13/07/2016 Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 “To Be an Artist Is to Believe in Life” Henry Moore

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 2

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Glenelg Shire

This Public Art Master Plan identifies a range of key public art opportunities for Glenelg Shire. The Plan defines public art as it applies to Glenelg Shire area. It presents design and project themes that are specific to the Shire. It identifies budgets, collaborative parties and sets out the pathways to make it happen.

The locations and types of public art recommended in the plan are based on detailed research - including in-depth consultation, face to face interviews, historical and cultural studies and comprehensive visits to and studies of each of the locations involved.

The value of the consultation undertaken cannot be overstressed. It ensures the views of all parties are taken into consideration. From the powerful to the meek, from the domineering to the reticent, these grass roots voices are the magic ingredient for quality public art that engenders community engagement and ownership. It allows us to distil local aspirations, values and history – important data that is not always immediately apparent.

A Public Art Master Plan is a tool for seeking funding. With this Master Plan, Council will have the opportunity to unlock State or Federal funding for any or all of the recommended projects. It is the first thing these jurisdictions look for when considering grants allocations.

Foremost in value, the Master Plan will help Council, local business, the community and individuals understand and recognise the cultural and financial inflows that follow the installation of well placed, well designed and meaningful public art. But perhaps even more so, the plan’s implementation will build the self esteem of the Shire - boost the community’s love for its towns and special places – and make the Glenelg Shire an even better place to live.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Report for Glenelg Shire Council by

ARTSCAPE PO Box 3459 Tuggerah NSW 2259 www.artscapeconsulting.com.au

with

The Design Partnership 21 Jusfrute Drive PO Box 6325 West Gosford NSW 2250

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 CONTENTS

EXECUTIVE SUMMARY 7

1 Introduction 9

2 Understanding of the Shire 13

3 Place Assessment and Consultation 23

4 Public Art Conclusions 31

5 Vision for Glenelg’s Artistic Future 33

6 Public Art Projects - Priority Projects 43

7 Procurement of Public Art 69

8 Grants and Engagement with the Community 83

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 The at a glance

“Australia Felix” = 19,578 City Towns Villages & Title given to the region by explorer Localities Major Mitchell Population Shire’s Composition Portland

6,212 3,000 sq km hectares Rural

Heywood Casterton

The Shire Budj Bim Pop. Distribution The Bonney Upwelling National Heritage Landscape Deep water is funnelled to the Kurtonitj IPA, Lake Condah IPA, surface, creating a food source for Tyrendarra IPA & Lake Gorrie marine life

CASTERTON 1st Permanent Existing Public Art Iconic Tourism of trails that form the Birthplace of the European Settlement Works Events Great South West Walk Kelpie in Victoria

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 EXECUTIVE SUMMARY

Glenelg Shire is located in the south west art with the community and Council. The ten projects include: corner of Victoria. The Shire is home to The analysis process produced a Vision for 1. The Gateway Lookout (Part approximately 20,000 residents who reside the Shire which will inform the development A), located at the Frank Lodge within one city, two towns and eight villages. of new public art. Scenic Lookout, and the Gateway Portland, the Shire’s largest town is centred Intersection artwork (Part B) will on a deep water port - the only deep water The Vision states: draw people into Portland port between Adelaide and Melbourne. 2. The Portland Landmark is an iconic Public art will anchor vibrant and unique permanent sculptural artwork Over the past 20 years 14 pieces of public public spaces in the Glenelg Shire. From the 3. The Portland Art Trail will enhance art have been commissioned in the Shire. coast to the country, public art will celebrate Portland’s popular cable tram with The public art collection is widely distributed the unique characteristics of each place and permanent and ephemeral public from Portland in the south to Casterton in will demonstrate a commitment to civic life. artworks the north. 4. The Nelson Gateway will mark this This Master Plan reinforces the concept of important nodal point In preparing this Public Art Master Plan, a sense of place - for the Shire as a whole 5. The Casterton Kelpie Art Trail will the project team spent considerable time and for each place within the Shire, having a be enhanced becoming acquainted with the Glenelg unique identity in its own right. 6. The Casterton Canvas will become a Shire. The first trip was by car - driving gateway marker from Geelong and experiencing the arrival This sense of place is expressed in the 7. The Integrated Trail recognises sequence into Portland, just like any other public art projects identified for the Shire. the natural world and our ability to visitor. This trip, known as the Regional Tour This Master Plan recommends ten priority engage with it through public art included 11 Place Assessments across the projects, of varying scales and budgets. 8. The Glenelg Rail Trails will Shire. The conclusions of this document takes feature public art that explores the the reader step by step through the relationships between the towns that The second trip, followed a similar driving implementation process. were linked by the former rail line sequence. It was during this time, the project 9. Portland’s ‘Backstage’ will become teams understanding of the Shire was a place of experimental art enriched - by exploring the concept of public 10. Heywood’s Rose-scape will become a unique cultural attraction

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 “Creativity takes courage” Henri Matisse

At Last a Chance for Vida! by Carmel Wallace

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 INTRODUCTION

In November 2013, Glenelg Shire Council Aim of the Master Plan engaged public art consultants ARTSCAPE to prepare a Shire-wide Public Art Master The aim of this Public Art Master Plan is to: such as public safety, maintenance Plan. • Establish an overarching vision and and vandalism guiding themes for public art for the • Establish guidelines for engaging with: The intent of the Master Plan is to develop a Glenelg Shire »» Disadvantaged groups within the network of public art throughout the Shire, • Define public art and identify appropriate region identify methods to improve the skills of types of art »» Indigenous communities local artists and engage with the broader • Identify key projects, supporting projects »» The youth of the Shire community. and their suitable locations »» The wider community • Investigate opportunities for a public • Establish guidelines for community or ARTSCAPE engaged the services of The art trail throughout the Shire to increase private sector initiated public art Design Partnership to provide urban design cultural tourism and health and wellbeing • Establish guidelines for securing arts and place making direction to ensure an such as visual stimulation for mental tourism and events into the region integrated public realm - with public art at health including the potential for a regular and its core. • Establish artist procurement processes unique temporary public art event that including: will attract artists and visitors to the »» Artist and artwork selection processes Shire »» Artist brief requirements • Identification of funding and grant »» Life cycle considerations of opportunities. permanent and temporary public art

gsc public art master plan 9 At Last a Chance for Vida! by Carmel Wallace

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 10 Spirit of the Albatros by R.M. Gomboc

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Procurement Of Public Art

Public Art is a chronicle of our public and cultural history. Public Art can project the identity of a place – it is one of the many voices of the public domain. Public art can be controversial and can challenge thoughts and perceptions. Public Art is located in the public domain. It ‘belongs’ to the community. It can give a ‘place’ a point of difference.

Public Art is any work of art, in any media, located in the public domain - it may be:

• Permanent, ephemeral, performance based, interactive and experimental

• Playful, serious, comical, complex or absurd

• A single work of art or a collection of works in a single place or along a defined route

• Created by an individual artist or by a group in collaboration

• Multi sensory in sight, touch, smell and sound

• Designed to suit its context or standout in contrast. “Art is the lie that enables us to realize the truth” ― Pablo Picasso

gsc public art master plan 11 Spirit of the Albatros by R.M. Gomboc

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 The beginning is the most important part of the work. Plato

Kurtonitj Sculpture by Carmel Wallace and Vicki Couzens at Tyrendarra Photo credit: Bill Bell Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 UNDERSTANDING of Glenelg Shire

Methodology Summary - to get an understanding and set the direction

The GENERAL HISTORY ART STUDIES& PLACE CONSULTATION FACTS + + ANALYSIS + REPORTS + ASSESSMENT + = VISION

Master Plan Procurement Process The preparation of a Master Plan requires As demonstrated in the diagram above, the Together, the analysis and assessment of a detailed understanding and awareness of methodology used in the preparation of these steps produces the vision, objectives, key five elements: this Master Plan included the analysis and guiding themes and typologies. assessment of: 1. Cultural History 1. Understanding of general facts This section of the report analyses the first 2. History of Glenelg Shire three parts - History, Art Analysis and Studies 2. Natural History 3. Understanding of existing art and art and Reports. While section 3 provides the 3. Governance programs within the Shire Place Assessment and Consultation. 4. The distillation of the background 4. Unique characteristics reports and studies 5. The people of the Shire 5. The undertaking of community consultation 6. The undertaking of a Place Assessment

gsc public art master plan 13 Kurtonitj Sculpture by Carmel Wallace and Vicki Couzens at Tyrendarra Photo credit: Bill Bell Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 GENERAL FACTS General Facts

Glenelg Shire is located in the southwest The Shire’s economy is centred on a privately trails. These trails can have a multitude of corner of Victoria. The Shire is anchored owned deep water port – the only deepwater uses such as walking trails, cycle trails and by the City of Portland, and the towns of port between Adelaide and Melbourne. even for horse riding. Casterton and Heywood. The villages and Portland exports logs, woodchips, timber localities of Nelson, Cape Bridgewater, products, grain, aluminium ingots and Nelson, Dartmoor, Merino, Narrawong, livestock - much of which is produced Sandford, Tyrendarra and Digby are within locally. The Shire is located within the close proximity to these towns. Green Triangle which is one of Australia’s major forest regions, producing soft and The title ‘Discovery Coast’ is an appropriate hardwoods. description, as the area is rich in natural features and attractions, such as the Glenelg The south west corner of the Shire features River, the Lower Glenelg National Park, Lake over 250 kilometres of walking trails - Condah and the geological formations of forming the Great South West Walk. The Cape Bridgewater. The concept of discovery character of the trail varies - ranging from and exploration is also strong in the Shire beaches to coastal cliffs, to national parks - Portland is known as the first permanent and the Glenelg River. European settlement in Victoria and areas of the Shire were mapped by surveyor and In 1884, the Railway Construction act was explorer Major Thomas Mitchell. authorised. Nicknamed the Octopus Act, a myriad of rail lines net worked across Today, the Shire is home to approximately Victoria. A number of these rail lines are 19,578 residents (2011 census), 40% of disused across the Glenelg Shire, however which live in rural areas. Portland is the Shires the rail corridors still exist. Unlike other largest population base, accommodating areas of Victoria, such as the Port Fairy to approximately 10,000 residents. Casterton, Warnambool Rail Trail, the Glenelg Shire has the second largest town has approximately no Rail Trails. Rail Trails are the conversion Knitted Narrabans at the Upwelling Festival, 2013. The festival is held annually in late October / early 1,750 residents. of the disused lines into shared walking November

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 2 Understanding

HISTORY The Cultural & Natural History of the Shire

Cultural History

The indigenous heritage of the region realising that there was no available land in Casterton is home to the Australian Kelpie is unique as evidenced by permanent Van Diemen’s Land decided to explore the Muster incorporating the Casterton Kelpie settlement by the Gunditjmara people. opposite coastline. Festival and Working Dog Auction held Permanent settlement was possible due After settling in Portland, Henty and his annually over the June long weekend. to the area’s active geology. Lava flows brothers ventured further north and identified from Mount Eccles (Tyrendarra Lava Flow) the Casterton region as rich grazing country. Major Thomas Mitchell was the Surveyor created a unique drainage pattern that The brothers claimed 28,000 hectares General of New South Wales. Mitchell created wetlands at Lake Condah, which between the towns of Casterton and undertook many surveying expeditions following engineering, were suitable for Coleraine. The township of Casterton grew at which saw him explore vast areas of the east aquaculture. The Gunditjmara people farmed a crossing of the Glenelg River. At that time coast of Australia. During his expeditions he and smoked eels for trade. The permanence the Casterton Hotel was its only building. charted and surveyed the Darling River, the of their settlement is demonstrated by stone The township was surveyed in 1840 around Murray and the Glenelg River. There are a houses which are still evident today. Lake the same time as Portland. number of markers throughout the Glenelg Condah is located north-west of Heywood. Shire identifying his route such as Fort Casterton is recognised as the birthplace O’Hare in Dartmoor. Portland, was first sighted from the ship the of the Kelpie. The Kelpie was born in 1871 ‘Lady Nelson’, by Lieutenant James Grant, at Warrock Homestead, north of Casterton. who charted the Victorian coastline in 1800. As the story goes, Jack Gleeson, a drover, Lieutenant Grant named Portland Bay after wanted to buy a pup from its owner George the Duke of Portland – the English Secretary Robertson. Robertson had a policy of of State. Seasonally whalers and sealers not selling his pups. In the end, it was visited Portland Bay from the late 1820s. Robertson’s nephew who exchanged the Whaler William Dutton arrived in the bay in pup for Gleeson’s horse. The pup was late 1828, building a house the following year. named ‘Kelpie’ by Gleeson which means “a Portland became a permanent settlement malignant water sprite haunting the fords after the arrival of Edward Henty, who upon and streams in the shape of a horse”. Obelisk commemorating the camp of Major Mitchells at Fort O’Hare at Dartmoor

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 HISTORY The Cultural & Natural History of the Shire

The Natural World

The Bonney Upwelling November. The festival celebrates the the Shires cultural heritage. The architectural The natural occurrence, the ‘Bonney ‘Bonney Upwelling’ and marks the beginning character is distinctive due to the use of Upwelling’ is part of the Great South of the summer fishing season. Now in its 6th indigenous materials. Australian Coastal Upwelling (GSACU) year, the festival is held annually late October/ in the Great Australian Bight – stretching early November. The festival includes the from Ceduna in South Australia to Portland blessing of the fleet prior to their departure. in Victoria. The event takes place between There is a strong art focus to the festival with November and May each year and is the a major installation. The inaugural year was result of the upwelling of deepwater from the host to the 5 Whales project. This installation ocean floor. The water carries nutrients that comprised five separate sculptures based attract fish and in particular, the rarely seen upon a whale theme. blue whales. Kanawinka Geotrail The ‘Bonney Upwelling’ is the most The Glenelg Shire is located within the predictable of all the GSACU events and Kanawinka Geopark which forms part of the is the cornerstone of the Victorian fishing Newer Volcanic Province of South Eastern industry. The indigenous population also Australia. The Shire is located within the took advantage of the upwelling. Local Coast and Caves Precinct and the Plateaus tradition says that the indigenous tribes and Falls Precinct. The name Kanawinka may have eaten beached whales. Around is derived from the geological fault line 1833/34 near Portland, the Convincing that stretches from Portland across the Ground Massacre was the result of a dispute border into South Australia at Naracoorte. between the indigenous population and The geological activity and formations are Upwelling Festival in 2009 - 5 Whales Project European whalers over a beached whale. evident in the landscape and have influenced Portland is host to a cultural festival each

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 2 Understanding

ART ANALYSIS Art and Events in the Glenelg Shire

Existing Public Art Existing Art Programs Existing Events There are some examples of public art within Council allocates funds each year to operate There are a number of events and the Glenelg Shire. The artworks are spread the Arts Program and Cultural Collection festivals held in the Shire each year. Art is across the Shire with the majority being Program. In addition, the Arts Program incorporated into some of these events. created and installed in the last 10 years. currently receives funds from Arts Victoria under the triennial Regional Partnerships The key events include: Public Art locations: Programme. Unless an external grant is • Upwelling Festival in Portland - temporary Portland’s public art is generally secured for a specific project, all projects installation/art event located within the Civic Precinct or are undertaken within Council’s budget. This • Heywood Wood Wine and Roses on the Bentinck street lawns limits opportunities for public art projects Festival - There are no formal public art due to competing priorities and resources. programs as part of this event. There are Casterton features the Kelpie Art a number of minor activities that could Trail which is composed of six public Each year, Council provides funding for a be enhanced and incorporated into a artworks range of community grants such as local larger event. arts grants. The funding for these programs • Casterton Kelpie Festival - An acquisitive Merino has a single sculpture is separate to the Arts and Culture programs. painting competition forms part of the located at the southern end of the event. The paintings are acquired by village Existing Art Groups & Organisations the Kelpie Association however, are not currently exhibited. The Artists of the There are a number of not for profit arts Dartmoor features sculptures carved Valley also stage the Clarice Beckett Art groups/associations in the Shire including: from trees in the former Avenue of Award during the festival. • The Julia Street Creative Space and the Honour. The trees depict scenes Julia Street artist residency in Portland from World War One and nursery • Artists of the Valley (Casterton/Sandford) rhymes. • Lyon Sculpture Park (privately owned) A detailed list of the Shire’s existing public • Arts Casterton art collection is provided in Section 3. • Portland Council for the Encouragement of Music and the Arts (CEMA).

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 STUDIES + REPORTS Relevant Reports and Studies

GSC Cultural Strategy 2011-2015

The Glenelg Shire Council Cultural Strategy The Cultural Strategy has seven focus points. Seek to initiate streetscape is a five year plan (2011-2015) to implement Focus Number 4, Art in Public Places refurbishment projects and development art and cultural events in the Shire. Its vision recognises there is a range of existing art of public places where possible and is: across the Shire. appropriate, in other areas of the Shire.

All people living in the Glenelg Shire should Focus No. 4 identifies six strategies. They Apply for external funding to undertake have the opportunity to attend and/or are summarised below: a Civic Precinct Master Plan in Bentinck participate in a diverse range of arts and Street, Portland, between Cliff and cultural activities. In addition, they should Develop a Public Art Policy which Glenelg Streets. The proposed precinct be provided with opportunities to be both identifies existing Public Art and outlines a would incorporate existing buildings, inspired and stimulated by local and visiting strategic plan for managing and maintaining streetscape beautification, public artworks artists, and to fulfil their own creative both these works and the acquisition and and complementary signage. This was potential installation of future works. undertaken during 2013 - 2014.

and Initiate the design and development of In collaboration with the Planning art in public places as part of the Portland and Economic Development Department, Glenelg Shire Council should aspire to Foreshore Development Plan, the Portland consult with the Portland community provide a range of programs, activities and Integrated Growth Plan – and where regarding the future of the public mural – opportunities that can lead to recognition of appropriate the Municipal Public Health titled ‘Aquoluminantiquitous’ (undertaken in the Shire as a leader in the arts in regional Plan – and provide opportunities for Shire 2011). Victoria, seeking external recognition for what residents to work in collaboration with can be achieved through implementation professional artists and designers on the Explore the feasibility of commissioning of a comprehensive and inclusive Cultural development of this public art. public art works to add to the existing Strategic Plan sculptures on the public walking trail in Casterton, which in part follows the Glenelg River.

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 2 Understanding

GSC Public Art Policy 2011 GSC Council Plan 2013-2017

The Glenelg Shire Public Art Policy was The policy identifies different areas of The Glenelg Shire Council Plan is a four year developed in 2011 to define the selection and responsibility for management of artworks. plan that identifies Council’s vision, core management process for procuring public The two areas are for artworks on Councils values, mission and key themes. art. The document identifies the following property and for those located on other principles in its selection criteria: property such as private sites. themes are identified in the plan: 1. Engaged, healthy, connected and • To collect works on principles which Factors in selecting a public art site proud community value: contemporaneity, excellence, 2. Diverse economic base The policy identifies key factors for innovation, high aesthetic quality, 3. Manage and sustain our natural and determining public art locations explaining relevance and authenticity and built assets that the purpose of collecting and • To acquire works of art of outstanding 4. Govern in a responsible and commissioning public art is to enhance the quality in accordance with the responsive way Shire’s civic spaces and urban environment. acquisition policy. A number of themes identify strategies that The factors identified include: In addition, there are eight (8) additional are relevant to this Public Art Master Plan assessment criteria to be considered: and include: 1. Sense of Place • Improve the presentation of the Shire to 2. Collaboration between the artist and 1. Artistic merit our community and to invite visitors a Public Art Reference Group 2. Sense of Place • Elevate the history, prominence and 3. Considerations of scale, subject 3. Audience cultural significance of the Glenelg Shire matter, materials 4. Balancing cultural heritage and • Build Portland Bay and foreshore as an 4. Public safety and limiting of contemporary culture economic attractor opportunities for vandalism 5. Relevant experience • Build on diversity of the Shire for 5. Long term management and 6. Track record tourism through nature based tourism maintenance 7. Budget opportunities 6. Local pathways, movement 8. Condition and longevity • Manage the development of a quality built corridors, accessibility and the like environment that values and respects our natural and cultural inheritance. gsc public art master plan 19

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 GSC Health and Wellbeing Plan 2013-2017 Civic Precinct Master Plan Portland Youth Activity Space Concept Plan The Glenelg Shire Council Health and The Portland Civic Precinct Master Wellbeing Plan is a four year plan that Plan is a study that aims to guide the The youth activities space will be located outlines the goals and priorities that will future presentation, use, protection and close to the existing skatepark, which will protect, improve and promote public health enhancement of the precinct. be demolished. and wellbeing for people living in the Shire. The document identifies the following The concept plan proposes elements that opportunities that are relevant to this Master could be incorporated into the Public Art goals are identified to implement Plan: Master Plan including: this plan: • Promote a sense of place and aesthetic • Aerosol art walls unity with themed art panels to various • Multimedia projections and 1. Our community will lead active and styled and shaped buildings along • Skateable sculpture healthy lives Bentinck Street, depicting local history, 2. Our community will feel safe, environment and the coast. This should connected and be able to access link in with the art trail, education and and participate in community life visitor experience 3. Lifelong learning is a way of life in • Provide visual cues and physical links to the Glenelg Shire the botanic gardens and the foreshore. 4. Our community will be resilient, This can be achieved with an art trail, prepared, and will use resources in specimen trees, signage and interpretive a sustainable way information.

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 2 Understanding

Glenelg Aboriginal Partnership Plan 2011- 2013 The Glenelg Aboriginal Partnership Plan identifies seven themes for working with the indigenous community The seven themes include: • Early Years • Schooling • Economic/Workforce participation • Health • Healthy Homes • Safe Communities • Governance and Leadership.

The plan identifies opportunities for public art within the Governance and Leadership theme:

Goal/Strategy Acknowledgement and recognition of local Aboriginal people as traditional land owners.

Action Public Art Policy development with opportunities for local Aboriginal art featured in prominent locations.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 “Art is what you can get away with” Andy Warhol

22 The revitalised mural ‘Aquoluminantiquitous’, 2011

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PLACE ASSESSMENT and CONSULTATION

Methodology Recap - understanding of the place and consultation in the methodology process

ART The GENERAL HISTORY STUDIES& PL ACE CONSULTATION FACTS + + ANALYSIS + REPORTS + ASSESSMENT + = VISION

This section continues the methodology The process and outcomes resulted in the These findings, coupled with the revelations identified in Section 2. This section includes following discoveries: of the background analysis, have formed the Step five - Place Assessment and Step six - vision and thematic strands in Section 5. Community Consultation. What we heard... Summaries of the findings are identified on This process was influenced by the analysis the following pages. of the previous steps - history, art analysis, What we saw... studies and reports - however, it is a discovery process in its own right. What we found...

gsc public art master plan 23 The revitalised mural ‘Aquoluminantiquitous’, 2011

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PLACE ASSESSMENT What we saw... The place making assessment was undertaken during a Regional Tour of the focal points Shire. It was also supported by desktop assessments before and after the tour.

The intent of the Regional Tour was for the project team to obtain a visitor perspective – experiencing the ‘first impressions’.

First impressions can influence a visitor’s industry big sky perception about a place. Will they come back to visit a second time and what will fishing storytelling they tell their friends? It looked at what role public art currently has and what new art could offer.

The trip was undertaken in December 2013, over five days, including a weekend. This enabled the team to view the Shire at different times of the day and week.

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 3 Place + Consultation

Pretty town. The art trail is a great starting point for further development. ‘Toorak Hill’ with the Casterton sign is a great canvas for new artwork.

You can imagine the hustle and bustle of the town a Casterton hundred years ago. Imagine if we could recreate that feeling with an art project?

Merino Good camping spot. Where does the old rail line go? The sculptural land & sea forgotten trees need to be repaired. Digby Good spot for fishing. Great place for a picnic storytelling on your way somewhere else. The boat sheds were very picturesque. Dartmoor

Quiet town. Very flat after the hilly drive from Casterton. Roses are plentiful which is a nice touch to the streetscape - different to the usual treatments. The Fitzroy Park was great. Nelson

Heywood

surprises Great driving through the pine Narrawong forests. Very few glimpses of the water. Is this still part of the Great Ocean Road?

Cape Bridgewater Portland

Beautiful views from the beach. The Facinating Port! There are some great historic petrified forest and the landforms are buildings in Portland. There are lots of fascinating. Great spot for a coffee beautiful hedges. People really take care of or lunch. The cloud formations were their gardens. There is a high level of pride breathtaking. here - No graffiti.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 CONSULTATION What we heard...

The value of Consultation Consultation, with Council and the Glenelg 1. Sum up the Glenelg Shire in a The value of consultation cannot be Shire community, was staged over four days few key words overstressed. It ensures the views of all in February 2014. Consultation was held in 2. Sum up the towns/localities of parties are taken into consideration. It the three main towns - Casterton, Heywood the Shire in a few key words allows us to distil local aspirations, values and Portland. 3. How do you think the Shire is and history – important data that is not PERCEIVED by tourists/visitors? always immediately apparent. Consultation 4. WHAT IS Public Art? What type provides a level of understanding that gives 10 Key Questions of ‘art’ is Public Art? 5. Do you think Public Art can a Master Plan a strong basis to explore new 10 key questions were asked of Council and change the IMAGE of a place? ideas. It also provides a powerful contrast to the Community. The responses to these the visitor perspective i.e. what we saw. 6. Public Art exists in the questions provided: PUBLIC DOMAIN. What • Insight into the character and sense of do you consider to be Community and Council Consultation place of spaces within the Shire the Public Domain? and How do • Opportunities for thematic strands you INTERACT with the Public Domain? 6 FEB 11 FEB • An understanding of the perceptions of 2014 2014 public art in the Shire 7. What do you think of the Glenelg • Ideas that had not been publicly Shire’s Public Art? Consultation Period expressed by the community 8. What is your EXPERIENCE of Public Art in Glenelg Shire? • An understanding of who wants to get Would you know the names of Further consultation involved the ARTISTS who created these For individuals and groups not available • Narrowing down the impediments to works? to meet face to face consultation, further procuring public art. 9. What opportunities do you see consultation was undertaken by phone and for Public Art in the Shire? email. In addition, a facebook page was 10. How can you CONTRIBUTE to established to make contact with the youth the delivery of Public Art in the of the Glenelg Shire. Shire

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 3 Place + Consultation

The rural landscape is Green . Art can celebrate science and nature New buildings could have INTEGRATED artworks . Quirky communities Many existing artworks are well LOVED . We are DISTANT and REMOTE NewPublic Art can help upskill . We need to look to the FUTURE and be positive Use the FORESHORE of Portland . Glenelg is a place of many opportunities Public Art and IMAGE are CONNECTED . ART helps you find your way around Our CULTURE can be reflected in our public art . Glenelg Shire is HOME Public Art is about US - it represents us . We want to be INVOLVED in public art ART IS USED TO BREAK DOWN BOUNDARIES . Public is IMPERMANENT art We need a MAKEOVER . Art has the opportunity to BEAUTIFY existing places The geology of the Shire provides a great MATERIAL palette . This is our HOME The Shire has a facinating HISTORY Public Art is anywhere the PUBLIC goes People need to be EDUCATED about art and what it is . Keep us informed Portland town entry is messy . Start SMALL and then start a BIGGER project Public Art changes your experience of a PLACE . Public Art is EVERYTHING Art can support our HEALTH and WELLBEING . Many OPPORTUNITIES here Nelson, the Shires best kept secret . Balance between the coast & the sea We need thoughtful planning of the public domain . modern + different We need PUBLIC ART ART so we can show who we are as a com mun . ity .

Responses that we heard from the community gsc public art master plan 27

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PLACE ASSESSMENT What we found... During the Regional Tour a number of existing Public Artworks were identified.

‘Aquoluminantiquitous’ by Mitch Parker and the 1 community in 1986, repainted by the same in 2011 2 Shell by Annette Taylor and the community 6 8 9 10 11 Casterton 7 3 Mosaic seat by Annette Taylor and the community

4 At Last a Seat for Vida! by Carmel Wallace, 2008

5 ‘Spirit of the Albatross’ by R.M. (Ron) Gomboc, 2005 12 Merino 6 ‘On the sheep’s back’ by Annette Taylor

Digby 7 ‘Jack Gleeson’ by Barb Dobson

8 ‘Australian Kelpie Muster by Annette Taylor (original artwork by George Haddon) Dartmoor 14 13 9 Historic Flood Marker Sculpture by Phil Cousins, 2012

10 ‘Casteron Kelpie’ by Peter Corlett, 1996 ‘Man’s Best Friend’ by Jon Dixon, 2004 Nelson 11

12 ‘A Drover’s Nightmare’ by Jon Dixon, 2007 Heywood 16 17 18 13 ‘WWI Memorial Tree Carvings” by Kevin Gilders

15 14 ‘Nursery rhyme tree’ by Kevin Gilders Narrawong 15 Kurtonitj sculpture by Carmel Wallace and Vicki Couzens, 2007 Portland 1 2 3 4 5 16 Wood, Wine & Roses Sculpture by Kevin Gilders (date Cape Bridgewater unknown) 17 ‘Eagle’ by Dean Smith 2006

18 Wood, Wine and Roses Sculpture by local metalwork apprentice c. 1996-7 28

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 3 Place + Consultation

1 2 3 4 5 6

7 8 9 10 11 12

13 14 15 16 17 18

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 “The role of the artist is to ask questions, not to answer them” Anton Chekhov

30 Jack Gleeson by Barb Dobson

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PUBLIC ART CONCLUSIONS

This section draws conclusions from the Place Specific • The are two disused rail corridors within Understanding, Place Assessment and the Shire. These corridors could be Consultation phase of the project. The • Casterton has one of the largest public converted into Rail Trails and become conclusions are summaried as follows: art collections in the Shire. It features part of the Australia wide rail trail the Kelpie Walking Trail and Casterton’s network. Public art could form part of the General Conclusions ‘Toorak’ Hill. With public art already a network in the form of signage, gateway feature of the town, it’s logical to continue markers and sculptures, augmented • Public art can take many forms - lighting, its development and cultivation - as the reality and the like seating and signage. The communities views current trail does not have enough works • There are a number of important and perceptions of public art have evolved to constitute a trail and the Fleur de Lys gateways into the Shire. One of the • There are many different types of art is largely invisible at certain times of the most significant is at Nelson. Nelson is a - from digital art to a landscape based year gateway in more ways than one: approach. Selecting the right type of • An opportunity exists to draw visitors »» The gateway between two states - art must balance spatial and contextual into Portland as they are trevelling from Victoria and South Australia factors the east. At present, the uninformed »» The gateway to the Shire • Major events in the Shire have ‘grown’ traveller is unaware that the detour is »» The end of the Glenelg River out of the area’s cultural and natural worth the time. Two locations have been »» The start or finish of the Great South histories. This gives the Shire a range of identified for public art, along this route, West Walk unique attractions that can be cultivated that could enlighten the traveller. Site • Portland’s foreshore reserve is a well and nurtured with public art at the core A is Frank Lodge Scenic Lookout and loved space however, it was generally • The natural environment is a powerful Site B is the intersection of the Princes agreed that it needs a face lift. There is recurring theme which is a positive draw Highway and Henty Highway public art within this space however, it card for tourism. There are opportunities • Public art has been identified for a lacks a strong focal point to anchor it. for public art to express this theme number of proposed Master Plans for the This focal point could be used as a centre • There are opportunities for public art to Shire such as the Civic Precinct Master piece for future Upwelling Festival’s assist in meeting the objectives of the Plan and the Portland Youth Activity temporary art exhibitions. Glenelg Shire’s Health and Wellbeing Space Concept Plan Plan. gsc public art master plan 31 Jack Gleeson by Barb Dobson

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 “Art is not what you see, but what you make others see” Edgar Degas

Nursery rhyme tree by Kevin Gilders

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 VISION FOR GLENELG’S ARTISTIC FUTURE

This section of the Master Plan is the product A project specific theme is identified during of the background analysis and research the planning stages of a public art work by stage of the process. the Public Art Curator. A Public Art Curator is responsible for overseeing the design and This section recognises four elements that implementation of public art. make up the framework for the creation of public artwork: As the diagram below demonstrates the integration and merging of these elements 1. Vision facilitate the creation of public artworks in 2. Objectives the public domain. 3. Guiding Themes 4. Typologies

SITE SPECIFIC START GUIDING PROJECT CUSTOM HERE VISION OBJECTIVES TYPOLOGIES THEMES THEME DESIGNED PUBLIC ART

CAPACITY ART SPACE

gsc public art master plan 33 Nursery rhyme tree by Kevin Gilders

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 The Vision Objectives 10 Objectives have been identified that guide this Master Plan. These objectives are based Public art will anchor vibrant and unique public spaces in the on the concept that public art will not be an afterthought - it will be carefully integrated Glenelg Shire. From the coast to the country, public art will into the built environment. celebrate the unique characteristics of each place and will 1. Raise the profile of the region and demonstrate a commitment to civic life. reinforce the identity of the Shire 2. Create a high standard of artwork in the Shire 3. Improve the quality of the public domain and create successful public spaces 4. Provide a platform for collaborative art processes 5. Improve the health and wellbeing of residents of the Shire through public art 6. Establish a creative economy 7. Support education and learning 8. Create cultural tourism 9. Support and develop the skills of the local arts community 10. Challenge preconceived notions of public art

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 5 Vision For The Glenelg Shire

Guiding Themes

To assist with the preparation of an artist’s brief, a number of Guiding Themes have ‘EVERYTHING IS CONNECTED’ been identified. These themes may assist with the preparation of a curatorial project Bonney theme. Themes have been identified for Upwelling Bonney Upwelling = Fish = Fishing Industry priority public art projects (known as PAPs) and are discussed in Section 5.0. The Bonney Upwelling provides a food source for a variety of fish, whales and seals. This event in turn supports the fishing and tourism industries, which benefits the Shire, region and Guiding Themes are recurring ideas or Fish Fishing concepts that have relevance to the local Industry State. context. Guiding Themes provide direction and structure to the creative process. A Geology Geology = Geological Events = Soil fertility guiding theme may be a core part of an The rich volcanic soils, evolved from volcanic ash and lava – artists brief which is used by a curator to supports and sustains a rich agricultural economy. The concept engage with artists. that destruction can lead to new life is prevalent. Geological Soil There are a number of re-occurring themes Events Fertility that appeared during the research phase of Exploration = Discovery = New Home this project: Portland is known as the ‘Birthplace of Victoria’ as it was the • The Natural Word Exploration first permanent European settlement in Victoria. Whalers and • Exploration sealers visited Portland Bay seasonally from the late 1820s. The • Industry. Henty brothers arrived in 1834 and established a permanent settlement. Two years later in 1836, Major Mitchell explored These themes, when juxtaposed, Discovery New Home south west Victoria and in the process discovered the Glenelg demonstrate that ‘Everything is Connected’. River and followed it to the mouth. Travelling east Mitchell met Despite the diversity across the Shire the Henty brothers at Portland Bay. Mitchell tells the Hentys - everyone and everything are bound of the fertile land to the North which he later names ‘Australia together. Felix’. The Hentys explore this land and establish pastrol runs in these areas.

gsc public art master plan 35

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Typologies for Public Art

What is a Typology? Typology, or put more simply - the study This Master Plan identifies three typologies TYPOLOGIES of types - helps the urban designer which are used to explore the appropriateness arrive at design solutions that suit the of certain types of art to a particular place. physical, historical or cultural development They are: characteristics of a place. It raises the questions. What type of public art will best 1. Typologies of Capacity

suit this place? 2. Typologies of Art CAPACITY 3. Typologies of Space For example, a streetscape may benefit more from public art that manifests itself through Within each typology there are sub types. useful and creative street furniture or lighting The sub types are identified in Figure 5 and elements than a random sculpture. Sculptural described on pages 37, 38, 39 and 40.

elements may better suit places of historical ART SPACE significance. Complex sites that require the Section 5 of this report comprises a range presentation of data to understand might of Public Art Projects (PAPs). Each project best benefit from interpretive or way finding demonstrates how the combination of Road design elements. Whatever the location, the themes, typologies and sub typologies Sculpt-art Street typologies set out in this Master Plan each become the framework for an art work. Tech-art Park have a place - where they can be used to Intersection Land-art Laneway express a message or an idea in the most Funct-art Gateway effective and pleasing way. Experi-art Civic Space Private Space Paths & Trails Rural Landscapes

Typology hierarchy

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 5 Vision For The Glenelg Shire

Typologies of CAPACITY

the nature of a public artwork p e Ephemeral Permanent This Master Plan recognises that Public Art can exist in two capacities: Ephemeral art works are forms of art that: Permanent artworks are forms of art that:

• Are non permanent artworks within the • Are designed to exist permanently • Ephemeral public domain in the public domain. They are not • Permanent • Exist in the moment and in the memory designed to break down or wear down • May deconstruct, wash away or melt. over time. Maintenance is an important Ephemeral art is dynamic and creates the • May appear to be permanent but only consideration of a permanent artwork opportunity for spaces to change regulary, exhibited for a short period of time • May be used to support a festival drawing people to a space time and again to • May be ephemeral in nature but located • May be supported by ephemeral works see what’s new. within a permanent space • Contains an important story which • Can be instantaneous and experimental. should be remembered and protected. Permanent art however, becomes part of the cultural landscape - forming its identity Example of Ephemeral Public Art Example of Permanent Public Art and giving it a sense of place. Nathan Wilkinson, Trace Elements, Anish Kapoor, Cloud Gate Chicago, 2006 It is not uncommon for any given public temporary work in Tyrendarra, 2013 space to contain permanent and ephemeral Photo credit: Chris Bunston Skyworks Aerial Photography art in close proximity.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Typologies of ART

The expression of creative skill and imagination in a visual form - produced for s L beauty or emotional power. Sculpt-art Land-art Sculpt-art are 3 dimensional works of art Land Art uses the natural landscape as a This Master Plan recognises that there are that may be: form of public art which may include: many forms of Public Art. • Of any scale, materials and procurement • A row of trees methods • The sculpting of vegetation to produce Five typologies have been identified, and a • Individual or part of a trail. Trail works an artistic effect. description of each type is provided along are often connected by an overarching Land Art can be used in conjunction with with a number of examples. theme but can still be ‘read’ alone other typologies such as Sculpt-art or • Figurative or abstract Funct-art. Land Art will generally require In keeping with Objective 10 of this Master • Generally in the round however, may be collaboration between an artist and a Plan, works should: 2 dimensional with element of relief. landscape architect. Challenge preconceived notions of public art Example of Sculpt-art Example of Land-art The five typologies recognise this objective. • Robert Indiana, LOVE, NYC 2006 • Charles Jenks, Garden of Cosmic Speculation, Portrack House UK, 2013 Photo credit: bigcitiesbrightlights, 2013 Photo credit: uniworldnews, 2014

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 5 Vision For The Glenelg Shire

t f e Tech-art Funct-art Experi-art Tech-art is about the development of Funct-art is the transformation of everyday Experi-art recognises the importance of technology and digital media as art. functional objects within the public domain experimental public art: Tech-art may include: into public art: • More likely to be ephemeral artworks • Augmented Reality (not visible without a • Everyday objects within the public • Laneway experimentation will often fit devise such as a smart phone or tablet) domain that become a thing of beauty into this category • Digital or electronic artforms such as a light pole, balustrade or park • Generally little red tape • Lighting displays and projections. bench • Encourages art to appear at random • Funct-art may be the collaboration • Can be tech-art, funct-art and land-art between an artist and an industrial • Often associated with laneway activation designer or architect. projects.

Example of Tech-art Example of Funct-art Example of Experi-art • John Baldessari, Your Name In Lights • Simon A C Taylor, Sentinals Bollards, • “The Meeting Place” - Little Hunter Street part Australian National Botanic Gardens of Laneways: By George! Hidden Networks

Photo credit: John Baldessari, 2011 Photo credit: Australian National Botanic Gardens Photo credit: Place Laboratory, 2009

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Typologies of SPACE

In this Master Plan, there are 10 spatial An area within the public domain that is typologies: characterised by its intended use

In addition to Art typologies, there are Road Gateways Typologies of Space. The public domain is A paved or unpaved throughfare A threshold between two different composed of a variety of spaces, each with between two distant points, such as spaces such as the entry to a town two towns or building different functions and qualities:

• Some spaces allow for gathering while Street Civic Space others are for moving through - on your A paved throughfare within the urban Public Spaces within the urban way to somewhere else environment that is lined by builtform environment used as gathering such as houses spaces by the community • The relationship between public art and its spatial context will inform its design, Park Private Space character, scale and purpose An area of open space used for The forecourt or facade of private recreation buildings • In the right space, artworks improve the legibility of the public domain - as landmarks or way-finding objects. Intersection Paths & Trails Artworks make is easy to orient yourself The junction of two streets or paths A paved or unpaved pedestrian path of travel. It may include numerous used as a short cut or for recreation or serve as a meeting place. viewpoints

An artwork is unique to each space. An urban analysis of the site’s context should be Laneway Rural Landscapes A narrow paved throughfare generally included in the artist brief for each project. Open space outside the urban area between or behind buildings in private or public ownership

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 “To be an artist is to believe in life” Henry Moore

On the sheep’s back by Annette Taylor

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PUBLIC ART PROJECTS - PRIORITY PROJECTS

Public Art Projects

Evolving from the consultation process this section identifies a range of public art projects. These projects are separated into VISION two categories:

1. Key Projects Key projects are priority projects that have the potential to achieve the following TYPOLOGIES & PROJECT outcomes: THEME • Enhance the aesthetic value of the public domain and enhance existing trails, activities or spaces. This eliminates the need for initial infrastructure PUBLIC ART PROJECTS PUBLIC ART PROJECTS • Network with other key projects identified Key Projects Supporting Projects in the Master Plan and potentially establishing a cultural trail throughout the Shire.

2. Supporting Projects Supporting projects are projects that have been identified as part of another process or Master Plan.

gsc public art master plan 43 On the sheep’s back by Annette Taylor

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Public Art Projects at a glance

Public Art Projects (PAPs) - Key Projects

1 Gateway Lookout - Site A and Site B

2 Portland Landmark (Bentinck Street lawn / Forecourt Precinct) Casterton 5 6 3 Portland Art Trail

8 4 Nelson/ South Australian Gateway

Merino 5 Casterton Kelpie Art Trail

6 Casterton Lookout and Canvas Digby 7 Integrated Trail

Dartmoor 8 Glenelg Rail Trails - Branxholme to Casterton & Heywood to Dartmoor

9 Portland’s ‘Backstage’ 8 4 Nelson 10 Heywood Rose-scape

Heywood 10 13 Public Art Projects (PAPs) - Supporting

7 11 Civic Precinct Portland

Narrawong 12 Portland Youth Activity Space 1 Portland 2 3 9 11 12 13 Heywood Nature Based Tourism Plan

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

Public Art Projects - Key Projects

Ten Public Art Projects or PAPs have been The Framework Additional Elements identified for the Glenelg Shire. The projects The framework also identifies following Project Intent are identified in the map opposite. elements: What is the project trying to achieve? • Capacity Typologies Each PAP comprises a framework that will • Art Typologies assist in the creation of the works including: Project Theme • Spatial Typologies What themes could be explored and • Budget and incorporated into the Artist Brief? • other considerations unique to that project. Key Objectives How does this project fulfill the key objectives identified in Section 4? Purpose What is the purpose of the project?

Procurement Recommendations What methods to procure the artwork are appropriate? Supporting Partners Who can help get this project started?

Grant and Funding Opportunities How can the money be raised to implement this project?

gsc public art master plan 45

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 1. # GATEWAY LOOKOUT

Project Intent Project Theme Related PAPs The Frank Lodge Scenic Lookout has a First Contact • PAP 2 - Portland Landmark commanding view of the port and the This project will explore the theme of • PAP 3 - Portland Art Trail coastline. The location of the lookout discovery and the first contact made by a encourages people to take a short break and traveller with a new place. This theme can Procurement Recommendation stretch their legs. The current configuration explore both historical references, such as • Open competition or falls short in presentation and does not the arrival of the Henty brothers and contact • Limited competition comprising encourage people to take the detour into the with the indigenous community. On the other collaborative teams City of Portland. This presents an opportunity hand, it could explore a contemporary story to create an iconic landmark artwork that of a weary traveller discovering a place for Supporting Partners presents the township as a dynamic and the first time. • Glenelg Shire Council vibrant destination. The artwork can reveal • Regional Arts Victoria - Creative Arts the city’s natural beauty, its exciting history Key Objectives Facilitator of exploration and its visible and fascinating • Raise the profile of the region and • Portland Tourism Association industry. This artwork should be designed reinforce the identity of the Shire • Kanawinka Geotrail to make people stop and contemplate the • Create Cultural Tourism • Gunditj Mirring Traditional Owners artwork and also consider the destination - • Celebrate the unique characteristics of Aboriginal Corporation Portland. This location is known as Site A. each place • Create a high standard of artwork in the Grant / Funding Opportunities The Princes Highway and Henty Highway Shire • Fundraising intersection is the second part of the jigsaw • Challenge preconceived notions of • Crowd Funding puzzle (Site B). This intersection will host a Public Art • Victorian Public Sculpture Fund second artwork that will continue the arrival • Projects with Public Outcomes sequence into Portland - the last nudge into Purpose • Artists with a Disability Portland. Wayfinding, Educational, Gateway, Aesthetic • Access Funding Open

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

HentyHighway to Mt From Warnambool Gambier, Hamilton & p Casterton

2 Capacity Typologies p s t $$

L s t p L t $

Art Typologies Road to Portland

Spatial Typologies

$$ Major= $200K +

1 $ Minor = $50K + Budget ($)

Legend

1 Direct views to Portland Portland PAP 2# 2 Views of the coastline PAP 3# 3 Views to Lady Julia Percy Island on clear days Arrival Artwork 1 - Gateway Lookout Arrival Artwork 2 - Gateway Intersection

gsc public art master plan 47

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 2 . # PORTLAND LANDMARK

Project Intent Project Theme Related PAPs The Portland Foreshore is a scenic Lighthouse • PAP 1 - Gateway Lookout destination that is home to many of the parts The project theme will explore the symbolic • PAP 3 - Portland Art Trail that sum up Portland - a place of industry, role of the lighthouse as a focal point and fishing and rich cultural history. navigational aid. The lighthouse represents Procurement Recommendation safety and knowing that you have arrived. • Open competition or The foreshore, provides the canvas to • Limited competition comprising display a significant iconic artwork that will collaborative teams enhance the towns sense of place, and draw tourists travelling on the Great Ocean Road Supporting Partners or arriving by ship. Key Objectives • Glenelg Shire Council • Raise the profile of the region and • Regional Arts Victoria - Creative Arts The artwork can become a focal point in the reinforce the identity of the Shire Facilitator Upwelling Festival and year round, day or • Create Cultural Tourism • Upwelling Festival/Rotary Club of evening. • Celebrate the unique characteristics of Portland each place • Portland Tourist Association Although not intended as literal interpretation • Create a high standard of artwork in the • Great Ocean Road Regional Tourism of a lighthouse, the artwork should Shire Board incorporate light as part of the installation. • Challenge preconceived notions of public art Grant / Funding Opportunities • Fundraising Purpose • Crowd Funding Aesthetic Values, Sense of Place, • Victorian Public Sculpture Fund Landmark, Iconic Art, Wayfinding • Projects with Public Outcomes

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

SP: Portland Youth Activity Space p Port of s t Portland

Capacity, Art, Spatial Typologies

$$ Major = 1 @ $200K+ PAP 3# Budget ($) p s t $$

Portland Civic Precinct

Bentinck Street

Legend Existing Cable Tram Line Existing Public Art

gsc public art master plan 49

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 3 . # PORTLAND ART TRAIL

Project Intent Project Theme Related PAPs The upper foreshore is currently home Access All Areas • PAP 2 - Portland Landmark to a tourist Cable Tram that provides an The theme, Access All Areas journeys accessible link to key areas within Portland through the many layers of Portland. The Procurement Recommendation including: town is a conglomeration of stories, some • Open competition or • Botanic Gardens true and some legends. Access All Areas • Limited competition comprising • Maritime Discovery Centre reveals the underbelly and the beauty of collaborative teams • Powerhouse Vintage Car Museum Portland. Supporting Partners • WWII Memorial Lookout Tower • Glenelg Shire Council • Cable Tram Museum. Key Objectives • Regional Arts Victoria - Creative Arts Known as the Portland Art Trail, the Cable • Raise the profile of the region and Facilitator Tram experience will be enhanced over time reinforce the identity of the Shire • Portland Tourist Association including: • Create Cultural Tourism • Great Ocean Road Regional Tourism • Sculpt-art • Celebrate the unique characteristics of Board • Funct-art including wayfinding elements each place • Portland Cable Tram Inc such as signage and interpretive devices • Create a high standard of artwork in the • Gunditj Mirring Traditional Owners • Integrated land-art solutions Shire Aboriginal Corporation • Areas suitable for experimentation • Develop a creative economy • Interpretive indigenous artwork Grant / Funding Opportunities • Challenge preconceived notions of • Statistical artwork showing the activity • Fundraising Public Art of the port and the upwelling. • Crowd Funding • Support education and learning The trail should cater for people of all ages • Victorian Public Sculpture Fund and abilities to experience public art. It Purpose • Projects with Public Outcomes should consider audio enhancement and Educational, Aesthetic Values, Sense of • Artists with a Disability other sensory responses. Place, Accessible Art for all mobilities • Access Funding Open

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

p e

Capacity Typologies

Port of L f s t e Portland p t $ Art Typologies p s $ Portland Botanical World War 2 Memorial Marina ST Gardens & Observation Tower Spatial Typologies PAP 2# p s f $ Minor = 7 @ $20-40K ST ST $ ST each Bentinck Street p s f $ Budget ($) p e $ p s $ Percy Street p s $ Legend Existing Tram Line Existing Public Art

ST Themed Tram Stop

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 4 . # NELSON GATEWAY

Project Intent Project Theme Related PAPs Nelson is a gateway in more ways than one. Alight • PAP No. 7 - Integrated Trail The village is located close to the South This theme explores the Shire’s Australian border, it is at the mouth of the adventurous heart. This artwork provides Glenelg River and is the launch point for the the opportunity to examine the stories of Procurement Recommendation Great South West Walk. historic and contemporary explorers who • Open competition or travelled through this gateway. • Limited competition comprising The Nelson Gateway will be expressed in the collaborative teams form of: • A sculpture symbolising the crossing of Supporting Partners a threshold, between States and local Key Objectives • Glenelg Shire Council government areas • Raise the profile of the region and • Regional Arts Victoria - Creative Arts • A sculpture marking the village as a reinforce the identity of the Shire Facilitator destination in its own right • Create Cultural Tourism • Nelson Progress Association • Wayfinder signage and trail marker - • Improve health and wellbeing • Great Ocean Road Regional Tourism denoting the start of the Great South • Challenge preconceived notions of Board West Walk. Public Art • Kanawinka Geotrail • Provide a platform for collaborative art processes Grant / Funding Opportunities • Fundraising Purpose • Crowd Funding Landmark, Wayfinding, Aesthetic values • Victorian Public Sculpture Fund • Projects with Public Outcomes

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

p s

Capacity & Art Typologies

Spatial Typologies

$$ Major = $100K+ 7

Budget ($) 1 p s $

3 PAP 7# Legend 2 6 1 Bridge over the Glenelg River 4

2 Ferry Wharf

3 Community Centre, History Trail & Playground

4 Boat ramp, carpark, playground Glenelg 5 Road to the beach River

6 Existing Nelson entry signage 5 7 Boat Huts

gsc public art master plan 53

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 5 . # CASTERTON KELPIE ART TRAIL

Project Intent Project Theme Procurement Recommendation The Casterton Kelpie Art Trail currently Birth of a Legend A range of procurement methods may be comprises six public artworks. This theme explores the different aspects of appropriate for enhancing the Casterton the Kelpie as: Kelpie Art Trail. To be determined by the The Art Trail will be enhanced over time • a legend, Public Art Curator. with the addition of a range of public art • as man’s best friend and works including: • as a working dog. Supporting Partners • Glenelg Shire Council Key Objectives • Casterton Kelpie Association • Sculpt-art • Reinforce the identity of Casterton • Casterton Business & Tourism Association • Funct-art including wayfinding elements • Create Cultural Tourism • Regional Arts Victoria - Creative Arts such as signage and interpretive devices • Improve health and wellbeing Facilitator • Integrated land-art solutions • Improve the quality of the public domain • Artists of the Valley (Casterton/Sandford) • Functional art including period lighting, • Support and develop the skills of the • Arts Casterton street furniture and fitness equipment local arts community along the trail Grant / Funding Opportunities • Areas suitable for experimentation and Purpose (part or total) education Landmark, Wayfinding, Educational, • Fundraising • Ephemeral public art exhibition plinths Encourage Walking and Exercise, Historical • Crowd Funding within the main street. Plinths can be / Remembrance • Victorian Public Sculpture Fund used to accommodate artistic works in • Projects with Public Outcomes the public domain on a temporary basis. • Artists with a Disability Related PAPs • Access Funding Open • PAP 6 - Casterton Canvas • Community Health Grant

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

p e Glenelg

Capacity Typologies p f $ River

L f s t e p L $ p s $ Art Typologies p f $ PAP 6#

Spatial Typologies p f $

Henty Street $$ Major = 1 @ $100K+ p s $ p s $ Minor = 7 @ $20-40K each $$ Railway Precinct Budget ($) e t e $$

Legend Existing Public Art Trail Existing Public Art Trail extension New Public Art Trail extension Public Art ephemeral exhibition area Existing Public Art

gsc public art master plan 55

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 6. # CASTERTON CANVAS

Project Intent Theme Related PAPs Casterton’s ‘Toorak’ Hill is an existing Heads Up • PAP 5 - Casterton Kelpie Art Trail “canvas” that is currently home to the 1941 The ephemeral nature of the canvas should Fleur de Lys and the sign ‘Casterton’. This strive to remind the community of the Procurement Recommendation canvas has the opportunity to become host resilent nature of the country spirit - where • Open competition or to a range of permanent and ephemeral through highs and lows the community • Limited competition comprising public art opportunities. The canvas is bands together and becomes stronger and collaborative teams clearly visible from several vantage points connected. around the town and is the terminating view This theme is about looking out for each Supporting Partners of the main street. Casterton Canvas has the other - giving the “Heads Up”. • Glenelg Shire Council opportunity to become an iconic artwork that • Regional Arts Victoria - Creative Arts resonates with the town, creates a sense of Facilitator place and increases cultural tourism. • Casterton Business and Tourism Key Objectives Association The town will benefit from a permanent • Reinforce the identity of Casterton • Arts Casterton artwork, supported by ephemeral works that • Create Cultural Tourism • Artists of the Valley (Casterton/ may align with key events and significant • Improve the quality of the public domain Sandford) dates. • Create a high standard of artwork in the • Gunditj Mirring Traditional Owners Shire Aboriginal Corporation

Purpose Grant / Funding Opportunities • Landmark • Fundraising • Wayfinding • Crowd Funding • Aesthetic value • Victorian Public Sculpture Fund

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

p e Capacity Typologies

L s t Glenelg River p l s $ $$ Art Typologies PAP 5# 2 1

Spatial Typologies $$ Major (Permanent) = 1 @ $150K+ $ Minor (Ephemeral) $50-100K each event To Mount Gambier, Budget ($) Dartmoor

Legend Glenelg River To Hamilton, 1 Views across Casterton and beyond Heywood & Portland 2 Views of Casterton Canvas from Henty Street Mickle Lookout

Casterton Canvas

gsc public art master plan 57

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 7 . # INTEGRATED TRAIL

Project Intent Project Theme Related PAPs The Shire has over 250 kilometres of walking Retreat to Nature • PAP 5 - Nelson Gateway trails in the south west corner. This theme explores the concept of The trails are known as the Great South West immersion - escaping the urban realm and Procurement Recommendation Walk. However, we note there are overlaps experiencing and understanding the natural • Direct Engagement with the trail travelled by Major Thomas world. • Collaborative Process Mitchell in 1836. There are also overlaps with attractions of the Kanawinka Geotrail. Supporting Partners Key Objectives • Glenelg Shire Council • Raise the profile of the region and reinforce This presents opportunities to enhance the • Regional Arts Victoria - Creative Arts the identity of the Shire walk with: Facilitator • Create Cultural Tourism • Interpretive signage • Portland and Nelson Tourism Association • Celebrate the unique characteristics of • Track heads and markers • Great Ocean Road Regional Tourism each place • Augemtented Reality (where phone Board • Create a high standard of artwork in the signal is available) • Nelson Progress Association Shire • Gateway signage • Friends of GSWW • Develop a creative economy • Experimental Landart. • Parks Victoria • Challenge preconceived notions of Public This trail promotes the uses of natural • Gunditj Mirring Traditional Owners Art materials that have the opportunity to decay Aboriginal Corporation • Support education and learning and become one with the land again. • Improve health and wellbeing Grant / Funding Opportunities Purpose • Fundraising Educational, Informative, Aesthetic Values, • Crowd Funding Sense of Place, Wellbeing • Community Health Grant

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

p e Capacity Typologies PAP 4# 3 p L $ L f s t p f $ 2 Heywood Art Typologies

p f $ 1 Spatial Typologies Narrawong $ Minor = undetermined quantity PAP 1# @ $20-80K each p f $ 4 Budget ($) Portland PAP#2 & 3 Cape Bridgewater p f $ Legend p f $ 1 Swan Lake Campground Cape Nelson

2 Lake Monibeong Campground

3 The Kanawinka Fault (Keegan’s Bend Lookout)

4 Bridgewater Lakes

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 8 . # GLENELG RAIL TRAILS

Project Intent Theme Related PAPs The Shire has two disused rail corridors Join the dots • PAP 5 - Casterton Kelpie Public Art Trail • Heywood to Mount Gambier (passing This theme explores the relationships • PAP 6 - Casterton Canvas through Dartmoor) between the towns linked by the former rail • PAP 10 - Heywood Rose-scape • Branxholme to Casterton (passing line. This theme can help relive the glory Procurement Recommendation through Merino). days of these towns and demonstrate how • Direct Engagement they were connected and worked together. • Collaborative Process In the Glenelg Shire, these rail corridors Artworks can explore ways to strengthen Supporting Partners these relationships and breathe new life to have largely disappeared into the landscape • Glenelg Shire Council these places. however, there are still traces. In Dartmoor, • Regional Arts Victoria - Creative Arts The artworks should be capable of being although overgrown, the tracks pass Facilitator read as individual works however together, through the town. These rail corridors • Casterton Business & Tourism Association they create a sequential movement present the opportunity to become part of • Promoting Heywood and District demonstrating they are all connected. an existing Rail Trail network - facilitated by Committee Rail Trail Australia. Rail Trails are shared Key Objectives • Great Ocean Road Regional Tourism paths - suitable for variety of uses including • Raise the profile of the region and • Southern Grampians Shire Council walking, cycling and horse riding. reinforce the identity of the Shire • Merino Progress Association • Create Cultural Tourism • Dartmoor & District Progress Association Opportunities to enhance the trail include: • Celebrate the unique characteristics of Grant / Funding Opportunities • Interpretive signage each place • Fundraising • Track heads and markers • Improve health and wellbeing • Crowd Funding • Augemtented Reality (where phone • Artists with a Disability signal is available) Purpose • Access Funding Open • Gateway signage. Educational, Aesthetic Values, Wellbeing • Community Health Grant

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 6 Public Art Projects

p e Casterton Capacity Typologies Victoria / South Australian Border

Merino L f s t Hamilton Art Typologies Digby

Branxholme

Spatial Typologies Dartmoor

$ Minor = undetermined quantity @ $20-50K each 1 Nelson Budget ($)

Legend Heywood

1 Lyons Sculpture Park

Existing Public Art Potential art inspired Rail Trails

Existing and functioning rail lines Portland

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 9 . # PORTLAND’S BACK STAGE

Project Intent Theme Related PAPs Portland has a variety of laneways and Back Stage • PAP 2 - Portland Landmark passageways that lead to the heart of one In this theme we explore the experimental • PAP 3 - Portland Art-trail of the core blocks of the CBD. Several of the character of the back stage. Here is where Procurement Recommendation laneways have already become ‘canvases’ you experiment before you ‘put on the • Direct Engagement for a number of experimental projects - show’, before artists step into the spot light. • Collaborative Process undertaken by the Julia Street Creative Works, if appropriate, can be included in the Space. This PAP proposes to continue artRAIL following this experimental phase. Supporting Partners the experimentation that is emerging and Key Objectives • Glenelg Shire Council provide spaces for artists to explore ideas • Regional Arts Victoria - Creative Arts • Raise the profile of the region and and new methods of art. It is intended that Facilitator reinforce the identity of the Shire when these passageways are activated • Portland Tourist Association • Create Cultural Tourism they improve passive surveillance and draw • Great Ocean Road Regional Tourism Board • Celebrate the unique characteristics of pedestrians into the heart of the urban fabric. • Committee for Portland each place Laneway experimentation requires a flexible • Business owners • Provide a platform for collaborative art procurement process which would need processes Grant / Funding Opportunities to be established prior to commencing the • Establish a creative economy • Fundraising program. • Support education and learning • Crowd Funding Opportunities include: • Improve health and wellbeing • Artists with a Disability • Ephemeral art projects such as art wall, • Challenge preconceived notions of • Access Funding Open music installations Public Art • Graffiti Prevention & Removal Grant • Youth groups participating in themed • Community Grant Purpose programs • Regional Arts Victoria Educational, Aesthetic Values, Sense of • Including disadvantaged groups into »» Regional Arts Fund Place, Untraditional art projects themed programs. »» Quick Response Grant

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p e Julia Street Capacity Typologies

L f s t e Art Typologies

Spatial Typologies

$ Minor = $0-50K ($0 maybe Street Percy recycled materials) Bentinck Street

Budget ($)

Legend Laneways or spaces with potential for public art experimentation Space to be activated with flow on effects for improved safety Gawier Street

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PAP NO 10 . # HEYWOOD ROSE-SCAPE

Project Intent Theme Related PAPs Heywood has a strong recurring theme A rose by any other name • PAP 8 - Glenelg Rail Trails of Wood, Wine and Roses. The existing This theme explores the many hidden Procurement Recommendation streetscape is unique as it features a variety meanings of roses. Artworks can comprise • Direct Engagement of roses of many colours in the street verge a mix of land art and sculpture resulting in • Collaborative Process and medians. This is a unique approach dynamic and unique public realm. which has reinforced the town’s sense Supporting Partners of place. This PAP seeks to develop and • Glenelg Shire Council enhance this theme by proposing a range of • Regional Arts Victoria - Creative Arts minor projects, the sum of which will create Key Objectives Facilitator a unique attraction for visitors. • Raise the profile of the region and • Promoting Heywood and District reinforce the identity of the Shire Committee Opportunities include: • Create Cultural Tourism • Local Business owners • Enhancing existing rose garden designs • Celebrate the unique characteristics of with a curatorial approach each place • Enhancing existing rose gardens to • Provide a platform for collaborative art Grant / Funding Opportunities incorporate sculptural works processes • Fundraising • Using public art to explain the meaning • Challenge preconceived notions of • Crowd Funding of rose colours such as red is for love Public Art • Artists with a Disability and yellow is for friendship • Access Funding Open • Create themed street furniture. Purpose • Community Grant Aesthetic Values, Sense of Place, • Regional Arts Victoria Untraditional art projects (art as functional »» Regional Arts Fund objects) »» Quick Response Grant

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p e Capacity Typologies p s $$ L f s p f $ Art Typologies

Spatial Typologies

$$ Major = 1 @ $70K+each

$ Minor = 7 @ $10-35K each p s $$ Budget ($)

Legend Enhanced median and verges with Rose plantings and themed artworks

Gateway art elements

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Public Art Projects - Supporting Projects

This section identifies two projects that Civic Precinct Portland Youth Activity Space support the Priority Projects. • Incorporate Public Art into future design • Incorporate Public Art into future These projects have already been identified and documentation of the Civic Precinct design and documentation of the or are incorporated into other Master Plans. including: Portland Youth Activities Space located »» Themed permanent art panels along within the Portland Foreshore reserve Bentinck Street including: »» Formation of an art trail, an extension »» Aerosol art walls of the artRAIL experience (on foot) »» Multimedia projects and »» Incorporate interpretive historic »» Skateable sculpture signage and seating (funct-art).

Westlake Metro Rail - 13 ceramic mosaic murals - Kick Flip Sequence Michael Whiting - Skatepark Mosaika Art & Design Studio sculpture

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Heywood Nature Based Tourism Plan The Shire’s Festivals - Value add

• Incorporate Public Art into future design There are three major festivals in the Shire: merging of science and art. This project and documentation of the Heywood • Upwelling Festival in Portland could be a partnership between the Nature Based Tourism Plan. • Wood, Wine and Rose Festival in science and art classes of the local Heywood and school. • Casterton Kelpie Festival. Wood, Wine and Roses Festival Below are a number of strategies that could • Establish a curated rose display for the be adopted by festival organisers to enhance festival. An art competition, based on a these events. rose theme e.g. jealousy or devotion • Seek funding for a permanent stage for Upwelling Festival use during the festival. The stage could • Encourage themes that explore the be used during non-event times as an art meaning behind the festival (the plinth for ephemeral displays. upwelling and its relationship with the local industry). For instance, Data or Casterton Kelpie Festival Statistical art could demonstrate the • Supplement the permanent Kelpie Art number of fish caught during the fishing Trail (PAP 5) with ephemeral works. To season or art that is ‘activated’ when the encourage use of the trail, incorporate blue whales arrive performances and music along the walk. • Incorporate a collaborative art project titled “Art Celebrating Science” - the

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 “The absense of limitations is the enemy of art” Orson Welles

A Drover’s Nightmare by Jon Dixon

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 PROCUREMENT OF PUBLIC ART

This Master Plan presents a process for the A schematic representation of the Public Art implementation of public art into the public process is presented below: domain. The process is broken into six stages that can be: • Integrated into the existing built environment • Integrated into new built environments • Consistent with Glenelg Shire Council’s policies and process • Accommodating for variations in artist selection and procurement.

ARTIST PLANNING DESIGN FABRICATION INSTALLATION MAINTENANCE SELECTION

Curation methodology Open Design Concept Designs Fabrication on-site or Works installed on site Ongoing management Competition off-site of graffiti and Site Specific Strategies Detailed Design Ancillary works vandalism Limited Design completed Artist Briefs Competition Documentation Maintenance Plan Opportunity for launch Artist Engagement Expression of Interest Collaborative events Processes Direct Engagement

gsc public art master plan 69 A Drover’s Nightmare by Jon Dixon

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Planning

The creation of public art is a complex Curation Methodology Writing the Artist’s Brief process that requires the consideration and management of a number of factors, which This Master Plan recognises three types of An Artist’s Brief allows the artist to respond may include: Public Art Curators: to the aims, themes, budget and time frames of the project. The brief clearly articulate what is expected from them. The artist’s • Consultation with community and Council Curator stakeholders brief may be targeted towards an individual A curator, employed by Council, who is • Approvals artist or be used by a collaborative team. responsible for the project management and • Safety considerations delivery of the Public Art. • Collaboration with a diverse project The contents of an artist’s brief may include: team of engineers, architects and • Background of the project including its Independent Curator manufacturers history, constraints, opportunities • Consideration of contractual matters. An independent curator, generally known • Detail about the client as a public art consultant, is responsible • Who will be managing the project, who For this reason, complex public art projects for the project management and delivery does the artist report to and what’s the require someone to oversee the process to of the Public Art. The independent curator artists role ensure the final artwork is suitable for the is a private entity and not a council staff • Time frames and key milestones public domain. member. A curator may have their own • Requirements for consultation artist data base which may be utilised by • Themes These people are generally known as Public Council. This curator must have experience • Maintenance or sustainability Art Curators. in coordinating multi-disciplinary teams. requirements • Copyright and moral rights Artist Lead Curation considerations • Budget Some public art projects are less complicated • Selection process including interviews and will not require the same level of or presentations. coordination. Therefore, in some instances, an artist lead approach is appropriate.

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Artist Selection

Artist Selection Process The process aims to encourage the creation Artist and Landscape Architect Collaboration of a meaningful open space treatment that The involvement of artists in the integration One of the most important steps is to engages with the concepts of placemaking of art elements within the landscape design. determine how to find and select the artist from a range of professional and creative or appropriate professional. There are a approaches. number of different methods that could be Artist and Students Collaboration employed. Before making this important There are essentially four types of The involvement of students in the creation decision, the client and the Public Art Curator collaboration: of public art. must determine the nature of the project and whether a collaborative approach is required. Artist and Artist Collaboration Some projects may require the coordination This decision will help determine which artist of a number of groups and individuals. Due Artists work collaboratively on designs selection method is most appropriate. to the complex nature of a collaborative and design approaches. Each artist shall process, the Public Art Curator would be be responsible for specified inputs. In this The Collaborative Approach the facilitator, responsible for the integration instance, at least one of the artists could be of design inputs and overall direction of the The Collaborative Approach seeks to engage an indigenous artist. the following in the design of public art and public art program. landscape treatments on any given sites: Artist and Architect* Collaboration • Artists Once it has been decided whether a • Indigenous artists The involvement of artists in the integration collaborative process is appropriate or not, • Landscape Architect of art elements into architectural facades, the next step is to identify the best method • Architects foyers and forecourts. to find and select an artist or team. • Art consultants • Students (as part of an educational *Please note, there may opportunities for a 1. Direct Engagement program) project manager or builder to be part of the 2. Limited Design Competition • Artist or individuals as part of a disability collaboration process. 3. Open Competition program • Other project consultants. The three methods are detailed on the following pages.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Direct Engagement Direct engagement of a suitable artist based ESTABLISH SELECTION on their style, approach and past work, is PROCESS appropriate for smaller contracts when the costs associated with a competition are not justifiable. Direct engagement is also the best option in instances where the artwork OPTION OPTION design is dependent upon a process of close collaboration with project stakeholders or 1 2 other consultants.

There are two ways to select an artist for Select artist directly via Select shortlist through direct engagement: database or consultant EOI process recommendation Option 1: Direct selection from a Advertise or directly published database or Public Art Curators Artist proceeds with approach artists for recommendation. The artist is contacted concept design phase EOIs directly and negotiations entered into. Artists provide EOI outlining past experience Option 2: Selection via an Expression of Interest process. A call for Expressions Panel or representative of Interest (EOI) may be made as selects artist advertisements, or as a direct invitation. Artists are selected based on experience, Engage selected artist stylistic approach and areas of expertise. The artist is then engaged to develop an Artist proceeds with artwork concept. concept design phase

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Limited Design Competition An invitational design competition in which ESTABLISH COMPETITION artists are invited to develop art concepts PARAMETERS in response to a brief. The selection of the artists for invitation can be based on existing databases or from the recommendation of an art consultant. Alternatively, an Expression RESEARCH & SELECT SHORTLIST OF ARTISTS of Interest process to select a shortlist of competition entrants may be conducted. In the latter case, EOIs are advertised or invited artists are selected for the competition on the basis of their previous experience. OPTION OPTION 1 2 Like an open competition, this format allows a number of stakeholders to have an input into the selection of the artist. Given Select shortlist directly Select shortlist through that the concepts are developed in some EOI process isolation from the project team, this process is not appropriate for contexts that require collaboration and significant integration of Brief short listed artists artwork with other contracts. Artists develop concepts Panel selects preferred art concept Engage selected artist Artist proceeds to detailed design

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Open Competition An Open Competition is an advertised ESTABLISH COMPETITION competition in which artists produce artwork PARAMETERS concepts in response to a brief. Artists are selected based upon their submitted Advertise competition concepts, experience and expertise. The competition may progress in one of two Artist develop concepts ways: in response to brief Artists submit art concepts Option 1: Following the submission of initial concept designs, a panel selects a shortlist of artists to develop their designs further for a design fee. The panel then selects the preferred art concept and the artist OPTION OPTION is engaged to proceed to approvals and 1 2 fabrication.

Option 2: A preferred entry is selected Panel selects short-list Panel selects one directly, from the pool of initial competition of entries preferred concept entrants and engaged to proceed to the Short-listed artists Engage selected artist detailed design of the artwork proposed. develop concept into detailed design The open competition format allows a number of stakeholders to have an input Panel selects preferred into the selection of the artist. Given that the design concepts are developed in some isolation Engage selected artist from the project team, this process is not appropriate for contexts that require collaboration and significant integration of artwork with other contracts. 74

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Design, Fabrication, Installation & Maintenance

Artwork Delivery Methodology

To procure a public artwork, there are Stage 1 Concept Design Stage 3 : Fabrication and Installation four steps. A number of these steps were Artists will develop concept designs either During Stage 3 the artwork is fabricated identified as stages within the variety of as part of a Design Competition or as the and installed. When the artist is responsible artist selection processes: first stage of their engagement on a project. for fabrication, it is standard practice for Sketch drawings and/or maquette (artist artists to sub-contract whole or part of the models) will be provided at this stage. fabrication process to one or a number of Stakeholder input may be sought. suppliers. Stage 1: Concept Design If a collaborative process is selected, a The roles for project management and proper plan must be established, to integrate contract administration must be determined the concept design stage of all disciplines. at the commencement of the project - during the planning stage. Contract administration Stage 2: Design Development Stage 2 : Detailed Design roles could be undertaken by the curator Following approval of the concept designs, or by the project superintendent if it’s a the artist will move into the development of collaborative process. detailed designs. The detailed design will Stage 3: Fabrication form the basis of approval submissions Stage 4 : Maintenance Processes & Installation (if required). The artist is required to To ensure the longevity of a public artwork, a obtain expert advice such as detailed maintenance plan needs to be prepared and cost estimates, information regarding the implemented. Where possible, maintenance Stage 4: fabrication process and time scheduling. costs should be included in the budget for Maintenance Where appropriate, the detailed designs the specific public art. Processes should be incorporated within landscape or architectural documentation to ensure consistency.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Artwork Design Guidelines

The following Artwork Design Guidelines Problems of galvanic corrosion can occur in Plastics and Fibreglass have been developed with the view to the combined use of reactive metals, such Plastics and fibreglasses are to be avoided ensuring the longevity of permanent and as steel screws in bronze or between bronze as they can yellow, become brittle and ephermeral artworks. and cast iron and such instances are to be deteriorate relatively rapidly. In certain instances it may be appropriate identified and avoided. for artists to use materials and techniques at Timber variance with the Artwork Design Guidelines. Stone In such instances variations will be analysed Timber should preferably be seasoned Porous stones such as the softer forms of by the Public Art Curator during the design Hardwood, durability Class 1. Timber sandstone, limestone and marble should stage. requires preservative treatments, protective be generally avoided, especially in shaded coatings, varnishes or paints to extend and damp areas due to discolouration, Material Selection Guidelines its life-span. All timber in contact with the deterioration and the possibility of surface ground shall incorporate termite protection damage when cleaning. Harder stones such All materials used for public art within the measures. Glenelg Shire must be durable and easily as granite, basalt and quartzite are preferred. Approved sandstone is acceptable if located maintained. It is with a view to the long term Glass appearance and durability that the following appropriately. requirements for the selection of materials High strength toughened glass may be used are made. Material selections shall form Concrete in some applications. Liaison with Council is required prior to its incorporation. part of the discussions with Council and the Precast concrete, terrazzo and cement may Public Art Curator during the concept design be used. However, concrete and cement are Ceramics and design documentation stages. prone to efflorescence, water ingress and staining, and this may be combated by using Ceramic sculptural elements are to be Metals protective coatings. The addition of pigments avoided as they can be easily and irreparably Preferred metals are: marine grade stainless and colours may also help reduce the some damaged. Glazed ceramic tiles, however, steel; coloured stainless steel; bronze; of the problems associated with the use of can be sufficiently durable in specific design copper alloys; nickel alloys; and 2-part concrete. applications. The tiles must be non-slip in polyurethane coated steel. paved ground areas.

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Protective Coatings Sustainability • Uneven paving and walking surfaces, especially in poorly lit areas Protective coatings guard against weather Materials and processes used in the • Glare from finished surfaces damage, paint and surface deterioration creation of artwork should use sustainable • Gradients of slopes and trip hazards on and permanent graffiti damage. It is alternatives wherever possible. Long term paved surfaces recommended that wherever possible maintenance, re-coating and cleaning should • Hours of sunlight and the impact of moss sacrificial coatings be used. These are also be taken into account when assessing and lichens coatings that are washed off with high sustainability. • Climbing on artworks not intended as pressure water, taking graffiti and surface interactive or play sculptures should be markings with it. The coating is re-applied Public Safety discouraged by eliminating parts that as necessary. It is required that wherever Public Safety is a significant design climbers might use as foot holds. possible protective coatings be applied to consideration for all items in the public The artist shall anticipate the risks the works public artworks. domain and public artworks must adhere to may pose to the public and design the work the level of public safety standards normally accordingly. The artwork may be subject Welds, Fixings, Joints and Fasteners required of all other objects placed in the to risk assessment and engineering All welds, fixings, joints and fasteners shall: public domain. The design and construction certification. • Be capable of transmitting the imposed of artworks must be in accordance with loads the relevant Australian Standards, and any Engineering Certification • Be sufficient to ensure the rigidity of the other project specific guidelines. Generally, Engineering Certification may be requested assembly, or integrity of the joint the types of public safety concerns that the by Council at the Detailed Design/ • Not cause disfiguration or discolouration design of the public art needs to address Documentation stage and on Installation of of the finished surface. includes, but is not limited to: the work. Works may require consultation Finish visible joints made by welding, brazing • Eye level projections (consider also the with an engineer to provide engineering or soldering using methods appropriate to height of children) certification relating to issues such as the class of work before further surface • Structural stability, including footings structural stability, load bearing capacities treatments are undertaken. Mortar joints (some works will require engineering and fixing methods. must be tooled smooth to achieve an even certification) dense finish and the masonry thoroughly • Secluded and confined areas that may cleaned down prior to completion. threaten public safety • Accessibility gsc public art master plan 77

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Vandalism and Graffiti • If raw materials are used, harder and Maintenance Plan smoother surfaces are preferable as The NSW Premier’s Department produced It is recommended that a Maintenance Plan they are easier to clean the NSW Graffiti Solutions Handbook for be developed prior to installation of each • Community Involvement. A sense Local Government, Planners, Designers work to ensure the effective management of pride and ownership amongst the and Developers in 2000 which can be of public art assets by Glenelg Shire Council community can help reduce vandalism downloaded from www.graffiti.nsw.gov.au into the future, which would include: through informal surveillance, quick and it is recommended that it be consulted reporting and community pressure. in the design and maintenance of public • Details of paints, protective coatings and artworks. The handbook outlines various materials to allow maintenance Vandalism is different to graffiti in that it strategies for reducing and preventing illegal • Personnel to select the correct cleaning entails the damage of objects as well as graffiti, namely: products and match paint colours marking the surface. Most of the strategies • A re-coating/re-painting schedule outlined above apply to vandalism as well. In • Making the environment unattractive for • A cleaning schedule. addition to the above, design consideration vandals and graffitists by: needs to be also given to ways of reducing »» Using graffiti resistant materials the bending and snapping of parts through »» Lighting the area at night reinforcement and appropriate fixing. »» Increasing informal surveillance (houses overlooking parks and the Skateboarding like) • Immediate and continued removal of Skateboarding on plinths and artworks can graffiti. This deprives the graffitist of the significantly damage the works and design reward of having their work recognised consideration is to be given to ways of by others and lessens the chance of discouraging unwanted skateboarding. answering tags by other graffitists. • Use painted and sacrificial coated surfaces wherever possible to aid in removal

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Commission Considerations

The engagement of a public artist requires Timeframe Fabrication Methods a different set of considerations to other consultants and contractors engaged A timeframe should take into account the Common working practice within public art on a development project. The following requirements of the commission, including is for artists to subcontract parts of the work points should be considered prior to the collaboration, consultation and approvals. to draftspeople, fabricators and the like. engagement of an artist for commission: The timeframe may require negotiation with Contracts should reflect this practice. the artist as some fabrication techniques Budget require longer timeframes due to curing and Intellectual Property drying times. A budget for each artwork should be set Negotiations of Intellectual Property matters, specifically copyright and moral rights are a prior to artist selection stage. Budgets Two Part Artist Engagement should consider: significant part of contractual negotiations • The scale of the intended commission It is advantageous for both artist and client with artists. Legal advice is recommended. • The complexity of the site to split the artist engagement into two parts. • The level of collaboration or consultation The first engagement should cover to the end Attribution and Plaques required of the detailed design stage, and the second Photographic and other reproductions of • The professional standing of the target covers fabrication and installation. artworks should always be attributed to the artist. artist. All artworks installed on site should Roles and expectations be attributed through the use of a plaque The National Association of Visual Artists installed close to the work. The plaque can (NAVA) publishes guidelines regarding pay Clearly establishing the role and expectations of the artist at the commencement of the also provide the opportunity to interpret the rates. These provide a guide for commissions work for the public. that have hourly rate components. commission. The roles of other project and design team members should also be clearly The budget for design competitions should articulated to the artist. include allowances for design fees to be paid to shortlisted artists.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Ancillary Works The exact nature and scope of work ancillary to public art pieces will be determined by the final design of the work. However, general points for consideration are: • Lighting is an important design consideration in terms of aesthetic effect, visibility and as a deterrent to vandalism • Plinth design needs to consider the effects of rainwater. Avoid flat upper surfaces where water can pool, porous stones like sandstone that are likely to discolour and avoid joins in surfaces prone to water pooling. • Attribution Plaques • Landscaping around the artwork. This can be making good around the site, or the incorporation of new landscape elements.

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Maintenance

A Maintenance Plan provides the framework »» The right of integrity – the artist’s right • An Appendix for the work that includes: for the ongoing care of the work so that it may to protect their work from unauthorized »» Material and finish specifications, continue to be an asset for the community alteration or other “derogatory including product codes into the future. treatment” that may harm the artist’s »» Installation and fixing details reputation. The right of integrity »» Drawings and photographic materials The artist must give design consideration implies that the commissioner/owner to describe the fabrication and to minimising maintenance requirements has the obligation to maintain the work installation details through robust design and the selection in keeping with the original integrity of »» Contact details of the artist and of materials and finishes suitable for the the work fabricator so that they be consulted on environmental conditions of the site. the maintenance/repair of the works However, all objects in public spaces • To discourage graffiti. Immediate removal as required. inevitably require some maintenance. There of graffiti can deprive graffitists of the are a number of reasons to keep works well rewards of having their work recognized maintained: by others and lessens the chance of answering tags by other graffitists. • To promote longevity of the artwork • To ensure that damaged works do not To this end the Maintenance Plan include: lead to liability exposure or public safety • Maintenance protocol risks • Detailed locations of the work on a site • To ensure that the moral rights of the plan artist are upheld. The 2000 Moral Rights • A maintenance schedule prepared by Amendment to the Copyright Act sets the artist, including considerations out three general moral rights that are specific to each material and finish that generally retained by the artist: comprises the work. The maintenance »» The right to attribution schedule provides a breakdown of tasks »» The right against false attribution and the timing for these tasks.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 “Every artist was first an amateur” Raplh Waldo Emerson

Man’s Best Friend by Jon Dixon

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 GRANTS AND ENGAGEMENT WITH THE COMMUNITY

Public Art can be funded through either Examples of public and private funding could include: public or private funding.

Funding need not be from a single source. Public Private The funds for creating a single public Federal Grants Private Development artwork may be from a number of sources. State Grants Local or Community Partnerships For instance, many federal and state grants Local Authority Grants Artist Lead Funding require the value of the grant to be ‘matched’ Health Companies and Banking Institutions by Council or a private funder. Crowd Sourcing Fundraising The table opposite summarises the range of grants that could be secured for the Glenelg Shire. It’s important to note that grants, time frames and processes change and a full review should be undertaken regularly to ensure that grant opportunities are not missed.

gsc public art master plan 83 Man’s Best Friend by Jon Dixon

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Grants

Federal Grants

Australia Council for the Arts Artists with a disability The Artists with Disability Program provides funding for Australian artists with disability to Australia Council grants are available to any create, develop, present, produce, exhibit and/or tour their work. practicing professional artist or arts worker Grant value: up to $10,000 (Dev) up to $20,000 (Art Projects) who is an Australian citizen or permanent Opportunities: collaboration on public art projects resident. Projects with Public Outcomes There are a range of grants including people These grants provide funding for community arts and cultural development projects that have with a disability and indigenous groups. strong public presentation outcomes and involve both arts and non-arts partners. Individuals, groups and organisations are welcome to apply provided they have sought financial support In most instances, grants for community and/or co-funding from other sources. projects must be for a public outcome. Grant value : $20,000 to $35,000

Festivals Australia - Regional Festivals Project Fund Festivals Australia is the Australian Government’s program which funds Australian regional, remote and community festivals to present quality arts projects. Grants are designed to assist a festival to create a new or unique arts activity - that is new to the festival and would not be viable without financial support. Grant value: no maximum amount

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 8 Grants and funding

Regional Arts Fund The Regional Arts Fund is an Australian Regional Arts Victoria provides support for grant applications through its Creative Arts Facilitators Government program that supports cultural (CAFs). CAFs are based in regional areas across the state. The Glenelg Shire is part of the Great development in regional Australia. Funding South Coast CAF’s network. is targeted at activities that will have long- term cultural, economic and social benefits The Regional Arts Fund is delivered by Regional Arts Victoria. for individuals and communities developing partnerships and cultural networks. Cultural Projects & Skills Development (Up to $15,000) Toe in the Water (Up to $6,000 for first time applicants) Quick Response Grants Organisation Grants (Up to $3,000) Individual (Up to $1,500)

Art Access Australia Art Access Australia grants are available Access Funding Open to any practicing professional artist or AAA will fund up to 50% of the total cost (maximum $2,000 funded by AAA) for accessible arts arts worker who is an Australian citizen or projects. Examples of how the funds may be used include: permanent resident. • improving accessibility of art sites during events such as the Upwelling Festival, Kelpie Festival and the Wood, Wine and Roses Festival • creating an audio tour/description of public art within the Shire

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 State Grants

Vic Arts Grant program The VicArts Grants program invests in Victorian Public Sculpture Fund the creative endeavours and professional The Victorian Public Sculpture Fund is a one off grant for permanent or temporary sculptures practice of Victoria’s artists and smaller arts that will: companies. It provides one-off support for • foster artistic excellence and innovative approaches to public sculpture discrete projects that will develop and bring • create new opportunities for Victorian artists dynamism to Victoria’s arts sector. There • create engaging public spaces are two rounds of funding per year. • promote artists’ contributions to public life • increase access to the arts Some projects may require co-funding. Grant value: $50,000-$100,000

Education Partnership The Education Partnerships program supports collaborations between professional artists, arts organisations and Victorian schools. There are two types of support programs that can be applied for: • Artists in Schools - supports primary and secondary schools to engage a professional artist • Extended School Residencies - supports creative collaborations between arts organisations and schools over a minimum of two school terms.

VicHealth MOTION: Arts, Physicality and Connection Program Vic Health funds hundreds of projects, each The MOTION grant seeks to raise awareness of the mental and physical health benefits of art year that are about health promotion. activities. It is well documented that the arts can increase social relationships and increase physical activity. Grant value: Up to $100,000

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Graffiti Prevention & Removal Grant The Graffiti Prevention & Removal Grant is Victoria Councils can apply for grants that develop and deliver local graffiti projects in partnership offered through the Department of Justice. with their communities. There are a range of projects that will be considered including: There are a range of grants available. • Designing out graffiti activities such as murals and public art • Anti-graffiti educations • Location based activities eg. Adopt-a-Space, Care-for-an-Area and community graffiti management groups.

Grants: ($5,000 up to $25,000)

Private Grants

There are a range of private grants available NIB to community groups that promote health NIB is an Australian owned private health insurance company. It encourages Not for Profit and wellbeing. Organisations including organisations who can apply for up to $100,000 in funding for locally based initiatives as part Medibank, NIB, Bupa and the Commonwealth of NIB foundation’s Community Grant Funding. Bank have annual grants for a range of The Community Grants program aims to support locally-based initiatives which will make a health related activities. The role of art in difference to the health and wellbeing of communities. mental and physical health and wellbeing is Preference will be given to programs which focus on one of the following areas: well documented. Refer to priority projects • Wellbeing - promoting the physical fitness, nutrition, mental and social wellbeing of the in section six for potential projects. community • Equity and Access – enabling those living in regional, rural and remote areas to participate in activities which enhance their quality of life • Education and Training – providing widespread access to resources and information to improve community awareness of health-related issues.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Crowd Funding Pozible Pozible is a crowdfunding platform and community to realise creative projects and ideas. Pozible “The collective cooperation, attention and provides a platform to raise funds by selling tangible and intangible reward. Projects have a trust by people who network and pool their funding goal and a time limit. This framework is set by the project’s creator. There are some money together, usually via the Internet, to limitations - unless the goal is achieved, there will be no funding for the project. support efforts initiated by other people or organisations”. Wikipedia Sproutback Sproutback is another all or nothing crowd funding platform. They can help set up partners to There are a number of emerging Crowd assist with the project or help by creating a mentor program. Funding platforms. Should Crowd Funding be appropriate to a Public Art project, fresh research should be undertaken.

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Engagement The process to engage with the community Recommendations to achieve these will differ for each project. engagement principles 1. Art Coordination Role 2. Public Domain integration The engagement process will be based on the following key principles: To procure Public Art, creative leadership is Public domain and streetscape upgrades required. A nominated officer within Council provide great opportunities to integrate • Strong leadership guiding the creative would facilitate the creation of public art. public art. Therefore it is recommend to align development of art in the public domain Alternatively, Council could seek a grant to public art projects with major urban design engage an external facilitator for this role. upgrades. Relevant current projects include: • The creation of public art will be inclusive • Portland Youth Activity Space and will encourage collaboration with The role would include: • Portland Civic Precinct Master Plan various groups including: • Working with the Regional Arts Victoria • Casterton Kelpie Interpretive Centre Creative Arts Facilitator to identify • Heywood Nature Based Tourism Plan. »» the indigenous community projects and funding opportunities »» disabled individuals • Prepare grant submissions 3. Engagement with disadvantaged »» the youth and school groups. • Work with existing art communities and communities identify new opportunities • Allocate a number of projects each year • Public art shall not be an afterthought. It • Establish an artists register/data base that engage with the disadvantaged will be well considered and integrated into • Support artists wishing to move from the community. This task would be facilitated public domain projects and revitalisation studio into Public Art by the Artist Coordinator strategies. • Establish a program of works for the year and create a program for future years • Identify opportunities for Portland’s artist • Promote proposed projects residency program to accommodate • Identify methods to engage with artists or developing artists from disadvantaged communities. disadvantaged groups.

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 4. Project Cross-overs in Portland » Identify opportunities for new artist Think creatively about the role of Public Art » residencies in other areas of the and how it’s connected to: Shire. In particular, create residencies • Tourism projects and funding that can accommodate disabled • Health and Wellbeing projects and artists. grants.

Identify projects where Public Art can meet the grant and funding objectives for the above projects.

4. Create the art-NET-work • Create an artist network or art-NET-work within the Shire by: »» Establishing a collaborative relationship between artist communities in Portland, Casterton and Sandford »» Following the successful implementation of the art-NET-work locally, expand the network interstate and nationally. International examples such as ‘Res Artis - Worldwide Network of Artist Residencies’ provide opportunities to attract international artists who could work

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 Index Grants 3, 17, 83, 84, 85, 87, 90 O Great South West Walk 6, 14, 31, 52, 58 A Guiding Themes 13, 33, 35 Objectives 13, 33, 34 Open Competition 46, 48, 50, 52, 56, 71, 74 Artist Selection 71, 72, 73, 74, 75, 79 H Artwork Design Guidelines 76 P Heywood Wood Wine and Roses Festival B 17, 64, 65, 67 Place Assessments 7 Portland 6, 7, 14, 15, 16, 17, 18, 19, 20, 25, 26, Bentinck Park 17, 44, 48, 49 I 27, 28, 31, 44, 46, 47, 48, 49, 50, 51, 57, 58, Bonney Upwelling 6, 16, 35 59, 61, 62, 64, 66, 89, 90 Budget 19, 45, 47, 49, 51, 53, 55, 57, 59, 61, Intellectual Property 79 Procurement 5, 13, 45, 46, 48, 50, 52, 54, 56, 63, 65, 70, 79 J 58, 60, 62, 64, 71, 73, 75, 77, 79, 81 C Public Art curators 70, 72 Julia Street Creative Space 17, 62 Casterton 6, 7, 14, 15, 17, 18, 25, 28, 31, 44, Public Art Projects 7, 36, 43 - 65 54, 55, 56, 57, 60, 61, 89, 90 K R Casterton Kelpie Festival 15, 17, 67 Kanawinka Geotrail 16, 46, 52, 58 Collaborative Approach 71 Key Projects 43 - 65 Rail Trail 14, 31, 60, 61 Commission Considerations 79 Regional Tour 7, 24, 28 Consultation 3, 13, 23, 26, 70, 77, 79 L Crowd Funding 88 S Limited Design Competition 69, 71, 73 D Sense of Place 19, 48, 50, 58, 60, 62, 64 M Direct Engagement 69, 71, 72 T Maintenance 37, 69, 70, 75, 78, 81 F Major Thomas Mitchell 14, 15, 35, 58 Themes 3, 9, 19, 35, 36, 45, 70 Master Plan 3, 7, 9, 13, 18, 19, 20, 26, 31, 33, Typologies 13, 33, 36, 37, 38, 40, 45, 47, 49, Funding 45, 83, 84, 85, 86, 87, 88 34, 36, 38, 40, 43, 69, 70 51, 53, 55, 57, 59, 61, 63, 65 G Gateway 7, 31, 52

Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016 U Upwelling Festival 14, 16, 17, 48 V Vision 7, 33,34

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Document Set ID: 2127022 Version: 1, Version Date: 13/07/2016