Rocks, Observatory Hill and Millers Point residential areas, under the recent Land for Public Purposes Acquisitions Act. It was the intention to upgrade both access to, and the standard of, the wharves. A series of large scale upgrading schemes were prepared between 1900 and the First World War, some retaining the stores, others showing parkland. None were carried out.

The Sydney Harbour Trust was established in 1901 and three Commissioners were appointed, responsible for the improvement and management of the facilities within Port Jackson. The wharves in Sydney Cove, including the Commissariat Stores were vested in the Trust. Limited research has been undertaken regarding the use of the stores during this period. It was not until the 1930s that pressure to demolish the stores increased the colony no longer reliant on the British Government for provision.

The functions of the Sydney Harbour Trust and the Navigation Board were combined c. 1930 and in 1936 the Maritime Services Board was established. The Board required a new headquarters as their present offices were to be demolished to make way for the new Circular Quay Railway Station. Plans for the upgrading of the public areas of Circular Quay East were prepared, indicating the layout of the Park and the placement of the building.

The choice of site may have also have been influenced by a knowledge historical development of Sydney Cove, it was the site of the first public wharf and was at the heart of Port Jackson. The artwork within the building commissioned by the MSB depicts the development of the port, including picturing the demolished Commissariat Stores.

After considering a range of alternatives the MSB decided that their own architectural staff under the direction of William Henry Withers would design the building. Withers had already prepared preliminary designs, and had worked as part of the Sydney Harbour Trust design office from the 1920s. This office designed public buildings and public housing as well as the wharf facilities within the resumed areas. No other examples of his work have been located, however the work of the design office followed contemporary architectural trends. Withers retired in 1947 and the detailed design of the building, which cost 500,00 pounds to construct, was completed by D. H Baxter. A sequence of photographs of the building under construction survive, some in the GPO Collection at the Mitchell Library, others are held by the DPWS.

The design of the building draws heavily on the Art Deco commercial and government office buildings constructed c. 1930 in America and London and widely published in architectural periodicals. The American version has been termed 'zig zag' moderne by Alistair Duncan, who describes the building type as "modern, largely vertical buildings with setbacks which had originated on the East Coast [of America]". A more restrained form, labelled 'classical moderne' was used in London for public buildings such as the London Transport Office and Broadcasting House both designed by Charles Holden. Both utilise set backs which resulted from the implementation of New York building regulations.

Sydney building regulations imposed a different set of controls, height restrictions and the use of masonry external skins to steel framed buildings in the CBD. A series of similar public buildings were proposed to Macquarie Street but none of which were constructed due to the outbreak of war.

After some debate with the architects of the Circular Quay Railway Station, regarding the scale of the tower in relation to the railway station, the Circular Quay Advisory Committee approved the design. Debate over the scale and character of the building in relation to the Circular Quay Railway Station indicates the Maritime Service Board's perception of its own importance and its role in overseeing the harbour, as do the carved symbols: the propeller, symbolising driving force, the wheel, symbolising guiding force, and the Board's stability indicated by the anchor.

The Commissariat Stores were demolished c. 1940 however the outbreak of war resulted in the building work being deferred for some years. The foundation stone of the Commissariat Stores was retained, surviving as a memorial. Tenders for the construction were called in September 1946. The steel framed, masonry clad building constructed by F.C.N Powell and Sons took over five years to build.

The form of the former MSB building, and its relationship to the water reflects the form of the earlier sandstone storehouse, both featured projecting wings and were oriented to Circular Quay as many of their visitors, and/or goods, came via small boats or lighters to the Quay. This relationship is further reflected in the steps to the water at Circular Quay West that became known as the Commissioners Steps. The placement of two of the main entrances and the Wharfage Hall below the level of George Street also indicates that the main approach was from the water.

When completed the building contained the Wharfage Hall and Cafeteria at the Circular Quay level, with the other levels including offices, a board room, design office, a laboratory, conference hall. The Building, Lighting and Engineering Journal of 24 January 1953 contains a description of the completed building, with photographs.

The Maritime Services Board began its operations in this building on 15 December 1952.

Aerial photographs of Circular Quay in the 1960s (ML GPO1 - 20854) clearly show the relationship of the building to the Quay. Initially the pattern of paths in the park to the south of the building was related to the use of the Wharfage Hall however a diagonal path was added leading across the park to the Station. The disuse of the Wharfage Hall indicates changing patterns of use and allocation of wharfage at the port of Sydney, with decentralisation, containerisation and the establishment of Port Botany. A central office, accessed by water was not longer viable and all freight functions were removed from Sydney Cove. Whilst the role of Sydney Cove as a major transport node remains, its administrative and freight handling functions have largely been replaced, in recent years, by cultural institutions and passenger services.

The MSB moved to larger premises in the late 1980s and the building was adaptively re-used as the Museum of Contemporary Art, which opened in 1991. The conversion works were designed by Peddle Thorp and Walker. Although the Wharfage Hall and other decorative and memorial elements were retained other interiors such as the curved veneered panelling were removed. A comprehensive set of photographs of the building were prepared by the Public Works Department.

The landscaping to the forecourt of the building and the earlier form of railing was reinstated to Circular Quay for the bicentennial in 1988. The railing that was removed may have been contemporary with the building (refer to the GPO collection).

The building was extended c. 1990 to provide shop fronts to George Street. When the conversion was undertaken the upper two levels were retained as government offices. A cafe was located on the ground floor, adjacent to the wharfage hall. Both the George Street and the Circular Quay entrances are used. Emergency exits have been added.

Roy Lumby notes that the building appears in an international publication on Art Deco published in 1992. The author, Patricia Bayer, notes that it is one of the country's finest moderne buildings.

The building continues to be occupied by the Museum of Contemporary Art. The forecourt of the building is occasionally used for exhibits, such as the large temporary sculpture of a puppy composed of flowers by Jeff Koons. Banners are also hung from the main facade. The use of the exterior and forecourt spaces in this successfully continues the design intention of the building: that it is best viewed from the water.

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