Aussies are furious over the demolition of one of Sydney’s most recognisable cultural landmarks.
The iconic Wran Building at the Powerhouse Museum Ultimo is now being quietly stripped back after nearly four decades, sparking grief and confusion among Sydneysiders.
Much of the roof has already been removed, along with sections of the building’s signature steel ribs, which were once a defining architectural feature that shaped the soaring arched interior beloved by generations of visitors.
As demolition crews peel away the original steel sheeting, critics have voiced concerns that the cultural icon is disappearing before their eyes, replaced by what some fear will be a diluted version of the museum, and at a staggering cost.
‘This was my favourite place… I’m glad I took the kids once before we lost it,’ one person wrote.
The Minns government has defended the move, arguing the site must be rebuilt to meet modern standards, but opponents are devasted at the loss of heritage and exhibition space.
Under the $300 million redevelopment, significant internal elements within the heritage-listed Boiler House, Turbine Hall and surrounding structures will be removed, including walls, mezzanines and staircases, resulting in a net loss of dedicated exhibition areas.
Infrastructure NSW’s head of projects, Bruno Zinghini, said the original intention had been to retain and reline the Wran Building’s steel framework.
Aussies are furious over the demolition of one of Sydney’s most recognisable cultural landmarks
The iconic Wran Building at the Powerhouse Museum Ultimo is now being quietly stripped back after nearly four decades, sparking grief and confusion among Sydneysiders
However, construction firms involved in the tender process warned that the steel ribs installed in 1988 had reached the ‘end of their life’.
‘The heritage revitalisation will retain the iconic shape and form of the Wran and Galleria buildings while upgrading them for decades to come,’ Mr Zinghini said in a statement.
But that explanation has been fiercely contested by those closest to the original design.
Jennifer Sanders, who is a former deputy director of the museum and widow of architect Lionel Glendenning, insisted the building was constructed to the highest standards and said any deterioration was the result of years of neglected maintenance, not structural failure.
She has argued that a far cheaper repair would have preserved the landmark and spared taxpayers the burden of a full rebuild.
‘The 1988 Sulman award-winning museum was built to the highest standards… until the last few years when disrepair to [took] hold,’ she said.
She has also raised the alarm over design changes that will replace the Galleria’s glass ends with brick – a move she said will erase the building’s defining openness and light.
Former Powerhouse trustee Kylie Winkworth has echoed those concerns, warning that almost nothing of the original structure will survive.
As the original steel sheeting is stripped away, critics warn the cultural icon is being replaced by a watered-down version of the museum – at a staggering cost to taxpayers
‘Not even a paint scrape’, of the 1988 building will remain, she said.
The museum abruptly closed two years ago to make way for the redevelopment, which was initially expected to reopen in 2027.
That timeline has since blown out, with completion now forecast for late 2028 or early 2029, with the final fit-out work likely to delay public access even further.
The backlash has been swift and emotional, with Australians taking to social media to mourn the loss of a place many grew up visiting.
‘What!? I thought this had been saved?’ one shocked commenter wrote.
Under the $300 million redevelopment, significant internal elements within the heritage-listed Boiler House, Turbine Hall and surrounding structures will be removed, including walls, mezzanines and staircases, resulting in a net loss of dedicated exhibition areas
The redevelopment will reorient the museum’s entrance toward the light rail line, introduce a cloistered garden and learning centre, and add a subterranean theatre and green room
Others questioned the broader strategy behind the Powerhouse overhaul, particularly the decision to shift focus toward the new Parramatta site.
‘What tourist will travel to Parramatta to see the Powerhouse?’ another said, adding that the decision to move it there was ‘crazy’.
‘[I] used to love this place but it’s probably time for an upgrade,’ a fan commented.
‘It’s shocking to me the lack of attention being directed towards the net loss of exhibition space given the exorbitant price tag of this demolition and rebuild,’ another said.
The redevelopment will reorient the museum’s entrance toward the light rail line, introduce a cloistered garden and learning centre, and add a subterranean theatre and green room.
Some fear the site could be forced to pivot toward performances and events rather than exhibitions if costs spiral. ‘When it reopens, the Powerhouse Museum Ultimo will continue to deliver an applied arts and sciences program,’ said Arts Minister John Graham
Artisan studios will line Harris Street, while parts of the heritage-listed buildings will be extensively altered.
Concerns have also been raised internally about future funding, with NSW Treasury yet to allocate money for the new operational requirements at Ultimo.
Some fear the site could be forced to pivot toward performances and events rather than exhibitions if costs spiral.
‘When it reopens, the Powerhouse Museum Ultimo will continue to deliver an applied arts and sciences program,’ said Arts Minister John Graham.
‘The community expectation for the Powerhouse Museum Ultimo is clear: they want a museum, not a nightclub. The government will respect that view.’
For many Sydneysiders, however, that reassurance offers little comfort as one of the city’s most loved cultural landmarks is dismantled piece by piece.
