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Building in the central business district of Sydney, Australia

The Queen Victoria Building (abbreviated as the QVB) is a heritage listed late nineteenth century building located at 429–481 George Street in the Sydney central business district, in the state of New South Wales, Australia. Designed by the architect George McRae, the Romanesque Revival building was constructed between 1893 and 1898 and is wide by long. The domes were built by Ritchie Brothers, a steel and metal company that also built trains, trams and farm equipment. The building fills a city block bounded by George, Market, York, and Druitt Streets. Designed as a marketplace, it was used for a variety of other purposes, underwent remodelling, and suffered decay until its restoration and return to its original use in the late twentieth century. The property is co owned by the City of Sydney and Link REIT, and was added to the New South Wales State Heritage Register on 5 March 2010.

The site has been under the control of the council of the City of Sydney since 1842, when Sydney Town was incorporated. and later the site was selected for the construction of "a marvellous centre of trade". was designed by George McRae, a Scottish architect who had emigrated to Sydney in 1884. At the time, Sydney was undergoing a building boom and since in architecture "no one school or style predominated", McRae produced four designs for the building in different styles (Gothic, Renaissance, Queen Anne and Romanesque) from which the council could choose. The dominant feature of the building is the central dome which consists of an interior glass dome and a copper sheathed exterior, topped by a domed cupola. Smaller domes of various sizes are on the rooftop, including ones on each upper corner of the rectangular building. Stained glass windows, including a cartwheel window depicting the arms of the City of Sydney, allow light into the central area, and the roof itself incorporates arched skylights running lengthways north and south from the central dome. The colonnades, arches, balustrades and cupolas are of typically intricate Victorian style. The site, an entire city block, had previously been occupied by a produce market and the Central Police Court. These uses ceased in 1891 and the land was purchased by Sydney City Council. The Australasian Builder and Contractors' News described the four designs in July 1893 as "scholarly Renaissance", "picturesque Queen Anne", "classic Gothic" and "American Romanesque". The style chosen was the last and the foundation stone was laid in December 1893 by the Mayor, Sir William Manning. This foundation stone was a five tonne block of granite, levered and lowered into position at the corner of George and Druitt Streets. The ceremony was the first of a series in which successive mayors laid stones and plaques to mark the progress of construction. The building was notable for its employment in the expansive barrel form roof of engineering systems which were very advanced at the time of construction. McRae is considered by architectural historians to have been one of the leading protagonists of the new construction methods and materials which were then beginning to break down the conservatism of building techniques. In achieving the strength and space of the building McRae used steel, iron, concrete, reinforcing, machine made bricks, glass, imported tiles, fire proofing, riveting and hydraulics on an unprecedented scale. The huge building was finally completed and opened with great ceremony by Mayor Matthew Harris on 21 July 1898. Harris said that the building was intended to be more than a municipal market. "With judicious management", he said, "a marvellous centre of trade will be established here." The councillors decided not to ask for the Queen's assent, in part because it would have made it "necessary to have the Royal Coat of Arms on the building".

The building was officially opened on Thursday 21 July 1898. In the evening there was a grand ball for more than a thousand guests held in the adjacent Town Hall. at which the then Lord Mayor of Sydney, Matthew Harris, made a speech that reflected "faith in the future, the great theme of the Victorian age of optimism", by saying: The building was illuminated by about 1,000 Welsbach incandescent burners, equal in lighting power to about 70,000 candles, producing "floods of light" that even in the basement was judged to be "perfect". and both the City of Sydney Library and the Electricity Department were long time occupants. In the first few decades the QVB had the atmosphere of an oriental bazaar, and the earliest tenants conducted a mixture of commerce, crafts and skills. There were shops, studios, offices and workrooms for some two hundred traders, dealers and artisans. Housed within the upper galleries were more studious and scholarly tenancies, such as bookshops, sheet music shops, piano sellers and piano tuners, as well as the salons of private teachers of music, dancing, singing, elocution, painting, sculpting, drawing and dressmaking. There were also more decorous sports including a billiards saloon, a gymnasium for ladies and a table tennis hall. In ensuing years various schemes for selling, remodelling and/or demolition were proposed and reports produced. The markets originally held in the building were relocated to Haymarket in 1910. In 1912 it was described as an "incubus" and in 1915 and 1916 as a "municipal 'white elephant'". In 1913 a "decision to re model was arrived at by 10 votes to 9" over the options to demolish or sell. Although it had been accepted that nothing could be done until after the war,

The statuary for the second group was approved in February 1898. Mr McRae was "well satisfied" with the decision, although he would have preferred them to have been made in bronze. Nearby stands a wishing well featuring a bronze sculpture of Queen Victoria's favourite dog "Islay", which was sculpted by local Sydney artist Justin Robson. A recorded message voiced by John Laws urges onlookers to give a donation and make a wish. The money cast into this well goes to the benefit of deaf and blind children.

As at 16 February 2004, the exterior facades above the awning line are largely intact but heavily conserved. For example, the drum of the dome is of rendered concrete painted to resemble stone and the small cupolas adorning the parapet are of fibre glass construction painted to resemble copper. Below the awnings, shopfronts have been interpretively reconstructed. Externally, the building is in good condition.