Copy of plan photographed at the Public Records Office Victoria. (1) Hand drawn plan signed by A.W. Jessep 8/12/32 with 'Suspected Roadway' and ' Suggested Roadway'. Scale 1 inch - 1 chain. Trees on East side named. (2) Memorandum to The Agricultural Superintendent dated 08.12.1932 'Re Proposed Boulevard Along the River Yarra' from the Principal A.W. Jessep. Plan had been to put road through the Lagoon Paddock and he suggested the route outside the Burnley College grounds.prov, burnley gardens, a.w. jessep

(1) Photograph of hand drawn and coloured framed picture of Burnley Gardens which used to hang in the passage in the Administration Building (missing). (2) CD of picture. (3) Postcard of picture, "Department of Agriculture Burnley Gardens Victoria". On reverse, "VCAH Horticultural College Centenary 1891-1991 Burnley". "Name Alan Gilbert Dept Vice Chancellor The University of Melbourne Parkville Victoria 3052"burnley gardens, administration building, vcah, horticultural college, centenary, alan gilbert, a l mitchel, plan of site

See "Green Grows Our Garden," A. P. Winzenried, for further details about the Yarra Revegetation Programme.Minette Russell-Young Explaining Planned Revegetation of Yarra Bank, talking to David Aldous (Principal Lecturer) and 2 visitors. Clyde Holding and ?david aldous, lecturer, clyde holding, minette russell-young, revegetation, yarra bank, vice-principal

This artwork was created in collaboration by Shanaya Sheridan and Josh Muir in 2018. Josh Muir was a proud Yorta Yorta, Gunditjmara and Barkinji man, who holds his culture close to his heart as it gives him a voice and great sense of identity. Josh is a Ballarat-based multimedia artist. In 2015 Josh was the recipient of the Telstra National Indigenous and Torres Strait Islander Art Award – Youth Award and the Hutchinson Scholarship, through which he undertook a 12-month residency at the Victorian College of the Arts in Melbourne. Muir's work has been acquired by the Koorie Heritage Trust, The National Gallery of Australia, the Museum and Art Gallery of the Northern Territory, the National Gallery of Victoria and was commissioned as a major project artist by White Night. Shanaya Sheridan, is a proud Yorta Yorta, Dja Dja Wurrung and Boon Wurrung woman who has resided in Ballarat for 20 years, after living in Horsham, Shepparton and Melbourne. Growing up and watching her Elders, and their style of artworks, Shanaya is influenced by a traditional style of Aboriginal art, mixing it up with contemporary colours. This reconciliation piece is Shanaya’s first commission. Artists' Statement: '“This painting represents reconciliation across all lands, from the skies down to the waters including the mountains, grass and sand. The hands represent people of all cultures reaching for a brighter future, and the men and women in talks of how reconciliation can be achieved. Last but not least, the footprints represent our Aboriginal and Torres Strait Islander ancestors that have fought for reconciliation before us and their steps/progress towards reconciliation.' Digital prints of this artwork on aluminum are displayed at Federation University Australia campuses at Mt Helen, Gippsland (Churchill), Berwick, Brisbane and Horsham.reconciliation, josh muir, shanaya sheridan, aboriginal, reconciliation action plan

This photographic exhibition was developed by the Federation University-led Community Wellbeing research stream of the Hazelwood Health Study in collaboration with Morwell Neighbourhood House and Gippsland Centre for Art and Design at Federation University Australia. It highlights people's hopes for the future of Morwell has its roots in two unexpected places: the Hazelwood mine fire in 2014 and an academic study into community recovery from that fire. In late summer of 2014 a bushfire spread to the coal mine near the town of Morwell in the LaTrobe Valley, in south-eastern Victoria. The Hazelwood mine fire burned for 45 days, shrouding communities - especially Morwell - in smoke and ash. Strong calls by the community for an investigation into the health impacts of the Hazelwood Mine Fire led to the Department of Health's (Know the Department of Health and Human Services) decision to fund a ten year study of the potential health effects of this smoke event (Known as the Hazelwood Health Study). This exhibition came out of work undertaken by the Community Wellbeing Stream of the Hazelwood Health Study during 2016 and 2017. Based at Federation University Australia's Gippsland Campus, just a few kilometres from where the fire took place, one of our Study's main aims has been to find out from the community how the smoke event impacted on community wellbeing. We also planned to talk to community members about the effectiveness of community rebuilding activities, and find our how these have aided recovery following the smoke event. In 2017 we began working with community organisations on a project to foster community recovery and wellbeing. What emerged from these discussions was the idea for a photographic exhibition, on the theme of 'Our hopes for the future of Morwell'. Invitations to participate were extended to up to 50 members of various community groups. The groups were asked to think of some object that symbolizes their hopes for the future of Morwell. Individuals were then invited to attend a photographic session kindly hosted by the Morwell Neighbourhood House. Each individual was to hold this object while it was photographed, as well as explain what the object represented in terms of Morwell's future. Out of this process twenty nine photographs with their captions were produced, enlarged and framed for exhibiting. The photographs were taken by Clive Hutchison of the Gippsland Centre for Art and Design at Federation University Australia.Twenty nine framed original photographs.morwell, our hopes for the future of morwell, clive hutchison, photography, morwell neighbourhood house, hazelwood health service, gippsland centre for art and design, hazelwood mine fire, haxelwood health study, morwell neighbourhood mine fire, neale stratford, tracie lund, ian brown, susan yell, sue whyte, ainsley ja, ainsley james, michelle duffy, shaun mallia, valerie prokopiv, morwell art and framing

Note by E.B. Littlejohn, "Is the roadway the original Swan Street? Entrance gates to Gardens in the distance. Roadway leading to the Pavilion hidden behind the trees. No elms showing along the roadway," and by T.H. Kneen, "The roadway appears to terminate at the gates outside the Curator's Residence, sweeping past the Pavilion on the right. I have seen a plan which showed an attractive avenue of trees (pine) from the western end of the property (where the Stockman's Cottage was later sited.)" 2 copies sepia photograph. Copy of sepia photograph of the roadway to the Entrance Gates and Curator's Cottage seen in the distance, with the Pavilion on the right, in, "Prize Essays," Alfred E. Bennett, c.1894, after p 116. Pinus radiata avenue on each side of the road.entrance gates, prize essays, alfred e. bennett, curator's residence, pavilion, stockman's cottage, pine tree avenue