Beyond FIDO Darebin City Council Public Art Strategy

Beyond FIDO Darebin City Council Public Art Strategy 2006-2015

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APPENDIX A


2.

TABLE OF CONTENTS

EXECUTIVE SUMMARY 3

KEY FINDINGS 4

KEY RECOMMENDATIONS 5

INTRODUCTION 6

BACKGROUND 8

COMMUNITY ENGAGEMENT 9

STRATEGIC REVIEW 10

STRATEGY 2006-2015 16

APPENDICES: 22


3.

EXECUTIVE SUMMARY

In 1996 Darebin City Council embarked on one of the most ambitious public art programs in Australia outside a central business district. After nearly a decade the City has earned an im-pressive reputation for enhancing its urban landscape with innovative public art projects. There is now strong community acceptance of the program, particularly because of the effective com-munity engagement in the siting and development of public art projects.

The fi rst phase of the Art in Public Places program focused on installing major art works in each of Darebin’s precincts. At the conclusion of this phase, a review of the program was un-dertaken, with a view to consolidating Council’s strategy on public art. This review was com-pleted in 2005 included a range of consultations with key stakeholders

The review found that the program has had a signifi cant impact on the municipality, both in terms of community engagement and the sheer number of Darebin people actively involved in public art projects and in gradually transforming the look of the city.

The review also found that the main areas in which the program could be enhanced are: pro-motion of the program; consolidation of the maintenance program and inter-Council partici-pation in projects. It was also suggested that augmenting the funding of the program through developer contributions be explored.

The review proposed that the second phase of the program should move away from the pre-cinct by precinct approach and focus on Civic buildings, major ‘gateways’ to the municipality and public open spaces. In light of this it is proposed that the next project should be incorporated into the Preston Civic Forecourt refurbishment, followed by a work at one of the City’s north-ern gateways and then a selected open space. It is the intention of this strategy to build on the strengths of the fi rst phase and guide the program for the next decade.

BEYOND FIDODAREBIN CITY COUNCILPUBLIC ART STRATEGY 2006-2015


KEY FINDINGS

Key fi ndings from the review of the Art In Public Places Program 1996-2005 are that:

The Arts in Public Places program, which follows the guiding principles of furthering • community development, professional arts practice and the general values of Council and our community is widely supported and should be continued.

The community engagement models developed for the program are also well supported • and should continue to be utilized and further refi ned.

The current level of capital expenditure on public art enhancement of the municipality is • in keeping with recommended national benchmarks and should be maintained. This means that about two per cent of Council’s capital budget on major refurbishments of civic buildings, construction of new facilities and capital upgrades of major open spaces should be allocated to public art.

The initiators of non-Council public art projects, such as real estate developers, should • be encouraged to utilize Council’s model of public art project development as a way of enhancing community building and community cultural development. And, incentives for doing this should be explored via Council’s planning and building processes.

Initiators of non-Council projects to be encouraged to allocate two per cent of the • budgets for new developments equal to, or exceeding one million dollars, for public art enhancement of the public space in the environs of the development

Council Planning staff and Building Surveyors can assist by referring requests for the • construction and installation of a public artwork to the Arts and Cultural Development Branch who will support and assist the management of this process.

Council’s community development approach to apply where public art projects are funded • in total or in part by Council (e.g. projects receiving a grant from the Community Grants Scheme) and where projects involve art work that is to be placed on Council property but not initiated by Council.

The Public Art maintenance program be consolidated through the development of a • database of all public art works which contains a detailed list of materials used for each work and that condition reports be compiled after annual inspection.

Methods for encouraging Indigenous artists to submit Expressions of Interest be explored, • in consultation with them, and with the Indigenous communities, and appropriate methods should be implemented.

4.


KEY RECOMMEDATIONS

The review resulted in six key recommendations:

OneThat Council reaffi rm that the guiding principles of its public art program are to:

further community cultural development;• further professional arts practice; and,• further the general values of Council and our community.•

TwoThat Council note the benefi ts of its public art program to:

enhance the visual amenity of the built and natural environment;• maximise ones experience and understanding of the built and natural environment;• refl ect and record the values and aspirations of the community;• create a distinct sense and pride of place; and,• refl ect and affi rm our diverse cultural character.•

ThreeThat Council affi rm the community engagement model of public art commissioning elaborated in Creating Place: Public Art Practice and Guidelines in Darebin is the preferred mechanism for com-missioning all public art projects within the municipality.

FourThat Council encourage adherence to these guiding principles and the community engagement model for all private and non-Council art projects sited on publicly accessible space within the municipality.

FiveThat Council adopt this strategy and initiate Phase Two of its Art in Public Places Program which will focus on civic buildings, municipal gateways, parkland and continue the small scale ephemeral works to enhance community festivals and events.

SixThat the Arts & Cultural Development Branch liaise with other branches of Council to coordi-nate integration of public art projects with Council’s other major projects, open space planning and urban design initiatives.

5.


INTRODUCTION

In 1996, Darebin City Council embarked on one of the most ambitious public art programs in Australia outside a central business district. After nearly a decade the City has earned an im-pressive reputation for enhancing its urban landscape with innovative public art projects. There is now strong community acceptance of the program, particularly because of the effective com-munity engagement in the siting and development of public art projects. It is the intention of this strategy to build on these strengths and guide the program for the next decade.

The fi rst phase of the Art in Public Places program focused on installing major art works in each of Darebin’s precincts. At the conclusion of that phase, a review of the program was un-dertaken, with a view to consolidating Council’s strategy around public art. This Strategy draws on the fi ndings of that review and on the learning that has taken place in the fi rst ten years of the program.

What is Public Art?

For the purposes of this strategy, Council defi nes ‘public art’ in its broadest sense: that is, all ar-tistic works created for and located in an open public space or public facility and accessible to members of the public. The defi nition includes art works permanently in place, temporarily in place or only in place for a brief time. While permanent works clearly need to be constructed of lasting materials, public art of a temporary or ephemeral nature includes works using such things as video, sound, projection or live performance.

6.


Why Public Art?

Council developed the Art in Public Places program because public art:enhances the visual amenity of the built and natural environment;• maximises one’s experience and understanding of the built and natural environment; and• refl ects and records the values and aspirations of the community that commissioned the • work.

The aims of public art commissioned by the City of Darebin have been to:improve the design and functionality of public buildings and public open space;• inspire and express artistic innovation;• create a distinct sense and pride of place; and,• refl ect our diverse cultural character.•

Why is Public Art important for Darebin?

Darebin is an artistic community with twice the number of artists as the Melbourne average and our public art signposts our creativity and the social and economic benefi ts that fl ow from this.

Darebin is an overwhelmingly urban landscape that benefi ts signifi cantly from good design and artistic enhancement.

Darebin is a culturally diverse community and many of the cultures that make up our commu-nity have strong traditions in civic and public art and our community engagement model helps us create potent and effective symbols to celebrate and promote our diversity, tolerance and distinctiveness.

7.


BACKGROUND

City of Darebin’s Public Art Program: Art in Public Places 1996-2005

The Art in Public Places Program was initiated by Council following the recommenda-tion for such in Council’s fi rst arts and cultural strategy: City of Darebin Arts and Cul-tural Plan 1996 – 1998. An implementation strategy was then developed which aimed at successfully commissioning and integrating public art into community life.

In 1999, this strategy was elaborated and examined in Creating Place: Public Art Practice and Guidelines in Darebin; Council subsequently endorsed the guidelines with their strong community development focus.

The public art program was also reaffi rmed in the Arts and Cultural Strategy 1999 -2004.

The fi rst phase of the program, from 1996 to 2005, commissioned works on a pre-cinct-by-precinct basis. Major public art projects have been completed in Westgarth, Reservoir, East Preston, Fairfi eld, Thornbury, Preston Central and Kingsbury/Bundoo-ra.

As well as this, public art enhancement has been integrated into new Council facilities, namely the Fairfi eld Community Centre and Bundoora Homestead Art Centre.

Also, a signifi cant project was undertaken at All Nations Park in Northcote in which artists of a range of cultural backgrounds and Indigenous artists designed and created sculptural enhancements around the methane gas vents there.

In addition to these more substantial works, in the last couple of years, Council has commissioned ephemeral public art works created specifi cally to enhance different community events namely Candles at All Nations in 2005, 2004 and 2003; for the Ganesh Chaturthi celebrations in 2005 and 2004; and, the Darebin Festival 2006.

8.


COMMUNITY ENGAGEMENT

This strategy emphasizes the use of a comprehensive community con-sultation process in order to successfully incorporate public art into our public spaces. The approach invites members of the community to become involved in the process, leading up to, and including, the selection of the fi nal work. It offers the community an opportunity to see their lo-cal environment in new ways, to interpret that environment, and to have a say in its future function and visual appearance. This approach instils a sense of “ownership” in the project and invites people to feel that they can make a “difference” to their environment.

In practice there evolved during the fi rst phase of the Art In Public Places program two models for engaging the community in public art projects. The evolution of these models is explained fully in Council’s earlier policy: Creating Place: Public Practice and Guidelines in Darebin

Model A begins with a series of focus groups with members of the com-munity to elicit a comprehensive understanding of what they feel about their neighbourhood and what they would like the new piece of public art to refl ect. The next step is to form a reference group from inter-ested participants in these focus groups to refi ne the discussions into a brief for artists. This brief would involve specifi cs about the site and the themes the community would like the artist to address. Following this comes a tendering process where expressions of interest are invited from artists. The community reference group would short list these and the short-listed artist would be paid a fee to develop a maquette (model) of their proposal and provide Council with all the necessary draw-ings and engineering specifi cations for the construction of their work. The reference group would then select one work for construction and put their recommendation to Council. FIDO in Station Street Fairfi eld and Sailing Down the Steps in Thornbury are works developed using this model.

Model B begins with a similar series of focus groups from which a refer-ence group is drawn. However under this model the reference group elects to take a more active role in supporting the artist create a design. In this model the reference group develops the artist brief and selects, through an advertised process, an artist or artists to conduct a series of design workshops with members of the community. This would involve the artists talking over the themes with the workshop participants, com-ing back with some preliminary drawings for discussion at a second or further workshop and then from this feedback develop a maquette and engineering specifi cations. This is then put as a recommendation from the reference group to Council. Well Place Preston, adjacent to the Preston Library, and the Shadow Creek at Ruthven Reserve were works created using this consultative model.

9.


STRATEGIC REVIEW

Impact of the Program

Since its inception, the program has had a signifi cant impact on the municipality, both in terms of community engagement and the sheer number of Darebin people actively involved in public art projects and gradually transforming the look of the city.

Up to three hundred people have participated in the community consultation process for each major project - this translates to more than two thousand people overall.

An evaluation of the Well Place Preston project demonstrated that engagement in these projects were a positive experience for people, particularly those who continued to be involved for the duration of the project by becoming members of project reference groups and selection panels. The evaluation also found that one of the many positive outcomes for these people was the enhancement of their awareness and understanding of public art.

Undoubtedly, the program has integrated art into the everyday lives of our community. It has done so by placing it in neighborhoods: in our parks, shopping precincts, libraries and other frequently visited places.

The program has also added to the aesthetics of those areas and contributed to the profes-sional arts practice of many artists – a positive contribution to broader local and Victorian visual arts practice.

The ephemeral projects have enhanced the experience of the many people who have partici-pated in the community events and celebrations.

As well as this, the program has enhanced considerably the City’s profi le as a municipality com-mitted to all these things – community engagement, high-quality public art, aesthetics of public spaces and professional arts practice.

10.


Consultation

As part of the strategic review of the program extensive consultation was undertaken, this took primarily the form of focus group discussions with key stakeholders.

The consultation process targeted the following:

Artists. This session targeted both artists who had carried out projects and others. In-• vitations were sent to artists whose details are on the Arts and Cultural Development Branch’s database and to visual arts organisations based in Darebin. As well as this, notices were placed in the Branch’s What’s On, a weekly emailed listing of arts and cultural activi-ties, D’Art, the Branch’s hard copy newsletter and the local newspapers.

The community. This included both community members who had participated in past proj-• ects and those who hadn’t. It also included organisations that represent the diversity of the Darebin community (i.e. the Darebin Ethnic Communities Council, the Darebin Aboriginal and Torres Strait Islander Community Council and the Disability Working Party).

Council offi cers. This session targeted primarily Council staff who had been involved in • projects (eg. Open Space Planning and Engineering) and branches and, or units, that were seen to be potential stakeholders (eg. Strategic Planning, Economic Development). Council offi cers were invited via direct emails

Community members who have participated in projects and the organisations outlined above were all invited directly, while the latter were notifi ed via advertisements/notices in the local newspapers, D’Art and What’s On.

In addition to the focus groups, artists and community members who were unable to attend the focus groups were offered the opportunity to provide their input via questionnaires.

11.


Eighteen people attended the general community sessions, thirty four people attended the session for artists and twelve staff attended the session with council offi cers. Six completed questionnaires were received.

The consultation process concentrated on eliciting information and views about:

how stakeholders were informed about the program; • strategies for improving promotion of the program;• the program’s effectiveness (both in terms of community participation and artistic • outcomes), its positive aspects and aspects that could be improved;the two community engagement models (outlined above); and, • preferences for the focus of the next stage of the program. •

In addition to these focus group sessions, individual interviews were held with Arts and Cultural development staff at the cities of Yarra and Melbourne and with the Director of Urban Art, VicUrban, to compare models utilised.

Findings

1. The program be further promoted.

This contributes to raising awareness in general about public art and about the program. It also raises the awareness of artists about the program thus encouraging more artists who have not submitted Expressions of Interest (EOI) in the past to submit EOI’s. It also raises the awareness further of the Darebin community about the program and about art works that they may be unfamiliar with.

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2. Maintenance of all art work is very important.

This ensures that the monetary value of the work is maintained and that the work appreciates in value over time; that any risks to public safety are ad-dressed immediately; that the artists’ moral rights are protected and that community pride in the art work is maintained.

3. Intra-Council involvement be further enhanced so that key internal stakeholders are involved from the initial stages of each project.

This is so that further integration is achieved across Council departments and the project is completed successfully.

4. The community values the opportunity to participate actively in the program, particularly in the decision-making mechanisms.

Both formal evaluation of past projects and anecdotal evidence from these, as well as the consultation car-ried out as part of the review, indicate that the major-ity of community members involved in the program found this a valuable experience as it increased their understanding of public art and demonstrated to them that their opinions and input were valued and taken seriously.

5. Artists generally preferred Model A (see Guidelines for Project Development) as they feel they have greater artistic freedom with designing the work.

There are also artists who appreciate the opportunity to work according to Model B.

6. The possibility of combining the two models be ex-plored.

This is so that the feasibility of combining the benefi ts of both models be investigated, as both models were seen to be valuable.

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7. Developer contributions be explored.

This includes considering: guidelines for developers about developing and installing public art; considering how Council can collaborate with developers to achieve positive outcomes for the community; considering how projects involving developers can be funded.

8. Developing guidelines for public art that has been initiated by non-Council bodies.

There are an increasing number of public art works in Darebin that have been commissioned by non-Council bodies. Developing guidelines for these assists to convey Council knowledge about public art projects to other groups, which, in turn, develops the skills of those groups in this area, contributing to positive outcomes for the community.

9. Paying artists a fee to submit Expressions of Interest be considered.

Some artists felt that they put considerable effort into developing their Expressions of Inter-est and that as professionals, they would like this to be remunerated. This would contribute to their work being regarded as professional and to it being valued.

10. Additional ways to provide feedback to artists who have been unsuccessful with their Expressions of Interest be considered.

Artists would be able to incorporate this feedback into future submissions, thus developing their skills in this area.

11. Organising information sessions for artists interested in submitting Expressions of Interest be considered.

In the medium term, this would contribute to enhancing the quality of EOI’s for specifi c proj-ects and in the longer term, to the development of artists’ skills in this area.

12. Council explore ways of promoting Indigenous artists.

Very few Indigenous artists have submitted EOI’s. It was thought that these artists are likely to be experiencing barriers to their practice that arise out of the position of Indigenous people in Australia and that specifi c strategies are required to deal with these barriers.

13. Council explore the possibilities for incorporating various forms of public art into the program (graffi ti art, stencil art, temporary work, art incorporated into public buildings).

The majority of work created as part of the fi rst phase of the program is sculptural. It was thought that it would be worth investigating the feasibility of commissioning other forms as a way of expanding the program parameters and of providing the community with opportunities to engage with forms other than sculptural.

14. Council ensure development of projects is based on the principle that the site the art work is to be situated in is important.

This contributes to the work having a relationship to its surroundings which would facilitate its integration into those.

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15. The following ideas for the focus of the next phase were proposed.

GatewaysFunctional workSmaller worksWorks in parksWorking with specifi c groups in the community to develop the Artists’ Brief (i.e. themes, site, form etc)

The fi ndings of the consultation process were analysed and considered and subsequently in-formed the development of the Strategy.

15.


STRATEGY 2006 - 2015

Scope of the Strategy

This Strategy is applicable to all projects meeting the defi nition of a public art project initiated by Council. This includes projects developed directly through the Art In Public Places scheme of Council’s capital works program, public art projects that are part of other capital infrastructure programs or within Council’s recurrent program.

It applies whether the project is wholly funded by Council, partially funded by Council or wholly funded from external sources. In the case of a public art project being funded in part or in whole by an external agency, then the development of such may in part deviate from this pol-icy in order to comply with the policy or criteria set by the funding or commissioning agency. However, the external agency should be made aware of Council’s preference for all public art projects to adhere to the guiding principles of this policy and the methods of project develop-ment and execution outlined in this policy.

The Strategy applies to all public art projects not initiated by Council but funded in whole or in part by Council. For example if a community group applies for funding from Council through the Community Grant Scheme for a public art project they would be expected to adhere to the guiding principles as a condition of receiving the grant.

The Strategy applies to all public art projects not initiated by Council but sited on Council property.

The strategy should act as a recommended method of commissioning public art for all projects not sited on Council property but publicly accessible and generally operating as public space.

Public art may not require a planning permit but does require a building permit if works are in excess of the regulated amount. Council’s planning offi cers and building surveyors should refer all requests for the construction and installation of a public artwork to the Arts & Cultural Development Branch for the Branch to ascertain whether or not it complies with this Strat-egy. It is the duty then of the Branch to encourage compliance where such compliance is not mandated.

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Guiding Principles

In light of Council’s overall objectives, and given the success of Council’s community engagement processes, Darebin’s public art program is directed by a number of guiding principles.

The fi rst of these principles is to ensure the program furthers community cultural development. In practice this means that the community will continue to take an active role in the selec-tion of sites and development of themes that inform the artist brief. Further the community will continue to take an active role in the selection of artists to undertake commissions and fi nal selection of the works. The mechanisms for this process were originally outlined in Council’s earlier document, Creating Place: Public Practice and Guidelines in Darebin. This Strategy reaffi rms those mechanisms

The second guiding principle is that the public art program furthers professional arts practice. This is achieved by:

ensuring projects are suffi ciently well funded to enable art-• ists to comprehensively realise their vision;developing artist briefs that are specifi c and inspiring and • require submitting artists to think beyond their normal parameters; andvaluing originality and innovation along with craft in select-• ing artists to undertake works.

The third guiding principle is to ensure that the program furthers the general values of Council and our community because:

the program is environmentally sustainable and where • possible encourages artists to use recycled materials and environmentally sensitive alternatives;the program develops public art works that are accessible • and inclusive and able to be appreciated by all members of the community; and,the program is culturally sensitive so that artists do not • misappropriate or misrepresent images and styles specifi c to particular cultural groups. This is especially relevant to images and styles of Australia’s Indigenous communities.

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Meeting Council’s Plan and Community Cultural Development Objectives

One of Council’s key strategic objectives in the City of Darebin Council Plan 2005-2009 is for ‘a vibrant city’

‘The City of Darebin will ensure a dynamic, active community through the provision of a wide range of cultural, recreational and artistic opportunities. We will put in place a strategic framework that manages the development of Darebin and maximises its potential for current and future communities’.

In the Plan, Council commits to celebrating Darebin’s artistic and cultural vitality through a program of public art, performing arts, visual arts, music, festivals and other cultural events and by providing a range of performance and exhibition spaces. This strategy is part of the process of honouring this commitment.

Also central to Council’s philosophy is:

creating opportunities for direct involvement in our • decision making through Council committees and reference groups;ensuring our programs meet local needs; and• strengthening our communities through active • participation in cultural life.

Hence community cultural development is an important driver for Council’s public art program and community involvement is central to the development of public art projects.

Council’s commitment to a community cultural development is based on sound research and genuine consultation and has three key components:

developing programs that are driven by need, recognise • gaps and are underpinned by a principle of inclusiveness and participation; facilitating sustained and active engagement of the • community in the planning, development and delivery of programs and projects; anddemonstrating leadership, where appropriate and • balanced by effective support and encouragement of projects and programs initiated by the community.

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Guidelines for Project Development

Council-Initiated Projects

As outlined in the “Key Findings” section, the program has had considerable positive impact on a number of levels: community engagement, integrating art into the everyday lives of the Dare-bin community; adding to the aesthetic appeal of areas in which the works are situated; contrib-uting to the professional arts practice of many artists and enhancing the city’s profi le.

Council is keen to build on the success of Phase 1 by continuing to utilise and further refi ne the model developed during that stage.

Non-Council Projects

Where a public art project is commissioned for a public space that is not Council property and where Council is not contributing to the cost (for example: a public art project commissioned as part of a private medium density housing development) then the commissioning agent should be encouraged to work through similar processes to those employed by council. This encouragement should be formalised through the Council’s planning and building processes as an incentive, with Council offi cers from the Arts and Cultural Development Branch being avail-able to assist with this.

There are several advantages for the commissioning agent to following Council’s guiding prin-ciples.

There is better acceptance of the new work, and by implication the development it en-• hances, if it refl ects the community in which it is sited and the community have contributed to its creation.In the case of a new housing or commercial development, the work would refl ect what the • customers want; this, too, promotes better acceptance of the new work.The community feels they have more infl uence over the built environment; this also leads • to better acceptance. Artists are selected on their ability to respond creatively to the specifi c brief which gener-• ally leads to innovation, originality and better art practice.The process avoids ‘plonk’ art, work bought off-the-shelf and placed without any real refer-• ence to the site, the environment or the community. Work accepted by the community is less subject to vandalism.•

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Funding of Public Art Projects

Nationally, in the government sector the trend is for at least 1% and moving towards 2% of capital works building budgets to be allocated to public art enhancement of public spaces. The Western Australian ‘percent for art scheme’ allocates 1% (1). Adelaide commits 1.3% (2). The ACT is considering 2%. Queensland’s Art Built-in Policy administered by Arts Queensland’s Public Art Agency is a mandated 2% for all government building over $250,000 (3). Local governments particularly in Queensland, such as the City of Thuringowa, are following their State Government’s lead with 2% (4).

Darebin City Council’s current spending on public art enhancement of the municipality is in line with these national benchmarks.

As a guide, in order to maintain this, responsible offi cers should be allocating 2% of the capital budget for major refurbishments of civic buildings, construction of new facilities and capital upgrades of major open spaces, such as regional and district parks, major neighbourhood parks, creek corridors and principle bike paths.

Through the planning process, Council should also recommend a 2% of capital budget expenditure of new residential and commercial developments over $1,000,000 to be allocated to public art enhancement of the public spaces.

Strategy Implementation

The Arts & Cultural Development Branch will continue to be responsible for the implementation of Darebin’s Art in Public Places 2 program. In order to achieve this, the Branch will need to work closely with other branches of Council including Strategic Planning, Open Space Management, Statutory Planning and Building.

A Review of the Percent for Art Scheme1. , 2003 Department of Culture and the Arts, Government of Western AustraliaCity Strategies Watch This Space – Public Arts Policy2. , 2001 Adelaide City Council Art Built In3. , Public Arts Agency, Arts Queensland

Public Art Policy and Procedure4. , 2002 The City of Thuringowa

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New Sites

With the precinct-by-precinct public art program completed, the opportunity exists to review the placing of public art. The consultation brought out the option to specifi cally site public art. This would allow for the public art to better integrate with Council’s overall urban design pro-fi le, streetscape development and open space master-planning. Such a change would still allow for the furthering of community involvement with the development of public art projects. It would provide the opportunity to target and work with communities from across the munici-pality in a way that the precinct-by-precinct approach limited.

Adopting this option raised by the community consultation means immediate opportunities ex-ist to enhance the municipality’s civic precincts and buildings, major parks and open spaces and the gateways to the municipality. This should be linked to other related capital enhancement and renewal strategies such as, the Open Space Strategy and Council’s “gateways” improve-ment plans. Appendix 2 lists potential sites identifi ed from existing projects and strategies. It is proposed that the site for public art enhancement be determined annually in accordance with the budget planning process and to link public art enhancement to signifi cant asset renewal and other major capital projects.

Therefore, in light of this, it is recommended that Council’s next public art project should be the part of the redevelopment of the forecourt of the Preston offi ces, to be followed by a work to enhance one of the northern gateways to the City. It is recommended that the third new project should be part of the redevelopment of a selected open space in Darebin.

If this strategy is successful and non-council agencies start developing public art projects with the assistance of Council and utilising Council’s community development model, then naturally works will need to be placed in proximity to their developments. This means Council offi cers looking at the overall public art enhancements needs of the municipality and recommending the siting of works accordingly.

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Appendix 1

The works acquired under the Art In Public Places 1996-2005 strategy

Precinct projects

Kingsbury/Bundoora – Source by Adrian Mauriks (illustrated cover, pages 2 & 7)

Thornbury – Sailing down the Steps Simon Normand (illustrated pages 13, 16 & 17)

Preston – Well Place Preston by Zabelski Han (Velislav Georgiev & Victoria Roxburgh) (illustrated page 8)

East Preston – Shadow Creek by Down Street Studios (illustrated pages 6 & 10)

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Fairfi eld – Fairfi eld Industrial Dog Object (FIDO) by Alistair Knox, Ian Sinclair, Jacki Staude and David Davies (illustrated cover, page 3 & 20)

Westgarth - Untitled by Helen Bodycomb, Enver Camdal and Chris Rak (illustrated cover & page 15)

Reservoir – The Feather by Helen Bodycomb, Enver Camdal and Chris Rak; text by Shane Moloney (decommissioned in 2005)

Fairfi eld Community Centre

Ornamental grille by Carla van Laar

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Walkway inlays by Caroline Beach, Adam Dettrick and Georgina Lewis (illustrated page 19)

Bundoora Homestead Art Centre

The Ramp by Caroline Beach, Adam Dettrick and Dale Stephens

Darebin People Not Poles Apart

PetalWindowsThe Dance The Vesselby Arhonda Orestia (illustrated page 18)

Eel Trap (decommissioned 2005)Snakeby Cathy Adams

UnitGathering

Mosaicby Irianna Kanellopoulou (page 11)

Meeting PlaceRocks

by Wendy Watjera Berick

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Ephemeral Works

Star of Bethlehem & lanterns 2003-2005 -.Ken Evans

Ganesh for Ganesh Chaturthi 2004-2005 – Ken Evans (illustrated cover & page 9)

Getting Involved for Darebin Festival 2006 Stef Robinson (artistic producer)

Aboriginal and Torres Strait Islander Banner Project Banner Project

Banners designed by Lyn Thorpe, Alister Thorpe Jnr and Ngarra Murray

(illustrated pages 12 & 21)

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Appendix 2

List of proposed sites for future public art enhancement under this strategy

Civic Buildings

Preston Forecourt

Darebin International Sports Centre

Gateways

Cheddar Road at Mahoneys Road

Southern end of St Georges Road

Bell Street at Merri Creek

Open Space

Darebin Parklands

Major Projects and Redevelopments(funding to be included as a percentage of total project costs)

Reservoir Leisure Centre

Potential Collaboration with External Agency(joint or externally funded)

Preston Market Redevelopment

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Beyond FIDO Darebin City Council Public Art Strategy

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Transcript of Beyond FIDO Darebin City Council Public Art Strategy