This queue is in the Torrens Parade Ground, as people wait to enter the exhibition in the building behind. The red tent has a sign "National Motor Museum", but I don't know if that was what was in the building, as the signs in the windows feature a Lego block! And to keep the crowd amused, especially the younger ones, are a couple of Star Wars characters. It's one way to earn a living.
This is not shown on the current (July 2014) Google satellite image. It appears to be a memorial, I would guess for soldiers from World War I, perhaps to commemorate the 100th anniversary of its beginning in a few months time.
North of the Torrens River, between it and War Memorial Drive, are these memorials. The one in the foreground is of Simpson and his donkey from the Gallipoli landing in 1915. The background memorial includes, I think, the "Angel of Mercy", in an older style of memorial.
The tour boat Pop-Eye II returning tourists to its wharf just a little ways downstream.
One of The Adelaide Festival Centre's buildings, with "solar flowers" in front. The flat part at the top is composed of solar cells, which are likely too small to make much electricity.
The Adelaide Festival Theatre main entrance, off King William Drive.
This is the rear of State Parliament House, which is adjacent to the Festival Centre (just to the left of this photo). I would guess the lone balcony is probably the Premier's office!
In the same plaza area as the above photo, but this building is the former main train station and now casino. I suspect the trains may still use the lower level of the building, but that would be a wild guess.
This sculpture is in the same area as the above photographs, and that is the corner of Parliament House at the top right, with King William Drive in the background.
The three central figures in this allegorical relief sculpture are intended to symbolise technology, money and innocence, which the artist regards as the controlling influences in contemporary society. Killick stated that the wider meaning of the tableau is deliberately enigmatic and open to individual interpretation, intended to have infinite readings. The figures assume attitudes that are readily identifiable, but their relationship to each other and the scene as a whole is affected and determined by the course of history.
The Twitter age? This was on the footpath near the Festival Centre.
Having explored just about all there is to see around the Festival Centre, it was time to hit the CBD.
Adelaide I
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