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Cleveland is a traditional

coastal town centre near

Brisbane in the heart of a

diverse landscape of islands,

mangrove-fringed bushland

and historic promontories.

In 1993 the towns main street

was developed with a flexible

strategy that allows it to

continue as a main street

whilst embracing its growth

and connection to Moreton

Bay through a harbour.

The process for the award-

winning masterplan and

design by Landscape Architect

John Mongard engaged the

community in the creation

of a civic heart, and became

an exemplar for other

collaborative processes.

The initial design of the

streetscape involved the

creation of a specific theme

to bring the bay into the

town, which is reflected in

every physical component.

The poetics of art,

environment and design now

bring a sense of place to this

public realm. A major

intersection functions as a

shared area with the car

civilised and people given

priority, and the road is closed

every Sunday for a busy arts

and crafts market.

Elements in the street have

been personalised. A Poetry

Trail weaves text throughout

the street including the

evocative words of North

Stradbroke Island indigenous

poet Oodgeroo Noonnuccal.

Clay shells sculpted from

fossils from the Dunwich

Museum are embedded in

tidal forms with a vivid

tapestry of mosaic tiles

threading through a sub

tropical landscape. A town

map scribed in clay pavers

provides a colourful textural

surface with simple

pictograms and artful

linework. The sculptural

playground brings the sound

of children playing into the

town centre and a sculptural

walk provides an outdoor

gallery to compliment the

exhibition spaces in the

Redland Art Gallery.

At the district scale the

project has created a civic

living room - a place where

festivals and cultural rituals

have claimed the space.

Ten years later it still stands

as a testament to the

collaborative processes

which engaged every

community group in the

Cleveland district interested

in changing the face of the

town. These collaborative

ways of working continue to

introduce contemporary art

to the townscape. A second

capital works project for

Council’s Library Square,

various developer-funded

public art components and

the construction of the

Redland Art Gallery precinct

have been influential in the

creation of Cleveland’s

outdoor gallery.

However it is the generation

of social capital that is most

valued with communities

engendered with ownership

and the true value of the

public realm made visible.

The street has become a

metaphor for the everyday

rhythms that bind a

community together with

places to chat and visit, and

familiar forms that take their

cue from the past and nature.

“The tea trees are in bloom againFilling the air with honeyed scent”

ERNEST D A I N T Y

The Poetry Trail THROUGHOUT BLOOMFIELD STREET

MAP REF: 1, 3, 4, 8, 10, 12, 30, 31, 33,

36, 37, 38, 41, 43, 45, 46

Textural references about Cleveland –

the town, the bay and the countryside

were sought from local people in order to

celebrate the spirit of the collective place.

Ten pieces were chosen by Queensland poet

Ross Clarke to be placed in the street.

Evocative words by Zoe Clark are at child

height in the playground cave.

Earlier in the project John Mongard and Jan

Haughton met with the legendary indigenous

poet Oodgeroo Noonuccal (Kath Walker) to

discuss the possibility of including her work

in the street to mark the occasion of 1993

Year of the Indigenous People. They were

thrilled at her generosity and the warmth of

her response. Sadly, she did not live to see it

eventuate. Prophetically her words were

immortalised in stone the day she died

etched on stainless steel ripples and rock

pools on the fountains and scribed onto the

face of the garden bed edges.

“The Bay is the source for much of my poetry,

observed from Macleay Island and travel on

the ferries. Mangroves brim above the high

tides, cormorants periscope up through the

water, waves glitter and there is always the

possibility of dolphins!”

M A R G A R E T M A N S O N

Cleveland LogoON STREET FURNITURE BINS

AND BOLLARDS

The logo was initiated by the design team

in collaboration with the local traders

and business community who invited

participation from the local secondary and

tertiary art students to create an image

to be used to market the town centre.

The selected design by 1993 Alexandra Hills

High School student Leean Goong links

the town, bay and bushland themes and

is featured on the street furniture, and

serves as an identifying symbol for the

town of Cleveland.

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“By some seaside doorThe white whale bone s quietly signing

It s own song of the whale”PAME L A B E L L

‘Bow Spirit’ MAP REF: 11

“I wanted to represent the

sea using natural materials

to identify with the

symbolic characteristics of

the marine environment.”

T R O Y R O B B I N S

‘Tide Line’ MAP REF: 34

“The tide line work is taken from mangrove

pools and their relationship to the ebb

and flow of the tidal movements.“

C A R O L R O C H E

‘Waterworks’ MAP REF: 7

“This work relates to the movement of water

in the district, and I based my designs on

the machinery both natural and agricultural,

which processes or utilises it.”

D A V I D R E N N

‘Still Lives’ MAP REF: 2, 5, 6, 9

“Initially I worked on the concept design

phase of the Bloomfield Street Development.

My role was to provide artistic and

conceptual input into the Streetscape design

and to identify opportunities for the inclusion

of artworks in the project. I was therefore

involved in the initial brainstorming sessions

with the design team. Out of these sessions,

the development of the theme, The Town,

The Bay and The Countryside, emerged.

I was commissioned to create a number of

small-scale sculptures, which were designed

to represent still lives. These were designed

to enhance the sense of intimacy in the

Streetscape, which the landscape architect

desired. They have symbolism, which

reflected the design themes.“

D E N I S M A G E E

Street Sculptures in Planter BedsBLOOMFIELD STREET

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“The night skyscatters lambent light

as men in boatsFish phosphorescent depths”

BET H ST I C K

The nautilus shell form and water features

of the civic fountain allows the sound of

water to enter Council’s main administration

building. Hand-formed porcelain shells

moulded from ancient fossil shells from the

museum at Dunwich, North Stradbroke Island

and the tidal mangrove areas of Cleveland

are inlaid into the surface of the fountain.

Resting in the top mound is a decorated

piece of polished stainless steel in the form

of a rock pool etched with calligraphic

poetry by Oodgeroo Noonuccal (Kath Walker)

describing the spiritual and tidal movement

of the shells.

The sculpting of the fountain by artists

and designers Carol Roche, Jan Haughton,

and John Mongard provided an opportunity

for artists to work in collaboration with

the construction crews to test sculptural

finishes.

The Civic FountainENTRY TO COUNCIL

ADMINISTRATION BUILDING

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“The gales brought us here”

OODG E R O O N O ON U C C A L

Old SchoolhouseGallery MAP REF: 32

“Working closely together generally strengthened

the unity of the group, highlighted our multi-

disciplinary composition, exposed the various

talents of the members, and gave us all a great

feeling of satisfaction on seeing the project

completed.”

J A C K O U D Y N

Yurara Art Group MAP REF: 13

“As our theme is “Redland from the Air’ we

incorporated the remaining farmlands, the urban

sprawl including the canal sites as well as the

bay with its numerous islands. The aim was to

bring all this together into an interesting

abstract design, which would be a work of art.

The spirit of working together became

contagious as the final design came into being

and was transferred to the rolled slabs from

which the tiles were cut and finally glazed.

The project proved to be an exacting but rewarding

enterprise with many problems to overcome,

a restricted palette, and changing measurements,

not to mention installation difficulties at the last,

to bring the project to an artistic achievement”

Coochie Art Group MAP REF: 29

“Over a period of two months a huge amount of

discussion, testing and cooperation was

undertaken. The Coochie Art Group, potters Viv

and Denise Wright and graphic artist, Shannon

Newman, held a workshop to choose a design for

our Cleveland Sands corner. Many of the designs

would have made very interesting murals, but

our aim was to try and reflect the kaleidoscope

of vibrancy and life, which is the Redlands. Artist

Melva Moore created a superbly joyful stylised

panel showing fields, mangroves, islands and

sailing boats.

Once the design was chosen and approved, the

potters and the Coochie Art Group set to work

making adjoining slabs, transferring the cartoon

to the clay, texturing and cutting the clay into

manageable tiles and firing them, all within the

period of a further three months. It was such a

friendly cooperative group of 17 people who

helped on the project at various stages that it

was a joy to work together.”

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Corner Mosaics and Carved PaversMIDDLE STREET INTERSECTION

“The Rainbow Serpent s temples”OODG E R O O N O ON U C C A L

‘Beacon’REDLAND ART GALLERY

MIDDLE STREET

MAP REF: 14

“‘Beacon’ is an illuminated sign for the entry

to the Redland Art Gallery and is shaped like

a stylized sail or the prow of a boat, tethered

to the Gallery. The internal illumination

is practical in that it serves to show the

Gallery’s information, but also gives the

work it’s name – a beacon of light like the

night channel markers on the bay.

The design etched onto the surface of the

stainless steel is taken from a photograph

of mud ripples at low tide on

Moreton Bay. The image has

been digitally enhanced and

deconstructed to suggest not

only the iconic mud patterns,

but also the detritus of broken

shells, pebbles, twigs and leaves

at the water’s edge and the

marks left by soldier crabs in

the mud. As the pattern thins

towards the top of the work,

it calls to mind the micro-

organisms that feed on the

decomposing mangrove leaves

and form the bottom of the

food chain.

The pixilation of the image has been enlarged

and enhanced to reveal the design process as

well as reiterating the ripple pattern on a

smaller scale.

‘Beacon’ has been designed to display the

logo of the Gallery as well as changing

exhibition information on its two faces

by both day and night.“

B E V E R L E Y B L O X H A M

BannersREDLAND ART GALLERY

MIDDLE STREET

MAP REF: 14

“The canvas and vinyl banners

designed for the Redland Art Gallery

serve as markers on the streets

outside the Gallery. Designed as

artworks rather than signage, the

words ‘ART’ and ‘GALLERY’ are

manipulated to form the artwork.

The banners are made from

architectural vinyl and acrylic

canvas. The designs are hand cut,

using a hot knife to seal the edges of

the canvas, and then sewn together

as a collage of fabric and colour.“

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“Threaded by vesselsBearing buried

treasures”KATH L E EN M C G R E G O R

‘Colours’ PLANTER BED CERAMIC TILES

LIBRARY SQUARE

MAP REF: 16

“The design of these tiles was not to be

pictorial, but to blend in with the overall

organic approach to the landscape design.

We looked at the Redlands area in general

and saw a wide range of varying land and

seascapes. To capture this we chose to see

the design as an overall map, as if looking

from above - from sky to earth. Here we

could travel from the ploughed red soil,

through the Tea Tree swamps to the

mangroves and on to the bay.

Using the rich glazes with a myriad of

colours we were able to create an abstract

image of these areas and hopefully a

timeless work of art that not only are

we proud of but we hope the people

of Redlands will also be.”

P A U L A N D G L E N Y S F O R M A N

‘Mangrove Tracks’BRONZE SERVICE PIT COVERS

LIBRARY SQUARE

MAP REF: 17

“Often taken for granted, disregarded or even

destroyed in the name of development the

mangrove tree is nevertheless an integral

part of the foreshore ecosystem.

Providing habitats and food supplies for

many coastal animals - from the crabs that

live amongst the roots to birds which nest or

roost in the branches and feed on the small

animals that live on the mudflats - the

mangrove tree is an essential part of the Bay.

In consultation with the local community it

was decided that the mangrove image was

important to portray, however the need for

something extra was suggested and the

concept of depicting the local birds via

footprints left in the mud was formed.

As you can see the risers of the mangroves

with the odd mangrove seedling scattered

amongst them provides a patterned border

around a watermarked mud centre in which

the bird imprints are visible. The aim of these

artworks is to help reinforce the local

community spirit of protecting their

foreshore and bay.”

M A T T H E W T O B I N

U R B A N A R T P R O J E C T S

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“Island jewelsupon Quandamooka s breast

Threaded by vesselsBearing ferried treasures”

KATH L E EN M C G R E G O R

“The stainless steel detailing for the fountain

evolved from my longstanding interest in

tiling patterns. Simple tiles, when placed

together can create complex artworks where

the ‘whole is greater than the sum of the

parts’. In many cases the complexity often

makes it difficult to appreciate the simplicity

of the initial tiling units used.

Prior to working on the fountain I had created

some small working prints that reminded me

of the patterns left in sand by the receding

tide. After presenting to the community,

I began developing a tiling scheme that would

echo the patterns of mud flats at low tide.”

P A U L B R O W N

The external organic shape of the fountain

was modelled by John Mongard, Jacqueline

Ratcliffe, Jan Haughton, Pat Zuber, Anna

Rentoul, Penne Jefford and Carol Roche who

inserted sculpted clay shells and tidal

markings in the wet concrete.

‘Mud Flats’ FOUNTAIN

HARBOUR SQUARE

MAP REF: 19

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“I will bring you the still moonlight on the lagoon”

OODG E R O O N O ON U C C A L

‘Seagrass’MOSAIC PATHWAY

RABY BAY HARBOUR PARK

MAP REF: 21

Scott Harower created a dynamic form

through the ground plane to evoke the

movement of sea grasses. It serves as an

introduction into the park, weaving through

the pavers to entice the visitor and their

sensory perceptions.

‘Marine Sail’SCULPTURE

RABY BAY HARBOUR PARKCAROL ROCHE AND TROY ROBBINS

MAP REF: 20

“The artwork is about simple forms,

the reflection of the sky in the

stainless steel sail. The feeling of

the islands and the mud flats carved

in the yellow sandstone.

The bronze collages stem from

nautical imagery of boating, fishing

and other marine objects. The carved

sandstone shell brings to the

sculpture beauty and balance.”

C A R O L R O C H E

‘Pathways’MOSAICS

AMPHITHEATRE, RABY BAY HARBOUR PARK

MAP REF: 22

“A journey over lands, a narrative of song and

dance. An opportunity to perform. The circle

suggests movement, the spinning of the

planets, the stirring of the waters and the

spiralling steps of ceremony worship and play.

The circle is a ring.

The feather symbol represents the adornment

or costume. It touches the spirit of flight and

ease of movement, floating in space. A feather

floats and dances to earth, softly, lightly.

The woven fibres of basket designs play an

integral part here as it hints at the interwoven

cultural nature of modern society. The basket

carries shared food for the picnic on the lawn

to watch the performance. The criss-cross of

the interlocking fibre resembles roads and

paths within a city and they way they cross

over each other, forming a woven-like pattern.

I propose that the after the performance that

the feathers and dots drop and fall to the

ground forming another pattern by the

placement they contain in the design. It

symbolises that a part of the performer

remains on stage long after the event.”

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“A Flint that Fits my hand and links me to another past”

N I C O L A I N E J O R D AN

BannersRABY BAY HARBOUR PARK

MAP REF: 23

“The gentle imagery on hard metal brings the

softness of the natural elements to the built

environment. Using the contemporary

technology of computer perforations and

translucent artwork allows overlapping vistas

and reflections on water and ship hardware

on the metallic surface. The photographically

derived designs reflect the delicacy of the

littoral region, coastal activities and

communication.”

B E V E R L E Y B L O X H A M

BannersMASTHEAD PARK

MAP REF: 24

“The perforations create

a photographic design

in different tones and the

images create a dialogue

with Carols channel

marker sculpture.”

B E V E R L E Y B L O X H A M

‘Fiddlers Green’ENTRY SCULPTUREMASTHEAD PARK

MAP REF: 25

“I have used my experience in public art to

respond to the brief and create a sculpture

that has a direct and meaningful relationship

with the bay, the harbourside, and the local

community. The artwork is quite a strong

presence in the site and a challenge to the

architecture. It makes reference to the

navigational aids, tidal influences and local

ecology. The colour choice is provoking

comment, which I consider is what public art

is supposed to do. It has that responsibility.

This is a sculpture that actually says something

about this place called Cleveland, what it was

before and most of all what it is now.

I agree with the Irish artist Jack B Yeats

who said,

“The artist always begins by expressing

himself with line - that is, by the most

obvious means; then he becomes aware

that line, once so necessary, is in fact

hemming him in, and as soon as he feels

strong enough, he breaks out of its

confines.”

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“Dolphins curve in the island ferry s wake

. . . coming home”MARGAR ET MANSON

“The concept grew from a community

workshop where ideas of what would be

appropriate for the site were discussed.

The overriding ideas were for visual elements

that would reflect an aspect of the bayside

lifestyle or environment and that would have

a playful nature. With this in mind I worked

through multiple ideas utilising references

to the bayside: mangroves, historical

farming equipment, irrigation spraying

systems, islands, boating and the joy of

playing with water.

My art practice is concerned with a sense

of place. In working terms, this translates

into spending time at a site, gaining an

understanding and feel for the area then,

in my imagination, creating and visualising

possible artworks. The ideas go through

multiple transformations until one surfaces

as the resolution. It must be physically

possible, within the budget and within

the bounds of public safety.

The final idea that arose for Library Square

was a water garden where the flowers would

be boat propellers. The propellers were chosen

because of their association with bayside

leisure activities and their potential to be

transformed by resiting and use, from

familiar objects into an artwork. As part of

the project I wanted to reproduce the delight

we feel as children when splashed or squirted

with water so another familiar object, the

exhaust pipe, was utilised to create a simple

plant form that squirted water at the

propellers. The relationship between the two

elements is playful delight: the intermittent

water squirt of the pipe and the response of

the spin and splash of the propeller.

Like many Australians I have an affinity

with the coastline so it’s been particularly

enjoyable to produce an artwork that

addresses the pleasure we feel concerning

our interaction with that environment.”

W E N D Y M I L L S

Water SculptureLIBRARY SQUARE

MAP REF: 26

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“Water runs over the ancient rocks”OODG E R O O N O ON U C C A L

“At the start of this project I was very much

aware that the work I produced must fit in

visually with the existing paver design and

also take some of its reason from the mud

flat theme represented by the dark brown

pavers.

So I got down in the mud! Looked at it,

walked in it, photographed it, researched it,

felt it, smelt it and just stopped short of

tasting it.

Slowly the research began to reveal the

beauty, forms and functions of its inner life.

The remarkable synergies of the food chain

starts right there in Redland mud; the

microscopic bacteria metabolising the fallen

mangrove leaves, the single cell diatoms

feeding off the detritus and the protozoan

feeding off them and so the sequence of

interchange progresses. (An astonishing 75%

of all fish are connected to the mangrove

food chain).

The other extraordinary aspect of this process

is that the mangroves prospering in the

nutrients produced along the way, drops more

leaves and expands to provide the

groundwork for Redlands new land. For me

this previously marginal landscape has

become a manifestation of the pattern that

connects, and an inspiration for this artwork.“

K A R E N T Y L E R

‘Groundwork for the Redlands’

MOSAICSLIBRARY SQUARE

MAP REF: 27

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“Mangroves wait, patient like Fishermen,

knee deep where the waters Flow”ANNE R E I D

“A piece of the past is scooped up and

relocated into the present”

The Cleveland jetty and its use by the

community as a fishing spot is the theme

for the sculpture at the entrance way to the

new development. Like the original jetty, it

symbolises a place that brings the community

together in a leisure activity.

I researched the history of the original jetty

at Cleveland Point and found it had been

rebuilt and extended three times. The jetty

was used regularly by the community and

became an important location marker in the

lives of the local and extended community.

It was a place to fish from, to stroll along,

as a place to gather and meet friends. It had

significant social, historical and leisure roles

for the community.

Using original wharf timber, the posts are

placed at the same angle as the jetty.

From the top of the “jetty”, fishing lines

are cast, forming an archway or gateway

that acts as an entry point to the new mall

and signifies that you are now entering a

pedestrian area. On the fishing lines are four

fish, which are placed to catch the wind and

spin like a fish caught on the line or fishing

lures.

Designed to engage the viewer from all

angles, the sculpture offers exciting details

to be discovered at closer inspection -

periwinkle patterns on the top of the posts

and with closer inspection of the spinning

fish.

From the distance, flashes of iridescent colour

on the spinning fish resemble fishing lures

on the stainless steel “line” to draw the

viewer’s attention. The four fish are modelled

to symbolise fish caught in Moreton Bay –

yellowfin bream, cobia, snapper and

trevalley.”

C H E T A N A A N D A R Y

‘Jetty Fishing’ ENTRY SCULPTURELIBRARY SQUARE

MAP REF: 28

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“The swing of high tideNeath gnarled dark mangrove caverns

Home to jewelled Fish”DO L L Y O L S S ON

Decorative BalustradeWATERLOO STREET – MAP REF: 35

Richard Newport provided an artful response to the brief, which

asked for some skateboard deterrence and an enhancement for

an outdoor dining space to a commercial development.

The whimsical placement of dining accoutrements at eye level

and the lace stainless steel balustrade encloses the space.

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Wildlife living in our hands, Cleveland”DUNW I C H P R I M A R Y S C H O O L C H I L D R EN S P O EM

Children’s BronzesPATH FROM LIBRARY SQUARE TO SHORE STREET – MAP REF: 18

Created by the 1997 Year 7 Students from

Cleveland and Dunwich Primary Schools with

artists Narelle Oliver and Darren Goleby, this

community arts project was jointly funded and

managed by Redland Shire Council and QUT

Schools of Early Childhood and Language and

Literacy Education.

Twenty 1997 Year 7 students from Cleveland

and Dunwich Primary Schools worked with

artists, Narelle and Darren to create poems

and lino cut illustrations. Each student was

required to design and cut one linoblock,

which reflected something of the nature of

their local area. The students from each school

also created a 10-word poem about their area,

which is featured, one word per linoblock, in

their designs.

The students were quick to learn the

linocutting skills and produced some stunning

and original designs, which translated

beautifully into bronze. The bronze plaques

have been installed into two low walls

alongside the winding path between Library

and Harbour Squares.

“From Straddie we come,and love life in the sun”

CLE V E L AN D P R I M A R Y S C H O O L C H I L D R EN S P O EM

Sculptural PlaygroundBLOOMFIELD PARK – MAP REF: 36

“We enjoyed our involvement with students,

both primary and secondary in conducting

model making and drawing workshops,

which were highly successful and productive.

A casting workshop was also during the

Strawberry Festival much to the delight of

all participants with eager enquires as to

whether it would be an annual event.”

T R O Y R O B B I N S & C A R O L R O C H E

“Nearly always finding children playing

on the sculpture is the best judgement on

how successful the project is.”

D I X I E L A M B E R T

“Being a great believer in the practical value

of models, I first created a design maquette

of the playground as an accurate guide for

construction and placement. The overall

theme was loosely based on local

agriculture, but many other local influences

were mixed in, some due to the uninhabited

ideas from local schoolchildren. We

finished up with two main play structures,

as well as individually inspired totems.

I wanted the largest structure to be

useable from every angle, to be climbed

over, slid down, hidden under, crawled

through, so that children could explore the

structure and find something new at every

turn. I wanted the shape to reflect local

influences, as well as being mysterious and

ambiguous so children could imagine it to be

whatever they wished, from a dinosaur to a

secret hideout.“

D A V I D R E N N

Playground TotemsBLOOMFIELD PARK – MAP REF: 36

“I drew inspiration from man made objects

and how they are reconstituted by the natural

elements of wind and water.“

T R O Y R O B B I N S

“The totems monumental scale acts as a

marker in the street and reflects the tidal

marks, mangrove patterns and shells of

the mud flats.“

C A R O L R O C H E

“I imagined an assortment of round

organic shapes plopped on top of

each other in a precarious fashion,

and embellished with curious buttons,

bumps, inscriptions and textures.

I wanted to give it an animated

“huggable” quality. The larger totem,

standing on its own, is another

unpredictable stack of curious bits

and pieces, reflecting some marine,

bush, and urban influences.”

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“I lay in the grass and look up There are pictures in the cloud

I wonder why”ZOE C L A R K E

A year in the making, the Cleveland town

map emerged from earlier research and

cognitive mapping and is based on

interpretations of the residents images and

values of the town and surrounding district.

The map was designed and fabricated by a

team of artists, Jan Haughton (cartographer

and potter), Rosemary Jones (artist and

sculptor), Barry Kidd (artist, specialising in

pen and ink drawings of historic buildings in

the Redland Shire), Pauline Keneally (potter)

and Peter Gillan (architect and artist) to

combine skills to formalise the map content,

carve the pattern and inlay chemical

colorants into the unfired pavers. Simple

pictograms and linework allowing easy

interpretation were used to indicate the

features of Cleveland and several test pavers

were fired by Austral Pavers in order to

ensure the best possible results. Fired in an

industrial kiln over 6 days the pavers were

then laid like a giant jigsaw puzzle by

Council Works staff in the park precinct

providing a colourful ground plane to mark

the transition between the sculptural forms

of the park fountain and the children’s

playground.

“The dynamics of studio time at my house

became a blur of clay, colour, coffee, food and

wine blended in an artful discourse.”

J A N H A U G H T O N

The Town MapBLOOMFIELD PARK

MAP REF: 40

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“Further down where coral growsBeautiful blue water Flows”

CA I T L Y N ST O C K E R

NATIONAL AWARDS

1992 Royal Australian Planning Institute (RAPI) Queensland URBAN PLANNING ACHIEVEMENT

Cleveland Town Centre Streetscape Strategy

1994 Australia Council’s, Community, Environment, Art and Design (CEAD) AWARD FOR INNOVATIVE APPROACHES TO ENVIRONMENTAL DESIGN

The Bloomfield Street Project

STATE AWARDS

1991 Royal Australian Planning Institute (RAPI) QueenslandQUEENSLAND STRATEGIC PLANNING AWARDCleveland Development Control Plan

1991 Royal Australian Planning Institute (RAPI) Queensland AWARD FOR URBAN DESIGN

Cleveland Streetscape Strategy

1991 Royal Australian Planning Institute (RAPI) QueenslandAWARD FOR STRATEGIC & POLICY PLANNING

Cleveland Town Centre Development Control Plan

1991 Royal Australian Planning Institute (RAPI) QueenslandQUEENSLAND STRATEGIC PLANNING AWARDCleveland Development Control Plan

1993 Royal Australian Planning Institute (RAPI) QueenslandAWARD FOR EXCELLENCE

The Bloomfield Streetscape Project

1994 Redland Shire Council Australia Day AwardsCULTURAL AWARD

Bloomfield Streetscape Community Arts Project

1999 Australian Institute of Landscape Architects (AILA) QueenslandLANDSCAPE ART

The Bloomfield Streetscape Project

Awards

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“In the sand of this loved land

The shells of middens cast”N I C O L A I N E J O R D AN

Art Walk Cleveland(INDEX TO MAP)

1. Poetry by Odgeroo Noonuccal

2. Sculpture by Denis Magee

3. Poetry by Nicolaine Jordan

4. Poetry by Dolly Olsen

5. Sculpture by Denis Magee

6. Sculpture by Denis Magee

7. Sculpture by David Renn

8. Poetry by Ann Reid

9. Sculpture by Denis Magee

10. Civic Fountain detailing by John Mongard, Carol Roche, Jan Haughton. Poetry byOodgeroo Noonuccal

11. Sculpture by Troy Robbins

12. Poetry by Caitlin Stocker

13. Street corner mosaics by Yulara Art Group

14. Banners and Beacon Gallery sign by Beverley Bloxham

15. Street corner mosaics by Victoria Point Potters Group

16. Planter bed ceramic tiles (24) by Paul and Glenys Forman

17. Bronze service pit covers byMatthew Tobin Urban Artists

18. Bronze plaques by 1997 Year 7students of Cleveland andDunwich primary state schools,Narelle Oliver and Darren Goleby.

19. Harbour Square Fountain by PaulBrown, John Mongard,Jacqueline Ratcliffe, Pat Zuber,Jan Haughton, Anna Rentoul,and Penne Jessord

20. Sculpture by Carol Roche and Troy Robbins

21. Mosaics in pathway throughRaby Bay Harbour Park by Scott Harrower

22. Mosaics in amphitheatre Raby Bay Harbour Park by Scott Harrower

23. Banners in Raby Bay HarbourPark by Beverley Bloxham

24. Banners in Masthead Park by Beverley Bloxham

25. Sculpture in Masthead Park by Carol Roche

26. Water feature by Wendy Mills

27. Mosaic by Karen Tyler

28. Entry sculpture by Chetana Andary

29. Street corner mosaics by Coochie Potters and Artists

30. Poetry by Kathleen Mc Gregor

31. Poetry by Odgeroo Noonuccal

32. Street corner mosaics by the Old Schoolhouse Gallery

33. Poetry by Pamela Bell

34. Sculpture by Carol Roche

35. Decorative balustradeby Richard Newport

36. Sculptural playground andTotems by Carol Roche, DavidRenn, Dixie Lambert and TroyRobbins. Poetry by Zoe Clarke.

37. Poetry by Margaret Mason

38. Poetry by Odgeroo Noonuccal(on fountain)

39. Bronze plaques by Carol Roche

40. Town Map by John Mongard, Jan Haughton, Pauline Keneally,Peter Gillan, Barry Kidd andRosemary Jones.

41. Poetry by Beth Stick

42. Sculpture by Dixie Lambert

43. Poetry by Oodgeroo Noonuccal

44. Cleveland Logo (on all street-scape bins and bollards)

45. Poetry by Irene Stephen

46. Poetry by Ernest Dainty

Graphic Design by Megan Hibberd, Artspot Graphic Design

Inside Cover image and editorial by Jan Haughton

Photographs by Pat and Charles Zuber, Jan Haughton

Produced by Corporate Communications, Redland Shire Council

For further information about the Redland Art Gallery, public art and guided art walks contact;

Cultural Development Redland Shire Council

PO Box 21 Cleveland Q 4163Ph 07 3829 8487 • Website www.redland.qld.gov.au