The URL can be used to link to this page

Home My WebLink About10-10-2019 HCAC Regular MeetingOctober 10, 2019 Dublin Heritage & Cultural Ar ts Commission Agenda Page 1 of 2 REGULAR MEETING Thursday, October 10, 2019, 7:00 PM 100 Civic Plaza, DUBLIN HERITAGE & CULTURAL ARTS COMMISSION A G E N D A  Agendas and Staff Reports are posted on the City’s Internet Website (www.dublin.ca.gov)  A complete packet of information containing Staff Reports and exhibits relate to each item is available of public review at least 72 hours prior to a Heritage & Cultural Arts Commission Meeting or, in the event that it is delivered to Heritage & Cultural Arts Commission members less than 72 hours prior to a Heritage & Cultural Arts Commission Meeting, as soon as it is so delivered. 1. CALL TO ORDER AND PLEDGE OF ALLEGIANCE 2. ORAL COMMUNICATIONS 2.1. Public Comment At this time, the public is permitted to address the Heritage & Cultural Arts Commission on non-agendized items. Please step to the podium and clearly state your name for the record. COMMENTS SHOULD NOT EXCEED THREE (3) MINUTES. In accordance with State Law, no action or discussion may take place on any item not appearing on the post ed agenda. The Heritage & Cultural Arts Commission may respond to statements made or questions asked, or may request Staff to report back at a future meeting concerning the matter. Any member of the public may contact the Recording Secretary’s Office related to the proper procedure to place an item on a future Heritage & Cultural Arts Commission agenda. The exceptions under which the Heritage & Cultural Arts Commission MAY discuss and/or take action on items not appearing on the agenda are contained in Government Code Section 54954.2(b)(1)(2)(3). 3. CONSENT CALENDAR Consent Calendar items are typically non-controversial in nature and are considered for approval by the Heritage & Cultural Arts Commission with one single action. Members of the audience, Staff or the Heritage & Cultural Arts Commission who would like an item removed from the Consent Calendar for purposes of public input may request the Chair to remove the item. 3.1. Heritage and Cultural Arts Commission Meeting Minutes of September 12, 2019 The Heritage and Cultural Arts Commission will consider approval of the minutes of the September 12, 2019 meeting. STAFF RECOMMENDATION: Approve the minutes of the September 12, 2019 meeting of the Heritage and Cultural Arts Commission. 3.2. September 2019 Heritage and Cultural Arts Division Monthly Report The Heritage and Cultural Arts Commission will receive a report on Cultural Arts and Heritage division activities conducted in September 2019. STAFF RECOMMENDATION: Receive the report. October 10, 2019 Dublin Heritage & Cultural Arts Commission Agenda Page 2 of 2 4. UNFINISHED BUSINESS 4.1. Public Art Master Plan Update - Recommendation for Approval The Commission will consider recommending approval of the Public Art Master Plan Update to the City Council. STAFF RECOMMENDATION: Recommend Approval of the Public Art Master Plan Update to the City Council. 5. NEW BUSINESS 5.1. Clover Park Art Selection The Heritage and Cultural Arts Commission will make a recommendation on public art for Clover Park. STAFF RECOMMENDATION: Recommend the public artwork proposed by Colin Selig for City Council approval. 5.2. Heritage Park and Museums Annual Report, September 2018 - August 2019 The Commission will receive the annual report on Heritage Park and Museums activities, events, and exhibits conducted September 2018 through August 2019. STAFF RECOMMENDATION: Receive the report. 6. OTHER BUSINESS Brief information only reports from Commissioner and/or Staff, including committee reports and reports related to meetings attended at City expense (AB1234). 7. ADJOURNMENT This AGENDA is posted in accordance with Government Code Section 54954.2(a) If requested, pursuant to Government Code Section 54953.2, this agenda shall be made available in appropriate alternative formats to persons with a disability, as required by Section 202 of the Americans with Disabilities Act of 1990 (42 U.S.C. Section 12132), and the federal rules and regulations adopted in implementation thereof. To make a request for disability-related modification or accommodation, please contact the City Clerk’s Office (925) 833- 6650 at least 72 hours in advance of the meeting. Mission The City of Dublin promotes and supports a high quality of life, ensures a safe and secure environment, and fosters new opportunities. Vision Dublin is a vibrant city committed to its citizens, natural resources and cultural heritage. As Dublin grows, it will balance history with progress, to sustain an enlightened, economically balanced and diverse community. Dublin is unified in its belief that an engaged and informed community encou rages innovation in all aspects of City life, including programs to strengthen our economic vitality, and preserve our natural surroundings through environmental stewardship and sustainability. Dublin is dedicated to promoting an active and healthy lifesty le through the creation of first-class recreational opportunities, facilities and programs. Page 1 of 1 STAFF REPORT HERITAGE & CULTURAL ARTS COMMISSION DATE: October 10, 2019 TO: Honorable Chair and Commissioners FROM: La Shawn Butler, Parks & Community Services Director SUBJECT: Heritage and Cultural Arts Commission Meeting Minutes of September 12, 2019 Prepared by: Roel Blanco, Recording Secretary EXECUTIVE SUMMARY: The Heritage and Cultural Arts Commission will consider approval of the minutes of the September 12, 2019 meeting. STAFF RECOMMENDATION: Approve the minutes of the September 12, 2019 meeting of the Heritage and Cultural Arts Commission. FINANCIAL IMPACT: N/A DESCRIPTION: The Heritage and Cultural Arts Commission will consider approval of the minutes of the September 12, 2019 meeting. NOTICING REQUIREMENTS/PUBLIC OUTREACH: N/A ATTACHMENTS: 1. Minutes from the September 12, 2019 Heritage and Cultural Arts Commission Meeting 3.1 Packet Pg. 3 HERITAGE & CULTURAL ARTS COMMISSION MINUTES Thursday, September 12, 2019 Heritage & Cultural Arts Commission September 12, 2019 Regular Meeting P a g e | 1 A Regular Meeting of the Dublin Heritage & Cultural Arts Commission was held on Thursday, September 12, 2019, in the Civic Center Council Chamber. The meeting was called to order at 7:00 PM by Chairperson Kathy Blackburn. 1. Call to Order and Pledge of Allegiance Attendee Name Title Status Kathy Blackburn Commission Vice Chair Present Robert Bennett Commission Member Present Steve Minniear Commission Member Present Gina Gabriell Commission Member Present Timea Iharosi Commission Member Present Sawsan Wolski Commission Member Present Georgean Vonheeder-Leopold Commission Member Present Shweta Agrawal Alternate Commissioner Present 2. Oral Communications 2.1. Public Comment 3. Consent Calendar 3.1. Heritage and Cultural Arts Commission Meeting Minutes of August 8, 2019. Approved the minutes. 3.2. July and August 2019 Heritage and Cultural Arts Division Monthly Report. Received the report. RESULT: ADOPTED [UNANIMOUS] MOVED BY: Steve Minniear, Commissioner SECOND: Timea Iharosi, Commissioner AYES: Blackburn, Vonheeder-Leopold, Bennett, Gabriell, Minniear, Iharosi, Wolski 4. Written Communication - None 3.1.a Packet Pg. 4 Attachment: 1. Minutes from the September 12, 2019 Heritage and Cultural Arts Commission Meeting (HCAC Meeting Minutes of September 12, Heritage & Cultural Arts Commission September 12, 2019 Regular Meeting P a g e | 2 5. Unfinished Business 5.1. Review of Phase 4 of the Dublin Historic Park Master Plan La Shawn Butler, Parks and Community Services Director, presented the specifics of the item as outlined in the staff report. Cm. Blackburn opened the floor for questions and discussion. The Commissioners asked about and discussed matters regarding the location of the memorial options, potential areas for memorial plaques and a brick walkway with memorialized names, the status of the cemetery waitlist, the possibility of reopening the waitlist, the number of names on a memo rial boulder, and the maximum number of benches and trees for each designated area. Ms. Butler responded to questions and Cm. Blackburn asked the Commissioners for a motion. ACTION: On a motion by Cm. Minniear, seconded by Cm. Iharosi, and by a vote of 7-0-0, the Commission voted to recommend the elimination of Phase 4 from the Dublin Historic Park Master Plan and incorporate memorial benches, boulders, trees, plaques and a brick walkway into the existing cemetery for City Council approval. RESULT: ADOPTED [UNANIMOUS] MOVED BY: Steve Minniear, Commissioner SECOND: Timea Iharosi, Commissioner AYES: Blackburn, Vonheeder-Leopold, Bennett, Gabriell, Minniear, Iharosi, Wolski 6. New Business 6.1. Public Art Master Plan Update Ms. Butler requested this Item to be moved forward in agenda. Ms. Butler presented the specifics of the item as outlined in the staff report and then introduced the consultant, Art Thatcher of GreenPlay, via conference call. Cm. Blackburn opened the floor for questions. The Commissioners asked questions regarding the survey results, the potential impact on city ordinances, the goals and recommendations of the plan, funding for downtown, and the status of the Cultural Arts Center. 3.1.a Packet Pg. 5 Attachment: 1. Minutes from the September 12, 2019 Heritage and Cultural Arts Commission Meeting (HCAC Meeting Minutes of September 12, Heritage & Cultural Arts Commission September 12, 2019 Regular Meeting P a g e | 3 Ms. Butler and Mr. Thatcher responded to questions and Cm. Blackburn opened the floor for discussion. The Commissioners discussed matters pertaining to three recommendation areas that included focusing public art acquisition efforts on Downtown Dublin, allowing additional uses for public art funds, and working with Camp Parks to develop the historic sign relocation, restoration and art project. ACTION: The Commissioners received the report. 7. Other Business The Commissioners gave brief informational reports about events and meetings attended. Ms. Butler gave a brief informational report on upcoming events and agenda items. 8. Adjournment There being no further business, the meeting was adjourned by Cm. Blackburn at 8:58 PM. Minutes prepared by Roel Blanco, Recording Secretary. __________________________________________ Heritage and Cultural Arts Commission Chairperson ATTEST: _____________________________ La Shawn Butler Parks and Community Services Director 3.1.a Packet Pg. 6 Attachment: 1. Minutes from the September 12, 2019 Heritage and Cultural Arts Commission Meeting (HCAC Meeting Minutes of September 12, Page 1 of 3 STAFF REPORT HERITAGE & CULTURAL ARTS COMMISSION DATE: October 10, 2019 TO: Honorable Chair and Commissioners FROM: La Shawn Butler, Parks & Community Services Director SUBJECT: September 2019 Heritage and Cultural Arts Division Monthly Report Prepared by: Rich Jochner, Recreation Supervisor EXECUTIVE SUMMARY: The Heritage and Cultural Arts Commission will receive a report on Cultural Arts and Heritage division activities conducted in September 2019. STAFF RECOMMENDATION: Receive the report. FINANCIAL IMPACT: N/A DESCRIPTION: The Heritage and Cultural Arts Division fosters meaningful connections through engaging programs, memorable experiences, and inspiring spaces that celebrate our diverse community and rich heritage. Following is a summary of Heritage and Cultural Arts activities and events held in the month of September 2019. HERITAGE ACTIVITIES Heritage Park and Museums Exhibits The new exhibit “Toys and Games Through Time,” opened in the Schoolhouse Museum’s Little Classroom on September 7. Dublin Camp Parks Military Exhibits The ongoing temporary exhibit “Spring Sports at Camp Parks” continues through November 8. Events Heritage Park and Museums’ Hands on History activity for September was learning about the new “Toys and Games Through Time” exhibit and the participation in making 3.2 Packet Pg. 7 Page 2 of 3 and playing of games. Six participants attended. Tours On September 10, a private group of 13 adults participated in a guided tour of Heritage Park and Museums. On September 17, students of Murray Elementary visited Heritage Park and Museums. They participated in guided tours, activities, and a picnic. Rentals Heritage Park had two picnic rentals in September. PUBLIC ART Public Art Capital Improvement Projects Both the Veterans Art and Public Safety Complex Projects are in the engineering phase, with fabrication set to begin later this spring. SPECIAL EVENTS City Events The Dublin Farmers’ Market wrapped up its 2019 season on September 26 at Emerald Glen Park. The Sky Kings performed a “First Thursday” concert on September 5, with the Dublin Lions Club selling locally produced wine and beer. Sponsorship of the 2019 Farmers’ Market reached $25,100 which was taken in from local businesses, including realtors, medical/dental providers, afterschool activity providers, and other retailers. Dublin’s eighth annual Splatter festival was held on September 14 at Emerald Glen Park. Billed as a unique take on an art, music, food and wine, Splatter is known for its interactive family-friendly arts activities and performances. A new free activity organized by Dublin Arts Collective gave guests a blank square that will become part of a Community Mural art project. Other favorites, Yarn Caio Fun and Kindness Rocks, were also included. Two stages featured 11 different music and dance performances, and a Culinary Stage offered cooking demonstrations by two professional chefs, as well as presentations by teams of DHS Culinary students. The event also featured carnival rides and games, 30 arts and crafts vendors, 27 food trucks and food booths and seven participating wineries and breweries offering local drinks through the Dublin Rotary Club. STRATEGIC PLAN INITIATIVE: N/A NOTICING REQUIREMENTS/PUBLIC OUTREACH: N/A ATTACHMENTS: None. 3.2 Packet Pg. 8 Page 3 of 3 3.2 Packet Pg. 9 Page 1 of 2 STAFF REPORT HERITAGE & CULTURAL ARTS COMMISSION DATE: October 10, 2019 TO: Honorable Chair and Commissioners FROM: La Shawn Butler, Parks & Community Services Director SUBJECT: Public Art Master Plan Update - Recommendation for Approval Prepared by: Rhonda Franklin, Management Analyst II EXECUTIVE SUMMARY: The Commission will consider recommending approval of the Public Art Master Plan Update to the City Council. STAFF RECOMMENDATION: Recommend Approval of the Public Art Master Plan Update to the City Council. FINANCIAL IMPACT: None. DESCRIPTION: At the September 12, 2019 Heritage and Cultural Arts Commission meeting, the Commission reviewed the draft Public Art Master Plan Update (Plan). At that meeting, the Commissioners asked questions regarding the survey results, the potential impact on City ordinances, the goals and recommendations of the plan, and the funding for Downtown. The Commissioners also discussed matters pertaining to three recommended areas that included focusing public art acquisition efforts on Downtown Dublin, allowing additional uses for public art funds, and working with Camp Parks to develop the historic sign relocation, restoration and art project. The draft Plan has been updated to reflect the Commissi on’s recommendations and feedback from that meeting. The updated draft Plan is attached and is being presented to the Commission for review and recommendation for City Council approval. The Plan has been tentatively scheduled for City Council consideration at the November 19, 2019 City Council meeting. 4.1 Packet Pg. 10 Page 2 of 2 NOTICING REQUIREMENTS/PUBLIC OUTREACH: N/A ATTACHMENTS: 1. Draft Public Art Master Plan Update 4.1 Packet Pg. 11 PUBLIC ART MASTER PLAN CITY OF DUBLIN, CAILIFONIA UPDATED 2019 ELATUS, HEATH SATOW, 2018 FALLON SPORTS PARK 4.1.a Packet Pg. 12 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 2 Page Intentionally Blank 4.1.a Packet Pg. 13 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Table of Contents 3 About This Report 05 Introduction 07 Executive Summary 08 Guiding Principles 12 Recommendations 15 Opportunities 18 GAIL, KATHERINE KEEFER, 1994 CIVIC CENTER LOBBY 4.1.a Packet Pg. 14 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 4 Page Intentionally Blank 4.1.a Packet Pg. 15 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update About the Master Plan 5 A Public Art Master Plan serves as a key policy document to guide the City Council, community, and City staff with selection of artwork throughout the City. City of Dublin’s Public Art Program intent is to create a diverse collection of public artworks that promote cultural expression and artistic appreciation – at regional, national and international levels. The City of Dublin hired GreenPlay, LLC, a nationally known parks and recreation management consulting firm to oversee this update of the 2015 Public Arts Master Plan. This update was developed with City of Dublin staff, following a community survey in January of 2019, focus groups, public meetings, and discussions with both the City Council and Heritage and Cultural Arts Commission. This document includes: • A revised Vision and new Goals for the Public Art Program. • A complete list of new Opportunities for Public Art. • Recommendations for more significant changes to the Public Art Program over the next decade to better prepare for the future. • An appendix to the Plan titled Guidelines for City Art Projects and City Art Collection and Guidelines for Art in Private Development Projects to streamline processes and make them easier to understand and follow. 4.1.a Packet Pg. 16 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 6 Page Intentionally Blank 4.1.a Packet Pg. 17 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Section One: Introduction GAIA, NED SMYTHE, 1990 DUBLIN CIVIC CENTER 4.1.a Packet Pg. 18 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Executive Summary 8 Dublin drafted its first Public Art Master Plan in 2003 and has successfully worked toward the goals and completed many of the projects outlined in that initial plan. The City passed a Public Art Ordinance in 2006 and created the Public Art Fund. Over the past 16 years, many of the accomplishments of the originally identified public art projects have been completed. To date, 14 pieces of City-owned public art have been installed in notable pieces, including City-owned artwork for the Shannon Community Center, Emerald Glen Recreation and Aquatic Complex, Bray Commons, and Fallon Sports Park. In addition, more than a dozen works have been installed on private property. Dublin’s development of a strong public art program is evident. As the City nears its build out, it is important that future decisions about public art are strategic in nature to meet the overall needs of the community. The Plan presented in this report addresses these future needs. 4.1.a Packet Pg. 19 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Executive Summary 9 The adoption of the Public Art Master Plan Update will continue the City of Dublin’s commitment to sustaining a healthy public art program by: • Establishing a policy that appropriates a percentage of City of Dublin Capital Improvement Project funds for publ ic art. • Requiring developers, by ordinance, to provide a set-aside for public art enhancement in private development. • Ensuring the preservation and maintenance of the City’s art collection. • Enhancing community participation in the public art process. • Providing a support system for local artists who work in the City’s Public Art Program. • Celebrating Dublin’s history and diversity through a broad range of public art projects. • Enhancing the City’s Downtown by using public art to animate the City’s public spaces. • Promoting the economic vitality of the City by using public art to brand areas of Dublin 4.1.a Packet Pg. 20 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update History 10 Public art adds value to a community. Some are obvious and practical – adding color and visual interest, boosting aesthetic appeal, discouraging vandalism and identifying the unique history or purpose of a place. Others are subtle, but equally beneficial – celebrating diversity, highlighting shared experience, provoking thought, conversation and reflection, or inspiring emotions, like a sense of peace and well-being, excitement, joy, and community pride. Dublin’s public art program first began in the late 1980s, shortly after Dublin’s incorporation, as a partnership between the City of Dublin and the nonprofit Dublin Fine Arts Foundation. The foundation contracted with an art consultant and raised funds to purchase and commission public artwork, which it was then gifted to the City for placement at City facilities. In 1997, the City of Dublin adopted its first Public Art Policy, which encouraged private developers to either include artwork within their developments or contribute to the City’s Public Art Fund. The policy detailed criteria for artwork and artist selection and guidelines for implementation. The original Policy identified the Dublin Fine Arts Foundation to serve in an advisory capacity to the City and developers on public art projects. In 1999, Dublin established a Heritage and Cultural Arts Commission to act in an advisory capacity to City Council on matters pertaining to art, including public art. In 2003, a consultant was hired, and a Public Art Master Plan Task Force was convened. Dublin’s initial Public Art Master Plan adopted in 2006 recommended the establishment of a Public Art Fund and Public Art Ordinance. The Public Art Master Plan also included detailed guidelines for both City and private development projects. These guidelines were carefully crafted based on best practices in the public art industry at the time. 4.1.a Packet Pg. 21 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update “I am a Dublin resident of 19 years and love the public art here. Thank you for involving citizens in the next phases of public art.... Excited to see what pieces are chosen next for the City!” Planning Methodology 11 The consultant firm, GreenPlay was selected to review and update the 2015 Public Art Master Plan. As part of the Parks and Recreation Master Plan update community survey, GreenPlay asked about the importance of public art to the community and their support for public art. In addition to the community survey, GreenPlay also asked participants in the focus groups and stakeholder interviews about their support for public art. 4.1.a Packet Pg. 22 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 12 Section Two: Guiding Principles AND THERE WAS EVENING AND THERE WAS MORNING, TRICIA GEORGE, 2002 SHANNON COMMUNITY CENTER 4.1.a Packet Pg. 23 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Vision and Purpose 13 Public Art Vision The City of Dublin’s Public Art Collection reflects the diversity and creativity of our community with a variety of high-quality artwork – both permanent and temporary – located throughout the City. Iconic pieces help create a sense of place and identity. Artwork is carefully selected and sited to surprise and delight visitors to Dublin. Residents are inspired to actively participate in the public art program with ample opportunities to help select the artwork, learn more about the pieces in the collection, watch artists at work and participate in group art projects and events. Public Art Program Purpose The purpose of Dublin’s Public Art Program is to inspire civic pride among its residents and strengthen the City’s regional identity by enhancing public spaces, giving character to neighborhoods and business districts, and providing numerous opportunities for people to experience visual art. OASIS, WOWHAUS, 2013 CAMPBELL GREEN 4.1.a Packet Pg. 24 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Goals 14 Public Art Program Goals 1. Enhance pedestrian- friendly public spaces such as parks, plazas, pathways, parking lots and other places where people travel or gather. 2. Strengthen the unique character of individual neighborhoods, business districts (such as the Downtown) and transit corridors with artwork. 3. Enhance the City’s identity and regional image by actively promoting Dublin’s unique public art collection. 4. Encourage the creation of artworks that are integrated into the City’s built environment, including signage, gateways, sidewalks, bus stops, bollards, parking structures, crosswalks and other public amenities. 5. Involve artists in the planning of spaces designated for public art. 6. Ensure community participation in artwork development, through outreach opportunities for local artists to create and display work, and education outreach to the community. 7. In new developments, support the design themes, goals and objectives of the development by working with a developer with the installation of public art. 8. In rehabilitation of existing developments, further the design themes and goals of the area by working with residents and business owners as well as City planners and private developers regarding public art planning and development. 4.1.a Packet Pg. 25 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 15 Section Three: Recommendations Archway, Billick and Corliss, 1999 (photo courtesy The Independent) 4.1.a Packet Pg. 26 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommended Strategies 16 To further Dublin’s Public Art Program goals and remain a leader in the Tri-Valley, it is recommended that the City consider the following actions: 1. Focus Public Art Acquisition Efforts on Downtown Dublin The City continues to realize the vision of the Downtown Dublin Specific Plan. To further its efforts, it is recommended that a significant portion of the City’s in-lieu Public Art Fees ($1.5 million) be set aside for a major public art investment in Downtown Dublin to be spread between permanent work and infrastructure to support tem porary installations. This investment could fund a variety of sizes and types of art in Downtown Dublin. Survey respondents ranked Downtown Dublin as the number one location they would like to see new public art, with a majority requesting lighted pieces (66%) and artistic benches or seat walls (50%). As Downtown Dublin continues to develop, the City should work with Downtown merchants and non-profit arts organizations to encourage and support privately funded art, temporary installations and art related events in Downtown Dublin. 4.1.a Packet Pg. 27 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 2. Allow Additional Uses for Public Art Funds Amend the Public Art Ordinance to allow for funding of art related promotional and outreach materials such as maps, interpretative signage, and online applications. This will provide an opportunity to promote past and future investments in public art in Dublin and create interactive tools for visitors and residents to experience the artwork. Survey respondents indicated interest in promoting arts by use of maps (59%) and interpretative signage (48%). Currently, the Ordinance limits the funds for art acquisition, maintenance, and administration. 3. Work with Camp Parks to Develop the Historic Sign Relocation, Restoration and Art Project Amend the Public Art Ordinance to allow for additional expenses related to the relocation, preservation and restoration of significant works by renowned architects when accompanied with a public art piece. This change will allow the City to partner with Camp Parks’ to preserve, relocate and restore the iconic wooden sign, designed and built around 1943 by renowned American architect Bruce Goff. The work is an outstanding example of early mid-Century architecture and serves as an important piece of history in the community. 17 4.1.a Packet Pg. 28 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 18 Section Four: Opportunities Historic World War II-era Camp Parks 4.1.a Packet Pg. 29 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Opportunities 19 As the City builds out and Downtown Dublin is transformed with modern, transit-oriented mixed- use developments and walkable retail and restaurant areas, there are many opportunities to incorporate public art throughout the City. This section identifies different types of projects and locations where the City may wish to locate public art in the future. City Projects City projects are developed, funded, and owned by the City of Dublin. The valuation of public art projects in the City’s Capital Improvements Plan (CIP) are typically based on 1-2 percent of the construction budget. Additional funds may be added if the percentage does not yield a large enough art budget to accomplish the desired work. Public art associated with CIP projects are ideally planned to be in place at the time the project is completed and open to the public. The City currently owns 30 permanent public art pieces, primarily large scale, permanent, outdoor artwork, as well as 14 temporary utility box murals. City Projects that are underway, planned, or in consideration in 2019 include: • CIP projects at Public Buildings: • Public Safety Complex Public Art • Future Cultural Art Center at Civic Center • CIP projects at Parks: • Veteran’s Art at Don Biddle Community Park • Butterfly Knoll Park • Clover Park • Jordan Ranch Neighborhood Park • Sean Diamond Park • Fallen Sports Park Phase III • Imagine Playground • Dougherty Hills Dog Park 4.1.a Packet Pg. 30 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 20 Partnerships Partnership projects help the City continue to grow public art and take many forms. They are developed in collaboration with nonprofit organizations, community groups, service clubs, or other public agencies. The City’s level of involvement can vary widely, from providing funding or land, to participating as a stakeholder in the artist and art selection process with another agency or assisting with community outreach when other agencies or nonprofit groups are planning art related projects in Dublin. Partnership projects may be funded in part by the City of Dublin, through the Public Art Fund, or they may be funded entirely by an outside source. Upon completion, they may be owned by the City, using a property easement, or by the landowner. Arts Grant Program Partnerships were identified as a way to continue to grow public art in Dublin. To help achieve this goal, Dublin should consider establishing an Arts Grant Program to provide monetary grants to local nonprofits for specific arts-related activities in Dublin. Many cities, including neighboring Pleasanton and Livermore, have arts grants programs that support their nonprofit arts communities. Pleasanton awarded approximately $44,000 in Fiscal Year 2018-19, for arts in schools, public performances, a cultural festival, equipment and marketing. Awards were made to 11 organizations and ranged in size from $2,000-$6,000. Livermore awarded $28,000 in Fiscal Year 2018-19 for arts in schools, an art walk and an art show. Awards were made to 4 organizations and ranged in size from $3,000-$10,000. Livermore also awards mini grants of up to $1,000 to individuals. Establishing an annual Arts Grants could enable nonprofit arts organizations to produce activities and foster growth of the arts community in Dublin. 4.1.a Packet Pg. 31 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 21 Private Development Art in Private Development brings it into the neighborhoods and makes art accessible to the community. It continues to be an excellent way to showcase public art. Several developments have installed or are installing public artwork on private property in Dublin. A few upcoming private development projects that are expected to install art are: • Boulevard – Multiple neighborhood residential, park and school along Dublin Boulevard • Wallis Ranch – Gated residential home community of 8 individually distinctive neighborhoods • The Avalon Dublin Station - Picturesque new Avalon community in the heart of Dublin • Zeiss Innovation Center – Corporate campus along Dublin Boulevard • Bayview Development – Residential apartment complex and co-workspace near West Dublin BART station 4.1.a Packet Pg. 32 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Funding 22 Art in Downtown To complement the future Downtown Streetscape Master Plan and add to the area’s appeal, the City should invest in pedestrian scale art in Downtown Dublin. Examples include temporary and permanent sculptures; kiosks for displaying 2-D artwork; murals on buildings; artist designs embedded or stamped in sidewalks; artist-painted crosswalks; and artist-designed street furniture such as flower beds or poles for hanging flower baskets, benches, bike racks or trashcans. While Dublin has done an excellent job providing the public opportunities to enjoy large-scale, permanent outdoor public art, it could work to provide opportunities to view smaller and more temporary works as many other cities have done successfully in their communities. The estimated cost for a major iconic art piece is $250,000-$500,000. The cost for smaller pieces is $10,000-$100,000. The cost for temporary installations is typically $10,000-$40,000. Utility Boxes and Other “Public Space” Murals The City of Dublin has been very successful using utility boxes as blank canvas areas for public art. These low-cost, high-visibility Utility Box Art murals have been extremely well received by the public and provide additional opportunities for local artists to display their works. In addition to continuing to paint City-owned traffic signal boxes, the City may wish to expand the program to other objects that offer a “blank canvas” for public arts such as blank walls and traffic signal poles. Additionally, the City could expand upon the program to include temporary Art displays. 4.1.a Packet Pg. 33 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Camp Parks Historic Sign 23 The iconic Camp Parks sign has historic importance to Dublin, and artistic significance as well, since the renowned architect rose to prominence after his service at Camp Parks. Though the piece belongs to and resides on U.S. Army Reserve property. Parks Reserve Forces Training Area Command staff have informed the City, over the years, that it is difficult to obtain funding and expertise to properly preserve and relocate the piece. Estimated cost range from $350,000 to $500,000 depending on the extent of the project and the partnership arrangement with the Parks Reserve Forces Training Area Command. Arts Grant Program Partnerships were identified as a way to continue to grow public art in Dublin. To help achieve this goal, Dublin should consider establishing an Arts Grant Program to provide monetary grants to local nonprofits for specific arts-related activities in Dublin. Many cities, including neighboring Pleasanton and Livermore, have arts grants programs that support their nonprofit arts communities. Pleasanton awarded approximately $44,000 in Fiscal Year 2018-19, for arts in schools, public performances, a cultural festival, equipment and marketing. Awards were made to 11 organizations and ranged in size from $2,000-$6,000. Livermore awarded $28,000 in Fiscal Year 2018-19 for arts in schools, an art walk and an art show. Awards were made to 4 organizations and ranged in size from $3,000-$10,000. Livermore also awards mini grants of up to $1,000 to individuals. Establishing an Arts Grants Program of $20,000-$40,000 annually, could enable nonprofit arts organizations to produce activities and foster growth of the arts community in Dublin. 4.1.a Packet Pg. 34 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update 24 4.1.a Packet Pg. 35 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Dublin Public Art Master Plan - Program Administration GUIDELINES FOR CITY ART PROJECTS AND COLLECTION The guidelines below establish roles, responsibilities and procedures for implementing City Public Art Projects and maintaining and promoting the City’s Art Collection. City Art Projects and Collection Roles and Responsibilities The City Council shall: • Adopt policies and procedures under which the Public Art Program operates; • Appropriate monies for individual capital improvement projects as part of the annual capital budgeting process; • Approve all contracts with artists; • Approve all City-funded public artwork. The Heritage and Cultural Arts Commission shall: • Recommend public art pieces to the City Council; • Serve, as needed, on Artist Selection Panels • Review the recommendations of Artist Selection Panels and forward to the City Council; • Review and recommend to City Council policies regarding the care and maintenance of the Public Art Collection; • Review and recommend proposed gifts of public art to the City, as well as loans and long-term exhibitions of public art on City-owned property; • Review and recommend accessioning (acquisition) and de-accessioning (removal) of artworks from the Public Art Collection to the City Council; • Periodically review and recommend changes to the Public Art Master Plan. Artist Selection Panels or Committees shall: • Serve as ad-hoc panels formed for a limited time with the responsibility of recommending artists for individual City projects or groups of projects; • Be comprised of individuals representing the following interests: arts professionals, community leaders, business owners, residents, gallery owners and art educators, and  At least one panelist shall be a representative from the Heritage and Cultural Arts Commission 4.1.a Packet Pg. 36 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval)  At least half the panel shall be Dublin residents  At least one panelist shall be a professional artist, architect or landscape architect with experience in public art • Have majority representation from partnering nonprofit organizations or stakeholder organizations, when appropriate • Recommend to the Heritage and Cultural Arts Commission an artist or artists to be commissioned for projects • Review the credentials, prior work, proposals and other materials submitted by artists for projects; • Look for the best fit between the artist and the requirements in the project prospectus and guidelines; • Be sensitive to the public nature of each project and the necessity for cultural diversity in the Public Art Program. City Staff shall: • Implement objectives of the Public Art Program, such as project administration, artist project management, short and long-term planning; • Lead the development of the annual public art workplan that shall include identification of eligible capital improvement projects and funding appropriations and submit to the Heritage and Cultural Arts Commission; • Monitor the overall development of the Public Art Collection, including ensuring that the Collection policies are followed; • Oversee the existing public art collection, survey the works, update the maintenance survey and communicate maintenance needs to appropriate staff and/or consultants; • Advise the Heritage and Cultural Arts Commission and the artist selection panel; • Act as liaison to the artist selection panels; • Act as a liaison to the arts organizations within the community; • Provide services to assist private developers in creating and implementing their public art plans; • Present staff and Heritage and Cultural Arts Commission recommendations to the Dublin City Council; • Ensure community outreach and citizen participation in the Public Art Program. Public Works Staff shall: • Determine, in consultation with the Heritage and Cultural Arts Staff, which projects are eligible for public art inclusion, the amount of eligible project costs available for public art and whether the project is appropriate for artist involvement; 4.1.a Packet Pg. 37 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) • Provide the Heritage and Cultural Arts Staff with information on the capital improvement program, budgets and schedules; • Inform the project architect of the artist involvement in the capital improvement project and the method of artist selection. Construction Project Managers shall: • Collaborate with the Public Art Staff on the development of public art projects; • Coordinate with the Public Art Staff on all issues related to the Public Art Program and the overall project including safety, liability, timeline, code requirements and installation deadlines, etc.; • Provide Heritage and Cultural Arts Staff and artist with the appropriate documentation necessary for project compatibility and completion (i.e., architectural design drawings and specifications, as-built drawings, structural drawings, mechanical drawings, electrical drawings, materials to support public outreach efforts, etc.). Procedures and Criteria Site Selection An important part of curating the City’s collection is selecting the most appropriate sites for artwork, and within those sites, the ideal location for artwork. Goals of the site selection process are: • Further the mission and goals of the Public Art Program; • Strive for an equitable distribution of artworks throughout the City • Implement goals of the overall project through an appropriate art location. The process for site selection for City Art projects is: 1. Potential public art sites – including new City construction and sites suggested by the City Council, Heritage and Cultural Arts Commission, staff and members of the public – are informally evaluated against Public Art Master Plan goals 2. Once a site has been identified as a probable art site, the Public Art staff and a team from Public Works – which could include the CIP Manager, parks planner, engineer and contracted architects or landscape architects – review preliminary site plans to identify possible art locations. 3. The site and proposed art locations are presented to members of the City’s executive team for review and recommendation to the HCA. 4.1.a Packet Pg. 38 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) 4. The site and proposed art locations are presented to the Heritage and Cultural Arts Commission for review and recommendation. If the site is within a City Park, the Parks and Community Services Commission also reviews and provides a recommendation. 5. The site and proposed art locations are presented to the City Council for approval. The following criteria are used when evaluating public art sites: • Sites that establish and enhance pedestrian-friendly public spaces are preferred. • Sites where art would enhance the City’s identity and regional image are preferred. • Sites where art would help strengthen the unique character of an individual neighborhood, business district or transit corridor are preferred. • Sites should have maximum public exposure. Sites must be accessible to the public a minimum of eight hours per business day. • Art locations may be interior or exterior. • Art locations should be integrated with the overall design of the facility. Ideally the artist should be involved in the project as early as possible, to work with developers, planners, architects and landscape architects to determine how best to incorporate the art into the site. • In order to maximize the impact of site-specific commissions, Artists should be provided as much detail as possible regarding the site's purpose, history and natural environment and encouraged to do their own research. Art Selection Committees Art Selection Committees play a very important role in Dublin. As the group that provides the initial review of artist portfolios and/or design proposals, they represent the community and are largely responsible for the choice of Artists and Artworks. Art Selection Committees typically include members who have a background in art, especially public art, and others who represent stakeholder groups and interested members of the general public using the facility where the art will be located. Goals of the Art Selection Committee process are: • Further the mission and goals of the Public Art Program; • Invite participation from a wider pool of community members; • Ensure engagement with the people and businesses most likely to interact with the artwork; 4.1.a Packet Pg. 39 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) • Provide meaningful volunteer experiences for residents interested in art; • Ensure diversity on art selection committees. The process for choosing an Art Selection Committee is: 1. City Staff evaluates the project and proposes the size and composition of the committee – each committee shall have at least five members. At least one current member of the Heritage and Cultural Arts Commission will be included. Depending on the project, a member of City Council or the Parks and Community Services Commission may serve. A Staff representative from a City Department may serve. A majority of the Committee must be Dublin residents. 2. Commissions, City Council and stakeholder groups may be requested nominate a member and alternate to the Art Selection Committee. 3. City Staff recommends additional members and alternates from a roster of residents who have volunteered to serve, with an eye toward diversity of gender, age and ethnicity. Preference is given to individuals who have a professional background in art, architecture, landscape architecture or similar fields. 4. The Committee composition and members are approved by City Council. Artist Selection Selecting the right artist – one whose experience, artistic style and commitment to collaboration matches the needs of the project – is critical to the success of any project. The public artist’s role requires not only creativity and craftsmanship, but also outstanding communication skills. Artists will be required to submit credentials, visuals, proposals and/or project materials as directed for consideration by artist selection panels. For site-specific projects, artists are expected to conduct necessary research, including attending project orientation meetings and touring project sites, when possible. If selected, they must execute and complete concepts, designs and artwork in a timely manner. Artists are expected to work closely and cooperatively with Public Art Staff, Public Works staff, Project Managers and any design professionals and contractors whose work interfaces with the artwork. Artists are expected to make professional presentations to the Heritage and Cultural Arts Commission, the City Council and any other reviewing bodies as required by the contract. They may also be expected to make public presentations, conduct community education workshops, do residencies or facilitate public participation in the project, as specified in the contract. 4.1.a Packet Pg. 40 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) For larger projects, Artist and Artwork Selection typically happen sequentially, with Artists being selected first and then invited to submit site-specific Artwork designs for a second round of consideration. For smaller and temporary projects – for example, Utility Box Art – Artist and Artwork Selection may happen concurrently. Goals of the artist selection process are to: • Implement the goals of the overall project through an appropriate artist selection; • Further the mission and goals of the Public Art Program; • Select an artist or artists whose existing public artworks or past collaborative efforts demonstrate a high level of quality and integrity; • Select an artist or artists who will best respond to the distinctive characteristics of the site and the community it serves; • Select an artist or artists who can work successfully as members of an overall project design team; and • Ensure that the selection process represents and considers the interests of all parties concerned, including the public, the arts community and the City department(s) involved; • Ensure the diversity of the artists represented in Dublin’s Collection. The process for artist selection for City Projects is: 1. City Public Art Staff considers the project needs and typical methods for selecting artists and recommends a method, in accordance with the adopted Public Art Program guidelines and policies. Any of the following methods may be used, depending upon the requirements of a project. a. Open Competition: An open competition is a call for artists for a specific project in which any interested artist is invited to submit credentials and/or proposals, subject to any limitations established by the Artist Selection Panel. Calls for entries for open competitions will be sufficiently detailed to permit artists to determine whether their work is appropriate for the project under consideration. b. Limited or Invitational Competition: A limited number of artists shall be invited by the artist selection committee to submit credentials and/or proposals for a specific project. Artists shall be invited, based on their past work and demonstrated ability to successfully respond to the conditions posed by the particular project (i.e., water features, light works, paintings, sound works, landscape works, design team efforts, etc.), or based on other non-aesthetic Public Art Program goals (i.e., artists who reside in a particular neighborhood where a project is occurring, local artists or regional artists). 4.1.a Packet Pg. 41 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) c. Pre-qualified Artists List: Heritage and Cultural Arts Staff will develop a pool of pre-qualified artists who can be selected for small, community-based projects with budgets under $25,000, where a separate selection panel may not be warranted, if recommended by the Heritage and Cultural Arts Commission. A pre-qualified artists list shall be valid for two years. If the list expires, a new list will be generated every two years or as needed to address projects in the queue. d. Mixed Process: A mixed process may include any combination of the above means 2. Staff prepares and distributes a Call for Artists Qualification, which includes detailed information about goals of the Public Art Program and any specific site(s) or project(s), and application procedures. 3. Staff prepares and presents portfolios to the Art Selection Committee, which ranks artists for further consideration as semi- finalists. 4. The Art Selection Committee ranks artists to be invited to submit site- specific designs for artwork selection. The following criteria are used in evaluating artists: • Qualifications: Artists or artist teams must be able to demonstrate, through past work – as evidenced in a resume, portfolio and reference – their ability to create professional quality artwork and act with the utmost professionalism. In most cases, artists have considerable training and experience working professionally at and have been compensated for their art. For certain projects, Dublin will consider emerging or student artists, who are working under the guidance of a professional mentor or art teacher. • Communication: Artists’ ability to effectively communicate with a variety of groups, including other design professionals, public officials and community members, should be taken into consideration. This is particularly important when an Artist is commissioned to create site- specific work and/or work where there will be community involvement in the artistic process. • Diversity: Artists should reflect the diversity of Dublin’s community. Selection Committees should be mindful of the opportunities to add different voices to the community through their selections. Gender diversity, ethnic diversity, and diversity in media and artistic styles and schools are all important. 4.1.a Packet Pg. 42 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) Artwork Selection Choosing new public artwork to add to Dublin’s collection is a fun and important job. Depending on the media, artwork added to the collection is likely be seen and enjoyed by Dublin residents and visitors for decades to come. Special pieces may become beloved local landmarks that come to represent Dublin in the eyes of residents and visitors. Goals of the artwork selection process are to: • Implement the goals of the overall project through an appropriate artwork selection; • Further the vision and goals of the Public Art Program; • Select artwork of the highest level of design quality; • Select artwork that contributes to the distinctive characteristics of the site and is meaningful to the community it serves; • Select artwork that can be maintained within reasonable effort and expense; • Ensure that the selection process represents and considers the interests of all parties concerned, including the public and the City department(s) involved; • Ensure the diversity of the artworks and voices are represented in Dublin’s Collection. Whether the artwork is being commissioned or purchased from a gallery, the process for artwork selection is: 1. City Public Art Staff and artist prepare and present design proposal to an Art Selection Committee. If multiple designs are being considered, the Art Selection Committee ranks proposals and provides comment. If a single design is being considered for addition to the collection, as in the case of a gift or loan that has been offered to the City, the Heritage and Cultural Arts Commission provides comment. 2. The Heritage and Cultural Arts Commission, after considering any comments from the Art Selection Committee and feedback from the public, makes comments of its own and a recommendation to the City Council. The Commission may request more information or request the artwork be brought back after concerns have been addressed. For larger work, the artist typically makes a presentation. For smaller and temporary works, the artist is typically not required to make a presentation. 3. City Public Art Staff prepares and presents a staff report on the proposed design and Heritage and Cultural Arts Commission’s recommendation to City Council. For larger work, the artist may be invited to present and is normally requested to be present in case of questions. However, 4.1.a Packet Pg. 43 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) approval of artwork, especially smaller, non-controversial items, may be done via consent calendar with no formal presentation. The following are criteria for evaluating artworks: • Artist: Artwork must be created by an artist or artist team who meets the City’s criteria for artists. • Original work: Items may not be mass produced copies of original work. Signed limited edition copies of artwork which is typically produced in multiples, such as prints, photographs, cast sculptures and multimedia are considered originals and are allowed. • Quality: Artwork must be of the highest quality. This includes design and materials. • Media: All forms of visual arts shall be considered, subject to any requirements set forth by the project prospectus. Style: All schools, styles and tastes shall be considered. • Appropriateness to Site: Artwork designs shall be appropriate in scale, material, form and content to their immediate social and physical environments. • Appropriateness to Public Art Program Goals: Artworks should address, or artists should be willing to address within their process, a commitment to enhancing public spaces and giving character to neighborhoods by supporting the larger urban design themes of the neighborhood or district. • Permanence: Consideration shall be given to structural and surface integrity, permanence and protection of the proposed artwork against theft, vandalism, weathering, excessive maintenance and repair costs. Acquisition of artworks into the Public Art Collection, whatever the funding source, should imply permanency. By accepting a work into the Collection, the City is making a commitment to the ongoing preservation, protection, maintenance and display of the artworks for the public benefit, so long- term costs must be considered. • Elements of Design: Consideration shall be given to the fact that public art is a genre that is created in a public context and that must be judged by standards that include factors in addition to the aesthetic. Public art may also serve to establish focal points; terminate areas; modify, enhance or define specific spaces; establish identity; or address specific issues of urban design. • Community Values: While free artistic expression shall be encouraged, consideration must be given to the appropriateness of artworks in the context of local community values and social norms. • Public Liability: Safety conditions or factors that may bear on public liability must be considered in selecting an artist or artwork. 4.1.a Packet Pg. 44 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) Collection Management and Conservation Dublin has a growing collection of permanent public art, and additional works considered temporary in nature. The Collection is managed by City Staff with the aid of professional art conservators to provide maintenance, repairs and professional advice. Goals of Collection Management and Conservation are: • Establish what items may or may not be added to the Public Art Collection; • Establish a regular procedure for evaluating artworks in the Public Art Collection; • Ensure regular maintenance of public artworks and that all maintenance is completed with the highest standards of professional conservation; • Establish procedures for repairing damaged public artworks; • Establish standards for the acceptance of gifts or loans of artworks; • Ensure that de-accessioning is governed by careful procedures; and • Insulate the de-accessioning process from fluctuations in taste. • Facilitate public engagement and education outreach efforts to promote the collection. Eligible Artworks include, but are not limited to, the following: • Sculpture: Three-dimensional artwork that is free standing, wall supported or suspended; kinetic, electronic; in any material or combination of materials. • Murals or portable paintings: Two-dimensional artwork in any material or variety of materials, with or without collage or the addition of non- traditional materials. • Mixed or other media: Earthworks, fiber-works, neon, glass mosaics, photographs, prints, calligraphy, any combination of forms of media including sound, literary elements, film, holographic images and video systems; hybrids of any media and new genres. • Functional art: Furnishings or fixtures designed by a qualified professional artist may be considered for the collection. Examples include, but not limited to gates, railings, streetlights, tree grates, seating, shade structures, etc. Functional items designed by an architect or landscape architect are not normally eligible. However, if the architect or landscape architect’s work has achieved historical and/or artistic importance, as evidenced by inclusion in other important art collections, it may be considered. • Elements of architecture or landscaping: Artistic or aesthetic elements of the overall architecture or landscape design may be considered only if created by a qualified professional artist or a design team that includes a professional artist as a co- designer. 4.1.a Packet Pg. 45 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) • Infrastructure elements: Infrastructure items as sound walls, utility structures, roadway elements or other items may be considered only if designed by a professional artist or a design team that included a professional artist as a co-designer. • Temporary artworks and installations: These can include artwork on loan or created for a specific time span, or smaller works, such as utility boxes, which may have an indefinite lifespan but are not necessarily intended to be restored should they become damaged. Ineligible artworks include, but are not limited to: • Mass-produced art objects: Items which are mass produced or of standard manufacture, such as playground equipment, fountains or statuary elements are not eligible, unless incorporated into larger artwork by a project artist. • Reproductions: Copies of original works of art are not allowed, except in the cases of film, video, other media arts or limited- edition photos, prints or cast sculpture. • Decorative Works: Ornamental furnishings and decorative architectural elements, are not allowed except when commissioned from an artist as an integral aspect of a structure or site. • Landscape Architecture: Those elements generally considered to be components of the landscape architectural design, (ex. vegetative materials, pool(s), paths, benches, receptacle, fixtures, planters, etc.), except when designed by artists. Artwork Donation or Loan Acceptance Artworks proposed for donation or long-term (one year or longer) loan to the City must be carefully reviewed by the Heritage and Cultural Arts Commission and City Council. The goals of the review are: • To provide uniform procedures for review and acceptance of gifts or loans of artwork to the City. • To vest in a single agency the responsibility for insuring the management and long-term care of the donated artwork. • To facilitate placement of the artwork on City property. • To maintain high standards for artwork displayed at City facilities. • To provide appropriate recognition for donors of artwork. 4.1.a Packet Pg. 46 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) GUIDELINES FOR ART IN PRIVATE DEVELOPMENT PROJECTS The guidelines below establish responsibilities and procedures for implementing Art in Private Development Projects. Art in Private Development Roles and Responsibilities The City Council shall: • Adopt policies and procedures under which Art in Private Development operates; • Approve all developer-proposed public artwork. The Heritage and Cultural Arts Commission shall: • Recommend guidelines, policies and procedures related to art in private development in Dublin to the City Council; • Receive and review developer art proposals and make recommendations to the City Council; City Staff shall: • Provide guidance to Private Developers regarding Public Art Ordinance compliance; • Provide services to assist Private Developers wishing to install art on site; • Ensure community outreach and citizen participation in Art in Private Development projects; • Present Staff recommendations to the Heritage and Cultural Arts Commission and Dublin City Council regarding Art in Private Development proposals; • Monitor Art in Private Development projects to ensure the Ordinance and Public Art Guidelines are being followed, including verifying art expenditures. • Provide Developers with initial information on the Art in Private Development requirement; • Confirm which projects require public art expenditure; • Determine the building valuation to establish the amount of required art expenditure; • Determine, in consultation with the Heritage and Cultural Arts Staff, whether on-site art is recommended, not recommended or required; • If art is recommended or required, suggest specific art locations.; Developers shall: • Consult with City staff to understand what is required of them, under Dublin’s Public Art Ordinance; • Inform Planning Staff at the time of the Site Development Review application whether they intend to install art on site or pay the in-lieu fee; 4.1.a Packet Pg. 47 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) • If installing art onsite, meet with Public Art Staff to discuss their art concept and plan the timeline for getting their artwork approved by City Council; • Select an artist, using a method comparable to the methods allowed for City art projects; • Select artwork, using Dublin’s criteria for public artwork; • Solicit public feedback about the artwork; • Present artwork for review using the same public process as for City art projects; • Execute an Art Installation and Maintenance Agreement with the City of Dublin; • Install the artwork according to the agreement and provide the required documentation. Public Art Ordinance The City of Dublin’s Public Art Ordinance (Dublin Municipal Code Chapter 8.58) requires most developers to either install artwork on their property or pay an equivalent in-lieu fee to the City of Dublin’s Public Art Fund, under what is commonly called a percent-for-art ordinance. Required Art Expenditure The City of Dublin’s expenditure requirement is based on the type and size of development project. It applies to all commercial development (retail, industrial, office) in excess of 50,000 square feet and all new residential developments in excess of 20 units, including single-family (detached), single family (attached), and multi-family units. The required expenditure is one half of one percent (.5%) of the building valuation (exclusive of land). Any developer subject to the requirement may choose to spend more than the required .5%. The City of Dublin also allows any developer subject to the Public Art Ordinance to choose an in-lieu option of contributing to the Public Art Fund instead of installing artwork on site. For more information on the in-lieu option, see below. Building Valuation The Building Valuation is determined by City’s Chief Building Official, who is responsible for determining both residential and commercial project valuations. If a developer is putting art on site, valuation for all phases of the project is estimated in conjunction with Site Development Review (SDR), before construction begins. Valuations done at this time are estimates and are typically very conservative. 4.1.a Packet Pg. 48 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) Valuations are recalculated when the developer pulls the first building permit for the phase. These valuations are more accurate and could be higher than valuation estimates provided at SDR. If developer opts to pay the in-lieu fee, the building permit valuation is used to determine the in-lieu fee. Art On-Site Option For developers opting to install art on site, the Public Art obligation must be satisfied prior to the issuance of a Certificate of Occupancy or a Public Art Agreement must be negotiated, and a bond must be posted for the value of the art obligation. This means the approved art must be installed to the City’s satisfaction and the expenditures verified by City staff. In-Lieu Fee Option The in-lieu fee for commercial projects over 50,000 square feet and residential projects of 20 units or more is equivalent to the required art expenditure of .5% of the building valuation. The in-lieu fee for commercial projects under 50,000 square feet is 90% of the required art expenditure of .5% of the building valuation. If an in-lieu fee option is chosen, the City will determine whether artwork is required to be sited on the developer’s property. If such a determination is made, the developer must reserve a space for possible public art to be installed by the City and paid for by the City using the in-lieu fee. If the City installs artwork at the site, the developer will be required to grant an easement for installation and maintenance. If the City does not require art on the developer’s property, the developer’s in-lieu fee is pooled in the Public Art Fund and may be used for any public art purpose and in any public location that the City chooses. Art in Private Development Procedures and Criteria Art in Private Development is an important component in Dublin’s Public Art Program. Although the artworks are privately owned, they are installed for the public’s enjoyment. Goals of the Art in Private Development process are: • Inspire civic pride amongst residents; • Strengthen the City’s regional identity by enhancing public spaces • Add interest and visual appeal throughout the City; and • Provide – through in-lieu contributions to the Public Art Fund – funding for City public art projects and activities. The process for art in private development is: 4.1.a Packet Pg. 49 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) 1) The developer submits a completed Site Development Review (SDR) application to the Community Development Department, Planning Division. Planning Staff will inform the applicant of the Public Art requirement and policies. The developer is encouraged to meet with the Public Art Manager as early as possible to discuss the requirements and procedures for artwork approval. 2) Residential development applicants wishing to provide public art within their projects, are required to present a plan to the City that conforms to the requirements of the Public Art Master Plan. The Applicant’s plan shall be submitted at the time of an application for tentative map in which individual lots are created. If a tentative map is not required in the project, the plan for public art shall be submitted at the time of Site Development Review (SDR). 3) The Building Valuation will be verified, and the minimum art allocation will be calculated by the Building Division upon receipt of the building permit application. The developer may be required to apply and obtain a separate building permit for the construction and installation of the art project. 4) Applicants choosing not to provide on-site artwork will be required to pay in-lieu fees of a minimum art allocation of .5% for commercial, industrial, office, and residential developments and 90% of .5% for commercial, industrial, and office developments under 50,000 square feet to the Public Art Fund, to satisfy the development standard. In lieu fees must be paid prior to the issuance of a building permit. 5) Upon selection of an artist and artwork, the developer will be required to meet with the Heritage & Cultural Arts Commission for review of the artwork. Upon recommendation by the Heritage & Cultural Arts Commission, the developer will be required to receive final approval by the City Council. 4.1.a Packet Pg. 50 Attachment: 1. Draft Public Art Master Plan Update (Public Art Master Plan Update Recommendation for Approval) Page 1 of 3 STAFF REPORT HERITAGE & CULTURAL ARTS COMMISSION DATE: October 10, 2019 TO: Honorable Chair and Commissioners FROM: La Shawn Butler, Parks & Community Services Director SUBJECT: Clover Park Art Selection Prepared by: Tyler Phillips, Recreation Coordinator EXECUTIVE SUMMARY: The Heritage and Cultural Arts Commission will make a recommendation on public art for Clover Park. STAFF RECOMMENDATION: Recommend the public artwork proposed by Colin Selig for City Council approval. FINANCIAL IMPACT: The adopted Capital Improvement Project budget for Clover Park Art is $32,660. This will include the artist's fee as well as all design, materials, fabrication, and installation costs. The funding source is the Public Art Fund. DESCRIPTION: Clover Park (2901 Three Castles) is a neighborhood park located in the Irongate development. The park is being built in conjunction with and adjacent to Sunrise Park, a community nature park. Clover Park is on the lower level, connected to Sunrise Park by a switchback trail. The artwork will be visible looking down from Sunrise Park from the hilltop and descending the trail. Park amenities include a children’s play area, adult fitness equipment, lawn and picnic area, and restrooms. Art location is near the creek/riparian corridor overlook, at the juncture of a Class 1 bike trail and walking trails as shown in the attached photographs (Attachment 1). In June 2019, an art selection committee consisting of Robert Bennett, Sameer Hakim, Evelyn Zhang, Sawsan Wolski and Felecia Wong reviewed portfolios of nine pre- qualified and invitational artists. The committee requested four artists submit site specific proposals. 5.1 Packet Pg. 51 Page 2 of 3 In August 2019, the art selection committee reconvened with Robert Bennett, Sameer Hakim, Rita Szollos, Sawsan Wolski, Felecia Wong and alternate Kathy Blackburn to hear design proposals from three artists. Artists were Denise Hart, Nico Meyer and Colin Selig. Artist Yoshio Taylor declined to submit a proposal. Committee members were invited to personally rank the submissions. After some discussion on the merits of each design, the committee recommended Colin Selig as the first choice and Nico Meyer as the alternate. However, because votes for the two designs were so close, members of the selection committee agreed to forward both to the Heritage and Cultural Arts Commission for a final decision. Both Colin Selig and Nico Meyer have been invited to make a brief presentation and answer any questions the Commission might have. Colin Selig’s design named Arachnicat is a biomorphic sculpture intended to give the impression that it is climbing up out of the riparian corridor. This piece can be viewed from multiple angles. Arachnicat is designed for tactile human interaction including seating surfaces. The sculpture is approximately 7.5 feet tall and 9 feet wide and would be bolted to a circular concrete footing of approximately 10 feet in diameter. The sculpture is made entirely from repurposed scrap steel propane tanks. (Attachment 2) Nico Meyer’s design named From Within is a kinetic sculpture that is intended to produce a calming yet invigorating contemplation experience for its viewers. The wind powered kinetic movement provides a connection to the beauty and cycles of nature. From Within will help anchor a sense of place, connection and contemplation for the viewer. The blue powder coating will have a flake and a matte finish creating a powerful effect in sunlight highlighting the convex and concave curves that will catch the wind. (Attachment 3) As is Dublin’s practice, the proposals were reviewed by the City’s contract conservator and City staff. The artwork from Colin Selig is expected to be successful upon installation. The cost of the maintenance is expected to be minimal. The conservator reviewed the artwork from Nico Meyer and recommended the sculpture go through a redesign before installation. The conservator recommends a structural review and wind study of the area to design the footing. The conservator also recommends increasing the height of the column to raise up the bottom of the spinning element to 10 feet to minimize the risk of injury, and to design a stop system for maintenance and in safety situations. The cost of the maintenance is expected to be higher than normal due to the height and kinetic elements of the artwork. (Attachment 4). Staff recommend Colin Selig’s design as public art for Clover Park. His art proposal works within the context and theme of the park; the work has permanence and will hold up well over a long period of time and will be safe for public display. 5.1 Packet Pg. 52 Page 3 of 3 STRATEGIC PLAN INITIATIVE: N/A NOTICING REQUIREMENTS/PUBLIC OUTREACH: Residents within 300 feet of the park will be notified of this meeting. ATTACHMENTS: 1. Clover Park Site Plan Art Location 2. Colin Selig Proposal 3. Nico Meyer Proposal 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals 5.1 Packet Pg. 53 5.1.a Packet Pg. 54 Attachment: 1. Clover Park Site Plan Art Location (Clover Park Art Selection) 8.1 Unique. Artist warrants that the design of the Artwork as expressed in the Proposal, Exhibit A, is an edition of one, and that neither Artist nor Artist’s agents will execute or authorize another to execute another work of the same or substantially similar design and dimensions as the Artwork. 5.1.b Packet Pg. 55 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) Clover Park sculpture proposal prepared for The City of Dublin, California Colin Selig Sculpture + Site Furnishings +1.925.457.5060 info@colinselig.com www.colinselig.com July 2019 5.1.b Packet Pg. 56 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) Arachnicat is a whimsical biomorphic sculpture climbing up out of the adjacent creek bed and strip of trees to explore Clover Park. She is a playful, brightly colored focal- point artwork for the park which can be enjoyed visually from multiple angles at ground level and from the switchback trail and hillside above. Abstract and organic in form, she has an insect’s body comprising three spherical elements. The shapes of her ﬁve legs are anthropomorphically muscular yet their quantity and attachment to her body is spider-like. Arachnicat is designed for tactile human interaction and will appeal to people of all ages. Incorporated between her legs are three seating surfaces, allowing pedestrians and bicyclists to sit and relax within her. These seating elements also add important structural strength to the piece. The sculpture is approximately 7.5 feet tall and 9 feet wide in both horizontal dimensions and would be bolted to a circular concrete footing of approximately 10 feet in diameter. The footing could have uplighting to give the work an additional presence at night, if this is desired, and The City would run electricity to the site. The sculpture is extremely eco-friendly since it’s made entirely from repurposed scrap steel propane tanks, regionally sourced in the central valley. The tanks are carefully dissected and the pieces reassembled, with no additional reshaping of the material, a process with a minimal carbon footprint. As an end product this sculpture contains 99% post-consumer reused (vs. recycled) content. The sculpture is very durable due to its construction from 1/4” thick curved steel parts that are seam welded together and form a very rigid structure. To ensure it’s safe for human interaction, all welds and edges are sanded smooth. The sculpture is powder coated with a zinc rich epoxy primer and a low maintenance powder coating. It has no ﬂat surfaces for water to collect and its curved seats discourage unwanted sleeping. The sculpture will be fabricated at my studio in Walnut Creek and powder coated in Oakland. I will manage transportation and installation, including rental of a forklift. I will easily be able to meet the proposed installation timeline of next spring. Thank you for considering my proposal! Colin Selig Sculpture + Site Furnishings july 2019 www.colinselig.com +1.925.457.5060 info@colinselig.com 1547 Palos Verdes #315 Walnut Creek, California 94597 NARRATIVE Clover Park sculpture proposal, Dublin, California 5.1.b Packet Pg. 57 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) RENDERING FRONT Colin Selig Sculpture + Site Furnishings www.colinselig.com +1.925.457.5060 info@colinselig.com 1547 Palos Verdes #315 Walnut Creek, California 94597 july 2019 Clover Park sculpture proposal, Dublin, California 5.1.b Packet Pg. 58 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) RENDERING FROM ABOVE Colin Selig Sculpture + Site Furnishings www.colinselig.com +1.925.457.5060 info@colinselig.com 1547 Palos Verdes #315 Walnut Creek, California 94597 july 2019 Clover Park sculpture proposal, Dublin, California 5.1.b Packet Pg. 59 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) RENDERING FROM SIDE Colin Selig Sculpture + Site Furnishings www.colinselig.com +1.925.457.5060 info@colinselig.com 1547 Palos Verdes #315 Walnut Creek, California 94597 july 2019 Clover Park sculpture proposal, Dublin, California 5.1.b Packet Pg. 60 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) SKETCHES Colin Selig Sculpture + Site Furnishings www.colinselig.com +1.925.457.5060 info@colinselig.com 1547 Palos Verdes #315 Walnut Creek, California 94597 july 2019 Clover Park sculpture proposal, Dublin, California Front Rear Side Above 5.1.b Packet Pg. 61 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) SCALE Colin Selig Sculpture + Site Furnishings www.colinselig.com +1.925.457.5060 info@colinselig.com 1547 Palos Verdes #315 Walnut Creek, California 94597 9 feet 7.5 feet july 2019 Clover Park sculpture proposal, Dublin, California 5.1.b Packet Pg. 62 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) ELEMENTS Colin Selig Sculpture + Site Furnishings www.colinselig.com +1.925.457.5060 info@colinselig.com 1547 Palos Verdes #315 Walnut Creek, California 94597 july 2019 Clover Park sculpture proposal, Dublin, California Seats - Blue Legs - Green Body - Orange 5.1.b Packet Pg. 63 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) MODEL Colin Selig Sculpture + Site Furnishings www.colinselig.com +1.925.457.5060 info@colinselig.com 1547 Palos Verdes #315 Walnut Creek, California 94597 july 2019 Clover Park sculpture proposal, Dublin, California 5.1.b Packet Pg. 64 Attachment: 2. Colin Selig Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio 5.1.c Packet Pg. 65 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio N. J. Meyer Art SUMMARY Nico Meyer has spent the last ten years residing in San Diego working as a structural engineer and creating art. He employs his Masters of Science in Structural Engineering to execute large scale, complex, geometrical artwork. His work is heavily influenced by the beauty and structure of mathematics. The core of which utilizes spacial and conceptual illusions to remind us of the mental projections we swim in daily. These forms play on the brain's desire to categorize, simplify and fill in the gaps with its concept of reality, illuminating our unconscious patterns. With this heightened awareness, Nico hopes to create space for open-minded conversation, greater understanding and freedom within our lives and our minds. His work spans between smaller commissioned pieces and large outdoor public sculptures. Two recent public sculptures of note include: ‘Decidedly Bonnaroo,’ displayed in Nashville International Airport, TN, is a Mobius and trefoil knot built from individual frames contrasting the individual with infinity/continuity, and ‘Stranded Heart’, on El Paseo, in Palm Desert, CA, is a large scale heart made of individual strands which appear to vanish once looking at the heart directly, questioning the emotional and conscious experience. He has an exciting future in the world of design and art with much more to offer. CONTACT INFORMATION Primary Contact Nico Meyer, M.S. (858) 342-6315 njmeyerart@gmail.com njmeyerart.com @nicomeyer 5.1.c Packet Pg. 66 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio Project List: Emergence (Summer 2019) Medium: Steel Kinetic sculpture Dimensions:8’ x 8’ x 13’ Public Art Program: Sculpture Garden, Manhattan Beach, CA Budget: $12000 Where is the Present (2019) Medium:Steel Dimensions:12’ x 8’ x 8’ Public Art Program: Kites Over Vista. Vista, CA Budget: $2500 Decidedly Bonnaroo (2019) Medium:Birch and Stainless Steel Dimensions:12’ x 12’ x 5’ Public Art Program: Arts at the Airport Nashville, TN Budget: $4500 Stranded Heart (2018) Medium:Steel Dimensions:8’ x 12’ x 3’ Public Art Program: El Paseo Art Program. Palm Desert, CA Budget: $5000 Toying with Light (2018) Medium:Interactive outdoor light sculpture Dimensions:8’ x 8’ x 9’ Public Art Program: Salute The Season NTC Foundation. Liberty Station, San Diego, CA Budget: $3500 Context of Awareness (2018) Medium:Steel and birch Dimensions:6’ x 6’ x 3’ Public Art Program:Kites over Vista Vista, CA Budget: $2500 Useful Constraints (2016) Medium:Steel and wood, wind driven rotation Dimensions:12’ x 12’ x 4’ Public Art Program: Kites over Vista. Vista, CA Budget: $2500 5.1.c Packet Pg. 67 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio REFERENCES Mary Grissim Curator, Arts at the Airport Metropolitan Nashville Airport Authority One Terminal Drive, Suite 501 Nashville, TN 37214 phone: (615) 275-1614 mobile: (615) 584-5210 mary_grissim@nashintl.com Ashley Adair Management Analyst Recreation and Community Services City of Vista (760) 643-5265 aadair@cityofvista.com Deborah Glickman Management Analyst II City of Palm Desert, CA 73-510 Fred Waring Drive Palm Desert, CA 92260-2578 760-346-0611 dglickman@ci tyof palmdesert. org 5.1.c Packet Pg. 68 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio PROPOSAL NARRATIVE ARTIST STATEMENT Community nature parks are essential in place making, mental and physical health of the citizens and thus the overall health of the community. The goal of ‘From Within’ is to create a beautiful kinetic sculpture that produces a calming yet invigorating contemplation for its viewers. The wind powered kinetic movement provides a connection to the beauty and cycles of nature in which we are deeply reliant on and too often neglect. ‘From Within’ will help anchor a sense of place, connection and contemplation for the growing community in Clover Park. As the rings rotate in the wind, a sensation of emergence from within, acts as a physical representation of the potential of the individual and the community to continually improve our environments. The piece will be beautiful when spinning, and statically with geometric silhouettes and shadows referenced in the base plate design. The blue powder coating will have a flake and a matte finish creating a powerful effect in sunlight highlighting the convex and concave curves that will catch the wind as well as the sunlight. This detailing will add complexity at various scales creating an appreciation various distances for nearby houses, cyclists and pedestrians running or simply walking their dog. I hope to encourage a meditative moment that can transform the public space of the park into a highly personal one. The strength of the community is reliant on the individuals that make it up in combination with the sense of shared responsibility and experience. The form is designed to be accessible to all ages, cultures, and backgrounds to foster an appreciation for the shared human experience. 5.1.c Packet Pg. 69 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio PROPOSED MATERIALS The piece will be an all steel construction with stainless steel hardware and sealed bearing mechanisms designed to provide consistent spinning throughout the 25 year lifetime. The steel will be powder coated in a three step process with a final exterior grade finish to maintain the color of the piece and structural integrity. All non-powder coated material will be stainless steel. RECOMMENDED INSTALLATION PROCEDURE The piece is designed to be installed on top of a concrete pad or pedestal with embedded anchor bolts. The overall sculpture will be light enough to be installed using a small truck mounted crane or lift. The piece will be finally assembled on site with the main support being mounted onto an existing structural reinforced concrete pedestal. Then the kinetic structure will be lifted and mounted onto the main support and secured. Proper safety procedures and equipment will be applied and used at all times of the installation. RECOMMENDED ANNUAL OR SPORADIC MAINTENANCE The piece will be adequately powder coated and sealed for long term use. The piece should be cleaned for quality presentation at least once a year which would consist of washing the piece and potentially adding a matching clear coat on any observed paint chips. The piece will be designed to minimize any required maintenance and will use the high quality hardware to ensure longevity. PUBLIC INTERACTION WITH THE ARTWORK The piece is to be enjoyed by all members of the public visually. It will be prohibited to climb and/or hang on the sculpture. If desired, the piece can be altered to allow for streamers to be hung from the lower sections of the piece to allow for thematic celebrations for the local community, the goal being to make it feel like this is the communities to be enjoyed and integrated into their lives. The lowest portion of the piece will be a minimum of 7’ off of the ground to prevent accidental contact near head level. 5.1.c Packet Pg. 70 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio BUDGET The table below lists out the estimated itemized budget. The expected travel is for two trips to Dublin, CA, one for the in person presentation on August 8 th, and the other for delivery and the final installation of the artwork. Item Note Cost Materials $2400 Machining $600 Consumables $500 Hardware $600 Powder Coating $3700 Studio Assistant 120 hours $3000 Field Coordination $800 Additional Renderings and drawings for engineering 20 hours $1000 Engineering 20 hours $2000 Concrete footing $3000 Equipment Rental $1200 Interpretive plaque and directional signage $660 Admin. Expenses: (Insurance, permits, certifications, studio space) $2000 Supplies for community outreach $300 Project Contingency $3266 Artist Travel to Dublin 2 Visits $1100 Artist’s Fee 20%$6532 Total $32,658.00 5.1.c Packet Pg. 71 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio VISUALS Image 1: Front perspective with sun directly overhead 5.1.c Packet Pg. 72 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio Image 2: Top view with angled shadow 5.1.c Packet Pg. 73 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio Image 3: Front perspective with angled shadow Link to animation showing kinetic movement: https://drive.google.com/open?id=14j09d9b-74zzV0f38ibqqFKwfE7Lly1N 5.1.c Packet Pg. 74 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Clover Park Nico Meyer Dublin, CA John James Studio Material Samples The powder coating finish will be a blue similar to that shown here with a matte finish which brightens up the color. The effect of the matte finish can be seen in the powder coated rim below along with a previous sculpture made by John James Studio in 2018. 5.1.c Packet Pg. 75 Attachment: 3. Nico Meyer Proposal (Clover Park Art Selection) Conservation Assessment Date: 8-19-19 Client: City of Dublin, Attn: Tyler Phillips Object: Proposed Artwork, ‘Arachnicat’ by Colin Selig for Clover Park, Dublin Detail of Proposed Design-Artist Provided Description and Materials: is design by Colin Selig is described by the artist as a ‘whimsical biomorphic sculpture climbing up out of the adjacent creek-bed and strip of trees to explore Clover Park’. Proposed Measurements: Height: Approx. 7.5 feet tall and 9 feet wide and deep Concrete Footing: approximately 10 feet in diameter. Preservation-Arts.com 510.808.7894 info@preservation-arts.com 743 47th Street #102, Oakland, CA 94609 5.1.d Packet Pg. 76 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Conservation Assessment of Proposed Sculpture ‘Arachnicat’ by Colin Selig for Clover Park, Dublin Location: e sculpture will be located in Clover Park in a landscaped area. (see image below). No other landscaping details were provided. Design Concept (Artist Rendering) Design: e artist describes the sculpture as ‘Abstract and organic in form, she has an insect’s body comprising three spherical elements. e shapes of her ve legs are anthropomorphically muscular yet their uantity and attachment to her body is spider-like. Arachnicat is designed for tactile human interaction and will appeal to people of all ages.’ e sculpture also doubles as a bench, ‘Between her legs are three seating surfaces, allowing pedestrians and bicyclists to sit and relax within her. ese seating elements also add important structural strength to the piece.’ Preservation-Arts.com Page 2 of 5 5.1.d Packet Pg. 77 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Conservation Assessment of Proposed Sculpture ‘Arachnicat’ by Colin Selig for Clover Park, Dublin Artist Design with Dimensions Materials: e following are presented as materials for the sculpture: SUBSTRATE: Repurposed scrap steel propane tanks. e tanks are cut apart and the pieces reassembled to form 1/4” thick curved steel parts. CONSTRUCTION: Joins are seam welded together and all welds and edges are sanded smooth. PAINT FINISH: Powder coated with a zinc rich epoxy primer and a low maintenance powder coating. Assessment of Dierent Elements and Maintenance Issues: Choice of Metals: e proposed design of this sculpture is composed entirely of recycled mild steel propane tanks, with the goal of a zero carbon footprint. In general, sculptures made of recycled steel are not recommended for accession into permanent collections. is is because they are oen made of various dierent types of steel and when used with a dierent welding rod, can lead to galvanic corrosion and poor performance. ese objects can be very expensive to maintain and oen fail, and it is recommended to place in a temporary collection category to acknowledge the likely failure of materials. In this case, the sculpture is formed of the same type of steel throughout, and so the approach is similar to that of a mild steel based sculpture. It is important to identify the alloy of the steel and the weld rod matched to prevent galvanic corrosion around the welds. Preservation-Arts.com Page 3 of 5 5.1.d Packet Pg. 78 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Conservation Assessment of Proposed Sculpture ‘Arachnicat’ by Colin Selig for Clover Park, Dublin Fasteners and Welding: e welding rod and any fasteners should be matched to the exact grade of metal to prevent galvanic corrosion. Powder Coating: Although powder coating is inexpensive, conservators usually do not recommend powder coating as a paint system since it tends to chalk out (fade) and fail uicker than high performance liuid coatings. A high performance liuid coating (urethane or uoropolymer) with appropriate zinc based primer will retain its color, be more durable and be easier to inpaint losses and undertake repairs if necessary. All liuid coatings should be applied to the specied manufacturers thickness to be eective and dry lm thicknesses should be measured and noted in the archives in addition to the exact paint system. It is also recommended for the collection to reuest sprayed out metal coupons of the colors to keep in the archives so that fading of the colors can be monitored, and original artist intent can be preserved. Preparation of the Surface During Painting: All old propane tank paint should be sandblasted o and a zinc rich primer applied. is will ensure even protection for the steel. Wear to the Surfaces: is sculpture is intended to be used as a seat and interact with the public. As such it is likely to develop scratches, chips, losses and possible vandalism to the surface more uickly than otherwise. Use of a primer that is colored one tone lighter than the top coat will help disguise losses into the primer layer. Losses through the primer layer and into the metal will begin to corrode very uickly due to water penetration and it is recommended to have annual maintenance to repair losses to prevent major issues developing. Landscaping: All landscape should be drip system and no sprinklers should be used in the vicinity. Recycled water tends to contain chlorides that can cause ferrous corrosion very uickly and also mineral deposits that deposit insoluble white salts on the surface. Trees and landscaping should be kept away from the surfaces with at least a 24” clearance and hard landscaping directly around the artwork is recommended. Access for Maintenance: e landscaping plan should consider the accessibility for maintenance of the sculpture. A nearby water connection should be provided and there should be at surfaces all around for placement of ladders to access the top. Recommendations: ●Identify the alloy of steel used in the propane tanks and use matched welding rod to prevent galvanic corrosion and overall failure. ●Use of a higher performance liuid coating (urethane or uoropolymer) with a zinc primer rather than powder coating will give better long term results. ●Use of a primer that is colored one tone lighter than the top coat will help disguise losses into the primer layer. ●SSPCSP6 blasting of all old propane paint prior to primer application. ●Landscaping plan should accommodate maintenance reuirements including nearby water supply and at hardscaping for placement of ladders. Preservation-Arts.com Page 4 of 5 5.1.d Packet Pg. 79 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Conservation Assessment of Proposed Sculpture ‘Arachnicat’ by Colin Selig for Clover Park, Dublin Maintenance Budget: Estimated Basic Annual Maintenance: Team of 3 people for one 8 hour day, with documentation, materials and travel: Conservator- 9 hours x $120=$1,080 Conservator- 9 hours x $120=$1,080 Technician- 9 hours x $95=$855 Documentation: $120 Travel: $60 Total : $3,195 *Major repairs will be assessed as they arise and are separate to this. In addition this is based on 2019 agreed labor rates, and will change/increase each year. Conclusions: is sculpture is a little at a disadvantage being formed of recycled materials, however as long as the recommendations above are followed it should perform as well as a mild steel painted sculpture. It will reuire annual maintenance to keep the sculpture in good order, and deal with losses before ferrous corrosion (rusting) gets established. Preservation-Arts.com Page 5 of 5 5.1.d Packet Pg. 80 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Conservation Assessment Date: 8-20-19 Client: City of Dublin, Attn:Tyler Phillips Object: Proposed Artwork for Clover Park, Dublin by Nico Meyer Detail of Proposed Design-Artist Provided Description and Materials: is design by Nico Meyer is a kinetic sculpture consisting of a large spinning elliptical form made of straps, mounted on a column and small base. Proposed Measurements: Measurements were not included although the proposal suests that the bottom of the spinning element will be 7’ . Preservation-Arts.com 510.808.7894 info@preservation-arts.com 743 47th Street #102, Oakland, CA 94609 5.1.d Packet Pg. 81 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Conservation Assessment of Proposed Sculpture ‘From Within’ By Nico Meyer for Clover Park, Dublin Location: e sculpture will be located in the Clover Park. No further location details were provided. Design: e artist’s concept for ‘From Within’ is to ‘create a beautiful kinetic sculpture that produces a calming yet invigorating contemplation for its viewers. e wind powered kinetic movement provides a connection to the beauty and cycles of nature in which we are deeply reliant on and too oen neglect. ‘From Within’ will help anchor a sense of place, connection and contemplation for the growing community in Clover Park. As the rings rotate in the wind, a sensation of emergence from within, acts as a physical representation of the potential of the individual and the community to continually improve our environments.’ Design Concept (Artist Rendering) Materials: e following are presented as materials for the sculpture: Mild steel with stainless steel hardware, sealed bearings. Powder coated nish, matt Preservation-Arts.com Page 2 of 4 5.1.d Packet Pg. 82 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Conservation Assessment of Proposed Sculpture ‘From Within’ By Nico Meyer for Clover Park, Dublin Assessment of Dierent Elements and Maintenance Issues: Choice of Metals: e proposed design of this sculpture is primarily of mild steel with a painted nish. No information was provided as to the intended grade of the steel, although the structural review should inform what grade is reuired to enable the construction to perform as intended. It appears from the artist rendering that the straps will be bent and welded into place, and so it is important that the welding rod matches the exact grade of steel to prevent galvanic corrosion. A mild steel sculpture will rust relatively uickly if losses to the paint layers occur. Kinetic spinning structures have more chance of damage than other static painted sculptures and therefore it is important that damages are addressed annually. Fasteners and Welding: e fasteners are proposed as stainless steel. is will result in preferential corrosion of the mild steel elements around the hardware, and normally it is recommended to match the hardware to the grade of metal on the substrate. Kinetic Elements e upper rotating part of the sculpture is formed of bent and welded straps. ese will spin via a bearing system, described as ‘sealed bearing’. It is not specied whether these are ceramic or stainless steel but the exact proposed specications should be provided by the artist and approved before use. It is also recommended for the City to have the artists provide the exact recommended lubricant and maintenance protocol, and provide an extra set of bearings for replacement. Structural Review One of the failings of tall kinetic sculptures such as this is that their velocity can destabilize the bolts that attach it to the ground, and in this case, the base looks very small compared to the top. It is therefore essential to have a structural engineer who is experienced with kinetic artworks undertake a wind study of the location and provide stamped and guaranteed drawings for the installation. We have seen kinetic sculptures that were structurally designed deinstalled within a relatively short period of time because they pull the bolts out of the footing, are loud and begin to frighten the public if they spin too fast appearing dangerous. Design Considerations and Height of the Sculpture: e height of the spinning part of the sculpture is of a concern. At 7’ the public can easily reach up to interact with the spinning part of the artwork which may cause injury if it is spinning fast. It is recommended that the bottom of the sculpture should be at least 10 feet from the ground to be well out of reach. All kinetic sculptures must be designed with a mechanism to stop the parts from moving, otherwise the artwork cannot safely be maintained and cleaned. Powder Coating: Although powder coating is inexpensive, conservators usually do not recommend powder coating as a paint system since it tends to chalk out (fade) and fail uicker than high performance liuid coatings. A high performance liuid coating with appropriate primer will retain its color, be more durable and be easier to inpaint losses and undertake repairs if necessary. All liuid coatings should be applied to the specied manufacturers thickness to be eective and dry lm thicknesses should be measured and noted in the archives in addition to the exact paint system. It is also recommended for the collection to reuest sprayed out metal coupons of the colors to keep in the archives so that fading of the colors can be monitored. Matt nishes also tend to fail uicker than gloss coating and are more dicult to maintain. Preservation-Arts.com Page 3 of 4 5.1.d Packet Pg. 83 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Conservation Assessment of Proposed Sculpture ‘From Within’ By Nico Meyer for Clover Park, Dublin Ability to Maintain the Sculpture: Depending on the nal height of the sculpture, an all terrain scissorli may be reuired. It is therefore important to ensure that the pathways and access around the sculpture can accommodate the width of this size of euipment. Hardscaping around the sculpture is recommended. Landscaping: All landscape should be drip system and no sprinklers should be used in the vicinity. Recycled water tends to contain chlorides that can cause ferrous corrosion uickly to form on stainless steel, and also mineral deposits that deposit insoluble white salts on the surface. Overhead trees should be maintained with good clearance. Recommendations: ●Careful structural review and wind study of the area to design footings. ●Increase the height of the column to raise up the bottom of the spinning element to 10 feet to minimize risk of injury. ●Design a stop system for maintenance and in safety situations. ●Allow for scissorli access for maintenance into the landscaping plan. ●Careful photo documentation of the bearing mechanism and detailed guidelines for changing out and lubricating the bearings. ●Stockpiling a set of spare bearings and correct lubricant. ●e use of a high performance liuid coating rather than a powder coat system. Maintenance Budget: Estimated Basic Annual Maintenance: Team of 2 people for 1-2 eight hour days, depending on the number of losses to the paint with documentation, materials and travel: Conservator- 8-16 hours x $120=$960-1,920 Technician- 8-16 hours x $95=$855-$1,520 Documentation: $120 (All terrain Scissorli and pick-up and Delivery: $750 per day)* Depending on nal height of the sculpture Travel: $60-$120 Total if one day’s work : $1,995-$2,745 (Higher amount is additional $750 if a scissorli is needed) Total if two days of work: $3,990-$5,340 (Higher amount is additional $1,350 if a scissorli is needed) *Major repairs will be assessed as they arise and are separate to this. Conclusions: is sculpture reuires some redesign to be safe for the public and maintenance sta, and should be carefully reviewed by a structural engineer. It will reuire annual maintenance to keep the sculpture in good order, and prevent rusting of the metal as paint losses occur, and depending on the nal height of the sculpture additional euipment such as an all terrain boom may be reuired. Preservation-Arts.com Page 4 of 4 5.1.d Packet Pg. 84 Attachment: 4. Art Conservators Evaluation of Colin Selig and Nico Meyer Proposals (Clover Park Art Selection) Page 1 of 7 STAFF REPORT HERITAGE & CULTURAL ARTS COMMISSION DATE: October 10, 2019 TO: Honorable Chair and Commissioners FROM: La Shawn Butler, Parks & Community Services Director SUBJECT: Heritage Park and Museums Annual Report, September 2018 - August 2019 Prepared by: Tyler Phillips, Recreation Coordinator EXECUTIVE SUMMARY: The Commission will receive the annual report on Heritage Park and Museums activities, events, and exhibits conducted September 2018 through August 2019. STAFF RECOMMENDATION: Receive the report. FINANCIAL IMPACT: None. DESCRIPTION: This report includes information and statistics on this year’s exhibits, special events, park visitors, formal tours, volunteer efforts and facility rentals at Heritage Park and Museums and Dublin Camp Parks Military History Center. Dublin’s 10-acre Heritage Park and Museums - which is home to the Murray Schoolhouse Museum, the Kolb House, and other historic properties including Old St. Raymond Church, the Sunday School Barn, and the Dublin Pioneer Cemetery. These historic facilities play a key role in accomplishing the goals of community building and preserving Dublin History. Heritage Park has particular appeal to the oldest and youngest segments of the community. It is an ideal venue for family events as well as fostering interest in, and understanding of, the community’s history and the people of many cultures who have settled here. Dublin’s Camp Parks Military History Center, located at Dublin Camp Parks Reserve Forces Training Area, contains permanent and temporary exhibits that highlight Camp Parks and the City’s shared history. TEMPORARY EXHIBITS 5.2 Packet Pg. 85 Page 2 of 7 In addition to the permanent exhibit at the Murray Schoolhouse, which depicts the journey Dublin’s founders made from Ireland to New York and across the United States to settle here, the Museum presents two smaller temporary exhibits each year. These are researched, built and installed by Staff and volunteers. September 5, 2018 to March 29, 2019, the Murray Schoolhouse Museum’s Little Classroom featured The Dublin Chamber of Commerce’s First 50 Years: 1968-2018. The exhibit included a snapshot of Dublin in 1968, when the Dublin Chamber of Commerce was formed. Visitors had the opportunity to learn about how the Chamber advocated for local businesses and their role in helping Dublin gain a reputation as one of the best cities in California for business owners. April 6, 2019 to August 18, 2019, the Museum’s Little Classroom hosted the Exploring Dublin’s First Inhabitants exhibit. The exhibit focused on a brief look at the people who originally lived here and about their daily lives including horticultural practices and foodways, tools and technology, environmental management, social order and beliefs. Displays included a house model, example s of usable plants and animals, hunting tools and mortars. A portion of this exhibit has been integrated into the permanent exhibit to bolster the previous content on Dublin’s native American inhabitants. COLLECTION MANAGEMENT The museum accepted 18 objects from five individuals and groups. A total of 58 objects have been held on loan by the City of Dublin in the past year. The majority of those objects were on exhibit in the Murray Schoolhouse Museum’s Little Classroom and at the Dublin Camp Parks Military History Center. The spring exhibits were borrowed from the Museum of the San Ramon Valley and the California State Military Museum. One of the panels previously created for the Camp Parks Military History Center went out on exhibit to the Museum on Main and to Challenge Butter. In addition to loaning objects, the California State Military Museum offered their knowledge and time to help put together temporary exhibits at Dublin Camp Parks Military History Center. Heritage Volunteer and DHPA member Steve Minniear offered his time and knowledge to the creation of exhibits at Dublin Camp Parks Military History Center and has donated objects. SPECIAL EVENTS Harvest Fair More than 700 visitors enjoyed traditional fall fun at the Dublin Heritage Park and Museums Harvest Fair on Saturday, October 13, 2018. Highlights included Hands -on History activities, such as tractor-drawn wagon rides, calf roping, gold panning, and apple peeling; as well as bluegrass music by The Dim Lights. The Kolb Truck was on display in the early part of the afternoon. Tours were also given through the Kolb House and the Murray School House Museum. Ghosts of Dublin The fourth annual Ghosts of Dublin event was held at Heritage Park and Museums, Friday, October 19 and 26, 2018. Over 2 80 participants took a flashlight tour through the Dublin Pioneer Cemetery. Those on the tour were treated to stories of the symbolism of some of the artwork on the headstones, as well as life stories of some of 5.2 Packet Pg. 86 Page 3 of 7 Dublin’s pioneers. Music Jams Bluegrass and Irish/Old Time Music Jams are hosted at Heritage Park on alternating Tuesdays. This music jam drop-in program attracts an average of 24 musicians per month. A music jam drop-in fee of $3 is required for musicians to play. Audience members may listen at no charge. VISITORS A visitor’s comparison chart shows the number of people who visited Heritage Park and Museums as part of a formal tour, as walk-in guests during public exhibit hours, or attended a special event at the Heritage Park. Tour guests were co unted and recorded by the tour guide. Volunteers at the Visitor Center in the Murray Schoolhouse recorded the walk-in guests. For ticketed special events, such as Ghosts of Dublin, guest attendance was drawn from ticket sales data. For non-ticketed events, such as the Harvest Fair, Staff working the event estimated the attendance. The Park and Museums have seen a decrease in overall attendance compared to 2017/2018. While school tours decreased slightly, community tour participants increased. Special event attendance decreased due mostly to the cancellation of the Spring Fair and the Holiday Teas. However, the Harvest Fair saw its highest attendance compared to the last couple of years. Museum visitors decreased slightly due to much a high rainy season compared to 2017/2018. Visitor Comparison numbers do not include people visiting Heritage Park for City -run classes (counted in class attendance numbers), private rental functions, or those who may have been walking through the park before or after museum hours. Visitor Comparison September 2017 - August 2018 September 2018 - August 2019 Student Tour Participants 833 533 Community Tour Participants 58 79 Museum Visitors 1,206 1,165 Special Events 1,312 980 Total Visitors 3,409 2,757 *Spring Fair cancelled in 2018 *Holiday Teas cancelled in 2018 HANDS-ON HISTORY Free Hands-on History drop-in activities are offered on the first Saturday of the month. Each month features different themed, hands-on history activities. This year’s themes included seasonal farmyard planting with our Master Gardeners, pioneer living, and learning about early native Americans in this area. The program is marketed on the Shannon Community Center marquee, social media posts, city calendars, the Heritage Park website, seasonal activity guide and email blasts. The event is coordinated with a weekend staff person and teen volunteers. TOURS 5.2 Packet Pg. 87 Page 4 of 7 The City also tracks the number and type of tours. Tours are popular with elementary schools, as third graders study local history. Third graders from Dougherty, Dublin, Green, and Cottonwood elementary schools visited Heritage Park and Museums. Many of the classrooms touring also participated in add-on activities such as old-fashioned laundry, gold panning, calf roping, and tractor drawn wagon rides. Not all schools were able to visit the park this year sighting transportation costs as one of the main reasons. Other groups that participated in the tour program included a group from the Pleasanton Senior Center, Genius Kids daycare programs from Dublin and Pleasanton, and Girl Scouts. Although there were fewer number of schools participating in the tour program, the tour count was higher this past reporting period. Adjustments were made to the tour program to make the tour group sizes smaller, whi ch increased the amount of tours given especially when referring to the elementary schools. This adjustment allowed for a much better experience for the participant. Tours 2018 September 2017 – August 2018 September 2018 - August 2019 Student Tours 21 32 Community Tours 8 6 Totals 29 38 On January 8, 2019 Heritage Park and Museums hosted the winter quarterly meeting of the Bay Area Historic House Museums (BAHHM). Fifteen members attended, representing eight historic house museums from the Bay Area. Staff gave the group a guided tour of the facility. VOLUNTEERS There are 29 registered volunteers at the Heritage Park and Museums. Volunteers are grouped by interest and may choose to participate in a variety of specialized work groups including: Docents/Greeters, Collections and Archives, Gardeners, Photography, Walking-Tours and Tractor and Kolb Truck Volunteers. Staff is actively recruiting volunteers to fill the need for school tours, museum docents, special events and historic vehicle driving. Historic Vehicles Members of the local chapter of the Model A Ford Club of America, Henry’s A’s, have “adopted’ the truck and have agreed to train drivers and maintain the truck. Their experience and expertise will help preserve and expose the truck to the D ublin community. The truck is scheduled to make appearances at city events such as St. Patrick’s Day, Farmers market and Harvest Fair. The historic tractor was used for wagon rides for school tours, two community group tours, two summer camps, and one special event. Staff, and one tractor volunteer provided maintenance. Volunteer Hours Summary Highlights of the volunteer program include: Docent volunteers assisted staff with tours and hands-on history activities for four 5.2 Packet Pg. 88 Page 5 of 7 Dublin schools and six community groups. Twenty volunteers from the U.S. Army, completed general park maintenance projects including raking leaves, collecting garbage, and removing a lot of overgrown ivy from the cemetery. 30 student volunteers from Valley Christian, completed ge neral park maintenance projects including weed removal and raking leaves from the cemetery. More than 60 high school students volunteered over 430 hours of service at various special events. Greeters staffed the museum desk and led public tours during open hours. Three garden committee members, cared for gardens throughout the park, weeding, raking and pruning. They also care for the vegetable garden and museum flower garden. The garden committee tends the grounds once a week, weather and schedules permitting. Approximately 50 volunteers participated in projects at Heritage Park during the annual Dublin Pride community volunteer event. Volunteers assisted staff with weed pulling, raking cemetery clean up, picnic and garden area cleanup, and with the washing of windows on all the historic buildings. Volunteer Hours September 2017 - August 2018 September 2018 - August 2019 Total Hours 1,601 2,001 *The increase in volunteer hours was in large part due to the Harvest Fair returning in 2018. Volunteer Plan Dublin’s Heritage Park and Museums relies on a limited number of active volunteers to assist Staff in caring for the facility, grounds and collection and in providing programs for the public. Heritage Park has over 29 volunteers on its roster, 12 o f which are considered “active,” including four museum docents and greeters, three gardeners, two collection archivists, and one museum curator. The Museum has seen an increase in youth volunteers, but they most often leave after they have completed a set amount of hours. The Museum has also lost several longtime museum docents and vehicle drivers, who have aged out of the program or relocated. Heritage Park and Museums Staff have identified the museum’s immediate volunteer needs and various recruitment avenues and techniques to reach the most needed volunteers. The objectives of a new Volunteer Plan include: Recruit five new docent volunteers by May 2020 and maintain a pool of 10 active docent volunteers through May 2020. Recruit two Kolb Truck drivers and two tractor drivers to drive and maintain both historic vehicles, by March 2020. Schedule low-maintenance, monthly, small community volunteer opportunities, quarterly large group volunteer opportunities, and an annual city-wide volunteer event in conjunction with Dublin Pride, October 2019-September 2020. 5.2 Packet Pg. 89 Page 6 of 7 FACILITY RENTALS Heritage Park and Museums has three facilities available for rent for private events: Old St. Raymond Church, the Sunday School Barn, and the picnic area. Also added to the list this past year was the front lawn adjacent to Donlon way with the rental of the Sunday School Barn with the ability to set up a large tent for outdoor events. This past year a few changes were made to the rental program to help increase interest and make the process easier. Rental facilities became available to book online, the price of the Sunday School Barn was decreased from $170 per hour to $100 per hour for Dublin residents, the picnic tables were made available to separately, and a revised rental brochure was introduced. The package deal was removed from the program and replaced with a 10% discount to renters who rented two or more areas at one time at Heritage Park. Rental Facility Rentals September 2017 - August 2018 September 2018 - August 2019 St. Raymond Church 17 15 Sunday School Barn 21 15 Picnic Rental 2 25 Total Rentals 40 55 DUBLIN CAMP PARKS MILITARY HISTORY CENTER Dublin Camp Parks Military History Center is the newest addition to Dublin’s heritage attractions. The History Center contains a permanent exhibit detailing how the arrival of the military contributed to Dublin’s transformation from a small farming community to the City it is today. The facility is jointly operated by the City of Dublin and Parks Reserve Forces Training Area. Over 290 people signed the guest book at the History Center between September 2018 and August 2019. Temporary Exhibits at Camp Parks November 9, 2018, through May 10, 2019, Camp Parks Military History Center featured the temporary exhibit Parks Air Force Base: 1951-1959. The exhibit explored changes and life on base during the 1950’s, and the effects of the Korean War. May 27, 2019 through November 8, 2019, the History Center’s temporary exhibit is: Spring Sports at Camp Parks. The exhibit highlights all the different sports that Camp Parks has hosted over the years, and the role that sports played in the daily life for those that served and the surrounding community. Special Events at Camp Parks Military History Event: Celebrating Parks Air Force Base: 1951-1959 Sunday, November 18, 2018 Participants had the opportunity to view the new exhibit, meet the curators, enjoy refreshments, and hear stories from military veterans and locals who remember Parks Air Force Base during the 1950’s. Participants also had the opportunity to listen to a lecture on the Korean and Cold Wars given by local historian Steve Minniear. 5.2 Packet Pg. 90 Page 7 of 7 Military History Event: Celebrating Spring Sports at Camp Parks Sunday, June 23, 2019 Community members had the opportunity to spea k with the curators of the exhibit and enjoy light refreshments while given a guided tour. NOTICING REQUIREMENTS/PUBLIC OUTREACH: None. ATTACHMENTS: None. 5.2 Packet Pg. 91