Hobart, Mona Museum, Conference & a NEW Project!

October 5, 2018


Strolling around the central business district of Hobart and beyond to the historic areas of Salamanca Place and Battery Point

Struck by the diversity of residential types from the more modest and early 18th century styles tot he more elaborate late Victorian and early 20th Century or Early Modernist works. One thing that is wonderful to see, and a lesson for us in Sydney is the pride the owners take in their homes and the strength of the Hobart Council's commitment to preservation of their architectural history.

MONA MUSEUM of Old and New Art

The Museum of Old and New Art (MONA) is an art museum in the Moorilla winery on  Berriedale Peninsula outside Hobart  It is the Southern Hemisphere's largest privately funded museum , and houses ancient, modern and contemporary art from millionaire David Walsh's own collection, and is described as a "subversive adult Disneyland.Many visitors approach by ferry up the Derwent River.  

It was designed by Melbourne architect  Nonda Katsilidis  of Fender Katsilidis Architects and won the 2012 Australian Institute of Architects' Sir Zelman Cowan Award for Public Architecture  


MONA opened on 21 January 2011, and hosts the annual MOFO and Dark MOFO music and arts festivals

Before  MONA, the Moorilla Museum of Antiquities, was founded in 2001 by Tasmanian millionaire David Walsh. It closed on the 20th May 2006 to undergo $75 million renovations. The new museum was officially opened on 21 January 2011, coinciding with the third MOFO festival. 

The MONA building appears at street level dominated by its surroundings, but the interior possesses a spiral staircase leading down to three levels of display spaces cut into the cliff side. On entering the museum, visitors descend a deep flight of stairs into the depths of the building and then work back upwards towards the surface, viewing the art in a way the inverse of the Guggenheim Museum in New York City.


It is largely underground to preserve the heritage setting of two  Roy Grounds houses on the property, so that the Museum as David Walsh says "could sneak up on visitors rather than broadcast its presence ... 'a sense of danger' that would enliven the experience of viewing art".