Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of a working historical chaff cutter emitting a spray of chaff. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen: "Old chaff cutter in action. CI Easter Festival 30/3/2013" churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of a working historical chaff cutter emitting a spray of chaff. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen: "Old chaff cutter and cut chaff. Churchill Island Easter Festival 30/3/2013" churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of farm manager Trevor Heywood making a bagging needle. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen: "Farm manager Trevor Heywood making a bagging needle, Churchill Island Easter Festival 30/3/2013" churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of farm manager Trevor Heywood making a bagging needle. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen: "Trevor Heywood, Churchill Island farm manager, quickly making a bagging needle for chaff bags, Churchill Island Easter Festival 30/3/2013" churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of farm manager Trevor Heywood standing among chaff, shovelling some material into a large hessian bag Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen: "Farm Manager Trevor Heywood filling chaff bag, Churchill Island Easter Festival 30/3/2013" churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of an assembled hay grabber in front of scattered hay on a paddock. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen: "Hay grabber/lifter, Churchill Island Easter Festival 30/3/2013" churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of an assembled hay grabber in front of scattered hay on a paddock. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen: "Hay grabber/lifter, Churchill Island Easter Festival 30/3/2013" churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of a Clydesdale pulling a dump rake to gather hay. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of a Clydesdale hitched to ropes in an enclosure. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen ""Strider" on horse works Churchill Island Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of a Clydesdale pulling a hay rake on a pasture behind scattered hay. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "Youn horse pulling C.I. hay rake. Churchill Island Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of a Clydesdale pulling a hay rake on a pasture behind scattered hay while a man in a high-vis vest watches. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "Young horse pulling C.I. hay rake. Churchill Island Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of a man sitting on a bolted chair on top of a sled with a loose strip of leather resting between his knees. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "The old meets the new. Metal/plastic chair bolted on to sled towed by a working horse. Churchill Island Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of horse harnesses resting on a wooden fence post. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "Harness on post & rail fence. Churchill Island Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of a Victorian Working Draught Horse Association official standing in front of a team of Clydesdale horses hitched to a piece of machinery. Two men are gathered to the left side. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "Victoria Working Draught Horse Association official & members with a team & old roller. C.I.Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of the Churchill Island Furphy cart being pulled by a man who talks to a man holding a long rope. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "C.I. Furphy cart in use. C.I.Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of Ash bending in front of a chaff cutter and a pile of hay in the background. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "Ash working with old chaff cutter. C.I.Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of Ash feeding oat into the chaff cutter Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "Ash feeding his oat crop through the old chaff cutter. C.I.Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of Ash walking around an old hay baler. to the left, people can be viewed standing behind a fence. Probably taken at the Churchill Island Easter Festival 30/03/2013Catalogue number on reverse in pencil. Written on reverse in pen "Ash with C.I. hay baler. C.I.Easter Festival 30/3/2013"churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of man walking behind a horse ploughing a small patch of field. Catalogue number on reverse in pencil. churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of man walking behind a team of horses ploughing a field. Catalogue number on reverse in pencil. churchill island, photograph

Churchill Island has a large photographic collection dating from the nineteenth century. This series shows the extensive work and volunteering conducted on site by workers after it was turned into a heritage siteColour photograph of man holding a horses' bridle in front of an old red cart. Catalogue number on reverse in pencil. churchill island, photograph

External views of the J Kitchen & Sons site. Some taken October 2011 when manufacturing still occurred on site and some in May 2014 after demoltion work had begun to clear the site for future development; (.01) The Australian Academy of design building at 220 Ingles St (October 2011) (.02) The building which housed the factory outlet shop. Admin building in background. (October 2011) (.03) Part of the Iindustrial complex surrounded by fence in preparation for demolition. (May 2014) (.04) View of the art-deco admin building taken from Ingles St (May 2014) (.05) Corner of the complex already cleared (former shop outlet) (May 2014)built environment - industrial, business and traders - soaps/candles, j kitchen & sons pty ltd, australian academy of design, ingles street

Index, bibliography, ill, maps, p.73.non-fictionA comprehensive guide to the first Japanese attacks on Darwin on 19th February 1942, written by Dr Tom Lewis, OAM. An essential reference work on this controversial subject that includes a full list of those killed as well as other detailed appendices. It also includes fascinating information on what wartime sites are still accessible in and around the northern capital. Originally published in 1999, until recently it has mainly been available only in Darwin itself.world war 1939-1945 - air raids - darwin, world war 1939-1945 - aerial operations - japan

An invitation to a Community gathering - walk around the grounds of the House and future family park (Chum Reserve) & look at ideas and plans people have for starting a basic food producing, interesting gardens at the Long Gully Community House. Community people have been meeting over a few meetings to look at ideas to start a community garden in Long Gully. Some ideas are mentioned. Over the page is An Information Day & Evening at Shared Action re assisting and working alongside young secondary school students building the adventure playground and surrounding areas. Central Victorian Group Training (Industry Skills Center) will provide training and overall supervision of students and community leaders. A 2 day Induction Training Course and be able to work voluntarily for between 2 to 10 days on the job site with a small work group is required.bendigo, history, long gully history group, the long gully history group - community gardens in long gully, chum reserve, long gully community house, central victorian group training (industry skills center)

Postcard: hand coloured image showing mine site in Golden Square. Brick chimney in foreground, sheds. Tramway from LH side to poppet head behind chimney. On back of card ' Post GWW Card' Printed partly in Great Britain and partly in Germany. In black ink ' Dear Muncie Bob, I hope you arrived all right. I suppose you have started work before this. I don't start till 10th. Feb.' A stamp has been drawn, showing a house and written ' little house on the hill' Dated 1913.G.W.W.bendigo, mining, old chum mine, golden square, old chum mine, golden square, postcard

From the Victorian Heritage Register statement of significance H0791 The Marmalake/Murtoa Grain Store, originally the No.1 Murtoa Shed, is located within the Murtoa Grain Terminal, adjacent to the grain elevator tower and railway line. The shed is 280m long, 60m wide and 19m high at the ridge with a capacity of 3.4 million bushels. The hipped corrugated iron roof of the shed is supported on approximately 600 unmilled hardwood poles set in a concrete slab floor and braced with iron tie rods. These poles are the reason for use of the term "stick shed". With its vast gabled interior and the long rows of poles the space has been likened to the nave of a cathedral. An elevator at one end took wheat from railway trucks to ridge level where it was distributed by conveyor along the length of the shed, creating a huge single mound of grain. Braced internal timber bulkheads on either side took the lateral thrust of the wheat, and conveyors at ground level outside the bulkheads took wheat back to the elevator for transport elsewhere. Wheat had been handled in jute bags from the start of the Victorian wheat industry in the mid nineteenth century. Bulk storage had been developed in North America from the early 1900s. NSW began building substantial concrete silos from 1920-21. In Western Australia, farmers' co-operatives, who had to supply their own bulk storage from 1934-5, pioneered the use of low-cost horizontal sheds of timber and corrugated iron for bulk storage. Following its establishment in 1935 the Victorian Grain Elevators Board (GEB) planned a network of 160 concrete silos in country locations, connected by rail to the shipping terminal at Geelong. By the outbreak of the Second World War there was a worldwide glut of wheat, and Australia soon had a massive surplus which it was unable to export. Only 48 silos had been established under the Victorian Silo Scheme so far, and wartime material and labour restrictions prevented progress with this scheme. The storage deficit had become an emergency by 1941 as Britain obtained its imports from North America, rather than over the lengthy and difficult shipping route from Australia. In 1941 the GEB, under chairman and general manager Harold Glowrey, proposed large temporary versions of the horizontal bulk storage sheds already in use in Western Australia. The proposal was approved by the Victorian Wheat and Woolgrowers Association, who considered the use of shed storages as a longer term proposition. After initial resistance from the Australian Wheat Board, some of whose members represented wheat bagging interests, the Commonwealth and Victorian governments agreed to split the costs, and Murtoa was chosen as a suitable site for the first emergency storage. The main contractor, Green Bros, commenced work on the No.1 Murtoa Shed in September 1941, deliveries of bulk wheat began in January 1942, and the store was full by June of the same year. In the following years the Council for Scientific and Industrial Research (later CSIRO) conducted valuable research and experiment on the impacts and control of insect pests at the Murtoa No.1 shed. With these discoveries, and the development of more effective pesticides, use of the No.1 shed and the larger No.2 shed, erected in 1942/43, continued for many years. The No.2 shed was demolished in 1975. By the 1990s, pest resistance to pesticides and requirements for both pest free and insecticide free grain rendered open storage of this type unviable. The No. 1 store was also becoming increasingly expensive to maintain, and its use was phased out from 1989.Image of the Marmalake/Murtoa Grain Store which is of historical, architectural, scientific (technical) and social significance to the State of VictoriaDigital colour image of the interior of the Marmaduke . Murtoa grain storage facility better known as the Stick Shed. The shed was constructed in World War Two to store grain. The supporting columns are trees.marmalake, murtoa grain store, wheat store, stick shed, murtoa

The Ebenezer Mission Station is situated by the Wimmera River and was established by Moravian missionaries as the Lake Hindmarsh Aboriginal Reserve in 1859. At its peak more than 100 people lived and worked on the mission in more than 20 buildings. The Mission closed in 1900 and was returned to the Lands Department in 1904. The church was established in the 1870s and the cemetery includes hundreds of unmarked burials. In 1961 the National Trust (Victoria) received a letter from the Horsham Historical Society expressing concern for the future of the Mission buildings. By 1971 the National Trust was managing the site. It was fenced, connected to power and the church was restored. In the mid-1970s the gravestones were in a bad state of repair. Stonemason James McCauley worked on the stones for 2 weeks. In 1991 the church was handed over to the Goolum Goolum Aboriginal Co-operative to manage. On 05 December 2013 the National Trust handed over the freehold of the Mission site. Moravian missionary Revd Paul Bogisch and his wife Amalie are buried in the cemetery. A number of colour digital photographs showing buildings on the former Ebenezer Mission at Antwerp.ebenezer, bogisch, goolum goolum, goolum, national trust, national trust (victoria), lake hindmarsh, lake hindmarsh aboriginal reserve, moravian, mission, missionary

"The fine structure of St. Peter's, with its prettily-decorated interior, which holds crowded congregations at Holy Mass on Sundays, is alone an eloquent testimony of the piety and devotion which permeates the whole parish. Attached to the church is a circulating library, and Catholic papers and other literature are distributed at the church door. Branches of the H.A.C.B. Society and Catholic Federation are doing much good work. (Melbourne Advocate, 17 January 1914) "OPENING AND CONSECRATION OF THE NEW CATHOLIC CHURCH OF ST. PETER’S, DAYLESFORD Cross on St. Peter'sNotwithstanding the inclemency of the weather, the opening of the new Catholic Church of St. Peter’s, yesterday (Sunday), attracted a crowded congregation. Although the rain, which has poured almost incessantly for some days past, had left our roads and streets in the condition for which Daylesford is celebrated in winter weather, and although he storm and rain seemed to increase as the hour announced for the ceremonies approached, the church was filled by a large congregation, comprising all sects and denominations of Christians in and around the district. The beautiful edifice, erected mainly through the zeal, liberality and energy of the respected pastor, presented a most imposing appearance, and reflects infinite credit upon the Rev. Mr. Slattery, and the flock committed to his charge. The church was commenced in November 1863 and has been in the hands of the workmen up to the present time, work being uninterruptedly carried on. On commencing the foundations, it was necessary to excavate until solid clay was reached, which in consequence of the deep rich chocolate soil on the site of the building, had to be carried down to an average depth of 6 feet 6 inches. The foundations were laid with massive stones in courses of 12-inch, and four feet thick, reducing to 3 feet below the floor line. The style of the building is decorated Gothic, and consists of a nave, 80 feet by 30 feet in the clear, and a chancel 18 feet high; from floor line to apex of roof, 47 feet, which is elegantly constructed, consisting of six spans or frames with puncheons resting on carved corbels, low down between the windows. The north side consists of a handsome entrance, near the north-west angle, approached by nine steps of cut stone, and four bays of windows on nave, and a small door on side of chancel, intended as an entry from the sacristy. The south side presents a very handsome view to Victoria street, a beautiful porch entrance giving access to the building on the south-east end of nave; and on the south-west angle a handsome octagonal spire, terminating in an iron cross, with gilt floriations; the height of top of cross, from floor line, is 88 feet. A stone stairs gives access to the organ gallery and the belfry. The whole of the windows are of a handsome geometrical design, and carved in stone, with mullions and tracery, and glazed with amber-tinted glass, the chancel window being 15 feet high, and 8 feet wide. The chancel arch is unusually large, 27 feet St. Peter's interiorhigh and 18 feet wide, and handsomely moulded, and presents a fine appearance from the body of the church. The roof is stained a rich oak, with heavy cornice, and all the walls are smoothly plastered, and colored peach color, giving the amber-tinted glass a beautiful soft cathedral appearance to the interior. The altar is of a very chaste design, the panels being moulded with Gothic heads, and finished in white and gold; the altar rail was not completed, but is intended to be of polished cedar, with carved pillars. The interior fittings will be proceeded with immediately, and to complete the design, an organ gallery, with sittings for about 100 persons besides the choir, will be constructed on the west end. It is intended also to place pillar gaslights on each side of the main entrance, for lighting during vespers in winter. The style of architecture has been strictly carried out, and in the best and most substantial manner. The building has been erected under the superintendence of the architect Mr. John Townsend Brophy, a member of the congregation, and who has discharged his duty with great ability and care. The hour of half-past eleven has scarcely passed when from the sacristy entered His Lordship the Right Rev. Dr. Gould, Bishop of Melbourne, preceded by the Very Rev. Dean Hayes (Sandhurst), the Rev. P. J. Slattery, and a number of boys dressed in white surplices. The Right Reverend Prelate proceeded to the foot of the altar, the Very Rev. the Dean on his right, and the Rev. P. J. Slattery on the left. The prayers usual upon the occasion were read by the Bishop. A procession was then formed, and went around the church in the following order. Several youths bearing wax candles first, next the Very Rev. the Dean, then the Bishop and his train bearers, and following were the Rev. Mr. Slattery and acolytes. Having returned to the altar in the same order, the Deacon (Dean Hayes) and Sub-Deacon (Rev. P. J. Slattery) proceeded to robe his Lordship, who had taken his seat at the epistle side of the altar, for the solemn High Mass, at appropriate times wearing his mitre and bearing his crozier. The mass, which was chanted by the Bishop with touching simplicity and earnestness, was then commenced. The choir, under the direction of Mr. Meunsch, organist, was full and most effective. Mrs. Testar, of Melbourne, having generously offered her valuable services, took the leading soprano solos, and it is scarcely necessary to add, rendered them with exquisite taste and feeling – her beautiful voice being heard with great effect throughout the entire building. The choir consisted of the following ladies and gentlemen who volunteered to aid in the ceremonies upon this most interesting occasion. Ladies: Mrs. Tresar, soprano; Mrs. J.J. McCormick, alto; Miss Julia Conry, soprano; Mrs. Vincent, soprano; Mrs. Aitken, soprano. Gentlemen: H. Guthiel, tenor; Master John Murphy, tenor; James Knox, bass; J. M. Murphy, bass; Mr. Staunton, baritone; Mr. Sourby, alto; Mr. Short, bass. The chant, “Let us adore,” during the procession, was given by Mrs. Vincent with considerable power. The selection of the “Imperial Mass” (Haydn’s No. 3) was felicitous, and the highly artistic and finished manner in which the different parts were sustained, demonstrated that great and persevering care must have been bestowed on the preparation for “the opening day.” The “Kyrie” was given with the full strength and power of the choir. The swelling of the voices in complete harmony, and the pealing of the organ in the midst of incense and prayer, produced a most marked effect upon the congregation. In the “Gloria,” the solos of Mrs. Testar were really beautiful and Mrs. McCormick rendered the alto solos with considerable merit. Mr. Knox sang the part commencing with the words “Qui tolles” with much taste and power. The “Credo” than which we believe there is not a more magnificent piece of sacred music extant, was most successful in its rendering, nor do we ever remember to have heard anything more touching than the manner in which the line “Vetam Venturi in Seculi,” was given by Mrs. Testar. The offertory hymn “Come unto Me all ye that labor,” was given by Mrs. Testar with the most thrilling effect. The “Sanctus” having been sung, in which Mr. Sourby ably rendered an alto solo, the “Agnus Dei” was commenced with a solo by Mrs. McCormick and was given with great taste and feeling, Mrs. Testar, at the conclusion of the “Agnus,” taking up the soprano part. Mass being concluded, the Very Reverend Dean Hayes ascended the altar and proceeded to preach the opening sermon, taking as his text Second Paralipomenon [Chronicles II], 7th chapter and 16th verse – “For I have chosen and have sanctified this place that My hand may be there for ever, and My eyes and My heart may remain there perpetually.” St Peter's manseAt the close of the sermon a collection was made by the very reverend preacher, assisted by John Egan, Esq., Corinella, on behalf of the church, and about fifty pounds were contributed. When it is remembered that 500 tickets had been issues at 10s each, and the inclemency of the weather taken into consideration, the collection may be regarded as a large one. Benediction was sung by the Rev. P. J. Slattery, assisted by Dean Hayes, the choir singing the “O! Salutaris Hostia” and “Laudate.” Handel’s Hallelujah Chorus was sung at the termination of the ceremonies. The vestments issued at Benediction, as well as at the Mass, were of the most gorgeous and beautiful character. When the Benediction was over, the Rev. P. J. Slattery, standing at the front of the altar said– “I wish to say one or two words before the congregation leave. I feel most deeply indebted to all of you who have attended here today for the honor and glory of God, not withstanding the difficulties you had to encounter from this most inclement season. I am truly delighted at such a manifestation of feeling, and will not easily forget it.” The rev. gentleman having disrobed, thanked the members of the choir for their kindness in assisting at the ceremonies, and more especially Mrs. Testar, who had braved all the storm and rain to be present at, and give the advantage of her great musical abilities on, the “opening day.” (Daylesford Mercury, 15 May 1865.)A number of photographs of St Peter's Catholic Church, Daylesford, taken at the 150th anniversary celebration. st peter's catholic church daylesford, decoration, altar decoration, anniversary, daylesford, religion, painting, interior, slattery, gough, d'alton, mcmahon

'Drop Zone', is set in an imagined future where decreasing water availability has affected us more dramatically than anyone predicted. The water shortage has become so severe that we have to access water on a first-come first-serve basis, from military-like water ‘drop zones’, like this one, made from modified rain water tanks. These tanks function on three levels: Collected rain water causes the totem sculptures to rise and bloom; evaporation causes the totem sculptures to fall; and an anemometer (device that measures wind speed) drives a process that plays the tank like a giant drum, tuned by the amount of water contained within. This artwork envisions a future for Australia where the impact of decreasing water availability has had a more dramatic effect than any of the predictions. The shortage is so severe that military-like water ‘drop zones’, constructed of modified rainfall storage tanks have been established across the public parks of the City of Yarra for access on a first come, first serve basis. However, as the water is only replenished through rain catchment the tanks may only offer infrequent relief for the City of Yarra residents, standing as hollow reminders of the effects of inaction on the shaping of sustainable national water use.'Drop Zone' was one of three public art works installed in Yarra, in 2011, under the banner of The Environmental Public Arts Project which responded to key features of Council's Environment Strategy: 'Towards Local Sustainability 2008-2020.' The aims of this project included activating public spaces in new and creative ways through the creation of artworks which act as catalysts for further engagement and discussion around environmental themes and issues.Copyright the Artists. Ready-made corrugated water tanks arranged on a site. Situated within the tanks are small totemic sculptures that float on top of the water within the tank.Accompanying plaquesustainability, water, environment, climate change