Public Art in the City of Adelaide
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City of Adelaide
City of Adelaide 1 Contents Message from CEO Mark Goldstone Message from CEO Mark Goldstone ...............................2 Despite the significant challenges we are all facing, Adelaide Fast Facts ...........................................................3 in many ways, it is still an exciting time to be in the City of Adelaide. Our city is continuing to undergo a City of Adelaide Fast Facts ..............................................3 notable transformation with new major infrastructure, Strategic Plan ....................................................................4 and exciting and creative adaptations through entrepreneurial activity. City Brand ..........................................................................4 With a vision for Adelaide to be the most liveable city Corporate Structure .........................................................5 in the world, the City of Adelaide 2020–2024 Strategic Our organisation: who we are .........................................6 Plan builds on our strengths to embrace the opportunities around us. City Governance Elected Members ...............................7 For us, a liveable city is one that is a great place to be, whether as a business owner in one of the city’s precincts, a resident or worker, a student of our Adelaide Economic Development Agency ....................8 world class universities, or a visitor to our famed festivals, cultural institutions Living in Adelaide, South Australia ................................9 and attractions. The qualities that make our city -
On Site : Installations by Tom Arthur
ON SITE INSTALLATIONS BY TOM ARTHUR JULIE BROWN ELIZABETH GOWER HOSSEIN VALAMANESH Tasmanian School of Art Gallery, This exhibition was assisted by the University of Tasmania, Commonwealth Government through the Visual Mt Nelson Campus, Hobart, Arts Board, Australia Council. September 4 - October 27, 1984 ISBN 0 85901 258 1 p.l PREFACE Fundamental to the Tasmanian School of Art Gallery Committee's exhibition policy is the commitment to exhibit work from outside Tas mania. Normally the selected works are re ceived in crates, unpacked and displayed. Occasionally the artist may be present to install the work or to participate in con current lectures/seminars. The latter can give greater meaning to the completed work, but rarely is there an opportunity to witness the work in progress. The Gallery exists within an art school, and this exhibition was intended to extend the normal educative role of exhibitions. Each artist spent approximately two weeks "in residence", developing and completing a work. The piece didn't have to be "site specific", so preliminary work could commence prior to arrival. However, it was essential that further evolution took place on site. There was no intended thematic link between the four artists; buf what they had in common was a body of work which illustrated an ability to participate within the exhibition's frame work and an involvement in a range of disciplines (without any being easily cate gorized within any particular discipline). The diversity proved to be a considerable asset. Not only did the audience gain an insight into the range of conceptual posi tions of four professional artists, but also into the individual pre-occupations and idio syncracies of their particular art practice. -
4.0 ANALYSIS and ASSESSMENT of COMPONENTS 4.1.10 Karrawirra/Park 12 Assessment
4.0 ANALYSIS AND ASSESSMENT OF COMPONENTS 4.0 ANALYSIS AND ASSESSMENT OF COMPONENTS 4.1.10 Karrawirra/Park 12 Assessment KARRAWIRRA: 670 4.0 ANALYSIS AND ASSESSMENT OF COMPONENTS Karrawirra/Park 12 Overall Spatial Patterns Overall, Karrawirra/Park 12 retains its spatial pattern and form north of the River Existing Planning / Development Plan Context Torrens/Karrawirra Parri. Areas south of the River Torrens/Karrawirra Parri were never Karrawirra/Park 12 exists within the University Oval Precinct PL7 of the City of Adelaide conceived by O’Brien and Pelzer as a part of Karrawirra/Park 12 until transfer of Park Lands Development Plan (pp. 422-424). Its ‘Environment’ is described as: started occurring. Thus, Victoria Drive and the Torrens Parade Ground precincts were not conceived as landscape pieces within Karrawirra/Park 12 but as they came available the ENVIRONMENT Corporation and City Gardeners progressively incorporated them into the landscape retaining Planting Character and Landscape Design much of the pre-1930s extant vegetation on these tracts often moving the trees around to suit The University Oval Precinct should be characterised by informal plantings of mixed exotic and native these proposals. Accordingly, the area north of the River Torrens/Karrawirra Parri is woodland around large arrears of irrigated sports field, manicured lawns and the riverbank garden area. distinctively a landscape with strong traditions to the original pre-1900 landscape designs and survey drawings by Brown and O’Brien, and Light, respectively, and land south of the River Permanent Structures Torrens/Karrawirra Parri were additional pieces reclaimed back from the original Government No additional buildings should be allowed. -
Engineering a City”
3rd Australasian Engineering Heritage Conference 2009 The Engineering of “Engineering a City”. Richard Venus, BTech, BA. SUMMARY: The South Australia Division of Engineers Australia has recently produced a small guide to the engineering heritage of the City of Adelaide. The publication supports the “Looking Back” theme of EA’s 90th year. Although little physical evidence of Adelaide’s engineering heritage remains, the research for the booklet uncovered many more sites than were expected. This paper describes the planning process and provides a brief summary of the heritage aspects covered. 1. GENERAL path followed by the first significant road, the first telegraph line, and the first railway. About 20 years ago, my colleagues Deane Kemp, the late Dr John Pickles, and Arthur Ward produced Ad- 3. A HIERARCHY OF NEEDS elaide - Engineering and Industry for the South Aus- In 1943, the American psychologist Abraham Maslow tralian Division of Engineers Australia. It was based on 2 a 20 item Walking Tour devised in 1983 by the Divi- postulated a theory of human motivation . He later sion’s Committee on Engineering Heritage1. developed this into his well-known model of a hierarchy of needs (Figure 2) which states that basic needs have to A few years ago, the Engineering Heritage & History be adequately satisfied before higher order needs can be Committee took a new approach. The idea was to organ- developed. ise the information, not by geography, but by the re- quirements of the community: what engineering infra- structure did those first Colonists need in order to estab- lish their settlement and build their capital city? 2. -
City of Adelaide
Barossa Valley A B C D E F FITZROY G TCE H Clare Valley I J K L M N O Kandarilla D J (Park 3) Padipadinyilla R 22 E F (Park 2) T F LEFEVRENgampa Yerta (Park 5) K TCE C C E R O City of A P R P T 1 O 2 S B 2 T RD E TCE N NORTH RD O I IE RD R A RD LEGEND North Course D P M IN D Adelaide Kangattilla (Park 4) E M O Shopping/ Dining Strip 3 ' 3 C N TCE WEST O RTO J ON TCE EAST BA E RT M N BA P LEFEVRE TCE F A F N I Tram Line Map L C M R E L K RD O ST L A S TCE L ST T Nanto Womma (Park 6) N DERS T ST N RD 4 CHIL ST 99c Free Bus Route 4 HILL ST ER M GOV I L L S TCE ST TCE Linear Park Trail ST 0 N E K TCE XTO YNT 5 R BU T 5 A ST J X ST 125m P M Wellington E SE N R S Tram Stops I Square/ O U L T Port Adelaide ST ST S N S L Kudnarto 6 G I N Semaphore S TCE RTH HER IN O RC K G W A 250m OLES EY ST M NL H Toilets W/C 6 A A 6 T M S N PDETidlangga (Park ST ST E NO 9) D RN IN D WAR U ST K B NAR O AC UND Taxi BAR LB M EYS RD M PLCB E M Calvary Hospital D ST AR HA ro B M W UG Ta u RO K n gh R I B I d a L o m O J N t PLC / G it L E t G 7 R in a U 7 s S TCE r W g r F n i g d E Police e e G YS TCE e k a n A S F s g I V W AY d lm H S ST r L / PDE G n N W C M S R G a a L I RA N a P A A I T L S R O G P N N Warnpangga 500m T (Park 10) D S A i Women’s & 33 M PLC IN O k TCE A N T F g M Children’s N P E n I T ST a K K Hospital V P ER C Hospital M R A O D A M E D H 8 8 L ST T F I R R A A M I 41 Memorial O Information Piltawodli (Park 1) PE S W R NN M Hospital I N O N G I E RD MEM T ON TCE W 28 Tainmundilla (Park 11) D E # Attractions Tarndanya Womma (Park 26) R 9 -
3.0 ADELAIDE PARK LANDS and SQUARES 3.1.10 Karrawirra/Park 12 Report
3.0 ADELAIDE PARK LANDS AND SQUARES 3.0 ADELAIDE PARK LANDS AND SQUARES 3.1.10 Karrawirra/Park 12 Report KARRAWIRRA: 178 3.0 ADELAIDE PARK LANDS AND SQUARES Karrawirra/Park 12 Historical Overview: Site Context Arising from Light’s plan, the main and Pennington Gardens East portions of Karrawirra/Park 12 consist of 14.62ha of land bounded by Sir Edwin Smith Avenue (formerly Avenue Road), Pennington Terrace, King William Road, the River Torrens/Karrawirra Parri, and Frome Road. It includes the University of Adelaide sports field, Pennington Gardens East, and Angas Gardens. These spatial segments have remained consistent. Karrawirra/Park 12 has carried several names over the years. Formally it is today known as Karrawirra/Park 12, but it has also been known as the University Oval ‘park’ (from the 1910s onwards), the Nursery ‘park’ (from c.1900-1930s), and the ‘Peace Park’. The ‘University’ designation is due to the long term occupancy of the sports fields by the University of Adelaide. The Nursery ‘park’ designation comes about from Corporation staff reports during the Pelzer period from 1899-1932. The ‘Peace Park’ is a designation applied in 1986 with the opening of the Sri Chinmoy Peace Mile. Karrawirra/Park 12 also comprises two triangular parks or gardens. To the west is Pennington Gardens East, bounded by Sir Edwin Smith Avenue, Pennington Terrace and King William Road. In the north was Roberts Reserve or Place which applied to land north of a closed road that connected Finniss Street to Sir Edwin Smith Avenue. From the 1860s-1950s Roberts Place appears to have been managed by Parks & Gardens staff as an annexe to the Brougham Place Garden. -
3.0 ADELAIDE PARK LANDS and SQUARES 3.1 25 Tarndanya
3.0 ADELAIDE PARK LANDS AND SQUARES 3.0 ADELAIDE PARK LANDS AND SQUARES 3.1 25 Tarndanya Womma/Park 26 Report TARNDANYA WOMMA: 384 3.0 ADELAIDE PARK LANDS AND SQUARES Park 26: Tarndaya Womma function and edge extent of the lake, and structures and components erected and planted thereupon is the primary focus of this cultural landscape assessment. Overview: Site Context Arising from Light’s plan, Tarndanya Womma/Park 26 consists of all areas to the north and Along the River Torrens/Karrawirra Parri much of the area was simply called the ‘River south of the River Torrens/Karrawirra Parri, between North Terrace, King William Road, Torrens/Karrawirra Parri riverside’ or ‘river edge’. It was complicated because prior to the Pennington Terrace and Montifiore Road (Victoria Bridge Road and Montefiore Hill Road). It 1870s this area hosted the original ford across the River Torrens/Karrawirra Parri so the term includes the Adelaide Oval leasehold, Lawn Tennis Association of South Australian leasehold, ‘ford’ or ‘crossing’ is also applied. It also hosted the ‘Government Garden’ within the together with Pennington Gardens West, Pinky Flat, Light’s Vision, Creswell Gardens, Elder ‘Government Domain’ or ‘Domain’ and the ‘Survey Paddock’. Progressively the latter names Park and the middle portion of Lake Torrens. These spatial segments have remained consistent disappeared as also use of the ‘ford and ‘crossing’ nomenclature once Lake Torrens was created. to the original plan. Tarndanya Womma/Park 26 has carried several names over the years. Formally it is today known as Tarndanya Womma/Park 26 but colloquially it is known as the ‘Adelaide Oval park’ north of Lake Torrens or ‘Elder Park’ south off Lake Torrens. -
Exhibiting Hope and Creating Social Inclusion in Our Own Ways
Exhibiting hope and creating social inclusion in our own ways AN ART EXHIBIT BY AFGHAN YOUTH OF SOUTH AUSTRALIA A while ago, we heard a document created by young women at the Muslim Women’s Association of South Australia. It was called, ‘We try not to take people’s hate into our hearts’: Hi. We’re a group of young Muslim women who live here in Adelaide. We’re interested in exchanging ideas and stories about ways of dealing with weird experiences like being stared at, being yelled at by random strangers driving by in their cars, or other strange stuff that happens here and other places. We’ve included here some of our stories and skills we’ve developed. We’d been keen to hear your ideas! There are a few different ways that we try not to take people’s hate into our hearts … When we heard these young women’s stories we said: “It’s amazing! Fantastic! We loved it. Thank you for sharing your words! We are a group of young Afghanis, both young women and young men. Your words made a good contact with our lives. The experiences were really familiar. Some of us are artists and photographers. We talked about how some of your stories could be turned into art or paintings or drawings. Would you be interested in this? Maybe we could work on this together?” And so we have! In this exhibit you will find our photography, paintings, calligraphy and songs. We hope you like them! About this project Since July 2016, Afghan Youth of South Australia (through Lutheran Community Care) has been involved in a ‘Contributing to Social Cohesion and Harmony’ project coordinated by Dulwich Centre Foundation. -
AUSTRALIAN ROMANESQUE a History of Romanesque-Inspired Architecture in Australia by John W. East 2016
AUSTRALIAN ROMANESQUE A History of Romanesque-Inspired Architecture in Australia by John W. East 2016 CONTENTS 1. Introduction . 1 2. The Romanesque Style . 4 3. Australian Romanesque: An Overview . 25 4. New South Wales and the Australian Capital Territory . 52 5. Victoria . 92 6. Queensland . 122 7. Western Australia . 138 8. South Australia . 156 9. Tasmania . 170 Chapter 1: Introduction In Australia there are four Catholic cathedrals designed in the Romanesque style (Canberra, Newcastle, Port Pirie and Geraldton) and one Anglican cathedral (Parramatta). These buildings are significant in their local communities, but the numbers of people who visit them each year are minuscule when compared with the numbers visiting Australia's most famous Romanesque building, the large Sydney retail complex known as the Queen Victoria Building. God and Mammon, and the Romanesque serves them both. Do those who come to pray in the cathedrals, and those who come to shop in the galleries of the QVB, take much notice of the architecture? Probably not, and yet the Romanesque is a style of considerable character, with a history stretching back to Antiquity. It was never extensively used in Australia, but there are nonetheless hundreds of buildings in the Romanesque style still standing in Australia's towns and cities. Perhaps it is time to start looking more closely at these buildings? They will not disappoint. The heyday of the Australian Romanesque occurred in the fifty years between 1890 and 1940, and it was largely a brick-based style. As it happens, those years also marked the zenith of craft brickwork in Australia, because it was only in the late nineteenth century that Australia began to produce high-quality, durable bricks in a wide range of colours. -
Download the World Routes 2019 Essential Guide to Adelaide
Your Essential Guide to Adelaide World Routes 2019 | 21 - 2 4 S eptember I A world of experiences at your fingertips in Adelaide. Adelaide is bursting with culture, flavours, events and entertainment. This vibrant and friendly city invites you to reward your curiosity and discover what makes Adelaide the perfect home for World Routes 2019. Adelaide Oval, Adelaide Your Essential Guide Welcome to Adelaide Welcome, from the hosts of World Routes 2019. Surrounded by lush parklands and speckled with an eclectic combination of historic buildings, trendy bars and state-of- the-art modern facilities, Adelaide is beckoning to be explored. We invite you to indulge in some of Australia’s most awarded restaurants in the heart of the city, immerse yourself in a thriving local arts scene, and unveil the oldest culture on earth through the world’s largest Aboriginal artefact collection. Adelaide, with its bustling Riverbank Precinct, and world-class venues such as the Adelaide Oval, Adelaide Showground and Adelaide Convention Centre, is an ideal setting for major events and conferences. The city can accommodate event-goers from around the world but remains compact enough to enable our visitors to roam freely, explore local attractions, and stay confident that their home base is never too far. Step outside of the city, soak up some sun and uncover a diverse array of experiences in our regions. Taste your way through world-famous wine regions only minutes from the city. Adelaide is a gateway to some of Australia’s best wine country and is recognised as a member of the prestigious Great Wine Capitals Global Network. -
Park Land Site Fees – 2019 - 2020
Park Land Site Fees – 2019 - 2020 Park Land event site fees are based on the following criteria: Park Land Site Type; Event Holder Type; Seasonality; Ticketed / Non Ticketed; and Size of the Site (per 10002m occupied). Park Lands Site Type Premium Park Lands Popular Park Lands Pilot Park Lands Potential Park Lands Light Square/Wauwi Hindmarsh John E Brown Park (Park Potential Sites are Square/Mukata Whitmore Square/Iparrityi 27A) located in the Northern Park Lands (Parks 2-12, Victoria Square/ Palmer Gardens/Pangki West of North Adelaide Wellington Square, Tarntanyangga Pangki (Park 28) Railway Station, Mary Brougham Gardens & Lee Park (Park 27b) Adelaide Riverbank Lawn Main Kiosk Area & Event Palmer Gardens), (Park 26) Space (circus site) in West of Morphett Street Western Park Lands Bonython Park/Tulya Bridge, Helen Mayo (Parks 23-25) and Elder Park (Park 26) Wardli (Park 27) Park/ Park 27 Southern Park Lands (17-22 and Hurtle Pinky Flat (Park 26) Veale Gardens/Walyu Gladys Elphick Square). Yarta (Park 21) Park/Narnungga (Park Pennington Gardens These locations are West (Park 26) 25) (West) Victoria shaded blue on page 19 Rymill Park/ Park/Pakapakanthi (Park Ellis Park/Tampawardli of the Adelaide Park Murlawirrapurka (Park 16) (Park 24) Lands Events Management Plan. 14) King Rodney Park / South of Veale Gardens Rundle Park/Kadlitpina Ityamai-itpina (Park 15) (Park 21) (Park 13) Pennington Gardens Memorials and Gardens East and Peace Park in Karrawirra surrounding (Park 12) Torrens Parade Grounds Creswell -
Media Contact List for Artists Contents
MEDIA CONTACT LIST FOR ARTISTS CONTENTS Welcome to the 2015 Adelaide Fringe media contacts list. 7 GOLDEN PUBLICITY TIPS 3 PRINT MEDIA 5 Here you will fi nd the information necessary to contact local, interstate and national media, of all PRINT MEDIA: STREET PRESS 9 types. This list has been compiled by the Adelaide NATIONAL PRINT MEDIA 11 Fringe publicity team in conjunction with many of our RADIO MEDIA 13 media partners. RADIO MEDIA: COMMUNITY 17 The booklet will cover print, broadcast and online media as well as local photographers. TELEVISION MEDIA 20 ONLINE MEDIA 21 Many of these media partners have offered generous discounts to Adelaide Fringe artists. PHOTOGRAPHERS 23 Please ensure that you identify yourself clearly as PUBLICISTS 23 an Adelaide Fringe artist if you purchase advertising ADELAIDE FRINGE MEDIA TEAM 24 space. Information listed in this guide is correct as at 20 November 2014. 2 GOLDEN PUBLICITY TIPS There are over 1000 events and exhibitions taking part in the 2015 Adelaide Fringe and while they all deserve media attention, it is essential that you know how to market your event effectively to journalists and make your show stand out. A vibrant pitch and easy-to-access information is the key to getting your share of the media love. Most time- poor journalists would prefer to receive an email containing a short pitch, press release, photo/s and video clip rather than a phone call – especially in the fi rst instance. Here are some tips from the Adelaide Fringe Publicity Team on how to sell your story to the media: 1) Ensure you upload a Media Kit to FERS (Step 3, File Upload) These appear on our web page that only journalists can see and the kits encourage them to fi nd out more about you and your show.