Public Art Strategy: Waterfront PDA by Shane Fitzgerald

public art strategy

Publisher Gallery Services Townsville City Council PO Box 1268 Townsville Queensland, 4810 Australia

Contents 1. Overview 7 What is Public Art? 7 Roles and Benefits of Public Art in the Community

The Waterfront Opportunity 12 History: Ross Creek 14 The Waterfront Public Art Strategy 16

2. Precincts 24 Precinct 1: City Waterfront Gateway

Precinct 2: Waterside Living 36 Precinct 3: Culture and Entertainment

Precinct 4: City Reach 52 Precinct 5: Research and Tourism

Precinct 6: Ocean Gatway 68 Precinct 7: Maritime Mixed Use

3. Commissioning Process 82 4. Wayfinding 88

1. Overview Text

Overview

Section 1 Dale CHIHULY Carnival Boat 2012 Dallas Arboretum

public art strategy 1. Overview 1.1 What is Public Art? Glass two or three dimensional work created partially or completely from glass

Installation multiple components brought together in a space to create a whole work, often encompassing the existing environment and assembled on site

Works can be grand in scale, or subtle, discovery pieces; pieces that lead the viewer on a journey, or stop them in their tracks. Some of the different types of work are: i.

Freestanding do not attach to any infrastructure (e.g. a stand alone sculpture)

Sculpture artwork in any medium having three dimensional form

xi.

ii.

Mosaic smaller tiles or objects assembled to create a larger pattern or picture

Sound relies upon, or creates, audio as a central component of the work

Built-In deliberately incorporated into the design and build of infrastructure

xii.

Performance art presented to an audience and often consisting of many different forms, including theatre, dance, spoken word, etc

iii.

Applied affixed directly to the surface of any structure

iv.

Industrial designed by the artist to serve a practical purpose (seating, lighting, etc). May also be described as ‘Functional’

Memorial created to commemorate a historical character, event or place

vi.

Interactive specifically designed to encourage interaction from the public, such as musical works that can be ‘played’ by the public

vii.

Multimedia incorporating technical media; (e.g. projection, photography, sound, video, etc.)

iii.

Terrazzo floor treatment consisting of composite material to create a pattern or picture

iv.

Painting an image on any surface created using specialised paints

Murals an image applied directly to any surface created using any medium

vi.

Textiles plant, animal or synthetic fibres used to create two or three dimensional objects

vii.

Lighting relies upon, or creates, illumination as a central component of the work

viii. Digital media work that relies upon computers or digital technology (e.g. projection, video, laser, etc.)

Often, Public Art can provoke conversations of a political or social nature, and gives artists the opportunity to explore relevant themes to educate and inform the public. Public Art is accessible to everyone and offers the chance to interact directly with works outside of institutional bounds. Public Art works are designed by professional artists – those who earn the majority of their living through their arts practice; who have relevant tertiary qualifications; or who have a history of exhibiting or creating works for professional institutions.

Overview

Works of Public Art are generally site specific, and explore concepts related to that site through social, historical and/ or cultural themes. Public Art pieces can be permanent or temporary, and can take many forms including, but not limited to:

ix.

viii. Temporary works intended to be shown in a space for short amounts of time (less than 2 years), especially performance art ix.

Section 1

Public Art is a creative engagement viewed by the public in an open, publicly accessible space or on/in public buildings.

Community artwork facilitated by a professional artist to engage community members, with or without a physical artwork outcome

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Whilst the criteria for Public Art can be quite broad, there are several criteria of works that would not be considered Public Art: i.

Works of a commercial nature advertising, works produced with the intention to sell

ii.

Mass-produced works playground equipment, garden ornaments, fountains, etc.

iii.

Architectural embellishments design features, furniture, etc.

iv.

Landscaping garden beds, trees, pathways, etc.

Generic hardscapes containing walls, stairways, etc.

Overview

Section 1

Orly GENGER Terra 2014 Campbell Park, Oklahoma City

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1.2 Roles and Benefits of Public Art in the Community

ii.

Professional artists are given the opportunity to expand their practice beyond the limits of a Gallery space, and explore the interaction associated with display in an outdoor setting Along with professional development opportunities for artists, local suppliers and contractors are often engaged in the creation, fabrication and installation of artworks, boosting the local economy

iii.

Public open space is physically enhanced, encouraging outdoor activities and social engagement

iv.

Public buildings are physically enhanced, improving the overall aesthetic of an area

The artworks often invoke a â&#x20AC;&#x2DC;sense of placeâ&#x20AC;&#x2122;, giving a new identity to often overlooked or understated areas

vi.

Community involvement creates a sense of ownership, building civic pride and decreasing instances of vandalism

vii.

Public Art increases awareness and understanding of contemporary art practice, particularly in passive and nontraditional arts audiences

Creation of new landmarks and meeting places encourage exploration, give a sense of direction and help the public locate pathways to other areas

xi.

Exceptional works encourage tourism and visitors to the area, boosting the local economy

Public Art needs to consider how a place is used, where it is located, its social, cultural and environmental history, along with material choice, aesthetics and future use. It is no small feat then to deliver high-calibre works of stature that elegantly address relevant issues within a society. Public Art should be an important consideration for all developments concerned with engaging those in the public realm.

Overview

Section 1

Public Art enlivens public space, and creates interaction between members of the community. It can provide meeting places, prompt conversation, or provide insight and information about the significance of a site. Public Art has untold environmental, social and economic benefits to the community:

viii. Celebration of cultural diversity, encouraging community involvement in creative and innovative practice ix.

Creative interpretations of the space lead to new discoveries about the area and a greater understanding and awareness of our local history

Anish KAPOOR Cloud Gate 2006 Millenium Park, Chicago

public art strategy 1.3 The Waterfront Opportunity The Townsville City Waterfront Priority Development Area (PDA) was declared by regulation on 5 September 2014. The Townsville City Waterfront PDA covers land located on both sides of Ross Creek, which is directly adjacent to Townsvilleâ&#x20AC;&#x2122;s Central Business District (CBD), within the Townsville City Council Local Government Area. The PDA has an area of approximately 97.2 hectares, including 63.7 hectares over land and 33.5 hectares over water. To the west, the PDA connects the Townsville Railway Station to the Breakwater. To the east, the PDA connects Reid Park to the Quayside Terminal. Land holdings bounding Ross Creek waterfront consist of water leases, vacant land, public utilities, open space areas, existing civic, residential and commercial buildings and sites currently under construction for mixed use purposes. The northern portion of the PDA contains points of departure and arrival for ferry services (barge and passenger) between the mainland and Magnetic Island and Palm Island. The Townsville City Waterfront PDA vision describes the overall outcomes to be achieved in the PDA and is articulated through the Vision Statement:

Overview

The Waterfront is a place where the city and nature intersect. Discover this world-class destination, through an interconnected series of vibrant and active day and night experiences focused on the water.

Section 1

This large-scale civic investment, enhancement and place enabling project will reinforce the primacy of the CBD, celebrate the natural assets and social, cultural and historical significance of the waterfront. The Waterfront PDA will play a transformational role in achieving 30,000 people living, working and playing in the wider CBD by 2030.

The Waterfront PDA will create an identifiably Townsville mixed use destination which embeds diverse maritime, tourism, recreation, open space, natural, culture, community, education, entertainment, residential, commercial and business uses and events, that embrace the waterfront and the cityâ&#x20AC;&#x2122;s tropical climate. An active public realm and open space network will provide a connected waterfront that is stitched into the urban fabric of the CBD. It will provide safe and secure public access along and across the water, which enhances areas of natural assets and improves the viability and attractiveness of the active transport network both within, and to key destinations outside of, the PDA. This network will be integrated with the wider street, active and public transport and ferry networks. Anchoring the PDA will be an internationally renowned cultural destination encompassing iconic sporting and cultural facilities set amongst supporting recreation, fitness, healthy play, tourism, and food and beverage venues. The PDA includes a multi-purpose maritime gateway which, while protecting current, and facilitating future, Port of Townsville operational requirements, provides ferry services and facilities to Magnetic and Palm Islands, and recreational boating facilities and marine services. Development in the PDA will be underpinned by sustainability that encompasses innovative solutions in technologies, tropical climateresponsive design and precinct design initiatives that support enhanced environmental management. Ross Creek, as a waterway which contributes to the Great Barrier Reef, is protected from the impacts of development to maintain high standards of water quality and aquatic ecosystem health.

Section 1

Overview

public art strategy

public art strategy 1.4 History: Ross Creek The proposed Waterfront development is a world-class destination; a place where the city and nature will connect and the community will be able to immerse themselves in vibrant day and night experiences focused on the water. Stretching along Ross Creek from the Port of Townsville to Reid Park, the Waterfront will enliven one of the most environmentally, culturally, and historically significant pockets of land in the Townsville region. The Waterfront provides an exciting future for the Ross Creek, an area that has undergone much change for a period of more than 100 years. It is widely believed that the Ross Creek once acted as the main channel and river mouth of the Ross River. Given this background, it is unsurprising that the Ross Creek remains an area of cultural importance to the traditional custodians of the land, the Wulgurukaba and Bindal peoples.

Overview

Whilst Ross Creek was once the main channel and river mouth, erosion and environmental changes associated with monsoonal flooding are understood to have led to the development of the current river mouth. From this time Ross Creek acted as an overflow channel during times of flood, and through its physical connection to Ross River provided mutual overflow during higher tides, which in effect created Ross Island. The Creek’s current course is also different to the path it was known to have followed 1884, with further changes attributed to flooding thought to have cut off a large meander to become an auxiliary channel and therefore forming Monkey Island.

Section 1

Perhaps the most significant change came from the development of the Queens Road levee bank in the 1960s, at which time the Ross Creek was effectively cut off from the Ross River. This resulted in the Ross Creek becoming a tidal estuary as we know it to be today, receiving freshwater flow only during wet seasons. The level provided the city centre with effective flood control from Ross River overflow for the first time.

Ross Creek became the commercial centre of Townsville more than 100 years ago, with Melton Black identifying the area for a new harbor which provided an outlet for pastoral production in the Burdekin and further west. Construction of the first wharf commenced in 1865, the same year in which Cleveland Bay was confirmed under the Customs Act as a Port of Entry and Clearance. Fast forward 150 years and we have recently seen the completion of the Quayside Terminal and Wharf 10 at the Port of Townsville – this $85 million upgrade provided the port its first dedicated cruise ship terminal and was part of a $123 million Townsville port inner harbour expansion project. Over the decades, significant developments along both banks of the Ross Creek have reflected the area’s position as the city’s commercial centre and also an epicenter for tourism, recreation, and culture. The development of the northern rail yards involved reclamation of the Creek tidal zone, and the construction of rock walls for the Creek banks. From the earliest available aerial photos, it is also evident that prior to 1941 major works took place to ‘build in’ the Creek from Victoria Bridge to the port, with much of the Creek’s banks converted to rock or concrete walls. A Mangrove inlet became the Townsville general dump in the late 1940s, an area that would later become Central Park and Dean Park in the 1960s. Various other dump sites were established in time, including on Monkey Island and Bicentennial Park. More recent developments have included the Townsville Motor Boat Club, the Maritime Museum, and the Townsville Civic Theatre along the Creek’s southern shore. The Townsville Maritime Museum was begun by the Townsville Harbour Board, and shortly thereafter responsibility for the Museum was assumed by the Seafarer Association. To allow for the expanding collection and ease of public access, the building was relocated in 1992 to where it stands today in Palmer Street. The Townsville Civic Theatre is owned and managed by Townsville City Council, and since its opening in 1978 the theatre has acted as a dynamic centre of entertainment, providing an environment to further develop the performing arts in Townsville and the region.

The northern shore developments over the years have included the Townsville Entertainment Complex, the Sheraton breakwater Casino (now Jupiters Casino), the Reef Wonderland complex (now Reef HQ), the Museum of Tropical Queensland, the Townsville Cultural Centre, and more. Work on the Civic Theatre commenced in 1976 following the completion of the Woolcock Street Canal. At the same time a ponded area was dug, expanding the shape of the original Creek with the intent of using the excavated soil to cover refuse fill, and to use the new pond as a model boat recreation area. The Civic Theatre was completed in the early 1980s, and dumping at Bicentennial Park continued, forming a hill that was not only seen as convenient in disposing of mass amount of refuse, but also with the view to forming a viewing site for planned sports fields in the area. Today, the shape of the Creek has not changed from the works undertaken in 1976. All of the dump sites area now well covered with grass; many are beautiful open parklands. However, with the exception of the Civic Theatre, there have been few constructions in close proximity to the Creek in the last 50 years, certainly not with any significant recreational or aesthetic value to the community. This is a factor the Waterfront project will address, with 7 distinct precincts providing abundant residential, lifestyle, recreational, cultural, dining, tourism, industry and research benefits while delivering greater pedestrian connectivity throughout the CBD and to The Strand. Public Art will form a major component of the Waterfront project. A selection of artists will be engaged to develop works in a variety of mediums which will add to the fabric of the development; delighting and educating visitors by responding to the Waterfront’s functional, architectural, aesthetic, environmental, cultural and historical features, such as those briefly discussed in this document.

Overview

Section 1 Ross Creek Townsville c. 1920s

public art strategy 1.5 The Waterfront

Public Art Strategy

Overview

Section 1 16

In developing The Waterfront PDA Area, Townsville City Council is uniquely positioned to incorporate Public Art throughout the expanse of the development in a considered fashion.

The Waterfront Public Art Strategy will be applied across the seven distinct Precincts within The Waterfront, though the nature of the artworks will be tailored to each Precinct in order to respond to its inherent qualities and defined inclusions.

The Strategy also defines four tiers of Public Art opportunity, related largely to the scale of the end product, and the budget associated with realising the artwork. The top tier of Public Art opportunity is reserved for prime spaces identified within the entire development. The four tier of Public Art opportunity are:

This Public Art Strategy has been developed to ensure that the incorporation of Public Art is a leading consideration at the inception of this project, as opposed to an afterthought resulting in ill-considered or minimal artworks. This thorough planning will help to ensure any works commissioned add the greatest value to the The Waterfront by:

The Public Art considered for inclusion in The Waterfront will respond to one of the three curatorial rationales outlined below:

Entrance Pieces These pieces are major statements - iconic works that will be situated to denote an entrance to the overall development, one of the defined precincts, or key features/facilities/institutions within The Waterfront as appropriate

ii.

Tier 1 Artworks - Iconic These artworks will be positioned in areas of high traffic/ importance/suitability for specific response and are major Public Art commissions. This Tier of Public Art opportunity is of lesser scale/budget to the Entrance Pieces

iii.

Tier 2 Artworks - Interest/Discovery These artworks will be featured throughout the seven Precincts, providing interest in the many corners of parkland and amenities that invite discovery. These are generally smaller scale, less iconic works that will give enjoyment to audiences upon being found

iv.

Tier 3 Artworks - Built-In These artworks will be numerous and throughout the seven Precincts, often created as a feature to a part of the development or providing a functional purpose

Responding to the site’s unique historical, cultural, environmental, recreational, and aesthetic values

ii.

Creating dynamic and engaging public spaces that residents and visitors take pride in, and enjoy frequenting

iii.

Investigating all site possibilities within the development and responding to points of greatest access and interest

iv.

Providing function and interactivity

Considering the intended purpose and main audience demographics of the specific site

vi.

Using best practice in the design, fabrication, installation, and maintenance of the work

vii.

Producing iconic works that promote The Waterfront and the Townsville region in general to broader audiences, particularly nationally and internationally, and stamp the region as culturally sophisticated, and a great place to visit and live

ii.

iii.

Place This theme will ensure a selection of works respond largely to the site’s aesthetic and environmental qualities. Such works could include Land Art and Environmental Art, and could be exploring or celebrating topics such as the mangroves, river, the tropics and the climate, flora and fauna, or Indigenous significance of and connection to site, etc. Story This theme builds a narrative for the city’s CBD, highlighting and celebrating the city’s history, sites of heritage significance, the cultural significance and use of the precinct, the stories of the traditional custodians of the land - the Wulgurukaba and Bindal peoples, as well as telling the story of contemporary Townsville and the site’s social purposes Wonder Works of wonder paint an exciting future for Townsville, reflective of the optimistic vision set out through the whole Waterfront development. Such contemporary works will become iconic features of the Townsville CBD, and could utilise lighting, digital media, the skyline, interactivity, scale, humour, etc. to delight and amaze audiences

Opportunities to present works for consideration will be afforded to acclaimed national and international artists, and importantly also to the Townsville region’s own talented Public Artists. The Waterfront Public Art Strategy will therefore provide local artists opportunities which could result in significant economic benefits, and in turn strengthen the local arts sector.

Provided opposite is an overview of the total Public Art opportunity identified through The Waterfront Public Art Strategy. Further in the document is detail about the opportunities identified in each Precinct, including curatorial rationales, major audience demographics, potential sites, and existing works. Discussion is also provided in this document about Wayfinding (Interpretive Signage and Design Elements). While not Public Art per se, the delivery of these features is also guided by this holistic Strategy.

public art strategy

Key Terms: History, Cultural Significance, Heritage, Social

Key Terms: Contemporary, Interactive, Suspended/Floating, New Media, Light, Scale

TIER 1 Iconic

TIER 2 Interest/Discovery

TIER 3 Built-In

WAYFINDING

Quantity: TBC

Budget for Each Work: $500,000 +

Budget for Each Work: $100,000 - $500,000

Budget for Each Work: Up to $100,000

Local/National/International

Local

Contracted Design Firm with expertise in Wayfinding/Potential Opportunities for Local Artist engagement

Quantity: TBC

Budget for Each Work: $500,000 +

Budget for Each Work: $100,000 - $500,000

Budget for Each Work: Up to $100,000

Local/National/International

Local

Quantity: TBC

Budget for Each Work: $500,000 +

Budget for Each Work: $100,000 - $500,000

Budget for Each Work: Up to $100,000

Local/National/International

Local

Quantity: TBC Contracted Design Firm with expertise in Wayfinding/Potential Opportunities for Local Artist engagement

Overview

Key Terms: Land Art, Environmental, Mangrove, River, Tropics, Climate, Flora and Fauna

ENTRANCE PIECES

Quantity: TBC Contracted Design Firm with expertise in Wayfinding/Potential Opportunities for Local Artist engagement

Section 1

WONDER

STORY

PLACE

The Waterfront Public Art Opportunities

public art strategy The Waterfront Public Art Opportunities - Visual Examples of Public Artworks Exploring ‘Place’

TIER 1 Iconic

ENTRANCE PIECES

ii.

TIER 2 Interest/Discovery

iii.

TIER 3 Built-In

iv.

i. Anish KAPOOR Cloud Gate 2006 Chicago, IL, USA ii. Laura HADDAD and Tom DRUGAN Light Meander 2015 West Riverfront Park, Nashville, Tennessee, USA iii. Tetsunori KAWANA Five Elements: Water 2009 National Gallery of Victoria, Melbourne, Victoria, Australia iv. Mmmm... Bus Stop 2014 Baltimore, USA

vi.

vii.

viii.

v. Lawrence ARGENT I See What You Mean™ 2005 Denver, Colorado, USA

Overview

PLACE

vi. Mehmet ALI UYSAL Skin 2 2010 Chaudfontaine Park, Belgium, Germany

ix.

Section 1 18

vii. William RICKETTS Unknown 1934-1993 William Ricketts Sanctuary, Dandenong, Victoria, Australia viii. Jaume PLENA Crown Fountain 2004 Millenium Park, Chicago, USA

xi.

xii.

ix. Gen Why Media, eatART, Makerfaire, and Vancouver Design Nerds ReGeNeRaTe n.d. Vancouver, Canada x. Alexis DIAZ Maverick Nature 2014 Casarano, Italy xi. Mosaïcultures Internationales de Montréal Mother Earth 2013 Montreal Botanical Garden, Quebec, Canada xii. Teresita FERNANDEZ Fata Morgana 2015 New York, USA

Donald LIPSKI F.I.S.H. 2009 The River Walk, San Antonio, TX, USA

public art strategy The Waterfront Public Art Opportunities - Visual Examples of Public Artworks Exploring ‘Story’

TIER 1 Iconic

ENTRANCE PIECES

ii.

TIER 2 Interest/Discovery

iii.

TIER 3 Built-In

iv.

i. Ahmed AL BAHRANI The Challenge 2015 Qatar ii. Molly MacALISTER Maori Warrior 1967 Quay Street, Auckland, NZ iii. Michael Thomas Hill Forgotten Songs 2012 Angel Place, Sydney iv. Viktor HULÍK Čumil the Peeper 1997 Bratislave, Slovakia

vi.

vii.

viii.

v. Cai GUO-QIANG Inopportune: Stage One Unknown location

2008

Overview

STORY

vi. Subodh GUPTA Gandhi’s Three Monkeys 2008 Katara Cultural Village, Qatar

ix.

Section 1 20

vii. Manfred KIELNHOFER Guardians of Time n.d. Unknown location viii. JR Untitled n.d. Unknown location

xi.

xii.

ix. Yinka SHONIBARE Nelson’s Ship in a Bottle 2004 National Maritime Museum, London x. Ron HENSON Horton Court 2002 Dr. Seuss National Memorial Sculpture Garden, Springfield, Massachusetts, USA xi. Bruno CATALANO Le Grande Van Gogh 2013 Marseille, France xii. Tom OTTERNESS The Playground 2011 Hamad International Airport, Doha, Qatar

public art strategy

Sidney NOLAN Snake 1970-1972 Museum of Old and New Art, Hobart

public art strategy The Waterfront Public Art Opportunities - Visual Examples of Public Artworks Exploring ‘Wonder’

TIER 1 Iconic

ENTRANCE PIECES

ii.

TIER 2 Interest/Discovery

iii.

TIER 3 Built-In

iv.

i. Arne QUINZE The Sequence 2008 Flemish Parliament, Brussels ii. Nic BURNHAM Downpour Melbourne

WONDER

iii. Sophie CADMAN Jelly Babies 2004 KickArts, Cairns

Overview

ix.

Section 1 22

iv. Thomas HEATHERWICK Blue Carpet 2001 Newcastle-Upon-Tyne, England

vi.

vii.

viii.

v. Dale CHIHULY Glasshouse Sculpture 2012 Chihuly Garden and Glass, Seattle, Washington, USA vi. Marc QUINN Planet 2008 Gardens by the Bay, Singapore vii. David WYNNE Boy with a Dolphin Chelsea, London, England

1974

viii. Barbara GRYGUTIS Wave 2009 Palm Beach County Convention Center, Florida, USA

xi.

xii.

ix. David ČERNÝ Metalmorphosis 2007 Whitehall Technology Park, Charlotte, NC, USA x. Do-Ho SUH Karma 2013 Sydney and Walda Besthoff Sculpture Garden, New Orleans Museum of Art, New Orleans, Louisiana, USA xi. Henry MOORE Large Reclining Figure 1984 Royal Botanic Gardens, Kew, Richmond, Surrey, England xii. ZEBRATING Hidden Railing Street Art Unknown location

n.d.

Andy SCOTT The Kelpies 2014 Falkirk Council Area, Scotland

public art strategy 2. Precincts Precinct provisions seek to provide guidance on outcomes and where land uses within the PDA are preferred. Inclusion of land within a precinct does not imply that all such lands can be developed for urban purposes. Some land may not be available or appropriate to be developed due to local site conditions such as coastal hazards, stormwater management, vegetation or other constraints, including the need to provide roads or open space, etc. This will need to be addressed through a development application. Where relevant, development will need to have regard to, and ensure it is designed to interface appropriately with, adjoining precincts. Where there is doubt, if an application incorporates a proposal over two precincts, the Precinct provisions of the substantive area should prevail, having regard to the intent of the other precinct. Development should also have regard to the PDA-wide criteria, Infrastructure plan and Implementation strategy.

The seven Precincts defined within The Waterfront PDA Area are: i.

Precinct 1 City Waterfront Gateway

ii.

Precinct 2 Waterside Living

iii.

Precinct 3 Culture and Entertainment

iv.

Precinct 4 City Reach

Precinct 5 Research and Tourism

vi.

Precinct 6 Ocean Gateway

vii.

Precinct 7 Maritime Mixed Use

Each Precinct has a distinctive character and will feature specific types of amenities and infrastrcture. As such, each Precinct is investigated in this document in isolation, though using the overarching - and therefore unifying - Strategy. Precincts

Yue MINJUN A-maz-ing Laughter 2009 Morton Park, Vancouver

Section 2 24

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P2 P3

PDA Boundary

Precinct 4 - City Reach

Precinct 1 - City Waterfront Gateway

Precinct 5 - Tourism and Research

Precinct 2 - Waterside Living

Precinct 6 - Ocean Gateway

Precinct 3 - Culture and Entertainment

Precinct 7 - Maritime Mixed Use

Section 2

Precincts

public art strategy 2.1 Precinct 1:

City Waterfront Gateway

Precinct Intent

Connectivity, Public Realm, and Waterâ&#x20AC;&#x2122;s Edge

Built Form and Climate Responsiveness

This precinct will form a southern gateway to the CBD. The character and intent of this precinct is to create a high density residential area supported by mixed uses.

Development within the City Waterfront Gateway Precinct will provide:

The precinct will allow for the creation of a hub of cultural activities including a mix of education and entertainment activities. The adaptive reuse of existing heritage buildings is encouraged to maintain the character of historic uses in context of their surroundings.

ii. iii.

Preferred Land Use Development within the City Waterfront Gateway Precinct will provide:

iv.

views and pedestrian access between heritage buildings and Ross Creek through the creation of public open space and a plaza as well as waterfront dining, outdoor performance and cultural function opportunities a heritage plaza on the corner of Flinders and Blackwood Streets and public open space along Ross Creek for the Ceremonial Corridor to extend through the historic rail workshops area and provide connectivity between Ross Creek and Flinders Street for the Ceremonial Corridor to extend north along the historic rail alignment between the Heritage Railway Station and Ross Creek, including weather protection, interpretation of historic character, landscape and activation,

a diverse mix of high density residential, commercial, educational and retail uses

ii.

an anchor organisation (such as a tertiary or research institution)

a pedestrian connection from the precinct to the Townsville Railway Station

iii.

opportunities for community uses and spaces for community events (including temporary events), creative industries such as performing arts, artisan markets and incubator businesses

vi.

adequate shady and attractive visitor parking that is integrated within the precinct with streets between Ross Creek and Flinders Street

Precincts

vii.

a new vehicle entrance and intersection to the Rail workshops site off Flinders Street

buildings which provide for public realm and design and setbacks appropriate for the use and function and interface with surrounding land

ii.

building setbacks that allow for efficient space for services and accessible on-site servicing

iii.

for the enhancement and adaptive re-use of the Heritage Railway Station and where feasible of the former rail workshop buildings

iv.

that development does not destroy or substantially reduce the cultural heritage significance of the Heritage Railway Station unless there is no prudent and feasible alternative to carrying out the development

a transitioning of building heights which maintain the primacy of the CBD, with buildings generally increasing from 6 storeys at

vi.

the historic railyards area end up to 12 storeys towards the CBD end of the precinct and higher north of Aplin Street

vii.

at ground level, uses interface with the public realm, encouraging pedestrian movement and activity, via shading and passive design

Section 2

viii. residential buildings which are appropriately set back and buffered from railway land, or residential buildings within 100m of railway land which minimise and manage the impacts from transport noise

Precinct 1: City Waterfront Gateway

Section 2

Precincts

public art strategy

public art strategy Curatorial Overview Precinct 1 provides the southern gateway to the CBD, and as such provides scope for an Entrance Piece - a significant artwork that identifies the beginning of The Waterfront development. As such, the work would ideally be of scale, and reflect the PDA vision of celebrating the water. The City Waterfront Gateway precinct is envisaged as a â&#x20AC;&#x2DC;new inner-city community...a lively, high-density, urban environment with Central located in the heart of the city.â&#x20AC;&#x2122; Given this outlook, and the proposed inclusion of public open spaces, waterfront dining, community events, and high density residential buildings, public art in this precinct should not only reflect the site, but also account for the major demographics, that being young families and professionals. The anticipated patronage of young families provides artists with scope to be playful, incorporating humour or elements of interactivity in their works, for instance. Plazas and public open spaces will be ideal for the inclusion of such iconic works, along with functional and art built-in elements, which will make the precinct unique and memorable.

Site Opportunities i. Western Entrance A natural vehicle and pedestrian entrance to The Waterfront development will be the Western Entrance, travelling along Flinders Street West. As such, a suitable site should be identified for an Entrance Piece, welcoming visitors to The Waterfront, and more immediately to the historic Railyards. The most suitable possible site should ensure the final work is viewable by pedestrians on foot, and vehicles travelling along Flinders Street West.

Lawrence ARGENT Pieces Together MLK Hospital main entrance

Precincts

It is also anticipated tertiary/research institutions and incubator businesses will populate the City Waterfront Gateway precinct, and select public art opportunities should therefore reflect Townsville and the CBD as a progressive, dynamic environment. This could be done visually, through the use of new technologies, or by linking to unique fields of research in the precinct or greater region. The potential turnover of incubator businesses will allow the precinct to continually rejuvenate, and there is potential for this to be reflected through public art by the managed inclusion of ephemeral or nonpermanent public art in defined areas.

Section 2

The defining existing infrastructure within the City Waterfront Gateway are the historic Railyards. The rich history of the buildings and Townsvilleâ&#x20AC;&#x2122;s rail and connected industries provide immense scope for artists to investigate and celebrate. Several artworks already exist in this area touching on this history, and the process of master planning the City Waterfront Gateway and incorporated public art will review how these works should be preserved/restored/relocated, and also how new works could add to the narratives explored by these works.

Precinct 1: City Waterfront Gateway

Artistâ&#x20AC;&#x2122;s impression of Precinct 1: City Waterfront Gateway

Section 2

Precincts

Myfanway MacLEOD The Birds 2010 Southeast False Creek Olympic Plaza, Vancouver

public art strategy ii. Building Façades A combination of existing buildings, and planned new developments in the form of high density residential living options, present a number of opportunities for artworks of various Tiers to be applied to building façades, or built-in during construction. Should developers wish for works to be built-in during the process of construction, it is strongly advised that artists be engaged to work alongside contracted architects during the design phase.

iii.

Railyards and Heritage Rail Site The majority of Townsville’s historically significant rail infrastructure is situated in Precinct 1, including the Townsville Railway Station and North Yards Workshops. These were established around 1880, following the commencement of the Northern Railway. The Railyards and Heritage Rail Site present various opportunities, each dependant on the final planned use/development of the site. These opportunities include the exploration of the city’s rail history, integration or celebration of the historic architecture, enlivening public promenades within these sites, or utilising historic rail relics and materials in the artwork itself.

Ian RANDALL Fibres 1997 Bradford West Yorkshire England UK

Precincts

Section 2

Building Facade, Quebec City

Precinct 1: City Waterfront Gateway

public art strategy iv.

Mangroves Ross Creek is a tidal mangrove creek, and as such, the mangroves themeselves present an opportunity for artistic celebration or intervention in numerous precincts, including in Precinct 1, particularly running behind developments such as Central. Interest/discovery artworks would be particularly suitable for the mangroves, and could be positioned as suitable in the mangroves themselves, or on/along any pedestrian boardwalks.

Public Open Spaces and Promenades Precinct 1 is intended to include Public Open Spaces/ Promenades to increase the livability of the area. Such Spaces will provide convenient access to waterfront dining, community events, etc, and above all locations for people to recreate and enjoy each othersâ&#x20AC;&#x2122; company. Highly successful examples of Iconic artworks featured in Public Open Spaces/ Promenades (particularly malls) can be found the world over. It would be ideal for such Spaces in Precinct 1 to be activated with Iconic artworks that enliven the area and provide it with a unique character, further enhancing the enjoyment of the Space for those frequenting it.

Will RYMAN The Roses Park Avenue Mall

Section 2

Precincts

Dermot KELLY Mangroves 2014 Harbourview Peoples Park, Te Atatu Peninsula Auckland NZ

Building Facade, Quebec City

Insert example Public Artwork

Precincts

Section 2 Jaana PARTANEN and Heikki LAMUSUO Evolution Kuopio University Hospital, Finland

Precinct 1: City Waterfront Gateway

public art strategy Budget Notes

artist design fee

ii.

artist concept development

iii.

artist fee

iv.

materials

artwork construction and installation

vi.

labour

vii.

transport of materials

viii. artist transport & accommodation if required ix.

insurance

associated costs of subcontractors engaged by the artist/s

xi.

contingency (generally 20%)

xii.

other costs normally borne by independent contractors

xiii. repair of any failures in the guarantee period (12 months) xiv. engineering certification

Precincts

Further, it is not yet known with certainty which new developments will shape this precinct, and therefore which companies and organisations may participate in the commissioning of Public Art by allocating the suggested 2% Public Art contribution. This suggested 2% allocation is indicative of other public art budgets within developments around Australia, and is reflected in the alignment between the Public Art Policy (in development) and Townsville City Councilâ&#x20AC;&#x2122;s Planning Scheme.

The Public Art budget will need to include (but not limited to):

Section 2

The overall budget for Public Art within Precinct 1: City Waterfront Gateway of The Waterfront development cannot currently be reasonably assessed. This estimate can only be forecast once The Waterfront is further progressed in the design phase, and therefore quantity and scale of desired Entrance, Iconic, Interest/Discovery, Built-In, and Wayfinding Public Art elements are known definitively based on location and opportunity. This design phase may also determine if certain artists are to be directly commissioned which will have implications for the final budget.

public art strategy Existing Artworks Several artworks in the City of Townsville Art in Public Spaces Collection are already located in Precinct 1: City Waterfront Gateway, having been commissioned or developed by various means over the course of a number of years. These artworks include:

Margot DOUGLAS Supergraphics 2010

Christopher TROTTER The Great Northern Rail Whistle 2011

Recycled steel

Ceramic tiles, wood, coloured concrete, stainless steel

Wig Wags 2010

Paint, steel

Precincts

This work was installed as part of the 2010 development of the Ceremonial Corridor/Avenue adjacent to the rail yards and the Great Northern Rail Station.

Section 2

We believe this work was designed and installed by the landscape architects responsible for the hard and soft scape of the area. The crosses depicted in this piece often accompanied wigwag signals at railroad crossings prior to modern crossing signals. This piece is in excellent condition with only minor rusting on painted surfaces. As this piece is an architectural embellishment, and not designed nor fabricated by an artist, it is recommended to be handed back to the care of Maintenance Services.

This work was also commissioned for the 2010 development of the Ceremonial Corridor/Avenue adjacent to the rail yards and the Great Northern Rail Station. Depicting stories and anecdotes from the history of the railway and rail yards, this work is set into concrete in the covered area at the front of the Townsville Bulletin offices. Combining mosaic, wooden railway sleepers, and etched steel, Douglas has illustrated artefacts and common rail signals to create infographical works of a historical nature. These works are in poor condition, as the groundwork was improperly prepared prior to laying the artwork and as such has caused significant damage. The wooden sleepers swell, split, sink or curl up and become tripping hazards as the weather changes. Adjacent to the wooden sleepers are small mosaic tiles that are affected by this movement and have thus broken, or been pushed out of the mortar, resulting in a great many missing from the work. The steel plates are delaminating, and the grouting in all sections has been severely compromised. It is recommended that quotes be obtained to determine the extent of work needed to repair this artwork prior to making recommendations for restoration or removal.

This work was also commissioned for the 2010 development of the Ceremonial Corridor/Avenue adjacent to the rail yards and the Great Northern Rail Station. Trotter is a well-established sculptor, working in recycled materials (namely metals) to create public artworks in many cities throughout Australia. For this work, Trotter salvaged many components of Queensland Rail machinery, including steam whistles, as well as machinery components found in many of the industries from towns along the original railway line, including mining, farming and agriculture. Trotter was inspired to create “a whimsical, Dr Seuss inspired, crazy 5-6M High, railway steam whistle.” “This creative time capsule of historic components, allow the public to visually access yesterdays industrial objects, in a public art piece, without going to a museum.” This work is in good condition, considering the condition of the recycled materials at the time of construction. Trotter mentioned in his concept design that the work is designed as a meeting place or wayfinder to assist with locating one’s position in the public space. Its current position and surrounding infrastructure are not conducive to this end, but the area has the potential to realise this outcome.

Precinct 1: City Waterfront Gateway

public art strategy

Margot DOUGLAS Signalmanâ&#x20AC;&#x2122;s Walk 2010

Commissioned for the 2010 development of the Ceremonial Corrider/ Avenue adjacent to the railyards and the Great Northern Rail Station, this work illustrates the original stations for the Great Northern Railway. From Townsville west to Mt Isa, the work notes the GPS locations of Townsville, Charters Towers, Pentland, Hughenden, Richmond, Julia Creek, Winton, Cloncurry and Mt Isa. Local designer Margot Douglas created the work set into the footpath behind the street-fronted building Central. Small, mosaicked illustrations by local artist Claudia Williams accompany the otherwise industrial feel of the metal name plates.

Precinct 1: City Waterfront Gateway Existing Artwork Locations 1

Wig Wags

Supergraphics

The Great Northern Rail Whistle

Signalmanâ&#x20AC;&#x2122;s Walk Precincts

Mosaics, Vitreous tiles, aluminium, stainless steel 9 parts Townsville: 199 x 718 cm; Charters Towers: 198.5 x 724 cm; Pentland: 205 x 722 cm; Hughenden: 198.5 x 727.5 cm; Richmond: 199 x 729 cm; Julia Creek: 196 x 729 cm; Winton: 177.5 x 695.5 cm; Cloncurry: 196.5 x 723 cm; Mt Isa: 196 x 727 cm

Section 2

These works are in fair condition, as the ground work was improperly prepared prior to laying the artwork and as such water seepage has caused significant damage. Several instances of water entrapment under the plates is evident, and some of the red and white mosaic tiles are lifting/missing. The non-slip coating on the metal has lifted and is now deteriorating, and there are major scratches throughout the work. It is recommended that quotes be obtained to determine the extent of work needed to repair this artwork prior to making recommendations for restoration or removal.

public art strategy 2.2 Precinct 2:

Waterside Living

Precinct Intent

Connectivity, Public Realm, and Water’s Edge

The Waterside Living Precinct is a new residential community and associated amenities on the eastern side of the southern reach of Ross Creek.

Development within the Waterside Living Precinct will provide:

The waterfront interface maintains the area’s riparian character. This will be reflected in the enhancement of natural areas and provision of parkland which has a focus on the protection and enjoyment of the site’s natural habitat and views.

upgrades to the existing bridge at Fletcher Street

ii.

a pedestrian rail crossing linking Reid Park to The Waterfront

iii.

community parkland and facilities adjacent to Ross Creek which have a nexus with the areas of natural asset

iv.

an appropriate response to the transport entry arrangements and traffic network to the precinct, in order to avoid potential conflict between uses in Precincts 2 and 3

Preferred Land Use Development within the Waterside Living Precinct will provide: high density residential, including multiple dwellings, and shortterm accommodation

Built Form and Climate Responsiveness

ii.

generous parkland and streetscaping

iii.

a new activity centre to service the precinct which is consistent with the intended role, scale and character of a neighbourhood level activity centre and which does not compromise the intended role or successful functioning of other centres

buildings generally in accordance with Building parameter guidelines for Precinct 2 – Waterside Living

ii.

building heights generally up to 12 storeys

iii.

dwellings and private open spaces which achieve an acceptable level of residential amenity

iv.

maximised views to Castle Hill, Mount Stuart and Ross Creek

active uses at the interface with Precinct 3 at the ground level providing an active street interface

vi.

residential buildings which are appropriately set back and buffered from railway land, or residential buildings within 100m of railway land which minimise and manage the impacts from transport noise

iv. Precincts

Section 2 36

uses at the interface with Precinct 3 which have a nexus with, and provide uses which complement, the preferred development of Precinct 3, such as short-term accommodation and convenience retail

Development within the Waterside Living Precinct will provide:

Precinct 2: Waterside Living

Section 2

Precincts

public art strategy

public art strategy Curatorial Overview

Site Opportunities

As with precinct 1, the Waterside Living precinct will provide ample residential options in developing a ‘premier highdensity urban neighbourhood.’ Select artworks, particularly those inhabiting parklands or incorporated into the proposed activity centre, could again incorporate elements of humour or interactivity to appeal to families and residents.

The defining feature of the Waterside Living precinct is the primacy with which the precinct’s natural features are treated. Generous parklands and streetscaping will enhance the precious mangroves and waterfront. In doing so, the precinct will encourage activity, with many residents and visitors anticipated to utilise new walkways through the mangroves and along the water. This may be for exercise purposes, to frequent the boutique shops and cafés populating the precinct, or to navigate from the residential buildings through The Waterfront, particularly to the Culture and Entrertainment precinct and its abundant sporting, recreational, and cultural options and infrastructure.

Mangroves and Boardwalks Ross Creek is a tidal mangrove creek, and as such, the mangroves themeselves present an opportunity for artistic celebration or intervention in numerous precincts, particularly in Precinct 2, with natural features of the area being the development’s defining feature. Interest/discovery artworks would be particularly suitable for the mangroves, and could be positioned as suitable in the mangroves themselves, or on/ along the planned network of boardwalks that will allow pedestrians to explore and navigate through the mangroves.

With this use in mind, artists would be requested to investigate, explore, and celebrate two major themes through their works; i.

the natural environment, particualrly the river, mangroves, flora and fauna, and connected environmental issues. This allows for works with high aesthetic value highlighting the beauty of the natural environment, but also works with educational or informative outcomes

ii.

the celebration of Townsville as an active community

Precincts

Section 2

There would be provision for iconic works within the Waterside Living precinct, while the walkways through the mangrove would suit the inclusion of a collection of interest/discovery works. Whilst of smaller scale, these intimate works would provide those utilising the space with great enjoyment upon discovery.

Tetsuo KONDO A Path In The Forest 2011 Tallinn, Estonia

Precinct 2: Waterside Living

Artistâ&#x20AC;&#x2122;s impression of Precinct 2: Waterfront Living

Section 2

Precincts

Jon LEWIN The Pool 2014 Jon Lewin Studio Vivid Sydney Photo: Brett Hemmings

public art strategy Public Open Spaces and Promenades Precinct 2 is intended to include Public Open Spaces/ Promenades to increase the livability of the area. Such Spaces will include generous parklands and public promenades around boutique shops and cafĂŠs to enhance the residential appeal of the area. Highly successful examples of Iconic artworks featured in Public Open Spaces/Promenades (particularly malls) can be found the world over. It would be ideal for such Spaces in Precinct 2 to be activated with Iconic artworks that enliven the area and provide it with a unique character, further enhancing the enjoyment of the Space for those frequenting it.

Precincts

Section 2

Foster + Partners Instllation at Vieux Port Pavilion, France

Jaume PLENSA Yorkshire Sculptreu Garden, UK

Precinct 2: Waterside Living

public art strategy Budget Notes

ii.

artist design fee

iii.

artist concept development

iv.

artist fee

materials

vi.

artwork construction and installation

vii.

labour

viii. transport of materials ix.

artist transport & accommodation if required

insurance

xi.

associated costs of subcontractors engaged by the artist/s

xii.

contingency (generally 20%)

xiii. other costs normally borne by independent contractors xiv. repair of any failures in the guarantee period (12 months) xv.

engineering certification

Existing Artworks There are currently no artworks in the City of Townsville Art in Public Spaces Collection located in Precinct 2: Waterside Living.

Precincts

The Public Art budget will need to include (but not limited to):

Section 2

The overall budget for Public Art within Precinct 2: Waterside Living of The Waterfront development cannot currently be reasonably assessed. This estimate can only be forecast once The Waterfront is further progressed in the design phase, and therefore quantity and scale of desired Entrance, Iconic, Interest/Discovery, Built-In, and Wayfinding Public Art elements are known definitively based on location and opportunity. This design phase may also determine if certain artists are to be directly commissioned which will have implications for the final budget.

public art strategy 2.3 Precinct 3:

Culture and Entertainment

Precinct Intent

Connectivity, Public Realm, and Waterâ&#x20AC;&#x2122;s Edge

Built Form and Climate Responsiveness

The Culture and Entertainment Precinct is a vibrant, consolidated entertainment and culture node on the eastern bank of Ross Creek linked to the CBD and inner city through Central Park by pedestrian and cycle connections and the Waterfront Promenade.

Development within the Culture and Entertainment Precinct will provide:

a new pedestrian and cycle bridge across Ross Creek linking the southern bank to Aplin Street

development that display an iconic, contemporary and tropical Townsville building character

ii.

refurbishment of the existing heritage rail bridge to provide for pedestrian movement linking with the Ceremonial Corridor

ii.

Development within the Culture and Entertainment Precinct will provide:

iii.

improved pedestrian connectivity at Victoria Bridge, George Roberts Bridge and the Waterfront Promenade interface

a stadium and entertainment centre building to promote ground floor active uses to interface with plaza forecourts for year-round activity

iii.

an integrated stadium and entertainment centre, including convention facilities, within an urban setting that integrates with CBD parking and public transport network

iv.

an articulated and diverse waterâ&#x20AC;&#x2122;s edge treatment that allows access to the water, seating and viewing areas, terracing and lookout decks and incorporation soft landscape treatments

engaging edges that promote pedestrian interaction with the surrounding public realm

iv.

a vehicle entrance via Saunders Street and car parking facilities, intersection and drop-off facilities, to service the integrated stadium and entertainment centre

a shady pedestrian link from Victoria Bridge through Central Park

an art gallery and concert hall which forms a distinctive cultural gateway to the city with an active ground floor retail and dining interface overlooking the waterfront

vi.

retention of existing shade trees and enhancement of Central Park including unique interactive play and fitness facilities which reflect the cultural character of the precinct

buildings heights up to 3 storeys for any buildings or structures in Central Park

Preferred Land Use

ii.

Precincts

Section 2 42

iii.

a bus terminus and driver facilities to service the integrated stadium and entertainment centre

iv.

cafĂŠs, dining, entertainment and boutique retail uses set around the integrated stadium and entertainment centre forecourts

public open space and parkland for community use including recreation and events

vi.

cultural and community facilities including an art gallery, concert hall and performance spaces and low-scale retail and dining uses within Central Park

Precinct 3: Culture and Entertainment

Section 2

Precincts

public art strategy

public art strategy Curatorial Overview The Culture and Entertainment precinct is the beating heart of The Waterfront development. ‘With Central Park and a cultural node at its heart, this area will become a vibrant, consolidated entertainment and cultural precinct; active during the day and night with cafés, dining and boutique retail framed around highquality entertainment facilities.’ Such facilities include a proposed world-class, iconic cultural precinct that incorporates the Art Gallery of North Queensland, City Branch of the Library, concert hall, performance spaces, convention facilities, and of course the proposed integrated stadium and entertainment centre. From this position, the precinct is ideally placed to incorporate a major entrance piece, and several iconic works, particularly forming a sculpture walk throughout Central Park that would define the location and result in ‘a new postcard for Townsville.’ Large scale, iconic works that wow and enthrall audiences would be sought for this purpose, particularly to complement the proposed cultural facilities. Already a projection wall is touted for a major facade of the Art Gallery of North Queensland to accommodate film or new media artworks, however other opportunities for innovative work (such as artwork on the river, works utilising new technologies, or light-based works) would greatly enliven the Culture and Entertainment precinct by day and by night. Precincts

Artists would respond to the facilities located within the precinct. For instance, one need only look at the public art around leading stadiums such as the MCG, and recent dialogue for the commission of a sculpture of Johnathan Thurston, to see how a sculpture/public art walk celebrating the city’s rich sporting history could enrich the perimeter of the stadium.

Section 2

A boardwalk along the water’s edge also provides scope for artists to again respond to the driving force of the whole development - the water. So as to not obstruct those utilising the boardwalk, this would be more likely through smaller scale iconic works, or functional/art built-in opportunities.

Site Opportunities Also within this precinct is Victoria Bridge, a piece of infrastructure with a rich history that could be explored by artists. Alternatively, it may simply provide a unique and desirable platform for the incorporation of public art (permanent or temporary). In positioning public art in this location, consideration would be given to its role in connecting the community from the Culture and Entertainment precinct to Ogden Street, and its evolving identity which is increasingly shaped by high quality, contemporary street art and art installations.

Victoria Bridge Victoria Bridge serves as an important connection between Precinct 3 of The Waterfront, and Ogden Street/Flinders Street retail options. The long history of the bridge itself may provide inspiration/material for exploration; the bridge may simply serve as an interesting platform on which a definining Entrance Piece could guide pedestrians to The Waterfront; or the bridge may also serve as a platform for less demanding public art (permanent or temporary) that links to the eveoling character of Ogden Street, and is viewable from etiher side of and on the river.

One public artwork is existing in the Culture and Entertainment precinct, that being Matthew Harding’s Mabo Sculpture. The process of master planning the Culture and Entertainment precinct will review how this work should be preserved/ restored, or likely relocated to an area of greater prominence. This work, as well as being quite beautiful, is a vital connection to the legacy of Eddie Koiki Mabo. This legacy is proposed to be further recognised through the incorporation of the ‘Eddie Koiki Mabo Gallery’ within the Art Gallery of North Queensland facility, hence the importance of ensuring this work remains in the Culture and Entertainment precinct. Opportunites to commission Indigenous artists, and incorporate works exploring and celebrating Indigenous culture and history, will be identified throughout The Waterfront development. This said, it is in the Culture and Entertainment precinct that there is most scope for work/s of prominence to truly explore the connection between the traditional custodians of the land, the Wulgurukaba and Bindal peoples, and the land and river.

Andy SCOTT The Beacon of Hope Thanksgiving Square, Northern Ireland Dedicated in 2007 to promote peace and gratitude

Precinct 3: Culture and Entertainment

Artist’s impression of Precinct 3: Culture and Entertainment Artist’s impression of a combined Art Gallery of North Queensland | Citylibraries: Main Branch | Concert Hall and Performing Arts Centre

Section 2

Precincts

Louise BOURGEOIS Maman 1999 Guggenheim Bilbao Museoa

public art strategy 2. Ross Creek The water quite obviously underpins The Waterfront development, and within Precinct 3 is a major opportunity for an Iconic artwork on the water to impress locals and visitors alike and define the bold, innovative, and sophisticated new vision. Precinct 3 is the ideal location for such a work as there is less vehicle activity on the water itself in this area, and it is anticipated that it would be heavily frequented by those enjoying a day at the stadium, or visiting the proposed landmark cultural institutions.

Jason de CAIRES TAYLOR Rising Tide 2015 River Thames, London, UK

3. Stadium Townsville’s proposed new stadium will provide ample opportunity and space for artworks specifically exploring the city’s rich sporting history and active culture. Examples of successful projects of this kind, such as the sculpture walk surrounding the MCG and public art commissioned as entrance statements to the ‘Gabba, could provide ideal examples to benchmark against for this component of the public art project. Discussion surrounding the Jonathon Thurston sculpture already underlines the public appetite for such art projects.

Precincts

Section 2 46

Precinct 3: Culture and Entertainment

public art strategy

Section 2

Precincts

4. Central Park and Boardwalks Central Park could be utilised as a public ‘sculpture garden’, therefore including numerous Iconic, Interest/Discovery, and Built-In artworks of Wonder, Story, and Place. The sculpture garden concept would ideally extend to the Boardwalks in this immediate area, navigating and involving the key cultural facilities in this area, along with restaurants, bars and retail spaces. This integration could include the facades of these institutions if appropriate, and as such it would be treated as a large ‘curated’ space of its own.

Louis LAUMEN Dennis Lillee 2006 MCG, Melbourne

public art strategy Dale CHIHULY Garden Cycle Denver, Colarado, US

Questacon Science Centre Artwork during the Enlighten Festival

Precincts

Section 2

Luben BOYKOV and Richard BRIXEL Meeting of Two Worlds Lâ&#x20AC;&#x2122;Anse aux Meadows National Historial Site, Newfoundland and Labrador, Canada

Precinct 3: Culture and Entertainment

public art strategy Budget Notes

artist design fee

ii.

artist concept development

iii.

artist fee

iv.

materials

artwork construction and installation

vi.

labour

vii.

transport of materials

viii. artist transport & accommodation if required ix.

insurance

associated costs of subcontractors engaged by the artist/s

xi.

contingency (generally 20%)

xii.

other costs normally borne by independent contractors

xiii. repair of any failures in the guarantee period (12 months) xiv. engineering certification

Precincts

The Public Art budget will need to include (but not limited to):

Section 2

The overall budget for Public Art within Precinct 3: Culture and Entertainment of The Waterfront development cannot currently be reasonably assessed. This estimate can only be forecast once The Waterfront is further progressed in the design phase, and therefore quantity and scale of desired Entrance, Iconic, Interest/Discovery, Built-In, and Wayfinding Public Art elements are known definitively based on location and opportunity. This design phase may also determine if certain artists are to be directly commissioned which will have implications for the final budget.

public art strategy Existing Artworks There is currently one artwork in the City of Townsville Art in Public Spaces Collection already located in Precinct 3: Culture and Entertainment:

Matthew HARDING Mabo Sculpture 2006

Pebbles, bronze, granite, steel, paving stones

Precincts

Townsville City Council commissioned this artwork as part of the Pioneers Walk, commemorating those who gave significant and integral contribution to the founding of Townsville, as we now know it. Harding worked with Maboâ&#x20AC;&#x2122;s daughter Gail to develop the concept of the sculpture, and discuss the aesthetic elements.

Section 2

â&#x20AC;&#x153;The intention is that this memorial setting by the riverside becomes a gathering place for ceremonies, social gatherings and personal reflection. The aim is to promote interaction and cross cultural communication, encouraging all people to find a greater understanding of the land and its meaning to the traditional owners. And in doing so, continue the process by which Eddie was instrumental and pivotal in gaining native title for his homeland of Murray Island and raise awareness of the significance this has for all indigenous Australians.â&#x20AC;? The pebble mosaic represents the ancestral Octopus that brought the laws and Malo (tradition) of the Torres Strait Islanders to the mainland. The 8 cultural laws are carved into the grey stone outlines in the mosaic.

The large granite boulder has been sandblasted with a fingerprint design, connecting the physical, spiritual and cultural ideals of the indigenous people with their land. This work is in good condition, although small sections of the mosaic and carved pavers need replacing, the bronze drum needs cleaning and recoating with specialised wax, and the sandblasted granite boulder needs re-doing. We would recommend the Mabo Sculpture be relocated to a more prominent location where the intention of the work can be realized. Its current position and inadequate lighting discourages the use of the surrounding area as a place for social gatherings or peaceful reflection. The conflict caused by its seeming opposition to Robert Towns on the other side of the Victoria Bridge instigates unsettled sentiment.

The bronze Warup drum is an enlarged replica of a wooden drum carved by Eddie Mabo to symbolize strength and the resonance of his voice connecting past traditions to future hopes.

Precinct 3: Culture and Entertainment

Precincts

public art strategy

Precinct 3: Culture and Entertainment Existing Artwork Locations

Mabo Sculpture

Section 2

public art strategy 2.4 Precinct 4:

City Reach

Precinct Intent

Connectivity, Public Realm, and Water’s Edge

Built Form and Climate Responsiveness

The City Reach Precinct is a vibrant, contemporary entertainment, leisure and dining destination developed around the Waterfront Promenade within the CBD.

Development within the City Reach Precinct will provide:

a new pedestrian and cycle bridge connecting the northern end of Plume Street across to Flinders Street East

The City Wharf, Pedestrian Plaza and pedestrian and cycle bridge form the centrepiece of the precinct and link the existing Flinders Street East and Palmer Street strips to each other. The City Wharf location and character of the public realm celebrates the area’s historic role as the city’s port.

ii.

a Pedestrian Plaza in Flinders Street East which connects to the new pedestrian and cycle bridge

iii.

a new City Wharf to provide access down to the water for use by tourist boats and a potential passenger river transport connection from the passenger ferry terminal

Preferred Land Use

iv.

pedestrian connectivity to the proposed CBD Bus Interchange

Development within the City Reach Precinct will provide:

an accessible public pedestrian and cycle path along the water’s edge of Tomlins Street and around the water’s edge side of the Townsville Yacht Club

vi.

an integrated art and CBD entry statement at Lowth’s Bridge

vii.

enhanced views into and out of Hanran Park and connection with the water to enhance user comfort, safety and surveillance

Precincts

Section 2 52

a mixed use area which has a focus on shops, food and drink outlets, bars and other commensurate uses

ii.

public open space, plazas and parkland for community use including recreation, entertainment and events

iii.

ground floor uses, activating both the street and the Waterfront Promenade which promote day and night-time use

iv.

dwelling units, multiple dwellings and short-term accommodation, above active ground floor uses

water’s edge and over water uses in the form of piers and floating pontoons for community access, events and smallscale food and drink outlets

vi.

ferry service connections and maritime services for use by private vessels (the Townsville Yacht Club), tourist boats and a passenger river transport

building heights generally up to 3 storeys, except on Ogden Street which provides for buildings of an appropriate height relative to the scale of the adjoining CBD, and Plume Street where buildings may be up 12 storeys

ii.

building setbacks which provide for the provision of public realm and the Waterfront Promenade

iii.

ground and first floors which are designed to be adaptable and flexible allowing for creation of indoor and outdoor spaces

iv.

continuously covered shade awnings to street and waterfront frontages

for the re-use of existing heritage buildings

vi.

development on the Flinders Street East waterfront that respects and complements the height and scale and heritage attributes of the precinct

viii. a focus on activation through the creation of flexible and creative public spaces both along and on the water

Precinct 4: City Reach

Section 2

Precincts

public art strategy Curatorial Overview

Site Opportunities

The City Reach precinct is envisaged as Townsville’s ‘contemporary accommodation, dining and leisure destination.’ The City Reach precinct takes in a large stretch of the river, connects to established accommodation and dining areas in Palmer Street, and will feature the improve City Wharf, and pedestrian and cycle bridge.

1. Hanran Park Hanran Park presents an opportunity for durable and enjoyable Interest/Discovery works for families and users of the park to view and interact with, or alternatively a continuation of the ‘Pioneers Walk’; a project that was commenced some years ago, including the commissioning of the Robert Towns sculpture, but has not continued primarily due to budget limitations.

The intended use of the precinct combined with existing facilities and uses will provide two major opportunities for exploration by artists.

ii.

Public Open Spaces and Promenades Precinct 4 is intended to include Public Open Spaces, particularly in the form of reimagined usage of a car park on Flinders Street East. Highly successful examples of Iconic artworks featured in Public Open Spaces/Promenades (particularly malls) can be found the world over. It would be ideal for such Spaces in Precinct 4 to be activated with Interest/Discovery artworks that enliven the area and reflect its existing features, such as the vibrant nightlife of Flinders Street East.

In keeping with the contemporary feel of the precinct underlined by the dining and accommodation it provides artists will be invited to develop sophisticated works to provide visual interest, enhancing ‘Townsville’s distinctive waterfront as visitors stroll along the water’s edge on the boardwalk promenade.’ These works will be dynamic, responding to the connectivity and activity on the river, a precinct full of life and movement and gateway to Flinders Street East with its bars, clubs, and existing street art. In this, thought should again be given to the presence public artworks have at night, as well as during the day. There may again be opportunity for work positioned in the water itself, however this would need to be carefully investigated so as to not disrupt the use of the river, particularly from the City Wharf.

Robert SUMMERS Pioneer Plaza Cattle Drive Dallas, Texas

Precincts

The precinct also enables artists to explore the city’s rich history. By connecting with Hanran Park, the masterplanning of this space will be able to rejuvenate or re-imagine an existing vision for a ‘Pioneer’s Walk’. There is existing public art within this vicinity to meet this objective.

Section 2

Further, the area was once the city’s major port - a vital historical link to the city’s development that demands a response and exploration by artists. Without this first port, the Townsville CBD would likely not exist where it does, and hence this precinct is the very impetus of The Waterfront development.

Donna MARCUS Steam 2006 Ground floor Brisbane Square and Reddacliff Place 266 George Street, Brisbane

Precinct 4: City Reach

Artistâ&#x20AC;&#x2122;s impression of Precinct 4: City Reach

Section 2

Precincts

Jonathan BOROFSKY Molecule Men 1999 Spreee River, Berlin

public art strategy iii.

River, Boardwalks, Open Spaces along riverfront, Wharf, and Palmer Street connectivity The river is again a major feature in Precinct 4, however due to the higher levels of traffic and boat use in this Precinct, any artwork on the water itself would have to be very carefully imagined. There would however be ample opportunities for Interest/Discovery artworks, along with Art Built-In to structures and functional forms, on either side of the river, particularly along the networks of boardwalks and throughout the redeveloped wharf. Wharf history could play a role in this zone for artists. A further consideration for the tone of artworks in this Precinct is the connectivity to Palmer Street, and artworks should reflect the character of this unique street, along with the institutions positioned along the street, such as a potential work in the Open Space along the riverfront nearby the Maritime Museum.

Precincts

Section 2 56

Precinct 4: City Reach

public art strategy Budget Notes The overall budget for Public Art within Precinct 4: City Reach of The Waterfront development cannot currently be reasonably assessed. This estimate can only be forecast once The Waterfront is further progressed in the design phase, and therefore quantity and scale of desired Entrance, Iconic, Interest/Discovery, BuiltIn, and Wayfinding Public Art elements are known definitively based on location and opportunity. This design phase may also determine if certain artists are to be directly commissioned which will have implications for the final budget.

The Public Art budget will need to include (but not limited to):

vii.

artist design fee

viii. artist concept development ix.

artist fee

materials

xi.

artwork construction and installation

xii.

labour

xiii. transport of materials xiv. artist transport & accommodation if required xv.

insurance

xvi. associated costs of subcontractors engaged by the artist/s xvii. contingency (generally 20%) xviii. other costs normally borne by independent contractors xix. repair of any failures in the guarantee period (12 months) engineering certification

Precincts

xx.

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Lynn CHADWICK Couple on seat 1984 Canary Wharf London, UK

public art strategy Existing Artworks Several artworks in the City of Townsville Art in Public Spaces Collection are already located in Precinct 4: City Reach, having been commissioned or developed by various means over the course of a number of years. These artworks include:

Anneke SILVER Seasonal Circles 1993

Glazed ceramic tile, cement 17 parts 3 parts 120 x 120 cm, 2 parts 100 x 100 cm, 1 part 75 x 75 cm, 4 parts 65 x 65 cm, 2 parts 60 x 60 cm, 2 parts 45 x 45 cm, 3 parts 30 x 30 cm; overall 1280 x 331 cm Townsville City Council commissioned this 17-piece ground mosaic for the Centre Stage in the original Flinders Mall development. The artist was influenced by the beautiful Italian mosaics on a recent trip to Europe, and wanted to translate this vibrant medium into an artwork indicative of the dry tropics in Queensland. “The dry tropical region has a unique climate with a seasonal structure all its own. The Seasonal Circles are based on three phases of the Wet Season, and three phases of the Dry Season: Heralds of Rain (Pre Wet): The pre monsoonal period is characterised by increased humidity and heat, relieved by showers and storms heralded by the call of the Rainbird. But above all it is the season of Mangos! Monsoon Grey (Middle Wet): The “proper” wet shows inky blue skies, new succulent green leaves and fringes of tall grass. Heavy rain fills creeks and water holes. It is hot and humid. Lagoon Fiesta (Post Wet): Receding wetlands attract flocks of water birds. Butterflies breed and water lilies abound. Brolgas dance and Magpie Geese honk overhead. It becomes a little cooler.

Jane HAWKINS Robert Towns 2004

Bronze cast 180 x 92 x 80 cm

Precincts

Townsville City Council commissioned this artwork as part of the Pioneers Walk, commemorating those who gave significant and integral contribution to the founding of Townsville, as we now know it. Townsville is named for Robert Towns, the subject of this sculpture, and a wealthy businessman who financed the settlement of Cleveland Bay established by his business partner, John Melton-Black.

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The sculpture has received much media attention due mostly to Towns’ reputation as a “blackbirder” for his dealings with South Sea Islander labourers. Towns remains a controversial figure to this day, some believing him to be the origin of slavery in Queensland. Talented local sculptor Jane Hawkins, known for her realistic depictions of figures taking inspiration from classical Greek sculpture, created this life like depiction of Towns from historical photographs.

Colours of the Early Day (Pre Dry): Clear blue skies are accentuated by the whites of Frangipani flowers and Sulphur-Crested Cockatoos. Many native shrubs are in flower. Cool nights and warm days make this one of the most pleasant times of the year. Masters of the Dry World (Middle Dry): The once green landscape turns a dusty pink. The smell of smoke prevails and large birds soar in thermals. Pandanus and Grass Trees survive and wild Kapoks dot the stony hillsides with splashes of buttery yellow. Shedding Bark (Late Dry): While it gets hotter, large smooth Eucalypts shed their bark which curls up in scrolls revealing a smooth new skin. Cocky Apple flowers, and Rainbow Bee-eaters provide splashes of colour.” The work has since been relocated due to the Mall upgrade and is now in place at the foot of Victoria Bridge. It is in considerable disrepair, and is scheduled for removal from site due to further redevelopment in Ogden St. We have sourced quotes for the repair of this work and recommend it be discussed with the Art Acquisition Working Group. Once repaired, this work should be installed on a vertical surface to prevent future damage, either within the PDA or elsewhere in Townsville in a suitable location.

Precinct 4: City Reach

public art strategy

This monument was installed to mark the place where once stood the Tree of Knowledge, planted by the Probus Club of Queensland in 1920. The inscription on the plaque reads: “THESE TREES WERE PLANTED BY THE PROBUS CLUB OF TOWNSVILLE TO REPLACE THE “TREE OF KNOWLEDGE” Planted in 1920. Lost in 1971. It is hoped that all who come here may ¬¬¬gain through Love and Understanding, a true knowledge of the needs of their fellow man. George Caveleris Secretary Rex Prior President 1985/86” Hutchison’s Group is responsible for the developments in this area, and has agreed to reinstate the plaque in its original position at the conclusion of their construction period. The plaque will be set into a small landscaped area intended for public use.

Aerosol paint 1009 x 1170 cm (approximate)

Local Townsville street artist Kennie Deaner was commissioned by Townsville City Council in 2014 to create a mural on the laneway façade of Agora House in Denham Lane. This was the first in a series of murals to enhance the aesthetics of the inner city urban area through street art activation. This mural combines traditional street art with a portrait of Captain William Howard Smith, after whom the building was once named. Agora House was erected in 1910-11 as new offices for the Townsville branch of the Howard Smith Company Ltd, a substantial Australian coastal shipping company. The Melbourne based firm was established in the 1850s by Captain William Howard Smith and made an important economic contribution to North Queensland after opening operations in Townsville in 1882.

Regan ‘HAHA’ Tamanui Untitled [Octopus] 2015

Aerosol and acrylic paint 680 x 970 cm (approximate)

Precincts

Brass, granite 31.5 x 84 x 46.5 cm

Kennie DEANER Untitled [Denham Lane mural] 2014

Created alongside his ‘Townsville Portraits’ work, HAHA also took inspiration from the radio station’s logo, an octopus, to create a work on the side façade of the building. HAHA’s Octopus depicts a colourful creature, with features of many different types of octopus. This work was the last in a series of murals down Denham Lane, highlighting the success of Council’s recent Street Art activation strategy.

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Probus Club of Townsville Trees of Knowledge monument c.1986

public art strategy

Regan â&#x20AC;&#x2DC;HAHAâ&#x20AC;&#x2122; Tamanui Untitled [Townsville Portraits] 2015

Aerosol and acrylic paint 1010 x 700 cm (approximate)

Precincts

Melbourne-based street artist HAHA was commissioned by Townsville City Council to undertake a mural on a building in Denham Lane in the CBD. This building was the former headquarters of radio station 4AY, prompting HAHA to source photographs of a mixture of Townsville locals, prominent celebrities, and personalities associated with the former radio station.

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Using his unique stenciling technique, HAHA took up residency in Townsville for a month to create the portraits, prior to installing the work in June 2015.

Precinct 4: City Reach

public art strategy

ROA Untitled [Sugar Glider] 2015

Aerosol and acrylic paint 680 x 970 cm (approximate)

Belgian artist ROA completed 3 wall mural commissions in Townsville’s CBD in 2015, all commissioned by Townsville City Council. A major coup for the city, internationally recognised street artist ROA flew from the USA to complete all 3 major murals in a 3-week period over June/July 2015. Of the 3, the sugar glider was the first; set on a prominent wall overlooking a well-used car park on Flinders St East. ROA is well known for his monochromatic depictions of local fauna, usually indigenous to the region, or endangered. His works highlight the fragility of the fauna, contrasting with the dominance that the oversized scale of his work brings. “I consider myself a contextual muralist – I almost always paint the native or extinct animals from the area that I’m painting in,” ROA said. “We are often oblivious to the local fauna, and don’t recognise the beauty that surrounds us daily.

ROA said street art could transform a plain wall into a new image and begin a rebirth for a neighbourhood.

Robert Towns

Seasonal Circles

Trees of Knowledge monument

“The reaction I receive from the public is very positive, the people seem to appreciate artistic interventions in public spaces and people are very supportive.”

Untitled [Denham Lane mural]

Cr Gary Eddiehausen, a member of the Street Art Activation Working Group, said street art, when done through a coordinated approach such as this, could really add vibrancy and life to parts of a city and could become a key attraction in its own right.

Untitled [Octopus]

Untitled [Townsville Portraits]

Untitled [Sugar Glider]

“It can provide inspiration and offer much enjoyment,” he said. “Street art is a global movement with different practices and ways to approach it.

“The work is part of the Street Art Activation Framework which sees council working with the community to make Townsville the arts capital of Northern Australia,” Cr Eddiehausen said.

Precincts

“I painted a sugar glider because it’s an omnivore and it can glide with its membrane, I think they are amazing,” ROA said.

Precinct 4: City Reach Existing Artwork Locations

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“The fauna of Australia is absolutely stunning, the marsupials are some of the cutest species, and I do love the outback of Australia with its red sand and nature.”

“Art from high-calibre artists such as ROA really puts our city on the map.”

public art strategy 2.5 Precinct 5:

Research and Tourism

Precinct Intent

Connectivity, Public Realm, and Water’s Edge

The Research and Tourism Precinct is a mixed use area which accommodates residential and short-term accommodation alongside existing tropical, marine and research-based tourism activities.

Development within the Research and Tourism Precinct will provide: i.

a plaza area at the end of The Strand, connected to the Waterfront Promenade

Preferred Land Use

ii.

Development within the Research and Tourism Precinct will provide:

pedestrian connectivity between Anzac Park and Sir Leslie Thiess Drive

iii.

over-water viewing points along the water’s edge to take advantage of sight lines and views up Ross Creek

iv.

streetscape treatments which form an extension of the Flinders Street East character to enhance amenity

a revitalised tourism and research focus which facilitates the establishment of allied educational uses such as a centre of excellence for marine studies

ii.

multiple dwellings and shortterm accommodation

iii.

small-scale complementary retail and commercial uses which activate both the street and Ross Creek and promotes day and night-time activity

Built Form and Climate Responsiveness Development within the Research and Tourism Precinct will provide:

Precincts

building heights generally up to 5 storeys

ii.

building design and setbacks which allow for public realm and the Waterfront Promenade

iii.

built form which addresses both the water’s edge, as well street frontages, and provides enhanced access points and attractive and activated edges

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Precinct 5: Research and Tourism

Section 2

Precincts

public art strategy

public art strategy Curatorial Overview

Site Opportunities

Taking in the water’s edge along a section of Flinders Street East that includes the Museum of Tropical Queensland, The Cultural Centre, and Reef HQ, the Research and Tourism precinct recognises Townsville’s close proximity to the Great Barrier Reef, and the city’s growing reputation as ‘a renowned location for world class marine and research-based tourism activities.’

River, Boardwalks Boardwalks, particularly running behind the key cultural organisations (MTQ, Reef HQ, and the Cultural Centre) provide another opportunity for the incorporation of Interest/ Discovery artworks, and Art Built-In to functional forms such as seating which will be utilised by the numerous people frequenting this area and enjoying the idyllic views.

Gyula PAUER and Can TOGAY Shoes on the Danube 2005 Budapest, Hungary

Complementing these existing facilities, it is envisioned that the existing tropical and, marine and research-based tourist activities would be enhanced with proposed allied education uses. Given this setting, opportunities would be identified for artists to develop works to respond to the Great Barrier Reef, both conceptually and visually. The Great Barrier Reef provides ample inspiration for the creation of several iconic and interest/ discovery works, and it would be fitting that this theme is a dominant feature given the importance of this precious natural asset to the tropics. As this precinct also has a focus on tourism, it is anticipated that travellers would be pleased to view works exploring this theme. Townsville has been home to many notable researchers and discoveries throughout the years, and there is also scope for artists to tell some of their stories, or celebrate their often unrecognised achievements.

Precincts

Given the planned development of a plaza area at the end of The Strand within this precinct (to improve pedestrian connectivity from The Strand to the CBD), there is also the possibility that an entrance piece could be commissioned to signify the transition from The Strand to The Waterfront. This could provide the ideal platform for the most significant of the proposed Great Barrier Reef-themed works, given it would be in direct view of the ocean.

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The plaza, and planned boardwalks along the river behind the major research and tourism institutions, there would also be opportunities for art built-in features to elements such as railings, seating, signage, fountains, etc.

Precinct 5: Research and Tourism

Museum of Tropical Queensland Reef HQ

Section 2

Precincts

Sol LEWITT Splotch 15 2005 City Hall Park, New York

public art strategy ii.

Research and Cultural Hub The co-location of key research and cultural organisations (MTQ, Reef HQ, and the Cultural Centre) and proposed allied education uses of the space provides an opportunity for Iconic artwork/s in this vicinity. This artwork/s could be reflective of the cityâ&#x20AC;&#x2122;s research, particularly Reef research, and would act as an entrance beacon for those who would attend the organisations; the locals who treasure the venues, and the tourists who regularly seek them out. Sucb artworks could be in public promenade spaces, or even utilise the building facades.

iii.

Public Open Spaces and Promenades Precinct 5 is intended to include Public Open Spaces/ Promenades, particularly in the form of a promenade space that addresses current connectivity issues between The Strand, Flinders Street East, and Palmer Street. Highly successful examples of Iconic artworks featured in Public Open Spaces/ Promenades (particularly malls) can be found the world over. It would be ideal for such Spaces in Precinct 5 to be activated with either a major Entrance Piece statement leading from The Strand, or Iconic artworks that enliven the area and provide it with a unique character, further enhancing the enjoyment of the Space for those frequenting it. There will be high traffic in this area, and it will be highly visible; the artwork chosen to activate this area will need to utilise sight lines from multiple directions, particularly from The Strand and Flinders Street East.

Precincts

Section 2

Federico DIAZ Geometric Death Frequency 2010 Massachusetts Museum of Contemporary Art, North Adams, Massachusetts, US

Precinct 5: Research and Tourism

public art strategy Budget Notes

The Public Art budget will need to include (but not limited to): iv.

artist design fee

artist concept development

vi.

artist fee

vii.

materials

viii. artwork construction and installation ix.

labour

transport of materials

xi.

artist transport & accommodation if required

xii.

insurance

xiii. associated costs of subcontractors engaged by the artist/s xiv. contingency (generally 20%) xv.

other costs normally borne by independent contractors

xvi. repair of any failures in the guarantee period (12 months) xvii. engineering certification Existing Artworks There are currently no artworks in the City of Townsville Art in Public Spaces Collection located in Precinct 5: Research and Tourism.

Precincts

The overall budget for Public Art within Precinct 5: Research and Tourism of The Waterfront development cannot currently be reasonably assessed. This estimate can only be forecast once The Waterfront is further progressed in the design phase, and therefore quantity and scale of desired Entrance, Iconic, Interest/Discovery, Built-In, and Wayfinding Public Art elements are known definitively based on location and opportunity. This design phase may also determine if certain artists are to be directly commissioned which will have implications for the final budget.

Section 2

Alexander CALDER Flamingo Chicago Federal Plaza

public art strategy 2.6 Precinct 6:

Ocean Gateway

Precinct Intent

Connectivity, Public Realm, and Water’s Edge

Built Form and Climate Responsiveness

The Ocean Gateway Precinct is to provide a significant area for well-designed residential and commercial uses, including a range of supportive service-orientated land uses. Mixed-use style developments (e.g. commercial, residential and retail) would be encouraged, with a strong preference for commercial uses along the Waterfront Promenade.

Development within the Ocean Gateway Precinct will provide:

Development within the Ocean Gateway will provide:

Preferred Land Use Development within the Ocean Gateway Precinct will provide: i.

opportunities for commercial uses along Ross Creek

ii.

opportunities for both residential and short-term accommodation in the southern parts of the precinct with a mixture of dwelling types and styles

iii.

a mix of commercial and retail uses on ground floor premises. Retail uses service the immediate residential community only

convenient and legible connections throughout the precinct between the buildings and the Waterfront Promenade and protect public access to the water’s edge

protection of critical marine infrastructure in Ross Creek (e.g. navigational lead lights, existing structures, etc.) and the ongoing operations/future expansion of the Port of Townsville

ii.

high quality landscape and pedestrian connectivity throughout the precinct between the Waterfront Promenade, Sir Leslie Thiess Drive, ANZAC Park and The Strand

ii.

buildings in accordance with building parameter guidelines for Precinct 6 – Ocean Gateway

iii.

buildings up to 10 storeys in height

iv.

built form which addresses both the water’s edge, and the street, and provides enhanced access points and attractive and activated edges

openings in buildings which are located, oriented, designed and constructed to reduce exposure to noise (and other) impacts as a result of Port of Townsville operations

vi.

design measures including physical screening are incorporated in the built form to reduce exposure to adverse light impacts associated with the Port of Townsville operations

vii.

the location of lighting for the development ensures that illumination and glare does not conflict with Port of Townsville operations

Precincts

viii. outdoor areas are located, oriented, designed and constructed to reduce exposure to noise, light, dust or odour from Port of Townsville operations ix.

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appropriate noise, dust, odour and lighting standards are adopted for future development to ensure siting, design and construction achieves acceptable levels of amenity

Precinct 6: Ocean Gateway

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Precincts

public art strategy

public art strategy Curatorial Overview

ii.

The Ocean Gateway ‘will extend a warm welcome to tourists and visitors, presenting a vibrant entry point to our city centre’. Given this clear intent, a major entrance piece is desriable to create iconic views upon entry to the city. The dominant theme is this precinct’s function as a connection point to Magnetic Island. Artists could utilise the idyllic views to the Island, or celebrate its historical or natural features. Given the anticipated movement of tourists and locals enjoying holidays or days off through this precinct, artists could introduce elements of humour and/or interactivity to reflect the relaxed ambience.

Public Open Spaces and Promenades Precinct 6 is intended to include Public Open Spaces/ Promenades. Such spaces could include prominent locations that act as an entrance to The Waterfront from the water. As such, and Entrance Piece or Iconic work capitalising on the views to Magnetic Island, and in clear view of both those on foot and returning by vessel from Magnetic Island could be explored. Highly successful examples of Iconic artworks featured in Public Open Spaces/Promenades (particularly malls) can be found the world over. It would be ideal for such Spaces in Precinct 6 to be activated with artworks that enliven the area and provide it with a unique character, further enhancing the enjoyment of the Space for those frequenting it.

Interesting slices of Magnetic Island history which could provide inspiration include its naming by Lt James Cook in 1770 when he believed the magnetic compass on his ship the Endeavour was affected by the island; or the Island’s importance to the city’s military history, with a Signal Station and Coastal Battery being built on Magnetic Island for control of shipping and defence of the harbour in 1942-43. Site Opportunities i.

Precincts

Marina The Marina provides idyllic views to Castle Hill. While limited or no opportunities for artworks positioned on the water itself are envisaged, Interest/Discovery works could be situated in this area for the enjoyment of the many pedestrians walking along the water’s edge, travelling from the casino, ferry terminal, and other nearby facilities.

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Max PATTE Solace in the Wind 2008 Wellington NZ

Precinct 6: Ocean Gateway

Section 2

Precincts

Sergio REDEGALLI Cascade 1988 Adelaide Botanic Garden

public art strategy

Stephen BROADBENT Pioneers Ellesmere UK

Precincts

Section 2

Urs FISCHER Untitled (Lamp/Bear) NYC - Midtown East

Precinct 6: Ocean Gateway

public art strategy Budget Notes The Public Art budget will need to include (but not limited to): x.

artist design fee

xi.

artist concept development

xii.

artist fee

xiii. materials xiv. artwork construction and installation xv.

xvi. transport of materials xvii. artist transport & accommodation if required xviii. insurance xix. associated costs of subcontractors engaged by the artist/s xx.

contingency (generally 20%)

xxi. other costs normally borne by independent contractors xxii. repair of any failures in the guarantee period (12 months) xxiii. engineering certification Existing Artworks There are currently no artworks in the City of Townsville Art in Public Spaces Collection located in Precinct 6: Ocean Gateway.

Precincts

labour

Section 2

The overall budget for Public Art within Precinct 6: Ocean Gateway of The Waterfront development cannot currently be reasonably assessed. This estimate can only be forecast once The Waterfront is further progressed in the design phase, and therefore quantity and scale of desired Entrance, Iconic, Interest/Discovery, Built-In, and Wayfinding Public Art elements are known definitively based on location and opportunity. This design phase may also determine if certain artists are to be directly commissioned which will have implications for the final budget.

public art strategy 2.7 Precinct 7:

Maritime Mixed Use

Precinct Intent

Connectivity, Public Realm, and Water’s Edge

Built Form and Climate Responsiveness

The Maritime Mixed Use Precinct is an area which accommodates marine transport infrastructure, State maritime infrastructure and marine-based commercial uses.

Development within the Maritime Mixed Use Precinct will provide:

Mixed-use style developments would be encouraged, with a strong preference for commercial uses along the Waterfront Promenade. This precinct supports the nearby cruise ship facility (Quayside Terminal) providing an opportunity to provide a consolidated land-sea transit node and commercial/ tourist orientated destination, in a purpose-designed layout that is functional and attractive.

a public realm embellished with high quality landscaping which reflects the area’s maritime heritage and function

ii.

strong connectivity to the Quayside Terminal and the neighbouring Palmer Street

iii.

convenient and legible connections throughout the precinct between the buildings and the Waterfront Promenade

protection of critical marine infrastructure in Ross Creek (e.g. navigational lead lights, existing structures, etc.) and the ongoing operations and future expansion of the Port of Townsville

ii.

buildings in accordance with building parameter guidelines for Precinct 7 – Maritime Mixed Use

iii.

buildings up to 12 storeys in height

iv.

built form which addresses the water’s edge and street frontages

openings in buildings which are located, oriented, designed and constructed to reduce exposure to noise (and other) impacts from ongoing Port of Townsville operations

Preferred Land Use Development within the Maritime Mixed Use Precinct will provide for: i.

a transport terminal, including car parking and queuing areas, and associated marine infrastructure

vi.

ii.

marine-based commercial uses, research and education centres, commercial centres and allied maritime tourism operations

design measures such as physical screening are incorporated into the built form to reduce exposure to adverse light impacts associated with Port of Townsville operations

vii.

the location of lighting for the development ensures that illumination and glare does not conflict with Port of Townsville operations (e.g. navigation lead lights)

Precincts

iii.

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retail that complements, supports, or services development within the precinct

viii. outdoor areas are sited, orientated, designed and constructed to reduce exposure to noise, light, dust or odour from Port of Townsville operations ix.

dense landscaping along Lennon Drive to visually screen Port of Townsville operations

appropriate noise, dust, odour and lighting standards are adopted for future development to ensure siting, design and construction achieves acceptable levels of amenity

Precinct 7: Maritime Mixed Use

Section 2

Precincts

public art strategy

public art strategy Curatorial Overview The Maritime Mixed Use precinct ‘accommodates Townsville’s regionally significant marine transport infrastructure and marine-based commercial uses.’ Of course, the major consideration in this precinct is the Port of Townsville, its rich history, importance to the development of Townsville, and future expansion. John Melton Black, employed by Robert Towns at Woodstock Station, dispatched Andrew Ball, Mark Watt Reid and a small party of Aboriginals to search for a site where a suitable port could be established. Upon reaching Ross Creek in April 1864, the party set up camp and following further exploration, Ball returned to announce that a suitable location had been found. Construction of the first wharf commenced in 1865. Cyclone Sigma struck Townsville on 26 November 1896, causing significant damage to the port and prompting the formation of the Townsville Harbour Board. With this background, Townsville’s tropical climate and extreme weather events such as Cyclone Sigma (and more recent events) could provide a point of investigation for artists.

The intended use and ocean-facing nature of the of the precinct calls for hardy, durable artworks. This may include some iconic works, particularly to complement new Port developments and the Quayside Terminal, however it is anticipated public art within this precinct will largely tend towards interest/discovery pieces, and art built-in opportunities. Connectivity to Palmer Street from this precinct will require consideration as to the transition of themes/styles of artworks to these more social, dynamic areas of The Waterfront development. Site Opportunities i.

Port, Industrial Zones and Public Open Spaces Precinct 7 is dominated by the Port and Industrial Spaces, and therefore any artworks would be dictated by which buildings are highly public, such as possible location of works near the Quayside Terminal. Given the use of the available spaces, most opportunities would likely be for Art Built-In, and works would need to be highly durable. The other major opportunity is any solution that is achieved in this Precinct to pedestrian connectivity to Palmer Street, and any works in such a space would likely be Interest/Dicsovery pieces.

Precincts

From the outset of World War II, Townsville’s strategically critical location saw a further increase in port activity, which brought with it issues of congestion. During the 1950’s, the Eastern Breakwater was widened using rock blasted from Pilot Hill, while the single largest project was the construction of the Townsville Bulk Sugar Terminal. Completed in 1959, the facility burnt down in 1963 before being re-built. Such interesting stories, along with a celebration of the history and contribution of the Port - and connected industries such as sugar, oil, prawn and fish works, LPG, steel, etc. - would be worthwhile topics of exploration.

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Precinct 7: Maritime Mixed Use

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Precincts

Yinka SHONIBARE Nelsonâ&#x20AC;&#x2122;s Ship in a Bottle 2004 National Maritime Museum, Greenwich, London

public art strategy

Stephen BROADBENT Pioneers Ellesmere UK

Precincts

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Precinct 7: Maritime Mixed Use

public art strategy Budget Notes The overall budget for Public Art within Precinct 7: Maritime Mixed Use of The Waterfront development cannot currently be reasonably assessed. This estimate can only be forecast once The Waterfront is further progressed in the design phase, and therefore quantity and scale of desired Entrance, Iconic, Interest/Discovery, Built-In, and Wayfinding Public Art elements are known definitively based on location and opportunity. This design phase may also determine if certain artists are to be directly commissioned which will have implications for the final budget.

The Public Art budget will need to include (but not limited to): xi.

artist design fee

xii.

artist concept development

xiii. artist fee xiv. materials xv.

artwork construction and installation

xvi. labour xvii. transport of materials xviii. artist transport & accommodation if required xix. insurance xx.

associated costs of subcontractors engaged by the artist/s

xxi. contingency (generally 20%) xxii. other costs normally borne by independent contractors xxiii. repair of any failures in the guarantee period (12 months) xxiv. engineering certification Existing Artworks

Precincts

There are currently no artworks in the City of Townsville Art in Public Spaces Collection located in Precinct 7: Maritime Mixed Use.

Section 2

public art strategy 3. Commissioning Process To ensure best practice, all Public Art planned for the Waterfront PDA area will follow a defined Commissioning Process. This Commissioning Process is in-line with industry standards and legislative requirements and guides the development of the City of Townsville Art In Public Spaces Collection as a whole. By ensuring adherence to this Commissioning Process, Townsville City Council ensures the city’s public artworks are carefully managed, from the early inception of scoping and planning, beyond artwork delivery and installation to the artwork’s ongoing care and maintenance. Provided in this section is a brief overview of the Commissioning Process and the relevant steps that will be udnertaken to develop the Waterfont’s public art.

Prior to Commissioning Process

Commissioning Process

Project scoping and planning

ii.

Community consultation

iii.

Identify desired artwork location/s and risk/s involved with siting an artwork in this location

iv.

Develop an artists brief, including: ‡‡ Project background

• Materials

• Why is this project being started and why does it call for public art

• Artwork construction and installation

• What is the project overall, and where does public art fit into it

• Transport of materials

• When did the project start and when is it expected to finish

• Insurance

• How did the project come about • Who is coordinating the project ‡‡ Historical, environmental, social and cultural significance of site/s • Usually developed in conjunction with planning, this information will be researched by Heritage unit, local historians, Gallery Services Curator/Director ‡‡ Precise location of artwork site/s (with aerial view and ground view) ‡‡ Relevant themes and design elements (if any exist) ‡‡ Restrictions

‡‡ Cultural sensitivity;

• In relation to risks identified

‡‡ Environmental factors;

• Developers preference (must be eco-friendly, etc)

‡‡ Engineering challenges; etc

‡‡ Project budget

• Labour • Artist transport & accommodation if required • Associated costs of subcontractors engaged by the artist/s • Contingency • Other costs normally borne by independent contractors • Repair of any failures in the guarantee period (which is 12 months) • Engineering certification ‡‡ Considerations in line with safety, engineering, public viewing (in relation to risks identified for site) ‡‡ Timelines • Applications open • Applications close • Successful applicants notified • Presentation of concept/s • Notification of winning concept • Presentation of design/s • Installation period

Section 3

• Artwork finalisation

•

• Project finalisation (if different to artwork finalisation)

public art strategy

• Colonial Leisure Group (formerly Jupiters Casino)

Precinct 1: City Waterfront Gateway

• Adherence to the artists brief

• Best Western Islington Apartments

• Quality of proposal including the strength of concept, creativity and innovative

• Central Queensland University

• Port of Townsville Ltd • SeaLink Queensland

• Nature of work

• Honeycombes Property Group (Central Village, Islington)

• Townsville City Council

• Demonstrated relevance and experience

• News Corp Australia (The Townsville Bulletin

• Demonstrated capacity to deliver the project within budget and timeframe

• Queensland Rail

• Townsville Entertainment and Convention Centre

• Examples of relevant previous works (Portfolio, pictures, video) • Benefits of the commission to the development of the artists own professional practice • Adherence to proposed budget ‡‡ Project contact (for artist to ask questions prior to submitting)

• Townsville City Council

• Fantasea Cruising Magnetic

Precinct 2: Waterside Living

• Port of Townsville Ltd

• Townsville City Council

Precinct 3: Culture and Entertainment

vi.

Nominate a Project Manager

• Potential cultural precinct tenants (visual arts, performing arts, etc)

vii.

Develop a public art working group (PAWG) which must include:

‡‡ Application requirements (depending on commission process, see below)

• Potential stadium/entertainment centre tenants (sporting, performing arts, etc)

Identify key stakeholders

• Townsville City Council

Prior to any commissioning process, all key stakeholders are contacted for comment and consultation, and their representatives may form part of the advisory panels during the process. Key stakeholders are the local or state government bodies, as well as business owners in the relevant site location who will be affected by the installation of new public art. They can also be owners or managers of the land in that location, developers interested in the possibilities that location provides, or local organisations that currently utilise the space, or will in the future (if this can be identified).

Precinct 7: Ocean Gateway

Precinct 4: City Reach

‡‡ Project Manager; ‡‡ Engineering; ‡‡ Site Developer

• City Traders

The PAWG might also include the following, who may also be added as necessary during the project:

• Seafarers Association (Maritime Museum

‡‡ Project Officer/s;

• Townsville City Council • Townsville Motor Boat & Yacht Club Limited Precinct 5: Research and Tourism • Museum of Tropical Queensland • Port of Townsville Ltd • Reef HQ

Commissioning Process

• Submission must be complete

Precinct 6: Maritime Mixed Use

‡‡ Heritage Officer; ‡‡ Indigenous Advisor; ‡‡ Urban Planner; ‡‡ Architect; ‡‡ Landscape Designer; etc

Section 3

‡‡ Precinct Stakeholders

‡‡ Selection criteria

• Townsville City Council • Townsville Cultural Centre

public art strategy viii. Develop a public art selection panel (PASP) which must include: ‡‡ Manager Gallery Services;

Shortlist i.

PASP to identify a small number of experienced professional artists and invite them to submit a concept in relation to the commission of an artwork/s

ii.

Artist brief developed as above and sent to all artists for an invitation to accept and provide concepts

iii.

Artists move directly to concept development on acceptance of the commissioning process

‡‡ Engineering; ‡‡ Planning and Development or Site Developer The PASP might also include: ‡‡ Public Art Officer; ‡‡ Indigenous Advisor; ‡‡ Heritage Officer; ‡‡ Community Arts Organisation representative; ‡‡ Architect; etc

Direct Commission i.

PASP to identify a key established and experienced professional artist to engage for the commission of an artwork/s

ii.

Artist brief developed as above and sent to agreed artist for an invitation to accept and provide concepts

iii.

Artist moves directly to concept development on acceptance of the commissioning process

Expressions of Interest (EOI)

Commissioning Process

Artist brief developed as above, to also include explanation of competitive process and requirement of artists to provide CV and relevant experience

ii.

Send out brief through appropriate channels in a call for expressions of interest from artists who will submit CVs and relevant industry experience – this process can be distributed locally, state-wide, nationally or internationally depending on the scope of brief

iii.

PASP receives submitted EOIs and these are compared against the initial brief criteria

iv.

From these EOIs, a shortlist of artists is created and invited to proceed to the next stage of concept development

Concept Development

Section 3

• Contracts are drawn up to engage artist/s in concept development – artist/s must be paid for this work

ii.

• Consultations are held with each artist to ensure they are aware of the expectations of the developer/ organisation who is commissioning the work

iii.

• Artist/s develop a concept for the project and present to the PASP

iv.

• A concept is selected and the artist/s invited to the next stage of design development Douglas COUPLAND Digital Orca 2009 Vancouver, British Columbia, Canada

public art strategy

ii.

Fabrication

Installation

Establish a timeline for the delivery of the project, including the design, fabrication, installation and completion of the public artwork incorporated with the overall project timelines

Either the artist or the Project Manager manages the fabrication of the artwork. If the artist manages, they must report frequently to the PAWG. If the Project Manager manages it, they must report to both the artist and the PAWG.

The Project Manager usually manages the installation of the artwork in conjunction with the site developer.

Artist/s design/s must ensure they show an understanding of:

A suitably qualified fabricator is engaged to provide quotes and methodology

‡‡ Environment/site location

ii.

An engineer will liaise with fabricator and provide appropriate certification

iii.

Information is presented to PAWG (and artist) to approve or amend to proceed with fabrication. Considerations:

‡‡ Environmental impact ‡‡ Engineering and safety issues involved with the fabrication and installation of their work

ii.

Site is prepared to engineering report

iii.

Contractors are engaged to collect, deliver and install the sculpture on site

iv.

Artwork label should be designed, fabricated and installed ‡‡ Artist to provide artwork statement

‡‡ Suitability of construction

‡‡ Future maintenance of their work (including a budget for this)

iv.

Engineering is engaged to design suitable fixing method for artwork

‡‡ Adherence to artist’s design and original brief

‡‡ Budget breakdown

iii.

‡‡ Manager Gallery Services to ensure continuity with existing signage design, and appropriate location

‡‡ Engineering compliance ‡‡ Safety controls are established/monitored for compliance

A design is selected and assessed for its suitability against the original conditions and associated factors that affect delivery

iv.

A single point of contact for the artist to liaise with the PAWG is established

Fabrication begins

vi.

Regular progress reports are expected to inform PAWG/artist

A contract is drawn up to establish a fabrication timeline and formalise procedure

‡‡ Gallery Services to design sign for fabrication by suitable sign makers v.

Other contractors may be engaged to finish the site (cleaning, landscaping, etc)

vi.

Engineers to carry out final assessment on site

Commissioning Process

Design Development

Design is proposed by the Manager Gallery Services to the Art Acquisition Working Group (AAWG) for recommendation to Cultural Committee

ii.

Cultural Committee advises Full Council

iii.

Full Council must endorse the acceptance of the artwork into the City of Townsville Art in Public Spaces Collection

Section 3

Formal Acceptance into Collection

LAVA / Jannifer KWOK Digital Origami Tigers 2010 Sydney

public art strategy Practical Completion

Handover and Maintenance

Upon completion, the Project Manager works with the artist to prepare a final report for the custodian of the artwork, including:

If Townsville City Council is the direct commissioner of the artwork, it is handed over to Council, along with the Practical Completion Report above, upon completion of the project. Townsville City Council will maintain the artwork according to the information provided in the report. The artwork becomes the property of Townsville City Council and part of the City of Townsville Art in Public Spaces Collection.

Contact details of the artist

ii.

Contact details of all suppliers, fabricators, contractors involved in the project

iii.

Work description outlining installation components

iv.

Final budget breakdown including copies of all invoices

Copies of initial concept, design process and relevant research undertaken by the artist

vi.

Artwork statement

vii.

Label design

viii. Engineering Certification

Commissioning Process

ix.

Public Liability Insurance policy details from artist

Material list with comprehensive detail

xi.

Material safety sheets for any hazardous substances

xii.

Maintenance manual

In both cases, the warranty from the artist applies for 12 months from handover, and the suppliers’ warranties as nominated upon purchasing (details in report).

When a suitable site is endorsed: i.

Original documentation of fixing method should be discussed with engineers to determine suitability in new site

Relocation

ii.

If unsuitable, engineers should be engaged to design and certify new fixing method

iii.

If/when suitable:

Section 3

‡‡ Cleaning method

Consider the curatorial rationale of the artwork

‡‡ Maintenance schedule (when, with what, how)

ii.

Research a new location for the work

‡‡ Remedial maintenance advice (contact artist in case of breakage, etc)

iii.

Liaise with Planning and Development and Open Space Management to determine suitability of proposed site

xiii. Non-Exclusive Licence to Reproduce

iv.

xiv. Full colour images of the work from all sides, including details where appropriate

Consult with the artist or representative if possible to discuss new site and gain permission for relocation

Report to Manager Gallery Services for endorsement

vi.

Manager Gallery Services will propose to AAWG, who will recommend to Cultural Committee

vii.

Cultural Committee will advise Full Council who must endorse the decision to relocate the work

Condition report

Where the decision to relocate is not endorsed, a new location should be researched until a suitable site can be found.

Regular inspections should be undertaken to monitor the artwork for any changes.

‡‡ Cleaning materials

xvi. Warranty details from artist, suppliers, contractors (usually 12 months from delivery)

If a developer has commissioned the work, they must maintain the artwork for the first 12 months according to the information provided in the practical completion report. After the first 12 months have elapsed, the artwork becomes the property of Townsville City Council, as above.

As new developments are planned, this may affect the current location of the artwork. Where possible, the artwork should be reinstated following the finalisation of a new development in the area in which it was originally located. If this is not possible:

xv.

Jeff THOMSON Roos n.d. Canberra Airport

‡‡ Site is prepared to engineering report ‡‡ Contractors are engaged to collect, deliver and install the sculpture on site ‡‡ Artwork label should be reinstalled at new location if appropriate, or a new label should be designed, fabricated and installed • Manager Gallery Services to ensure continuity with existing signage design, and appropriate location • Gallery Services to design sign for fabrication by suitable sign makers ‡‡ Other contractors may be engaged to finish the site (cleaning, landscaping, etc) ‡‡ Engineers to carry out final assessment on site

public art strategy Repair and Restoration

De-Accessioning

Should the artwork sustain significant damage through vandalism, natural disaster or environmental conditions, suitably qualified professionals should be engaged to determine a course of action.

All works in the external environment have a finite lifetime that should be individually assessed. With regular maintenance and updated conservation information, the care of each public artwork should help extend its lifespan. Ultimately though, each work will deteriorate to the point where it can no longer be maintained, and it will need to be de-accessioned.

Engage engineer, conservator or other professional to assess damage where required

ii.

Consultation between a number of parties may be useful in this process to determine the best course of action

iii.

Artist or their representative should be contacted to discuss repairs

iv.

Final decision to repair or restore is with Manager Gallery Services

Contractor or conservator is engaged to carry out repairs as agreed and a contract outlining timelines and methodology is developed

Prior to de-accessioning: i.

ii.

iii.

Assess the Cultural, Historical, Social or Environmental significance of the work

iv.

Document all reports from professional advisors

Present documentation to Manager Gallery Services for recommendation for de-accessioning

vi.

Manager Gallery Services will assess the need for formal de-accessioning procedures to occur:

Consult with the artist or their representative where possible. If they cannot be contacted, three should be a six-month lapse between first contact attempt and proceeding further.

‡‡ Presentation to the AAWG for recommendation to Cultural Committee ‡‡ Cultural Committee to recommend action to Full Council

Liaise with appropriate professionals (engineers, conservators, etc) to assess the work’s condition to establish: ‡‡ Can it be repaired, restored, conserved ‡‡ Is it worth doing so ‡‡ If not, can it be re-fabricated ‡‡ Is it worth doing so

‡‡ Council must endorse decision to de-accession for the work to be removed from the City of Townsville Art in Public Spaces Collection vii.

Engage suitably qualified contractors to remove work and return site to a safe and aesthetically appropriate condition

viii. Artist should be given the option to have the work returned to them where possible

Section 3

Commissioning Process

It should be noted that where the work poses a safety risk, it should be isolated where possible, or removed in the first instance to avoid possible harm to the public or surrounding infrastructure.

Leo VILLAREAL Buckyball 2012 Madison Square Park, NY, USA

public art strategy 4. Wayfinding An attractive and effective wayfinding solution for The Waterfront development is essential as it will improve the user experience by aiding people in navigating throughout the natural and built environment, and reinforcing the improved CBD connectivity that this project will deliver. There are a number of principles that underpin wayfinding, including architectural clues, lighting, sight lines, and signage. These features are information support systems to wayfinding. Users rely on these principles when making decisions about how to reach their destination. Experienced, recognised experts in developing wayfinding solutions will be engaged to ensure an optimal plan is established, ensuring users will have a positive experience of The Waterfront.

Wayfinding

Artists and creative professionals will likely be involved in the development of a wayfinding solution in two significant ways. Firstly, the external organisation engaged to develop and deliver a wayfinding solution will utilise the talents of trained designers to craft an attractive wayfinding suite that establishes consistency across the expanse of The Waterfront, while responding to he character and intent of indivdual precincts. The engaged agency and their designers will consider the range of intents for wayfinding, including features denoting entry to precincts and zones of importance, and interpretive and informative trails throughout the development.

Section 4

Secondly, artists may be commissioned by the agency to develop specific elements of the wayfinding suite, including design elements and illustrations, or digital artwork or applications.

It is important to note that while the talents of artists and creative professionals will be utilised in the development of The Waterfront’s wayfinding solution, these will not form part of the City of Townsville Art In Public Spaces Collection and would rather be maintained by Townsville City Council’s normal custodian of information and interpretive signage. It is also anticipated that entrance statement and iconic artworks will assist in the wayfinding strategy for The Waterfront, however this will not be explicitly marked in the public realm as it would onle serve to detract from the impact of the artwork itself. Rather, th sheer quality and positioning of such artworks are expected to generate significant attention within the community that will have people saying, “I’ll meet you at ‘Artwork X’.”

public art strategy 4. Wayfinding

Section 4

Wayfinding

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