Tangible cultural heritage and adaptive reuse: the Old Government House, Brisbane, Australia

The Old Government House, a former residence of the Queen’s representatives in Brisbane, Australia, symbolises British cultural heritage of Colonial Queensland. Located on the campus of the Queensland University of Technology, it is one of the oldest surviving examples of a stately residence in Queensland. Built in 1860s, the Old Government House was originally intended as a temporary residence for the first governor of the newly independent colony of Queensland. However, it remained the vice-regal residence until 1909, serving eleven succeeding governors. Nearly seven decades later, it became the first building in Queensland to be protected under heritage legislation. Thus its importance, as an excellent exemplar that demonstrates the significance of cultural heritage, was established. The Old Government House has survived 150 years of restoration work, refurbishments, and additions. Through these years, it has served the people of Queensland in a multitude of roles. This paper aims to investigate the survival of heritage listed buildings through their adaptive re-use. Its focus will be on the adaptive reuse of the Old Government House through its refurbishments and additions over a period of 150 years. Through a qualitative research process this paper will endeavour to establish the significance of restoration work on the Old Government house; the new opportunities that has opened up as a result of the restoration work; the continued maintenance and management of the building through adaptive re-use; the economic benefits of restoration work; and its contribution to the on-going interest in the preservation of the Tangible Cultural Heritage.

Normanton2020

Normanton2020 This exhibition showcases the work of 3rd -4th year undergraduate landscape architecture, architecture, Interior Design, Environmental Engineering, Civil Engineering students in response to issues of sustainability in the Gulf of Carpentaria town of Normanton. 16 students and four staff set off on a 2488km journey to undertake the second half of the Carpentaria Project (following Linking Karumba: Creating Sustainable Connections 2008), in the other Carpentaria Shire town of Normanton. This project, Get EnGulfed: Normanton 2020, looked back and forwards to propose strategies strengthening local and regional identities. Our project partners recognised the need for a strategic approach to developing future visions for Normanton’s growth as a socially, culturally, economically and ecologically sustainable town in the decade to 2020. They proposed: Project aims to foster: • Enhanced liveability; • A strengthened expression of town identity; • Expanded sustainable tourism. Primary challenges & opportunities: • Remoteness; • Two seasons: wet & dry; • Local economy; • Society and Cultural Heritage. The Exhibition Four groups of four students produced four strategic planning and design options toward this future: Mud Maps of Normanton: Rhys Belnap, AJ Humphries, Amos Shirreff, Haiku Van Keuk Normanton: Stay Another Day: Belle Dalton, Tom Jordan, Josh Nielsen, Carla Ramsland The Sweet Spot on the Savannah Way: Daniel Lapham, Yvonne Phillips, Patrick Poon, Dan Young Resilience Through Diversity: Jillian Kenny, Tania Metcher, Stephen Orr, Evan Thompson

Get EnGulfed: Normanton2020

Get EnGulfed: Normanton2020 This exhibition showcases the work of 3rd -4th year undergraduate landscape architecture, architecture, Interior Design, Environmental Engineering, Civil Engineering students in response to issues of sustainability in the Gulf of Carpentaria town of Normanton. It presented the work to QUT staff from across the university, as well as industry partners and invited guests. 16 students and four staff set off on a 2488km journey to undertake the second half of the Carpentaria Project (following Linking Karumba: Creating Sustainable Connections 2008), in the other Carpentaria Shire town of Normanton. This project, Get EnGulfed: Normanton 2020, looked back and forwards to propose strategies strengthening local and regional identities. Our project partners recognised the need for a strategic approach to developing future visions for Normanton’s growth as a socially, culturally, economically and ecologically sustainable town in the decade to 2020. They proposed: Project aims to foster: • Enhanced liveability; • A strengthened expression of town identity; • Expanded sustainable tourism. • Primary challenges & opportunities: • Remoteness; • Two seasons: wet & dry; • Local economy; • Society and Cultural Heritage. The Exhibition Four groups of four students produced four strategic planning and design options toward this future: Mud Maps of Normanton: Rhys Belnap, AJ Humphries, Amos Shirreff, Haiku Van Keuk Normanton: Stay Another Day: Belle Dalton, Tom Jordan, Josh Nielsen, Carla Ramsland The Sweet Spot on the Savannah Way: Daniel Lapham, Yvonne Phillips, Patrick Poon, Dan Young Resilience Through Diversity: Jillian Kenny, Tania Metcher, Stephen Orr, Evan Thompson

Port of Bundaberg Futures

This exhibition showcases the work of Postgraduate Landscape Architecture and final year Undergraduate Civil and Environmental Engineering students in response to issues of sustainability in the Port of Bundaberg. The Port of Bundaberg project site, just north of Bargara, is a complex mix of port facilities, urban development, coastal conservation and agriculture. The project brief was to prepare a range of strategic planning and environmental management options for future urban and infrastructure development in the Port area. Postgraduate Landscape Architecture and final year Undergraduate Civil and Environmental Engineering students worked over one teaching semester with guidance from QUT academics and partner organisations to produce strategic planning, environmental management planning and design options for managing future growth in the area. Specifically, these make recommendations regarding: • Interface between Port lands and residential settlement; • Future residential/urban development; • Transport accessibility and mobility – road, rail, tramway and maritime for personal and freight movement; • Local and regional connectivity - both physical and perceptual- between urban settlements of Port of Bundaberg – Burnett Heads and the surrounding area; • Recreational and tourism development; • Public/private space mix and access; • Ecological conservation assets; • Natural and cultural heritage assets The project process involved three visits to the site by QUT students and staff. The first visit at the project’s commencement included a formal briefing session with project partners the Burnett Mary Regional Group, Port of Brisbane Corporation, and Queensland Department of Local Government and Planning. Formal and informal community engagement facilitated by the Burnett Heads Progress Association also allowed students to gain some understanding of local values. A second visit mid-project involved a ‘Futures Workshop’ with students and community. This enabled the students to gain the benefit of local knowledge and experience in response to their work-in-progress, and to establish priorities for project completion. It strengthened the relationship between the community and the students. A final exhibition, ‘Port of Bundaberg Futures' was held at the Port TAFE Campus upon the completion of the project. The student work exhibited offers a diverse number of alternative options for the future urban development, infrastructure and environmental planning that the partner organisations have used for ongoing consultation.

Bargara Pasturage Reserve : Future Visions

Bargara Pasturage Reserve: Future Visions This exhibition showcases the work of Postgraduate Landscape Architecture and final year Undergraduate Civil and Environmental Engineering students in response to issues of sustainability in a coastal wetland known as the Bargara Pasturage Reserve; an exemplar of the many issues facing sensitive coastal places in Queensland today. The 312ha Pasturage Reserve at Bargara is the only biofilter between the pressures of Bargara’s urban and tourism expansion, surrounding sugarcane farming, and the Great Sandy Marine Park, including the largest concentration of nesting marine turtles on the eastern Australian mainland. This ephemeral wetland, while struggling to fulfil its coastal biofiltration function, is also in high demand for passive recreation, and the project partners’ priorities were to meet both of these challenges. The students were required to plan and design for the best balance possible amongst, but not limited to: wetland and coastal ecological health, enhancement of cultural heritage and values, sustainable urban development, and local economic health. To understand these challenges, QUT staff and students met with partners, visited and analysed the Pasturage Reserve, spent time in and around Bargara talking to locals and inviting dialogue with Indigenous representatives and the South Sea Islander community. We then went home to Brisbane to undertake theoretical and technical research, and then worked to produce 11 Strategic Plans, 2 Environmental Management Plans and 33 Detailed Designs. One group of students analysed the Bargara coastal landscape as an historical and ongoing series of conversations between ecological systems, cultural heritage, community and stakeholders. Another group identified the landscape as neither ‘urban,’ ‘rural,’ nor ‘natural,’ instead identifying it metaphorically as a series of layered thematic ‘fields’ such as water, conservation, reconciliation, and educational fields. These landscape analyses became the organising mechanisms for strategic planning. An outstanding Strategic Plan was produced by Zhang, Lemberg and Jensen, entitled Metanoia, which means to ‘make a change as the result of reflection on values’. Three implementation phases of “flow”, “flux”, and “flex” span twenty-five years, and present a vision a coastal and marine research and conservation hub, with a focus on coastal wetland function, turtle habitat and coral reef conservation. An Environmental Management Plan by Brand and Stickland focuses on protecting and improving wetland biodiversity and habitat quality, and increasing hydrological and water quality function; vital in a coastal area of such high conservation value. After the planning phase, students individually developed detailed design proposals responsive to their plans. From Metanoia, Zhang concentrated on wetland access and interpretation, proposing four focal places to form the nucleus of a wider pattern of connectivity, and to encourage community engagement with coastal environmental management and education. Jensen tackled the thorny issue of coastal urban development, proposing a sensitive staged eco-village model which maintains both ecological and recreational connectivity between the wetland and the marine environment. This project offered QUT’s partners many innovative options to inform their future planning. BSC, BMRG and Oceanwatch Australia are currently engaged in the investigation of on-ground opportunities drawing on these options.

Cultural flows in an Aboriginal school : deterritorializing textual production through a socially mediated Indigenous heritage

Flows of cultural heritage in textual practices are vital to sustaining Indigenous communities. Indigenous heritage, whether passed on by oral tradition or ubiquitous social media, can be seen as a “conversation between the past and the future” (Fairclough, 2012, xv). Indigenous heritage involves appropriating memories within a cultural flow to pass on a spiritual legacy. This presentation reports ethnographic research of social media practices in a small independent Aboriginal school in Southeast Queensland, Australia that is resided over by the Yugambeh elders and an Aboriginal principal. The purpose was to rupture existing notions of white literacies in schools, and to deterritorialize the uses of digital media by dominant cultures in the public sphere. Examples of learning experiences included the following: i. Integrating Indigenous language and knowledge into media text production; ii. Using conversations with Indigenous elders and material artifacts as an entry point for storytelling; iii. Dadirri – spiritual listening in the yarning circle to develop storytelling (Ungunmerr-Baumann, 2002); and iv. Writing and publicly sharing oral histories through digital scrapbooking shared via social media. The program aligned with the Australian National Curriculum English (ACARA, 2012), which mandates the teaching of multimodal text creation. Data sources included a class set of digital scrapbooks collaboratively created in a multi-age primary classroom. The digital scrapbooks combined digitally encoded words, images of material artifacts, and digital music files. A key feature of the writing and digital design task was to retell and digitally display and archive a cultural narrative of significance to the Indigenous Australian community and its memories and material traces of the past for the future. Data analysis of the students’ digital stories involved the application of key themes of negotiated, material, and digitally mediated forms of heritage practice. It drew on Australian Indigenous research by Keddie et al. (2013) to guard against the homogenizing of culture that can arise from a focus on a static view of culture. The interpretation of findings located Indigenous appropriation of social media within broader racialized politics that enables Indigenous literacy to be understood as a dynamic, negotiated, and transgenerational flows of practice. The findings demonstrate that Indigenous children’s use of media production reflects “shifting and negotiated identities” in response to changing media environments that can function to sustain Indigenous cultural heritages (Appadurai, 1696, xv). It demonstrated how the children’s experiences of culture are layered over time, as successive generations inherit, interweave, and hear others’ cultural stories or maps. It also demonstrated how the children’s production of narratives through multimedia can provide a platform for the flow and reconstruction of performative collective memories and “lived traces of a common past” (Giaccardi, 2012). It disrupts notions of cultural reductionism and racial incommensurability that fix and homogenize Indigenous practices within and against a dominant White norm. Recommendations are provided for an approach to appropriating social media in schools that explicitly attends to the dynamic nature of Indigenous practices, negotiated through intercultural constructions and flows, and opening space for a critical anti-racist approach to multimodal text production.

Thesis Eleven festival and cultural sociology public event : a report

From June 7th to 15th the Thesis Eleven Centre for Cultural Sociology at La Trobe University directed by Peter Beilharz put together a programme of public lectures, cultural events and master classes under the theme ‘Word, Image, Action: Popular Print and Visual Cultures’. This article reports on the highlights of the festival, including a forum titled ‘Does WikiLeaks Matter?, a half-day event ‘On Bauman’, and a public lecture by Ron Jacobs on ‘Media Narratives of Economic Crisis’.

Looking beyond image and tourism : the role of flagship cultural projects in local arts development

State and local governments frequently look to flagship cultural projects to improve the city image and catalyze tourism but, in the process, often overlook their potential to foster local arts development. To better understand this role, the article examines if and how cultural institutions in Los Angeles and San Francisco attract and support arts-related activity. The analysis reveals that cultural flagships have mixed success in generating arts-based development and that their ability may be improved through attention to the local context, facility and institutional characteristics, and the approach of the sponsoring agencies. Such knowledge is useful for planners to enhance their revitalization efforts, particularly as the economic development potential of arts organizations and artists has become more apparent.

Efficiently capturing large, complex cultural heritage sites with a handheld mobile 3D laser mapping system

Accurate three-dimensional representations of cultural heritage sites are highly valuable for scientific study, conservation, and educational purposes. In addition to their use for archival purposes, 3D models enable efficient and precise measurement of relevant natural and architectural features. Many cultural heritage sites are large and complex, consisting of multiple structures spatially distributed over tens of thousands of square metres. The process of effectively digitising such geometrically complex locations requires measurements to be acquired from a variety of viewpoints. While several technologies exist for capturing the 3D structure of objects and environments, none are ideally suited to complex, large-scale sites, mainly due to their limited coverage or acquisition efficiency. We explore the use of a recently developed handheld mobile mapping system called Zebedee in cultural heritage applications. The Zebedee system is capable of efficiently mapping an environment in three dimensions by continually acquiring data as an operator holding the device traverses through the site. The system was deployed at the former Peel Island Lazaret, a culturally significant site in Queensland, Australia, consisting of dozens of buildings of various sizes spread across an area of approximately 400 × 250 m. With the Zebedee system, the site was scanned in half a day, and a detailed 3D point cloud model (with over 520 million points) was generated from the 3.6 hours of acquired data in 2.6 hours. We present results demonstrating that Zebedee was able to accurately capture both site context and building detail comparable in accuracy to manual measurement techniques, and at a greatly increased level of efficiency and scope. The scan allowed us to record derelict buildings that previously could not be measured because of the scale and complexity of the site. The resulting 3D model captures both interior and exterior features of buildings, including structure, materials, and the contents of rooms.

Cultural policy and Australia's national cultural heritage: Issues and challenges in the GLAM landscape

In 2012 the Australian Commonwealth government was scheduled to release the first dedicated policy for culture and the arts since the Keating government's Creative Nation (1994). Investing in a Creative Australia was to appear after a lengthy period of consultation between the Commonwealth government and all interested cultural sectors and organisations. When it eventuates, the policy will be of particular interest to those information professionals working in the GLAM (galleries, libraries, archives and museums) environment. GLAM is a cross-institutional field which seeks to find points of commonality among various cultural-heritage institutions, while still recognising their points of difference. Digitisation, collaboration and convergence are key themes and characteristics of the GLAM sector and its associated theoretical discipline. The GLAM movement has seen many institutions seeking to work together to create networks of practice that are beneficial to the cultural-heritage industry and sector. With a new Australian cultural policy imminent, it is timely to reflect on the issues and challenges that GLAM principles present to national cultural-heritage institutions by discussing their current practices. In doing so, it is possible to suggest productive ways forward for these institutions which could then be supported at a policy level by the Commonwealth government. Specifically, this paper examines four institutions: the National Gallery of Australia, the National Library of Australia, the National Archives of Australia and the National Museum of Australia. The paper reflects on their responses to the Commonwealth's 2011 Cultural Policy Discussion Paper. It argues that by encouraging and supporting collecting institutions to participate more fully in GLAM practices the Commonwealth government's cultural policy would enable far greater public access to, and participation in, Australia's cultural heritage. Furthermore, by considering these four institutions, the paper presents a discussion of the challenges and the opportunities that GLAM theoretical and disciplinary principles present to the cultural-heritage sector. Implications for Best Practice * GLAM is a developing field of theory and practice that encompasses many issues and challenges for practitioners in this area. * GLAM principles and practices are increasingly influencing the cultural-heritage sector. * Cultural policy is a key element in shaping the future of Australia's cultural-heritage sector and needs to incorporate GLAM principles.

Educating cultural heritage information professionals for Australia's galleries, libraries, archives and museums: A grounded Delphi study

This research explored the knowledge, skills, qualities, and professional education needs, of information professionals in galleries, libraries, archives and museums (GLAM) in Australia. The findings revealed that although full convergence of these sectors is unlikely, many of the skills, knowledge and qualities would be required across all four sectors. The research used the Grounded Delphi Method, a relatively new methodological extension of the Delphi method that incorporates aspects of Grounded Theory. The findings provide the first empirically based guidelines around what needs to be included in an educational framework for information professionals who will work in the emerging GLAM environment. As the first study of GLAM education requirements in Australia and the wider Asia-Pacific region to take a holistic approach by engaging information professionals across all four sectors, this thesis makes a contribution to the GLAM research field and to information education generally.

Demand for Cultural Heritage

Prepared for the Handbook of the Economics of Cultural Heritage. Forthcoming in Edgard Elgar Publisher. Anna Mignosa and Ilde Rizzo (editors)

O Centro Cultural Cartola e o Processo de Patrimonialização do Samba Carioca

O Centro Cultural Cartola, sediado no bairro da Mangueira, na cidade do Rio de Janeiro, foi criado a partir da observação de que os processos de preservação de memória, de transmissão da história e dos saberes do samba carioca se encontravam profundamente fragilizados pela engrenagem comercial e turística a que foram subvertidos, principalmente nos redutos tradicionais dessa expressão cultural. Reconhecido como Ponto de Cultura, em 2005, o Centro Cultural Cartola foi proponente da candidatura do samba do Rio de Janeiro a Patrimônio Cultural Imaterial Brasileiro e, desde então, vem trabalhando o protagonismo social de sambistas, visando a sua afirmação social e a salvaguarda desse patrimônio, com a implantação de uma política de resgate, valorização e difusão dos bens registrados: Partido- Alto, Samba de Terreiro e Samba-enredo. Desde 2009, passou a ser reconhecido como um Pontão de Cultura. Esta pesquisa de doutorado tem por hipótese central verificar o impacto da política de patrimônio junto aos agentes de cultura popular e como esse fato vem possibilitar- lhes sua elevação à condição de protagonistas sociais da própria história, a fim de garantir- lhes direitos e a valorização da identidade cultural que representam. Paralelamente, procurou- se conhecer a implantação de um museu de memória social, bem como levantar as principais conquistas e dificuldades do CCC no cumprimento de sua missão institucional, no que se refere à preservação do samba carioca e às interferências sociohistóricas a que é submetido, considerando-o como algo fluído e mutante. Parte essencial será também verificar se o discurso dos sambistas sobre sua arte e identidade mudou com a incorporação do conceito de patrimônio. Ressalta-se que a implantação do processo de salvaguarda das matrizes do samba do Rio de Janeiro que não está dissociada dos seus criadores e das práticas socioculturais na construção de ações de preservação, fomento e difusão de bens titulados

Putting down routes: an examination of local government cultural policy shaping the development of heritage trails

This paper explores the significance of trails within local government cultural strategies by presenting the results of an audit of 1000 trails, content analysis of local cultural strategies and a series of interviews with local government cultural officers. It highlights the growing sophistication of trails as flexible and multi-faceted products promising an array of social, environmental, cultural and economic benefits. However, key issues emerge as challenges for local government cultural officers. These include the need for a realistic assessment of the relative importance of competing rationales, the design of methodologies to enable evidence-based policy making and more effective engagement with commercial organisations.