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HomeMy WebLinkAbout2021-06-08 - AGENDA REPORTS - ARTS CULTURE AND VETERANS ASMT (2)10 of sXNTA C< U � CONSENT CALENDAR CITY OF SANTA CLARITA AGENDA REPORT CITY MANAGER APPROVAL: DATE: June 8, 2021 Ju'll J� �' Agenda Item: 10 SUBJECT: AWARD CONTRACT TO PREPARE A NEEDS ASSESSMENT FOR ARTS, CULTURE, AND VETERANS IN SANTA CLARITA DEPARTMENT: Neighborhood Services PRESENTER: Sarona Vivanco RECOMMENDED ACTION City Council: 1. Award a Professional Services Agreement in the amount of $50,150 to The Cultural Planning Group for the development of a needs assessment in the areas of arts, culture, and veterans in the City of Santa Clarita. 2. Increase expenditure account 17000-5161.001 by $50,150; increase General Fund revenue account 100-4621.001 by $25,000; and decrease Council Contingency expenditure account 19300-5401.001 by $25,150. 3. Authorize the City Manager, or designee, to execute all necessary documents, subject to the approval of the City Attorney. BACKGROUND The City of Santa Clarita (City) developed an Arts Master Plan that was adopted by the City Council in March 2016 to serve as a long-term roadmap for cultural development throughout the community. During the development of both the Arts Master Plan and the development of the 2017 Community Arts Center Needs Assessment, members of the community suggested the site located at 22900 Market Street, owned by the County of Los Angeles (County), as an ideal potential location for a community arts center to serve the Santa Clarita Valley. At the time, the Santa Clarita Valley Senior Center (Senior Center) was located on that property. While the plans to move the Senior Center to another site were well underway, it was not known what the building would be used for once it was vacant. Page 1 Packet Pg. 66 The former Senior Center as a community arts center is ideal, as it is located in the Old Town Newhall Arts and Entertainment District. The site is in close proximity to William S. Hart Park (Hart Park), a valuable historic and artistic resource, with the Hart Mansion holding one of the finest collections of Western art in the world. Hart Park has served as the home for the City's annual Cowboy Festival for the last three years, and a community arts center located in Newhall would further enhance Newhall as the hub for artistic and cultural life in the Santa Clarita Valley. In September of 2019, a joint meeting was held between the City Council and County Fifth District Supervisor Kathryn Barger to discuss a variety of topics. At that meeting, there was discussion regarding the feasibility of using the former Senior Center site as an arts center to complement the City's vision for the Newhall Arts and Entertainment District. During the meeting, representatives of local veterans' groups also expressed a desire to use a portion of the former Senior Center for office space. Following the meeting, discussions regarding the facility continued among City and County staff. It was agreed that an assessment of arts, culture, and veterans needs in Santa Clarita was warranted and a consultant was neeeded for this effort. With input from County staff, the City worked to develop a Request for Proposals (RFP), and in January 2021, the County pledged $25,000 toward funding this effort. In order to address these needs, the City conducted a RFP to solicit proposals from qualified consulting firms to develop the needs assessment. The RFP was distributed to 680 vendors on March 24, 2021. There were 47 vendors who downloaded the RFP package, with 4 submitting proposals. The proposals were rated by City and County staff based upon the following criteria: • Consultant qualifications, the plan of study to address the scope of work, and program management (26%) • Vendor's experience in performing similar projects (26%) • Depth of the vendor's proposal, the approach to providing sound services based on the criteria in the Scope of Work, and the ability to provide services to meet the objectives and standards outlined in the RFP (30%) • Cost (18%) A panel of three City staff members and three County staff members evaluated and scored all responsive proposals based on the above criteria. The results are shown below: 1 COMPANY The Cultural Planning Group Keen Independent Research LLC GreenPlay, LLC AMS Planning & Research Corp. LOCATION SCORE San Diego, CA 87.5 Denver, CO 80.3 Louisville, CO 73.5 Southport, CT 70.5 Based on the results of the RFP evaluation and the associated due diligence for review of professional references, it is recommended that The Cultural Planning Group be selected to perform the needs assessment. The assessment will take approximately nine months to complete, Page 2 1 Packet Pg. 67 10 and the City Council will be provided with an update once the needs assessment is final. ALTERNATIVE ACTION Other actions as identified by the City Council. FISCAL IMPACT Upon approval of the recommended action, $50,150 would be made available in expenditure account 17000-5161.001, which includes $25,000 from the County of Los Angeles. Approval of the recommended action would require the use of General Funds from the City Council Contingency Account 19300-5401.001 for Fiscal Year 2020-21. ATTACHMENTS Funding Letter from Supervisor Barger Needs Assessment RFP#NS-20-21-29x (available in the City Clerk's Reading File) AMS Response File - Santa Clarita #NS-2021-29 (available in the City Clerk's Reading File) AMS Cost File #NS-20-21-29-signed (available in the City Clerk's Reading File) CPG Response File RFP#NS-20-21-20x (available in the City Clerk's Reading File) CPG Cost File (available in the City Clerk's Reading File) GP Proposal NS-20-21-29 (available in the City Clerk's Reading File) GP Cost Proposal NS-20-21-29 (available in the City Clerk's Reading File) Keen Independent Response (available in the City Clerk's Reading File) Keen Independent Cost (available in the City Clerk's Reading File) Page 3 Packet Pg. 68 10.a I BOARD OF SUPERVISORS COUNTY OF LOS ANGELES 869 KENNETH HAHN HALL OF ADMINISTRATION / LOS ANGELES, CALIFORNIA 90012 Tel: 213-974-5555 Fw 213-974-1010 KATHRYN BARGER SUPERVISOR, FIFTH DISTRICT January 22, 2021 Frank Oviedo Assistant City Manager City of Santa Clarita 23920 Valencia Blvd, Suite 300 Santa Clarita, CA 91355 De l o: I am pleased to inform you that City of Santa Clarita will be receiving $25,000.00 for a request for proposal (RFP) to commission a consultant for recommendations for the development of an Arts and Veterans Center. I look forward to a strong partnership and collaboration on this project. The Executive Office of the Board of Supervisors will be sending you documents that will need to be signed and returned in order for you to receive the allocation. If you have any questions, feel free to contact Stephanie English at (661) 287-3657 or e-mail her at senglish@bos.lacounty.gov. Thank you for the work that you do on behalf of the residents of Los Angeles County. Sincerely, �KATHR �BARGER upervisor, Fifth District ►t _ ANTELOPE VALLEY EAST SAN GABRIEL VALLEY SAN FERNANDO VALLEY SAN GABRIEL VALLEY SANTA CLARITA VALLEY 2455 10th Street West, Suite 104 615 East Foothill Boulevard, Suite A 21943 Plummer Street 215 N Marengo Avenue, Suite 120 27441 Tourney Road, Suite 1 by Lancaster, CA 93534 San Dimas, CA 91773 Chatsworth, CA 91311 Pasadena, CA 91101 Santa Clarita, CA 91355 (661) 726-3600 (909) 394-2264 (818) 993-5170 (626) 356-5407 Packet rPg. 69 ���� SANT�q C� � C7 � g OGyD�D 7$ �EGEM�E4�4� "Goip-, "WAIM �LI �. ol��� ^�• " t M�� Needs Assessment for Arts/Culture Veterans Center PROPOSAL # NS-20-21-29 SECTION A RFP Information & Instructions CITY OF SANTA CLARITA NOTICE INVITING PROPOSALS Project Name: Needs Assessment for Arts/Culture Veterans Center PROPOSAL M NS-20-21-29 City Project: NS-20-21-29 Bid Opening: April 26, 2021 at 11:00 AM PST Last Day for Questions: April 19, 2021 at 11:00 AM PST Estimated Contract Value: $50,000 License(s) Required: No Project Description: The City of Santa Clarita (City) is seeking to retain the services of a qualified consulting firm, or firms working in partnership, to carry out a comprehensive, multi -faceted Needs Assessment of the entire community as it relates to arts, culture, and veterans. Pre -Bid Meeting: No Prevailing Wage: No Bond Requirements: No Contact Information: Jonathan Cosh (Buyer); Phone: (661) 286-4187; Email: jcosh@santa-clarita.com Specifications for this request for proposals (RFP) may be downloaded from the City's Purchasing website at: www.bidnetdirect.com//cityofsantaclarita. Please refer to specifications for complete details and RFP requirements. The specifications in this notice shall be considered a part of any contract made pursuant thereto. A paper copy of the RFP documents is available upon request in the City Clerk's office, suite 120. RFP Questions must be submitted electronically via the BidNet "Question and Answer" tab. Addenda, if issued by the CITY, will be transmitted on BidNet. Addenda must be digitally acknowledged via BidNet in addition to a printed and signed version submitted with the proposal response. If addenda are not signed and submitted with the proposal response, the submission may be deemed non- responsive and rejected. Dates Published: March 24, 2021 PROPOSAL INSTRUCTIONS PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center 1. SUBMITTING PROPOSALS. 1.1. The response must be submitted on this form and include all forms provided or information requested or required by the scope of work or specifications, (uploaded via BidNet). 1.2. All documentation of unit pricing or other cost breakdowns as outlined in this proposal must be submitted to support the total proposed price. 1.3. Proposals/corrections received after the closing time will not be accepted. The City will not be responsible for proposals not properly or timely, uploaded. Upon award, all submissions become a matter of public record. 2. ADDENDA. The City will not accept responsibility for incomplete packages or missing addenda. It is the vendor's responsibility to monitor BidNet for release of the addenda prior to submission of the quote to make certain the package is complete and all required addenda are included. This information will be available via BidNet. Vendors are cautioned against relying on verbal information in the preparation of proposal responses. All official information and guidance will be provided as part of this solicitation or written addenda. Addenda, if issued by the Agency, will be transmitted via BidNet. Addenda must be digitally acknowledged through BidNet in addition to a printed and signed version submitted with the proposal. If addenda are not signed and submitted with the proposal response, the proposal may be deemed non -responsive and rejected. 3. AWARDS. 3.1. The City reserves the right to waive any informality in any proposal. 3.2. This RFP does not commit the City to award a contract, or to pay any amount incurred in the preparation of the proposal. The City reserves the right to accept or reject all proposals received as a result of this request, to negotiate with any qualified consultant, or to cancel this RFP in part or in its entirety. The City may require the selected consultant to participate in negotiations and to submit such technical, price, or other revisions of the proposal as may result from negotiations. The City reserves the right to extend the time allotted for the proposal, and to request a best and final offer, should it be in its best interest to do so. 3.3. The proposal may be awarded in its entirety as proposed; however, the City reserves the right to award elements of the work, independently, and to do portions "in-house." Additionally, the City reserves the right to award subsequent work on this project based on information presented in this proposal, without recourse to a separate or subsequent RFP process, should it be in its best interest to do so. 3.4. The City may make an award based on partial items unless the proposal submitted is marked "All or none." Where detailed specifications and/or standards are provided the City considers them to be material and may accept or reject deviations. The list of proposals submitted will be posted on BidNet, normally within 24 hours. 4. COOPERATIVE BIDDING. Other public agencies may be extended the opportunity to purchase off this solicitation with the agreement of the successful vendor(s) and the City. The lack of exception to this clause in vendor's response will be considered agreement. However, the City Clarita is not an agent of, partner to or representative of these outside agencies and is not obligated or liable for any action or debts that may arise out of such independently negotiated "piggy -back" procurements. DELIVERY. Unless otherwise specified, delivery shall be D.D.P., the City of Santa Clarita, site of user division and contract delivery may begin no later than fifteen (15) calendar days from receipt of order. 6. INVOICES. Invoices will be forwarded to: City of Santa Clarita NS - Administration Attn: Sarona Vivanco 23920 Valencia Blvd. Ste. 295 Santa Clarita, CA 91355-2196 Invoices will reflect the purchase order # and goods or service delivered in accordance with the terms of the contract. Invoice processing begins on receipt of the material or invoice, whichever is later. 7. PREPARATION. All proposals and required forms must be uploaded as laid out in the BidNet General Attachments Section. 8. REJECTION. The City reserves the right to reject any or all proposals and to waive any informality in any proposal. The City may reject the proposal of any vendor who has previously failed to perform properly, or complete on time, contracts of a similar nature, or to reject the proposal of a vendor who is not in a position to perform such a contract satisfactorily. The City may reject the proposal of any vendor who is in default of the payment of taxes, licenses or other monies due to the City of Santa Clarita. 9. RENEWAL AND PRICING ADJUSTMENT. Contracts entered into pursuant to this RFP may be renewed annually, one time, in accordance with the terms of the contract. If not otherwise stated, the contract may be renewed if the new pricing of the contract does not change more than the Consumer Price Index - All Urban Consumers (not seasonally adjusted), Los Angeles Area -Riverside -Orange county area and prevailing wage rates, if applicable. The index level for the month preceding the month of solicitation advertisement will become the beginning index. The price adjustment limit will be the percentage change based on the difference between the beginning level or the adjustment level last used and the index level for the period 90 days prior to the award anniversary. The final adjusted amount will be determined by purchasing staff. If a price adjustment is not requested prior to the award anniversary date, the previous year's rates will apply. 10. SUBCONTRACTORS. For all projects, the proposer must list any subcontractors/subconsultants that will be used, the work to be performed by them, and total number of hours or percentage of time they will spend on the project. Each Proposer must submit with their proposal the following: • The Full name of each subcontracting firm as required by Government Code, Sec. 4201, typed or legibly printed. • The address of each firm. • The telephone number at the place of business. • Work to be performed by each subcontracting firm. • Total approximate dollar amount of each subcontract. • Submit the "Designation of Subcontractors" form enclosed herewith. No Contract shall be considered unless such list is submitted as required. 11. TERMINATION. The City may terminate any purchase, service or contract with or without cause either verbally or in writing at any time without penalty. The City of Santa Clarita's "Terms and Conditions" is found on a separate attachment in BidNet. DOCUMENTS CHECKLIST PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center In addition to the items requested for the proposal the following documents are required to be completed and submitted by the proposer. The following documents must be provided by ALL bidders: Uploaded via BidNet (see Section C) ❑ Response File ❑ Cost File (to be submitted separately from Response File) ❑ Notice to Bidders Regarding Contractual Requirements ❑ Designation of Subcontractors/Subconsultants ❑ References ❑ Acknowledgement and Acceptance of Scope of Work ❑ All signed addendums (if any) — Digitally acknowledged on BidNet in addition to uploaded via BidNet The following documents must be provided by the AWARDEE ONLY (With Agreement) Delivered to City Hall, Attn: Sarona Vivanco ❑ Professional Services Agreement ❑ Insurance Required by Contract ❑ W-9 Form SECTION B Solicitation Information SCOPE OF WORK PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center EVENT DATE Solicitation advertisement March 24, 2021 Last day for questions April 19, 2021 Return of proposals April 26, 2021 Evaluation of proposals April 26 — May 7, 2021 Interviews (if necessary) April 26 — May 7, 2021 Contract award May 25, 2021 The City of Santa Clarita (City) is seeking to retain the services of a qualified consulting firm, or firms working in partnership, to carry out a comprehensive, multi -faceted Needs Assessment of the entire community as it relates to arts, culture, and veterans (Needs Assessment). The Needs Assessment will guide the City in partnership with the County of Los Angeles' (County) efforts in determining how to proceed with planning, funding, creating, and programming a future Arts/Culture and Veterans Center. The City, in partnership with the County, is seeking a consultant who has led previous such assessments, and has strong experience conducting surveys for municipalities and community outreach. As this Needs Assessment has several areas of focus, the ideal consulting firm will have experience in arts and community services, and experience in services related to veterans affairs, or the ability to research and develop meaningful collaboration and outreach with related associations and veterans community. 1. BACKGROUND 1.1. The City of Santa Clarita is a suburban community located north of the City of Los Angeles and is the third largest city within the County of Los Angeles. The City was incorporated in 1987, currently has a population of approximately 225,000 residents, and is comprised of approximately 71 square miles. The Santa Clarita Valley, including the City and the surrounding unincorporated areas, encompasses 520 square miles with a population of approximately 300,000 residents. As the community grows and the demographics and interests change, current and future needs of the community must be evaluated to ensure the City and County continue to meet the needs of the community. 1.2. Arts and Culture - The City has provided arts and cultural programming since its early years as a municipality. The Concerts in the Park series began in 1989 and the Cowboy Festival began in 1994. The City adopted its first cultural plan in 1998. A central recommendation of that plan was for the City to serve as the lead arts agency for the Santa Clarita Valley community. In line with this plan, the City created the Arts and Events Office in 2003, and formed the Arts Commission in 2009. The budget of the Arts and Events Office has grown to $3.8 million and programs have expanded in scope and scale to include new events, arts education, public art, grants, and a new theatre - the MAIN. Additionally, the City has addressed the cultural facilities needs of the community by contributing funding towards four facilities, three of which are owned and operated by other organizations: the Santa Clarita Performing Arts Center at College of the Canyons, the Canyon Theatre Guild, and the Newhall Family Theatre for the Performing Arts, as well as the Repertory East Playhouse, which is now operated by the City under the name The MAIN. In 2016, the City of Santa Clarita's City Council adopted the Arts Master Plan to serve as a long-term roadmap for cultural development throughout the community. One of the recommendations from the Arts Master Plan was to explore future development of a community arts center, oriented to the needs of community -based arts organizations and lifelong learning in the arts. Since adoption of the Arts Master Plan, the City has garnered support from the County of Los Angeles (County) to support this recommendation by conducting a Needs Assessment. As part of the Arts Master Plan's community engagement process, some of the key relevant findings included: • Santa Clarita residents are personally very active in their arts and cultural interests. • Santa Clarita loses audience to other cities for most types of cultural activities and has strong demand for additional offerings provided in the community. • Santa Clarita residents express strong interest in celebrating history and cultural heritage as well as more sophisticated, contemporary experiences. • Children are very involved in arts activities both in and outside of school. • There is a strong desire for enhanced arts and cultural opportunities for children and youth. • There is demand for additional class offerings for both children and adults. • Arts and culture are seen as an excellent way to promote diversity and inclusion. • It is important to acknowledge and support Santa Clarita's artists and creatives (e.g., design professionals, film industry professionals, owners of small businesses in creative industries) as a foundation for the community's cultural development. 1.3 Veterans - The City of Santa Clarita has a strong veteran community. In 2000, the City of Santa Clarita's City Council raised funds for the design and construction of a Veterans Historical Plaza, which was opened in 2006. More recently in 2017, the Fallen Warriors monument was added to the Veterans Historical Plaza to honor the residents who died in combat or as a result of their service in active war zones during World War I, World War II, Korea, Vietnam, Iraq, and Afghanistan. The City continually honors its veterans through the annual Memorial Day and Veterans Day events, the Engraved Bricks program at the Veterans Historical Plaza, a donation to the Homes for Families housing project, and with the Hometown Heroes Banner program. 1.4 Los Angeles County Department of Arts and Culture - The mission of the Los Angeles County Department of Arts and Culture (Department) is to advance arts, culture, and creativity throughout Los Angeles County. The Department provides leadership, services, and support in areas including grants and technical assistance for nonprofit organizations, countywide arts education initiatives, commissioning and care for civic art collections, research and evaluation, access to creative pathways, professional development, free community programs, and cross -sector creative strategies that address civic issues. The Civic Art Division works with leading and emerging artists, County departments, and communities to create artworks, design, public engagement activities, exhibitions, temporary art, and event -based programming throughout Los Angeles. Through the County's Civic Art Policy, which allocates one percent of design and construction costs of new County capital projects, 16 permanent civic artworks, and programs at various County facilities in Santa Clarita have been delivered totaling to $1M. Civic Art was a proud funder of the annual William S. Hart Youth Silent Film Making Workshops that ran for four years from 2011-2014. Santa Clarita has the most County fire stations that house civic artworks, including the latest addition of a tryptic series of paintings translated into handcrafted fused glass windows at Fire Station 104. The Arts Education Collective is dedicated to making the arts core in K-12 public education. Castaic Union, Newhall, Saugus Union, and Sulphur Springs Union School Districts are all active participants of this program. The Arts Education Collective is currently providing coaching services to the City of Santa Clarita to support their goal of embedding arts education into their City Cultural Plan. Development of this city-wide strategic plan for arts education will engage representatives from all four K-8 school districts named above, as well as William S. Hart Union High School District. Several school districts located in Santa Clarita are currently receiving Advancement Grant funding from the Arts Ed Collective to expand arts learning to students in their schools. One health service organization received over $13,000 through the Community Impact Arts Grant, and three organizations were awarded a total of four internship positions. Additionally, eight arts organizations received over $170,000 in CARES funding through the COVID-19 Arts Relief Fund. As part of the Board adopted Countywide Cultural Policy, the department is scheduled to do a needs assessment of County investments in arts and culture to identify any gaps in community need, and will also be assessing County space to identify potential County owned sites/facilities for arts uses. The appropriate consultant should be aware of this effort in their research. The Department convenes monthly meetings with local municipal arts agencies, including Santa Clarita. Grant awards made by the Department in 2020 include the following: Organizational Grant Program Amount Area of the County Canyon Theatre Guild $ 20,400.00 Newhall Santa Clarita Artists Association $ 7,500.00 Santa Clarita Santa Clarita Ballet Company $ 16,000.00 Santa Clarita Santa Clarita Master Chorale Inc. $ 12,500.00 Santa Clarita Santa Clarita Valley Youth Orchestra $ 17,400.00 Santa Clarita Santa Clarita Shakespeare Festival $ 5,300.00 Santa Clarita ECAPE $ 19,600.00 Santa Clarita Community Impact Arts Grant Child & Family Center $ 13,450.00 Santa Clarita Arts Internship Program City of Santa Clarita One position Santa Clarita Santa Clarita Shakespeare Festival One position Santa Clarita Canyon Theatre Guild Two positions Newhall COVID-19 Arts Relief Fund The ARTree Community Arts Center $ 15,500.00 Newhall Major Impact Theater $ 16,600.00 Newhall Santa Clarita Shakespeare Festival $ 1,200.00 Santa Clarita Santa Clarita Artists Association $ 15,600.00 Santa Clarita Forge Ahead Arts $ 2,800.00 Santa Clarita Santa Clarita Ballet $ 44,400.00 Santa Clarita Santa Clarita Master Chorale, Inc. $ 44,400.00 Santa Clarita Santa Clarita Valley Youth Orchestra $ 32,200.00 Santa Clarita 1.5 Available County Location - As the Santa Clarita Valley continues to grow, the City looks to partner with other organizations to address changes in broader and more innovative solutions. As a result, the City and County are proposing the former Senior Center as an available location for consideration as a future Arts, Culture and Veterans Center. The former Senior Center is a County -owned property, now a vacant site. The site is comprised of a main building (approximately 13,000 square feet) and a detached accessory building (approximately 1,500 square feet), located at 22900 Market Street in Santa Clarita. 2. OBJECTIVES 2.1. The objective of the Needs Assessment is to obtain information and formulate recommendations for the City's future needs in the areas of arts, culture, and veterans in a report format. The selected consultant will be expected to: • Work closely with City and County staff to assess the current facilities, programming, and services provided for arts and culture and veterans. • Conduct a comprehensive community engagement process. • Complete a Needs Assessment for the proposed Arts/Culture and Veterans Center. 3. SUPPLIER RESPONSIBILITIES 3.1. The tasks, activities and responsibilities that the supplier must perform as a part of this project include, but are not limited to the following: 3.2. The selected firm must familiarize themselves with the demographics of the City, especially with respect to veterans. 3.3. Collaborate and communicate with County and City staff to coordinate the plans, processes, and schedules associated with this project. 3.4. Conduct meetings with County and City staff, and work closely with County and City staff to identify stakeholders. 3.5. Interview stakeholders, which may include members of the City Council, 51h District office, Arts Commission, Parks, Recreation and Community Services Commission, independent artistic stakeholders, County Art Commission, California Institute of the Arts (Cal Arts), and others as needed. 3.6. Interview and gather data from County Veterans Affairs representatives, College of the Canyons Veterans Services, and local veterans' groups, including but not limited to the American Legion, Veterans of Foreign Wars, the Santa Clarita Veteran Services Collaborative, and the Los Angeles County 5th District Veterans Affairs Deputy. 3.7. Data Collection and Analysis —Analyze current available data regarding community offerings and conduct a benchmark study. 3.8. Programming and Required Space Analysis — Complete an assessment of programmatic needs and space and operational requirements to provide sufficient services within available location(s). 3.9. Public Participation — Develop a community -based approach to information gathering that engages community members and stakeholders throughout the Santa Clarita Valley. 3.10. Facilitate focus groups and conduct a minimum of two community meetings. 4. DUE DATES/SCHEDULES/TIMELINES 4.1. The selected firm shall provide schedules of performance or timelines applicable to the responsibilities and deliverables related to this scope of work. 5. REPORTS AND MEETINGS 5.1. The selected firm shall prepare and provide a Draft Needs Assessment Report to City and County staff for review and comment. 5.2. Following the review and comment period, the selected firm shall prepare and provide a Final Needs Assessment Report. The Final Needs Assessment Report for the Arts/Culture and Veterans Center must include, but is not limited to, the following elements: an executive summary, a series of recommendations related to the proposed Arts/Culture and Veterans Center, including identified and prioritized needs to provide sufficient services. The Final Needs Assessment Report should also contain a summary of the public participation conducted. 5.3. Representatives of the selected vendor must be available in -person or via virtual means to present research/findings as required to the Los Angeles County 51h Supervisorial District and County staff and commissions, and to the City of Santa Clarita City Council, City Manager, City staff, and City Commissions. 6. CITY AND COUNTY RESPONSIBILITIES 6.1. The City is responsible for providing any City or County -owned document that the supplier needs to obtain background information for the Needs Assessment. 7. ATTACHMENTS 7.1. City of Santa Clarita Arts Master Plan. 7.2. Site Plan of the former Senior Center location with floorplan and photos. RESPONSE FORMAT AND SELECTION CRITERIA PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center 1. RESPONSE FORMAT -The organization of the response and cost files is described in this section of the RFP. All potential vendors must follow this format. 1.1. RESPONSE FILE: 1.1.1.Introduction - A general introduction and description of the proposal shall be provided. The format of the introduction is at the discretion of the consultant. 1.1.2.References - The consultant shall provide a brief summary of any relevant experience on similar projects. The consultant shall include descriptions of past work illustrating similar studies and projects, including copies or excerpts from at least one comparable study and/or needs assessment. The consultant shall provide a minimum of three references for work completed on similar programs. Each reference must include the name of the agency, the name of the project, the name and contact information of the agency's Project Manager, the dates of the project, the total value of the contract for the project, and a short description of the project, work performed, and outcomes. 1.1.3.Plan of Studv/Scope of Work - Describe the work program. The response shall include a narrative description of the proposed scope of work and a list of the items and reports to be delivered and the services to be provided, including a description of methodology, survey tools, and plans, including estimated timetable for completing project. The description shall also include assessment of expected support from staff. Explain the proposed technical approach that addresses the specific issues identified in this RFP. Provide a description of the relationships between these activities. Include an explanation of any division of work proposed between the consultant and the City. The organization of the plan of study should be as follows: 1.1.3.1. TASK - A one or two sentence overview of a related group of subtasks or activities. 1.1.3.2. SUB -TASK - A detailed description of the work, including the methodology to be performed. The description is generally one to ten paragraphs long, depending upon the complexity of the activities described in the subtask. 1.1.3.3. OUTPUT - A one or two sentence description of the result of this particular activity or sub -task. 1.1.3.4. The task, sub -task, and output format should be repeated throughout the plan of study until all proposed work has been described. 1.1.4.Schedule - Describe the time schedule for each proposed task and subtask described in Section 1.1.3 above. Proposed work periods and completion dates, as well as anticipated meeting dates, should also be identified. Proposers can use Sections 3 and 5 of the Scope of Work as a basis for the schedule required in this section. 1.1.5.Program Management - Indicate which method of program management will be used to internally manage and direct this project. Provide the proposed project schedule on a timeline chart according to the selected system. 1.1.6.Personnel, Equipment, and Facilities - Describe the activities of the designated Project Manager and lead/support personnel. Provide a resume for each person named, including their qualifications (education and experience), as well as their relationship and cost to the proposed project activities. Consultants must have the following preferred experience in order to be considered eligible to work on this program: Experience working for other public agencies to undertake similar types of needs assessments; experience in conducting surveys, community outreach, data collection and analysis; experience in conducting public meetings and interacting with elected and appointed officials and professional staff; and possession of the knowledge and skills to conduct a Needs Assessment. 1.1.7.Sub-Consultants - List all sub -consultants proposed for this project and include their qualifications and specific responsibilities. 1.2. COST FILE — Statement of Offer and Signature - The proposal shall be signed by an individual authorized to bind the consultant, shall contain a statement to the effect that the proposal is a firm offer for a 120-day period, and shall contain a statement that the proposed work shall be performed at the "not -to -exceed" price. This shall include all deliverables and meeting attendance as laid out in the scope of work. 1.2.1. Cost file must be submitted separately from the proposal. 2. SELECTION CRITERIA -The overall criteria are listed below. As proposals are considered by the City to be more equal in their technical merit, the evaluated cost or price becomes more important so that when technical proposals are evaluated as essentially equal, cost or price may be the deciding factor. 2.1. SCORING CRITERIA: 2.1.1.Consultant qualifications, Plan of Study/Scope of Work, Program Management 2.1.2.Experience on similar projects 2.1.3.Thoroughness of proposal, approach to providing sound services based upon the criteria in the Scope of Work, and ability to provide services to meet objectives and standards 2.1.4.Cost of materials and services provided as well as discounts offered 2.2. During the selection process, the evaluation panel may wish to interview proposers with scores above a natural break. Should an interview process take place, the results of the interview will carry greater weight in the selection process. Following the scoring process, City and County staff will formulate a recommendation of the most qualified proposer. This recommendation will be provided to the Citv Council, who will ultimatelv select the vendor. The City reserves the right to select solely on the basis of the proposals without further contact. SECTION C Forms NOTICE TO PROPOSERS REGARDING CONTRACTUAL REQUIREMENTS PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center 1. SUMMARY OF CONTRACT REQUIREMENTS a. A contract is required for any service performed on behalf of the City. Contract language will be negotiated upon acceptance of proposal and prior to commencement of work. Work cannot begin until the contract has been fully executed by both parties. 2. SUMMARY OF INSURANCE REQUIREMENTS a. These are the Insurance Requirements for Consultants providing services or supplies to the City. By agreeing to perform the work or submitting a proposal, you verify that you comply with and agree to be bound by these requirements. When Contract documents are executed, the actual Contract language and Insurance Requirements may include additional provisions as deemed appropriate by City's Risk Manager. b. You should check with your Insurance advisors to verify compliance and determine if additional coverage or limits may be needed to adequately insure your obligations under this agreement. These are the minimum required and do not in any way represent or imply that such coverage is sufficient to adequately cover the Contractor's liability under this agreement. The full coverage and limits afforded under Contractor's policies of Insurance shall be available to Buyer and these Insurance Requirements shall not in any way act to reduce coverage that is broader or includes higher limits than those required. The Insurance obligations under this agreement shall be: 1—all the Insurance coverage and limits carried by or available to the Contractor; or 2—the minimum Insurance requirements shown in this agreement, whichever is greater. Any insurance proceeds in excess of the specified minimum limits and coverage required, which are applicable to a given loss, shall be available to City. c. Contractor shall furnish the City with original Certificates of Insurance including all required amendatory endorsements and a copy of the Declarations and Endorsement Page of the CGL policy listing all policy endorsements to City before work begins. City reserves the right to require full -certified copies of all Insurance coverage and endorsements. 3. INSURANCE a. General Insurance Requirements i. All insurance shall be primary insurance and shall name City of Santa Clarita as an additional insured. The naming of an additional insured shall not affect any recovery to which such additional insured would be entitled under the policy if not named as an additional insured, and an additional insured shall not be held liable for any premium or expense of any nature on the policy or any extension thereof solely because they are an additional insured thereon. If the operation under this Agreement results in an increased or decreased risk in the opinion of the City's Risk Manager, then Consultant agrees that the minimum limits hereinabove designated shall be changed accordingly upon written request by the Risk Manager. iii. Consultant agrees that provisions of this Section as to maintenance of insurance shall not be construed as limiting in any way the extent to which Consultant may be held responsible for the payment of damages to persons or property resulting from Consultant's activities, the activities of its subconsultants, or the activities of any person or persons for which Consultant is otherwise responsible. iv. A Certificate of Insurance, and an additional insured endorsement (for general and automobile liability), evidencing the above insurance coverage with a company acceptable to the City's Risk Manager shall be submitted to City prior to execution of this Agreement on behalf of the City. v. The terms of the insurance policy or policies issued to provide the above insurance coverage shall provide that said insurance may not be amended or canceled by the carrier, for nonpayment of premiums otherwise, without 30 days prior written notice of amendment or cancellation to City. In the event the said insurance is canceled, Consultant shall, prior to the cancellation date, submit new evidence of insurance in the amounts heretofore established. vi. All required insurance must be in effect prior to awarding this Agreement, and it or a successor policy must be in effect for the duration of this Agreement. Maintenance of proper insurance coverage is a material requirement of this Agreement, and the failure to maintain and renew coverage or to provide evidence of renewal may be treated by the City as a material breach of contract. If Consultant, at any time during the term of this Agreement, should fail to secure or maintain any insurance required under this Agreement, City shall be permitted to obtain such insurance in Consultant's name at Consultant's sole cost and expense, or may terminate this Agreement for material breach. vii. Without limiting any other Consultant obligation regarding insurance, should Consultant's insurance required by this Agreement be cancelled at any point prior to expiration of the policy, Consultant must notify City within 24 hours of receipt of notice of cancellation. Furthermore, Consultant must obtain replacement coverage that meets all contractual requirements within 10 days of the prior insurer's issuance of notice of cancellation. Consultant must ensure that there is no lapse in coverage. b. General Liability and Property Damage Insurance i. Consultant agrees to procure and maintain general liability and property damage insurance at its sole expense to protect against loss from liability imposed by law for damages on account of bodily injury, including death therefrom, and property damage, suffered or alleged to be suffered by any person or persons whomsoever, resulting directly from any act or activities of Consultant, its subconsultants, or any person acting for Consultant or under its control or direction, and also to protect against loss from liability imposed by law for damages to any property of any person caused directly or indirectly by or from acts or activities of Consultant, or its subconsultants, or any person acting for Consultant, or under its control or direction. Such public liability and property damage insurance shall also provide for and protect City against incurring any legal cost in defending claims for alleged loss. Such general liability and property damage insurance shall be maintained in the following minimum limits: A combined single -limit policy with coverage limits in the amount of $1,000,000 per occurrence will be considered equivalent to the required minimum limits. c. Automotive Insurance i. Consultant shall procure and maintain public liability and property damage insurance coverage for automotive equipment with coverage limits of not less than $1,000,000 combined single limit. If Consultant does not use automobiles in performing its work under this Agreement, Consultant shall provide a waiver releasing City from all liability resulting from Consultant's use of personal vehicles under this Agreement. d. Worker's Compensation Insurance i. Consultant shall procure and maintain Worker's Compensation Insurance in the amount of $1,000,000 per occurrence or as will fully comply with the laws of the State of California and which shall indemnify, insure, and provide legal defense for both Consultant and City against any loss, claim, or damage arising from any injuries or occupational diseases happening to any worker employed by Consultant in the course of carrying out this Agreement. ii. Waiver of Subrogation: The insurer(s) agree to waive all rights of subrogation against City, its elected or appointed officers, officials, agents, volunteers and employees for losses paid under the terms of the workers compensation policy which arise from work performed by Consultant for City. Questions and requests for modification of these terms must be negotiated and approved prior to contract execution and are at the full discretion of the City. I have read and understand the above requirements and agree to be bound by them for any work performed for the City. Authorized Signature: Printed Name: Date: DESIGNATION OF SUBCONTRACTORS/SUBCONSULTANTS PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center Subcontractor DIR Registration No. Dollar Value of Work Age of firm: BR -Yee IS Annual Gross Receipts: Location and Place of Business Bid Schedule Item No's: Description of Work License No. Exp. Date: / / I Phone ( ) Subcontractor DIR Registration No. Dollar Value of Work Age of firm: P°C-Y2e IS Annual Gross Receipts: Location and Place of Business Bid Schedule Item No's: Description of Work License No. Exp. Date: / / I Phone ( ) Subcontractor DIR Registration No. Dollar Value of Work Age of firm: P°C-Y2e IS Annual Gross Receipts: Location and Place of Business Bid Schedule Item No's: Description of Work License No. Exp. Date: / / I Phone ( ) REFERENCES PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center City of Santa Clarita, California The following are the names, addresses, and telephone numbers of three public agencies for which proposer has performed work of a similar scope and size within the past 3 years. If the instructions on this form conflict with the references requested in the scope of work, the scope of work shall govern. Complete this form out accordingly. Fill out this form completely and upload it with your proposal. 1. 2. 3. Name and Address of Owner / Agency Name and Telephone Number of Person Familiar with Project Contract Amount Type of Work Date Completed Name and Address of Owner / Agency Name and Telephone Number of Person Familiar with Project Contract Amount Type of Work Date Completed Name and Address of Owner / Agency Name and Telephone Number of Person Familiar with Project Contract Amount Type of Work Date Completed The following are the names, addresses, and telephone numbers of all brokers and sureties from whom Proposer intends to procure insurance bonds: ACKNOWLEDGEMENT & ACCEPTANCE OF SCOPE OF WORK PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center By providing the three (3) required signatures below, the Consultant acknowledges full understanding, complete agreement to, and accepts in its entirety, all Scope of Work for the Needs Assessment for Arts/Culture Veterans Center. The Consultant will be expected to perform maintenance practices and uphold the standards herein to the established Scope of Work throughout the length of the contract. Company: Name (Print): Email: *Supervisor's Signature: *Estimator's Signature: *Owner's Signature: *All three signatures required Address: Company Phone No.: Date: Date: Date: SECTION D Sample Contract SAMPLE ONLY Council Approval Date: Agenda Item: Contract Amount: PROFESSIONAL SERVICES AGREEMENT BETWEEN THE CITY OF SANTA CLARITA AND FOR CON-6 This AGREEMENT by and between the .CITY OF SANTA CLARITA, a municipal corporation and general law city ("CITY") and , a 4 -4lly ("CONSULTANT"), and is dated 1. CONSIDERATION. (A) As partial consideration, CONSULTANT agrees to perform the Services listed in the SCOPE OF SERVICES, below; and I (B) As additional consideration, CONSULTANT and CITY agree to abide by the terms and conditions contained in this Agreement; and (C) ll's additional consideration, CITY agrees to pay CONSULTANT a sum not to exceed dollars ($ 1 ) for CONSULTANT's Services. CITY may modify this amount as set forth belo Unless otherwise specified by written amendment to this Agreement, CITY will pay this sum specified in the attached Exhibit(s) " " which is/are incorporated by refer 2. SCOPE OF SERVICES. (A) CONSULTANT will perform Services listed in the attached Exhibit(s) " " which is/are incorporated by reference. (B) CONSULTANT will, in a professional manner, furnish all of the labor, technical, administrative, professional and other personnel, all supplies and materials, equipment, printing, vehicles, transportation, office space and facilities, and all tests, testing and analyses, calculation, and all other means whatsoever, except as herein otherwise expressly specified to be furnished by CITY, necessary or proper to perform and complete the Services and provide the professional Services required of CONSULTANT by this Agreement. 3. PERFORMANCE STANDARDS. (A) By executing this Agreement, CONSULT represents that it has demonstrated trustworthiness and possesses the quality, fitness and capacity to perform the Agreement in a manner satisfactory to CITY. CONSULTANT represents that its financial resources, surety and insurance experience, service experience, completion ability, personnel, current workload, experience in dealing with private consultants, and experience in dealing with public agencies all suggest that CONSULTANT is capable of performing the proposed contract and has a demonstrated capacity to deal fairly and effectively with and to satisfy a public CITY. (B) CONSULTANT will perform its Services in a skillful manner, comply fully with all City established criteria, and witi' all applicable federal, state, and local laws, codes, and professional standards. (C) CONSULTANT agrees to comply with all applicable federal and state employment laws regulations and rules including those that relate to minimum hours and wages, occupational health and safety, workers compensation insurance and state, county and local orders. (D) CONSULTANT will staff this Agreement with personnel qualified to adequately and professionally form the Services. (E) CONS T �ot subcontract any portion of these Services without the CITY's prior written appro 1. (F) CITY's approval of any payment, or conducting of any inspection, reviews, approval or oral statements, or any governmental entity's certification, will in no way limit the CONSULITANT's obligations under this Agreement or CONSULTANT's complete responsibility for all Services hereunder. 4. PAYMENV (A) For CITY to pay CONSULTANT as specified by this Agreement and as provided in attached Exhibit(s) " " , CONSULTANT must submit a detailed invoice to CITY which lists the hours worked and hourly rates for each personnel category and reimbursable costs (all as set forth in Exhibit(s) " " ) the tasks performed, the percentage of the task completed during the billing period, the cumulative percentage completed for each task, the total cost of that Services during the preceding billing month and a cumulative cash flow curve showing projected and actual expenditures versus time to date. (B) CITY may withhold all or a portion of payment otherwise due in the event that Services are either improperly or not performed. 5. PROJECT COORDINATION AND SUPERVISION. (A) CONSULTANT will assign as CONSULTANT's Project Manager and will be responsible for job performance, negotiations, contractual matters, and coordination with CITY's Project Manager. CONSULTANT may change its Project Manager only with CITY consent. (B) CITY will assign as CITY's Project Manager, will be personally in charge of and personally supervise or perform the technical execution of the project on a day-to-day basis on behalf of CITY, and will maintain direct communication with CONSULTANT's Project Manager. CITY may change its Project Manager at any time with notice to CONSULTANT. 6. NON -APPROPRIATION OF FUNDS. Payments due and payable to CONSULTANT for current Services are within the current budget and within an available, unexhausted and unencumbered appropriation of the CITY. In the event the CITY has not appropriated sufficient funds for payment of CONSULTANT Services beyond the current fiscal year, this Agreement will cover only those costs incurred up to the conclusion of the current fiscal year. 7. FAMILIARITY WITH SERVICES AND SITE. (A) By executing this Agreement, CONSULTANT represents that it has: (i) Carefully investigated and considered the scope of Services to be performed; and (ii) Carefully considered how the Services should be performed; and (iii) Understands the facilities, difficulties, and restrictions attending performance of the Services under this Agreement. (B) If the Services under this Agreement are to be performed upon any site, or otherwise require CONSULTANT to access a site, by executing this Agreement CONSULTANT represents that it has or will investigate the site and is or will be fully acquainted with the conditions there existing, before commencing the Services under this Agreement. 8. TERM. ! (A) The term of this Agreement will be from to Unless otherwise determined by written amendment between the parties, this Agreement will terminate in the following instances: (1) Completion of the Services specified in Exhibit(s) " ", or (2) Termination pursuant to Section 17 TERMINATION. (B) Except as otherwise separately and expressly provided by the CITY in writing, the provisions of this Agreement shall survive any expiration, breach, or termination of this Agreement, and any completion of the Services. 9. TIME FOMRFORNCE CONSULTANT will not perform any Services under this Agreement until: (A) CONSULTANT furnishes proof of insurance as required under Section 24 INSURANCE; and (B) CITY gives CONSULTANT a written notice to proceed. Should CONSULTANT begin Services on any phase in advance of receiving written authorization to proceed, any such professional Services are at CONSULTANT's own risk. 10. SCHEDULE OF PERFORMANCE AND EXTENSIONS. (A) Should the progress of the Services under this Agreement at any time fall behind schedule for any reason other than excusable delays CONSULTANT shall apply such additional manpower and resources as necessary to bring progress of the Services under this Agreement back on schedule and consistent with the standard of professional skill and c re required by this Agreement. Time is of the essence in the performance of this Agreement. (B) Should CONSULTANT be delayed by causes beyond CONSULTANT's control, CITY may grant a time extension for the completion of the contracted Services. If delay occurs, CONSULTANT must notify the CITY's designated representative within forty-eight hours (48 hours), in writing, of the cause and the extent of the delay and how such delay interferes with the Agreement's schedule. The CITY will exte completion time, when appropriate, for the completion of the contracted Services. 11. CHANGES. CITY may order changes in the Services within the general scope of this Agreement, consisting of additions, deletions, or other revisions, and the contract sum and the contract time will be adjusted accordingly. All such changes must be authorized in writing, executed by CONSULTANT and CITY. The cost or credit to CITY resulting from changes in the Services will be determined in accordancith written agreement between the parties. 12. ADDITIONAL (A) The CITY may reques O SULTANT to provide Services in addition to Scope of Services, called "Additional Servic Additional Services that incur additional costs (contingency) of up to 15% of the total contract amount must be authorized by CITY by change order or other documented means. Costs beyond this amount must first be approved by CITY in accordance with applicable thresholds and procedures. Additional Services must be authorized by CITY in writing prior to performance. CONSULTANT shall be compensated for Additional Services as set fo in Exhibit(s) " " or as specified in the written authorization. (B) NSUJITANT believes Additional Services are needed to complete the Scope of Services, CONSULANT will provide the CITY with written notification that contains a specific description the proposed additional Services, reasons for such additional Services, and a detailed proposal regarding cost. CITY is under no obligation to approve any increase in the agreed -upon costs for the performance of this Agreement. 13. PERMITS AND LICENSES. CONSULTANT, at its sole expense, will obtain and maintain during the term of this Agreement, all necessary permits, licenses, and certificates that may be required in connection with the performance of Services under this Agreement. 14. SITE INSPECTION; DISCOVERY OF HAZARDOUS MATERIALS OR LATENT CONDITIONS. The discovery, presence, handling or removal of hazardous substances is outside of CONSULTANT's expertise, unless otherwise specified in Exhibit(s) " " , and is not included in the scope of Services. Should CONSULTANT discover any hazardous material, or latent or unknown conditions that may materially affect the performance of the Services, CONSULTANT will immediately inform CITY of such fact and will not proceed except at CONSULTANT's own risk until written instructions are received from CITY. 15. PREVAILING WAGES. CONSULTANT shall comply with the California Prevailing Wage Law to the extent it applies to work performed under this Agreement. If applicable, CONSULTANT shall pay prevailing wages to its employees and shall comply with the additional provisions set forth below: (A) CONSULTANT shall pay prevailing wages to its employees on any agreement when required by applicable law. Copies of the general prevailing rates of per diem wages for each craft, classification, or type of worker needed to execute the Agreement, as determined by the Director of the State of California Department of Industrial Relations, are on file at the County's Capital Projects Office and may be obtained from the California Department of Industrial Relations website htti)://www.dir.ca.2ov/OPRL/DPreWas4eDetennination.htm. CONSULTANT shall comply with the 8-hours per day/40 hours per week/overtime/working hours restrictions for all employees, pursuant to the California Labor Code. CONSULTANT and all subconsultants shall keep and maintain accurate employee payroll records for Work performed under the Agreement. The payroll records shall be certified and submitted as required by law, including Labor Code Sections 1771.4 (if applicable) and 1776, including to the Labor Commissioner no less frequently than monthly. CONSULTANT shall comply fully with Labor Code Section 1777.5 in the hiring of apprentices for work relating to the Agreement. (B) CONSULTANT ac, owledges and agrees that it will comply with AB 1768 (effective January 1, 2020), which amended and expanded the definition of "construction" for which prevailing wages must be paid to include "work performed during the design, site assessment, feasibility study, and other pre -construction phases of construction ... regardless of whether any further construction work is conducted... " (C) CONSULTANT shall forfeit, as a penalty to Owner, the penalty or penalties as provided by the California Labor Code, for each laborer, workman, or mechanic employed in performing labor in and about the Work provided for in the Agreement for each day, or portion thereof, that such laborer, workman or mechanic is paid less than the said stipulated rates for any work done under the Agreement by him or her or by any Subconsultant under him or her, in violation of Articles 1 and 2 of Chapter 1 of Part 7 of Division II of the California Labor Code. The sums and amounts which shall be forfeited pursuant to this Paragraph and the terms of the California Labor Code shall be withheld and retained from payments due to CONSULTANT the California Labor Code, but no sum shall be so withheld, retained or forfeited except from the final payment without a full investigation by either the State Department of Industrial Relations or by Owner. The Labor Commissioner pursuant to California Labor Code § 1775 shall determine the final amount of forfeiture. (D) CONSULTANT shall insert in every subcontract or other arrangement which CONSULTANT may make for performance of Work or labor on Work provided for in the Agreement provision that Subconsultant shall pay persons performing labor or rendering service under subcontract or other arrangement not less than the general prevailing rate of per diem wages for work of a similar character in the locality in which the Work is performed, and not less than the general prevailing rate of per diem wages for holiday and overtime work fixed in the California Labor Code. (E) CONSULTANT and Subconsultants must keep accura e payroll records, showing the name, address, social security number, work classification, straiof"time and overtime hours worked each day and week, and the actual per diem wages paid to each journeyman, apprentice, worker, or other employee employed by him or her in connection with the Work of the Agreement Documents. Each payroll record shall contain or be verified by a written declaration as required by Labor Code Section 1776. The payroll records enumerated above must be certified and shall be available for inspection at all reasonable hours at the,;=principal office of CONSULTANT as required by Labor Code Section 1776. This Project is subject to pre cling wage compliance monitoring and enforcement by the Department of Industrial Relations. V 16. WAIVER. CITY's review or acceptance of, or payment fftKrvices or product prepared by CONSULTANT under this Agreement will not be construed to o erate as a waiver of any rights CITY may have under this Agreement or of any cause of action arising from CONSULTANT's performance. A waiver by CITY of any breach of any term, covenant, or condition contained in this Agreement will not be deemed to be a waiver of any subsequent breach of the same or any other term, covenant, or condition contained in this Agreement, whether of the same or different character. 17. TERNIINATION. (A) Termination for Convenience. CITY may terminate this Agreement at any time with or without cause by NVAiggen notice to CONSULTANT. (i) CON LTANT wil be entitled to recover its costs expended up to the termination plus reasonable profit there6n to the termination date not to exceed the total costs under Section 1(C), but may recover no other loss, cost, damage, or expense. (B) Termination for Cause. CITY may terminate this Agreement in whole or part for default should CONSULTANT commit a material breach of this Agreement, and such breach has not been cured within fifteen (15) calendar days of the date of CITY's written notice to CONSULTANT demanding such cure. In the event CITY terminates this Agreement for default, CONSULTANT will be liable to CITY for all costs to cure the deficiencies, and all loss, cost, expense, damage, and liability resulting from such breach and termination. (C) Upon receiving a termination notice, CONSULTANT will immediately cease performance under this Agreement unless otherwise provided in the termination notice. Except as otherwise provided in the termination notice, any Services performed by CONSULTANT after receiving a termination notice will be performed at CONSULTANT'S own cost; CITY will not be obligated to compensate CONSULTANT for such Services. (D) Upon a termination, all finished or unfinished documents, data, studies, surveys, drawings, maps, reports and other materials prepared by CONSULTANT will become CITY's property and CONSULTANT will delivery any such items in its possession to CITY within thirty (30) days of termination. (E) Should the Agreement be terminated pursuant to this Section, CITY may procure on its own terms Services similar to those terminated. 18. OWNERSHIP OF DOCUMENTS. All documents, ta, studies, drawings, maps, models, photographs and reports prepared by CONSULTANT this Agreement are CITY's property. CONSULTANT may retain copies of said documents an in as desired, but will deliver all original materials to CITY upon CITY's written notice. CITY agrees that use of CONSULTANT's Services for purposes other than identified in this Agreement is at CITY's own risk. 19. PUBLICATION OF DOCUMENTS. Except as necessary for performance under this Agreement, CONSULTANT will not release copies, sketches, or graphs of materials, including graphic art services, prepared pursuant to this Agreement to any other person or public entity without CITY's prior written approval. Allpress releases, including graphic display information to be published in newspapers or magazines, will be approved and distributed solely by CITY, unless otherwise provided by written agreement between the parties. 20. INDEMNIFICATION AND LIABILITY. (A) To the fullest extent permitted by laW, CONSULTANT shall defend (with legal counsel reasonably acceptable to CITY), indemnify and hold harmless CITY and its officers, agents, departments, officials, representatives and employees (collectively "Indemnitees") from and against any and all claims, loss, cost, damage, injury (including, without limitation, economic harm, injury to or death of an employee of CONSULTANT or its subconsultants), expense and liability of every kind, nature and description that arise from or relate to (including, without limitation, incidental and consequential Damages, court costs, attorneys' fees, litigation expenses and fees of expertoonsultants or expert witnesses incurred in connection therewith and costs of investigation) that arise from or relate to, directly or indirectly, in whole or in part, from: (1) CONSULTANT's performance of Services under this Agreement, or any part thereof, (including any additional services authorized by CITY in writing) (2) any negligent act or omission of CONSULTANT, any subconsultant, anyone directly or indirectly employed by them, or anyone that they control; (3) any actual or alleged infringement of the patent rights, copyright, trade secret, trade name, trademark, service mark or any other intellectual or proprietary right of any person or persons in consequence of the use by CITY, or any other Indemnitee, of articles or Services to be supplied in the performance of this Agreement; or (4) any breach of this Agreement (collectively "Liabilities"). Such obligations to defend, hold harmless and indemnify any Indemnitee shall not apply to the extent such Liabilities are caused by the sole negligence or willful misconduct of such Indemnitee, but shall apply to all other Liabilities. The foregoing shall be subject to the limitations of California Civil Code section 2782.8 as to any design professional services performed by CONSULTANT and in particular the limitation on CONSULTANT's duty to defend whereby such duty only arises for claims relating to the negligence, recklessness or willful misconduct of CONSULTANT as well as the limitation on the cost to defend whereby CONSULTANT will only bear such cost in proportion to CONSULTANT's proportionate percentage of fault (except as otherwise provided in section 2782.8). (B) The foregoing indemnification provisions will not reduce or affect other rights or obligations which would otherwise exist in favor of the CITY and other Indemnitees. (C) CONSULTANT shall place in its subconsulting agreements and cause its subconsultants to agree to indemnities and insurance obligations in favor of CITY and other Indemnitees in the exact form and substance of those contained in this Agreement. 21. ASSIGNABILITY. This Agreement is for CONSULTANT's professional services. CONSULTANT or any subconsultant's attempts to assign the benefits or burdens of this Agreement without CITY's written approval are prohibited and will be`oull and void. 22. INDEPENDENT CONTRACTOR. CONSULTANt,hatl at all times be deemed an independent contractor wholly responsible for the manner in wh4h it performs the Services, and fully liable for the acts and omissions of j6 employees, subconsultants and agents. Under no circumstances shall this Agreement be construed as creating an employment, agency, joint venture or partnership relationship between CITY and CONSULTANT, and no such relationship shall be implied from performance of this Agreement. Terms in this Agreement referring to direction from CITY shall be construed as providing for direction as to policy and the result of Services only, and not as to means and methods by which such a result is obtained. CONSULTANT shall pay all taxes (including California sales and use taxes) levied upon this Agreement, the transaction, or the Services and/or goods delivered pursuant hereto without additional compensation, regardless of which parry has liability for such tax under4galicable law, and any deficiency, interest or penalty asserted with respect thereto. CONSULT T shall pay all other taxes including but not limited to any applicable City business tax, not explicitly assumed in writing by CITY hereunder. CONSULTANT shall comply with all valid administrative regulations respecting the assumption of liability for the payment of payroll taxes and contributions as above described and to provide any necessary information with respect thereto to proper authorities. CONSULTANT has no authority to bind the CITY. 23. AUDIT OF RECORDS. CONSULTANT will maintain full and accurate records with respect to all Services and matters covered under this Agreement. Those records include, without limitation, correspondence, internal memoranda, calculations, books and accounts, accounting records documenting its services under its Agreement, and invoices, payrolls, records and all other data related to matters covered by this Agreement. CITY and its designees will have free access at all reasonable times to such records, including the right to audit, examine, and make copies, excerpts, and transcripts from such records, and to inspect all program data, documents, proceedings and activities. If CITY receives funds from another governmental entity for the payment in whole or part of the Services, that governmental entity will have all rights the CITY has under this Section. CONSULTANT will retain all records subject to this Section for at least three (3) years after termination or final payment under this Agreement. 24. INSURANCE. [All insurance terms subject to review and approval of City Risk Manager] (A) Before commencing performance under this Agreement, and at all other times this Agreement is effective, CONSULTANT will procure and maintain the following types of insurance with coverage limits complying, at a minimum, with the limits set forth below: Type of Insurance Commercial general liability Professional liability Business automobile liability Workers compensation (B) Commercial general liability insurance will ISO-CGL Form No. CG 00 01 11 85 or 88. The amount o rements of ewill bea combined single limit per occurrence for bodily injury, personal injury, and property damage for the policy coverage. Automobile coverage will be written on ISO Business Auto Coverage Form CA 00 0106 92, including symbol 1 (Any Auto). Liability policies will be endorsed to name CITY, its officials, and employees as "additional insureds" under said insurance coverage and to state that such insurance will be deemed "primary" such that any other insurance that may be carried by CITY will be excess thereto. Such endorsement must be reflected on ISO Form No. CG 20 10 11 85 or 88, or equivalent. Such insurance will be on an "occurrence," not a "claims made," basis and will not be cancelable or subject to reduction except upon thirty (30) days prior written notice to CITY. (C) Professional liability coverage will be on an "occurrence basis" if such coverage is available, or on a "claims made" basis if not available. When coverage is provided on a "claims made basis," CONSULTANT will continue to renew the insurance for a period of at least three (3) years after this Agreement expires or is terminated. Such insurance will have the same coverage and limits as the policy that was in effect during the term of this Agreement, and will cover CONSULTANT for all claims made by CITY arising out of any errors or omissions of CONSULTANT, or its officers, employees or agents during the time this Agreement was in effect. (D) CONSULTANT will furnish to CITY duly authenticated Certificates of Insurance evidencing maintenance of the insurance required under this Agreement, including endorsements, and such other evidence of insurance or copies of policies as may be reasonably required by CITY from time to time. Insurance must be placed with California -admitted insurers with (other than workers compensation) a current A.M. Best Company Rating of at least "A: VIL" (E) Waiver of Subrogation: The insurer(s) agree to waive all rights of subrogation against CITY, its elected or appointed officers, officials, agents, volunteers and employees for losses paid under the terms of the workers compensation policy which arise from wprk performed by CONSULTANT for CITY. y (F) Should CONSULTANT, for any reason, fail to obtain and maintain the insurance required by this Agreement, CITY may obtain such coverage at CONSULTANT's expense and deduct the cost of such insurance from payments due to CONSULTANT under this Agreement or terminate pursuant to contract language. In the alternative, should CONSULTANT fail to meet any of the insurance requirements under the Agreement, City may terminate this Agreement immediately with no penalty. (G) Should CONSULTANT'S insuVhce required by this Agreement be cancelled at any point prior to expiration of the policy, CONSULTANT must notify City within 24 hours of receipt of notice of cancellation. Furthermore, CONSULTANT must obtain replacement coverage that meets all contractual requirements within 10 days of the prior insurer's issuance of notice of cancellation. CONSULTANT must ensure that there is no lapse in coverage. (H) The CITY shall be entitled to any coverage in excess of the minimums required herein. '11 25. INCIDENTAL TASKS. CONSULTAI will meet with CITY monthly to provide the status on the Services, which will include a schedule update and a short narrative description of progress during the past month for each major task, a description of the Services remaining and a description of the Services to be done before the next schedule update. 26. DISPUTEESOLUTION. (A) In the event of any dispute between CONSULTANT and CITY regarding any claim, demand or request by CONSULTANT for time, money, or additional compensation for any reason whatsoever CONSULTANT shall submit to CITY, within 21 days of CONSULTANT's first knowledge of the dispute, a written description of CONSULTANT's claim, demand or request that provides a narrative of the pertinent events, the contractual basis of the CONSULTANT's position, pricing calculations (if applicable) and attaches supporting documentation. CITY will then review the issue and make a decision thereon. If CONSULTANT shall fail to provide timely notice of any such claim, demand or request, then CONSULTANT shall waive is rights to such claim, demand or request, unless CONSULTANT can demonstrate a manifest lack of prejudice to CITY resulting from such late notice. CONSULTANT shall continue its work throughout the course of any dispute, and CONSULTANT's failure to continue work during a dispute shall be a material breach of this Agreement. (B) If the CITY denies CONSULTANT's claim, demand, or request in whole or part and CONSULTANT disagrees, and the claim, demand or request exceeds $50,000 then the parties shall, as a precondition to initiating litigation, submit the dispute claim, demand, or request to the Los Angeles JAMS office for non -binding mediation under the appropriate rules agree to any other dispute resolution process. Nothing herein will li ( obligation to timely submit to CITY a statutory Government Code Cl , in Government Code sections 910 et seq. , 27. NOTICES. All communications to either party by the other part} when received by such parry at its respective name and address as follows: The parties may ONSULTANT's accordance with made If to CONSULTANT: If to CITY: > I City of Santa Clarita ATTN: Kenneth W. Striplin, City Manager 23920 Valencia Boulevard, Suite 300 ATTN: Santa Clarita, CA 91355 Any such written communications by mail will be conclusively deemed to have been received by the addressee three days after deposit thereof in the United States mail, postage prepaid and properly addressed as noted above. In all other instances, notices will be deemed given at the time of actual delivery. Changes may be made in the names or addresses of persons to whom notices are to be given by giving notice in the manner prescribed in this Section. 28. CONFLICT OF INTEREST. CONSULTANT will comply with all conflict of interest laws and regulations including, without limitation, CITY's Conflict of Interest Code (on file in the City Clerk's Office). It is incumbent upon the CONSULTANT or CONSULTING FIRM to notify the CITY pursuant to Section 27 NOTICES of any staff changes relating to this Agreement. (A) In acconithing the Scope of Services of this Agreement, all officers, employees and/or agents of CONSULTANT(S), unless as indicated in Subsection (B), will be performing a very limited and closely supervised function, and, therefore, unlikely to have a conflict of interest arise. No disclosures are required for any officers, employees, and/or agents of CONSULTANT, except as indicated in Subsection (B). Initials of Consultant (B) In accomplishing the Scope of Services of this Agreement, CONSULTANT will be performing a specialized or general service for the CITY, and there is substantial likelihood that the CONSULTANT's Services product will be presented, either written or orally, for the purpose of influencing a governmental decision. As a result, the following CONSULTANT personnel shall be subject to the Disclosure Category "1" of the CITY's Conflict of Interest Code: 29. SOLICITATION. CONSULTANT maintains and warrants that, -it has not employed nor retained any company or person, other than CONSULTANT's bona fide` employee, to solicit or secure this Agreement. Further, CONSULTANT warrants that it has not paid -nor has it agreed to pay any company or person, other than CONSULTANT's bona fide employee, any fee, commission, percentage, brokerage fee, gift or other consideration contingent upon or resulting from the award or making of this Agreement. Should ONSULTANT breach or violate this warranty, CITY may rescind this Agreement without li ity.If 30. THIRD PARTY BENEFICIARIES. CONSULTA 's subc ultants shall agree to be bound to the terms of the Agreement to the extent of their scope of services, including but not limited to, terms regarding indemnity and dispute resolution, and shall agree that CITY is deemed an express third party beneficiaries of their subconsultant agreement. Nothing in this Agreement, however, shall operate to confer such or si 1ar rights or benefits on persons or entities not party to this Agreement. 31. INTERPRETATION. This Agreement was drafted in, and will be construed in accordance with the laws of the StalLof California. The exclusive venue for any action involving this Agreement will be in Los Angeles County. 32. ENTIRE AGREEMENT. This Agreement, and its Attachments, sets forth the entire understanding of the parties with respect to the subject matter hereof. There are no other understandings, terms or other agreements expressed or implied, oral or written. There is/are ( ) Exhibits (s) to this Agreement. To the extent of a conflict between this Agreement and one of the Exhibits, the terms of the Agreement shall take precedence. This Agreement will b'" d inure to the benefit of the parties to this Agreement and any subsequent successors and signs. 33. RULES nco, CTION. Each party had the opportunity to independently review this Agreement with leel. Accordingly, this Agreement will be construed simply, as a whole, and in accordance With its fair meaning; it will not be interpreted strictly for or against either party. 34. SEVERABILITY. If any portion of this Agreement is declared by a court of competent jurisdiction to be invalid or unenforceable, then such portion will be deemed modified to the extent necessary in the opinion of the court to render such portion enforceable and, as so modified, such portion and the balance of this Agreement will continue in full force and effect. 35. AUTHORITY/MODIFICATION. The parties represent and warrant that all necessary action has been taken by the parties to authorize the undersigned to execute this Agreement and to engage in the actions described herein. To the extent of any contingency above the original Agreement amount previously approved by the CITY's City Council, additional Services may be added to this Agreement by an additional authorization executed by both parties. This Agreement may be otherwise modified by written amendment, which generally requires approval of the CITY's City Council. CITY's City Manager, or designee, may execute any such authorization or amendment on behalf of CITY. 36. CAPTIONS. The captions of the sections and paragraphs of this Agreement are for convenience of reference only and will not affect the interpretation of this Agreement. 37. TIME IS OF ESSENCE. Time is of the essence for each and every provision of this Agreement. 38. DELAY. CONSULTANT shall complete all Services required by this Agreement within the times specified in the Agreement, except where (1) an event outside of CONSULTANT's reasonable control causes a delay and (2) CONSULTANT promptly advises CITY of such delay (such prompt notice to occur no more than 15 days after the first occurrence of the delay) Such events shall be limited to: acts of neglect by CITY or CITY's agents or by consultants when acting at CITY's direction; breaches of this Agreement by CITY; Acts of God such as fire and Mood; explosion, acts of terrorism, war and embargo; and other similar causes beyond the Parties' reasonable control. In the event of an excusable delay the City maelect whether terminate this Agreement or extend the time for performance. 39. PROTECTION OF RESIDENT WORKERS. The CITY actively supports the Immigration and Nationality Act (INA) which includes provisions addressing employment eligibility, employment verification, and nondiscrimination. Under the INA` employers may hire only persons who may legally work in the United States (i.e„ citizens and nationals of the U.S., and aliens authorized to work in the U.S.). The employer must verify the identity and employment eligibility of anyone to be hired, which includes completing the Employment Eligibility Verification Form (Form I-9), reviewing required proofs of both identify and employment authorization, and retaining the Form I-9 for the required period_ Updated form I-9 information is available at www.uscis.gov. The CONSULTANT shall establish appropriate procedures and controls so no Services or products under the Agreement will be performed or manufactured by any worker who is not legally eligible to perform such Services or employment. 40. FACSINIILE OR ELECTRONIC TRANSNIISSION OF CONTRACT AND SIGNATURE. The parties agree that this Agreement may be transmitted and signed by facsimile or electronic mail by either/any or both/all parties, and that such signatures shall have the same force and effect as original signatures, in accordance with California Government Code section 16.5 and Civil Code section 1633.7. 41. STANDARD SUPPLEMENTAL PROVISIONS. Notwithstanding Section 32 ENTIRE AGREEMENT above, the following Standard Supplemental Provision(s), attached to this Agreement, is(are) incorporated herein by this reference and takes precedence over any conflicting provision of this Agreement: [Insert name of any applicable SSP(s), and attach only that SSP(s)—omit remaining SSP(s). Insert "None" if applicable. J [SIGNATURES ON NEXT PAGE] IN WITNESS WHEREOF, the parties hereto have executed this contract on the date set forth below. FOR CONSULTANT: Print Name & Title Date: FOR CITY OF SANTA CLARITA: KENNETH W. STRIPLIN, CITY MANAGER City Date: APPROVED AS TO FUM: JOSEPH M. MONTES, CITY ATTORNEY City Attorney Date: Date: SECTION E Attachments xe City of SANTA CLARITA Arts Master Plan City Council Bob Kellar, Mayor Dante Acosta, Mayor Pro Tern TimBen Boydston Marsha McLean, Mayor Laurene Weste Arts Commission Patti Rasmussen Chair Dr. Michael Millar, Vice Chair Gary Choppe John Dow Susan Shapiro City Staff Ken Striplin, City Manager Frank Oviedo, Assistant City Manager Tom Cole, Director of Community Development Rick Gould, Director of Parks, Recreation, and Commuinity Services Darren Hernandez, Deputy City Manager and Director of Administrative Services Robert Newman, Director, Public Works Ingrid Hardy, Recreation and Community Services Manager Phil Lantis, Arts and Events Administrator Stakeholder Committee Kelly Behle, Santa Clarita Public Library Sara Brown, Community Representative Gary Choppe, Arts Commission Jason Crawford, City of Santa Clarita, Economic Development Manager Homayoun Daryani, Small Business Representative Ted Dayton, Visual Arts Representative Carmen Dominguez, College of the Canyons Dr. Tyrone Howard, University of California, Los Angeles Marlee Lauffer, Business Community Representative Dr. Michael Millar, Arts Commission Denise Nelson, California Institute of the Arts Susan Shapiro, Arts Commission (Alternate) Mikee Schwinn, Performing Arts Representative Evelyn Serrano, Artist/Community Activist Murray Siegel, Entertainment Industry Representative Sue Solomon, K-12 Education Representative Rosalind Wayman, Los Angeles County Fifth Supervisorial District Planning Consultants The Cultural Planning Group Jerry Allen, Partner David Plettner-Saunders, Partner Linda Flynn, Research Director www.culturalplanning.com Arts Master Plan Table of Contents ExecutiveSummary ..........................................................................................4 CommunityDescription..................................................................................10 What Do We Mean by "Arts and Culture"?......................................................17 Community Engagement Findings..................................................................20 Arts Funding in California Cities......................................................................26 The Community's Vision for Cultural Development..........................................30 Conclusions....................................................................................................32 The Plan: Recommendations..........................................................................35 1. Public Art.........................................................................................36 2. Old Town Newhall Arts and Entertainment District ............................44 3. Arts Education.................................................................................54 4. Governance of the Arts....................................................................56 5. Cultural Facilities, Venues and Spaces.............................................59 6. Supporting Artists and Arts Organizations........................................63 7. Arts Funding....................................................................................66 8. Creative Economy............................................................................70 9. Marketing the Arts............................................................................73 10. Celebrating Diversity.........................................................................75 Table of All Recommendations...................................................................77 Implementation...............................................................................................83 PlanningParticipants......................................................................................85 The Arts Master Plan document is accompanied by a Research Appendix, a separate document which includes the community survey report, a summary of the AMPED Arts Summit (town hall meeting), notes from visioning exercises and other supporting information. Arts Master Plan Executive Summary Arts Master Plan Executive Summary Introduction and Overview The City of Santa Clarita commissioned this Arts Master Plan in late 2014 to create a new, long-term roadmap for cultural development throughout the community. This plan addresses several areas of specific interest: public art, arts funding, the Newhall Arts District, arts facilities, and the creative economy. It also builds on a two -phased Cultural Arts Master Plan adopted in 1997 and 1998, as well as other documents created under the guidance of the City of Santa Clarita Arts Commission. The City of Santa Clarita has provided vital arts and cultural programming since its early years as a municipality. The Cowboy Festival began in 1994 and Concerts in the Parks before that time. A next phase of municipal cultural development took place following adoption of the City's first cultural plan in 1998. A central recommendation of that plan was for the City to serve as the lead arts agency for the community. In line with that recommendation, the City created the Arts & Events Office in 2003 and formed the Arts Commission in 2009. The budget of the Arts & Events Office has grown to $2.2 million and programs have expanded in scope and scale to include new events, arts education, exhibitions, public art and grants. The City has addressed the cultural facilities needs of the community by contributing funding towards three facilities, all of which are owned and operated by other organizations. Community Engagement in Development of this Plan The Santa Clarita Arts Master Plan is based on extensive community engagement involving approximately 1,250 residents and workers. The community engagement process included: • Stakeholder Committee • Key person interviews • Focus groups • AMPED Arts Summit (Town Hall Meeting) • Community survey 4 Arts Master Plan The plan's Stakeholder Committee (page 1) included community leaders from both the arts and non -arts sectors, seeking to identify ways the arts can partner with other civic interests. Planning participants spanned a diverse range that included longtime and new residents from all areas of the city, Millennial - aged students and workers, parents, educators, small business owners, artists, CalArts faculty and staff, multicultural leaders, realtors, developers, social services, the faith community, and seniors. Key Findings of the Community Engagement • Santa Clarita residents are personally very active in their arts and cultural interests. • Santa Clarita loses audience to other cities for most types of cultural activities and has strong demand for additional offerings provided in the city. • Respondents want more arts festivals, live performances, museums, informal performances, and independent film to be available in Santa Clarita. • The community expresses satisfaction with the quality, variety, availability and affordability of current arts and cultural offerings, while providing valuable messages regarding areas of improvement. • Santa Clarita residents express strong interest in celebrating history and cultural heritage as well as more sophisticated, contemporary experiences. • There is consensus that Old Town Newhall is the cultural heart of the city but also a desire to have cultural activities available in other areas. • Children are very involved in arts activities both in and outside of school. • There is strong desire for enhanced arts and cultural opportunities for children and youth. • There is demand for additional class offerings for both children and adults. • Arts and culture are seen as an excellent way to promote diversity and inclusion. 9 Arts Master Plan • It is important to acknowledge and support Santa Clarita's artists and creatives (e.g., design professionals, film industry professionals, owners of small businesses in the creative industries) as a foundation for the community's cultural development. • There is very high support for the City taking the leadership role in arts and cultural development. • Citizens want to play an active role in the continued development of Santa Clarita's cultural life. • Community members seek better access to information about arts events and activities. Vision Statement The following vision statement is the community's collective definition of successful cultural development in Santa Clarita in the coming decade: The City of Santa Clarita will be recognized as a "city of the arts," where the lives of residents, artists, and visitors are enriched through artistic and cultural experiences. Conclusions The community engagement and vision lead to several conclusions about Santa Clarita's cultural identity and future. First, Santa Clarita has articulated a vision of elevating its cultural life. As a relatively young community, located adjacent to one of the world's cultural capitals, Santa Clarita is coming of age in cultural terms. Its tastes and the scope of its cultural interests have expanded. Its population has grown and diversified. The community's vision is not merely for more but rather an evolution in the way arts and culture fit in the community: increasing the quality and sophistication of local offerings, enabling community creativity, celebrating diverse cultures, and going beyond children and families to meet the needs of young adults. Second, Santa Clarita is also in the process of becoming more than a suburb of Los Angeles. It is transforming into an exurban, regional place proclaiming its own distinct identity. In cultural terms, this is reflected in the community's L Arts Master Plan desire to have more available locally, but beyond this, to establish Santa Clarita as an arts place and destination, and to build on its authentic identity as a Western frontier settlement, longstanding film industry location, and an increasingly sophisticated contemporary community. Third, there is a voice in Santa Clarita favoring greater diversity and inclusion in its cultural life. While still a predominately White population, the community has become more diverse and, as is true throughout southern California, people of all backgrounds embrace cultural diversity. Fourth, the community provided a strong vote of confidence for the City to continue its leadership position in the arts, while sharing it with partners and enabling creative activities of citizens and the creative community. Lastly, while this plan is for more than City action, one focus is to define an appropriate role for the City in meeting the cultural needs of citizens. For the past two decades, the City has focused its municipal resources on building a basic cultural infrastructure for the community: the Arts Commission, a capable local arts agency (the Arts & Events Office), a suite of programs and events, a nascent public art program and carefully targeted investments in cultural facilities. The City can most effectively focus in the coming decade on strategies that meet the evolving cultural interests of citizens and that enable the community as a greater partner in cultural development. The Plan The Santa Clarita Arts Master Plan is organized according to three overarching themes and accompanying focus areas. Theme 1. Enhancing Cultural Vitality in the Community • Public Art • Old Town Newhall Arts and Entertainment District • Arts Education Theme 2. Strengthening Cultural Support Systems • Governance of the Arts • Cultural Facilities, Venues and Spaces 7 Arts Master Plan • Supporting Artists and Arts Organizations • Arts Funding • Creative Economy • Marketing the Arts Theme 3. Fostering Greater Diversity and Inclusion • Celebrating Diversity Arts Master Plan Community Description Arts Master Plan Community Description Santa Clarita is a suburb of Los Angeles and now the third largest city in Los Angeles County. Founded in 1987, the City is comprised of four areas: Canyon Country, Saugus, Newhall, and Valencia. Santa Clarita is part of a geographic region, the Santa Clarita Valley, which includes six additional and adjacent areas in the unincorporated Los Angeles County —Acton, Agua Dulce, Castaic, Stevenson Ranch, Val Verde and West Ranch. Santa Clarita has established a reputation for being a family -friendly, quiet and safe community, with an outstanding collection of quality of life amenities that include parks, recreation, community center and library facilities. The City is also home to signature events that include the annual Cowboy Festival, the AMGEN Tour of California bicycle race, and several youth sports events. The Santa Clarita Valley has a rich and storied history that begins with its indigenous Native Americans and continues through an extraordinary confluence of early California ranching, mining, oil, railroads and movie making. The Tataviam tribe were the valley's first inhabitants, migrating into the Newhall area in the Fifth Century. In the 19th Century, the valley was the site of cattle ranching, the discovery of gold in 1842 in Placerita Canyon, and California's first oil well, in 1876 in Mentyrville. This tiny oil town was home to the longest running oil rig, which was not capped until 1990. 1876 was also the year in which the Southern Pacific Railroad completed the railway connection between San Francisco and Los Angeles with the Golden Spike ceremony at Lang Station, located in the valley, following an heroic engineering feat of digging the San Fernando Tunnel, still used by Metrolink and Southern Pacific trains. In the early 20th Century, Santa Clarita began its long and continuing history with the film industry. William S. Hart, who lived in Newhall, was a film actor active during the 'teens and the 1920s and, during his career, the world's most famous actor. Known as "Hollywood's back lot," the valley provided desirable locations for Westerns, including Hart's, and was the home of early movie studios that included Melody Ranch and Disney's Golden Oak Ranch, both in Placerita Canyon. Many production studios are located in the valley and Disney is currently building new sound stages for ABC Studios at the Golden Oak 10 Arts Master Plan Ranch. Over the decades, the valley has been the location for film and television productions spanning an extraordinary range from Gene Autry westerns to CBS' long -running television series NCIS, currently the world's most -watched television drama. Santa Clarita has been recognized by the Los Angeles Economic Development Corporation as the most business friendly city in Los Angeles County, citing a desirable location along the Interstate 5, a well-educated workforce, favorable taxation policies, affordable lease rates, and a high quality of life. Home to a surprisingly diverse collection of business enterprises, the City identifies five growth clusters among its companies: advanced manufacturing; medical devices and biotech; digital media & entertainment; aerospace and defense; and information technology. Unemployment is among the lowest in Los Angeles County. The Santa Clarita Valley is located in a beautiful natural environment of the high desert, ringed by several mountain ranges and canyons. The Santa Clara River and its watershed are the primary riparian system, flowing into the Pacific Ocean near Ventura. Although dry during much of the year, the river is in a relatively natural state, fed by seasonal rains. The City of Santa Clarita has made a major commitment to preserving and celebrating its natural environment in part through the creation by voter initiative in 2007 of the Open Space Preservation District. The District is a visionary and comprehensive addition to the City's Open Space, Park and Parkland Program and its goals are to preserve natural land from development, create more parks for community usage, and protect rare biological and geological regions. The special assessment paid by City property owners gives the City a seat at the table to purchase land that could otherwise be developed and put pressure on the City's natural resources. Additionally, the Open Space Preservation District greatly assists the City in preserving natural lands, retaining wildlife corridors, and completing the City's greenbelt. The City of Santa Clarita is home to three institutions of higher education, each of which offers arts programs: California Institute of the Arts (CalArts), an internationally prominent art school; College of the Canyons, a vital campus of California's community college network; and Masters College, a nondenominational conservative Christian liberal arts school. 11 Arts Master Plan Santa Clarita's Evolving Population The City of Santa Clarita's population is distinguished by rapid and continuing growth. Total population has risen by more than a third from approximately 150,000 in 2000 to 213,000 in 2015. Population has been driven by infill development as well as annexation. Growth was among the fastest in Los Angeles County during the period 2000 to 2010. Some estimates project growth of the entire Santa Clarita Valley to about a half million people at build out, forming a true exurban area. The population of the City of Santa Clarita has also grown more diverse, with Hispanics rising from 20% in 2000 to 30% in 2010. The African American and Asian American populations, while lower than Los Angeles County and California averages, also increased during that time period. The City's Arts and Cultural Development The City of Santa Clarita has provided arts and cultural programming since its early years as a municipality. The Cowboy Festival began in 1994 and Concerts in the Parks before that time. A next phase of municipal cultural development took place following adoption of the City's first cultural plan in 1998. A central recommendation of that plan was for the City to serve as the lead arts agency for the community. In line with this plan, the City created the Arts and Events Office in 2003 and formed the Arts Commission in 2009. The budget of the Arts & Events Office has grown to $2.2 million and programs have expanded in scope and scale to include new events, arts education, and grants. Also in line with the recommendations of the cultural plan, the City has addressed the cultural facilities needs of the community by contributing funding towards three facilities, all of which are owned and operated by other organizations. In 2001, the City committed $2.4 million towards the $18.3 construction cost of the Santa Clarita Performing Arts Center at College of the Canyons, which opened in 2004 and has an 886-seat proscenium theater and a 100—seat black box space. Under the terms of the City's Memorandum of Understanding (MOU) with the College, the Performing Arts Center makes the theaters available each year for use by Santa Clarita arts organizations. The City also made two facility grants to small-scale theaters in Old Newhall: the Canyon 12 Arts Master Plan Theatre Guild with 280 seats and the Repertory East Playhouse with 81 seats (formerly the Santa Clarita Repertory Theatre). The Arts and Events Office currently has a budget of approximately $2.2 million. Just under half of this budget is spent on staff: there are 8 full time and about 30 part time staff, with emphasis on staffing for events. Also, the Arts and Events Office handles non -arts functions, such as some sporting and community events. The arts and culture portion of the budget of the Arts & Events Office is less than two-thirds of the total, or about $1.4 million, including staff and programs. Within the arts portion, the budget for Arts Grants is $60,000 and $45,000 is for Arts Programs that include performances, arts education, the Arts Exhibits Program (for shows in City Hall, the Library, community rooms and the Valencia Town Center) and other activities. The City pays the College of the Canyons $75,000 per year under the terms of its MOU regarding the Performing Arts Center in exchange for a specified amount of community use of the theater. Arts events produced by the Arts and Events Office include the annual Cowboy Festival, the Art SLAMs/JAM Sessions, Senses and Concerts in the Parks. The public art program is currently voluntary and, under this approach, the City allocates amounts from selected projects in its Capital Improvements Program for art projects. The Arts & Events Office has overseen 16 projects since 2009. These projects are relatively small scale and the largest budget for a completed project to date has been $30,000. Concerts in the Park are the City's longest -running program. Held at Central Park, they have become a well -established and attended feature in the community's cultural calendar. The location is prominent and provides an opportunity for community gathering. However, the park also offers some drawbacks as a venue, since it was not built for performances and requires construction of a portable stage. Also, concerts restrict the park's availability for sports and recreation on Saturdays throughout the summer. The City has fostered arts leadership through the formation first of an Arts Advisory Committee and then the Arts Commission. The five -member Commission is an unusually active, "working" group. The Commission oversaw development of an Arts Blueprint in 2013, a substantive document that 13 Arts Master Plan included analysis and policy recommendations in several focus areas. Each of five commissioners worked with staff on an area of interest. The Commission has begun work on a second phase of the Arts Blueprint but suspended this effort pending development of this Arts Master Plan. Santa Clarita's Arts and Cultural Community Despite its relatively short history as a City, Santa Clarita is home to a small but vital community of arts and cultural organizations and many individual artists and creative professionals. There are 48 nonprofit arts and cultural organizations registered with the IRS and located in the City, ranging from CalArts to small, community -based organizations. About a dozen report annual operating budgets greater than $100,000. The City funded seven local arts organizations through its Arts Grants program in 2013/14. Total contributed revenues of the City's Arts Grant recipients are modest, a collective amount of approximately $200,000, reflecting a challenging local funding environment that possesses few institutional arts grant makers. Perhaps reflecting this less institutional arts ecosystem, Santa Clarita's arts community includes a number of long-standing and highly active community based organizations, and they benefit from a substantial amount of volunteerism. There is a collection of unincorporated or informal organizations in Santa Clarita that celebrate and preserve culturally specific traditions and art forms. There are also a number of non -arts nonprofit organizations, some of which provide arts programs in community settings. The City funded fifteen organizations through its Community Service Grants in 2013/14 and, of these grants, two were arts -related. While there is no census or comprehensive directory of individual artists in Santa Clarita, there is clearly a strong presence of working artists of varied disciplines and media. Ten percent of respondents to the community survey conducted for this plan identified as professional artists. There is also a strong presence of creative professionals working in the fields of design, the film industry, and other commercial enterprises. 14 Arts Master Plan Nonprofit Arts & Cultural Organizations in Santa Clarita Source: National Center for Charitable Statistics (2013114) AHIMSA FESTIVAL FOUNDATION ALLIANCE OF GERMANIC SOCIETIES OF PITTSBURGH ARTREE COMMUNITY ARTS CENTER BIG POND PRODUCTIONS INC BROADWAY BOUND PLAYERS CALIFORNIA INSTITUTE OF THE ARTS CANTORI DOMINO CANYON THEATRE GUILD CULTIVATING CREATIVE MINDS DHM PRODUCTIONS INC ESCAPE ENDEAVOR COMMUNICATIONS INC FLUID WORKS FOUNDATION FOUNDATION FOR US HISTORICAL MONUMENTS HANDSON SANTA CLARITA INC HISTORICAL MINIATURE GAMERS SOCIETY PACIFIC SOUTHWEST KIDS INTERNATIONAL COMMUNICATION FOUNDATION LITHUANIAN HERITAGE SOCIETY MELODY RANCH MOTION PICTURE MUSEUM NATIONAL FLUTE ASSOCIATION INC NATIONAL SOCIETY OF THE DAUGHTERS OF THE AMERICAN REVOLUTION RAGDOLL RESTORATION FOUNDATION REEL LIFE MEDIA INC REPERTORY EAST PLAYHOUSE SANTA CLARITA ARTISTS ASSOCIATION INC SANTA CLARITA BALLET COMPANY INC SANTA CLARITA MASTER CHORALE INC SANTA CLARITA PHILHARMONIC SANTA CLARITA SHAKESPEARE FESTIVAL SANTA CLARITA VALLEY CONCERT BAND SANTA CLARITA VALLEY HISTORICAL SOCIETY SANTA CLARITA VALLEY QUILT GUILD SANTA CLARITA VALLEY YOUTH ORCHESTRA SAUGUS COMMUNITY TELEVISION INC SAUGUS HISTORICAL SOCIETY INC SENIOR THEATER INC SHOWDOWN STAGE CORPORATION SOCIETY FOR THE PRESERVATION & ENCOURAGEMENT OF BARBERSHOP QUARTET SINGING AMERICA SPOTLIGHT ARTS SPURGEON ARCHIVE 15 Arts Master Plan SWADESHI SWEET ADELINES INTERNATIONAL THE SOCIETY FOR ANIMATION STUDIES THEATRE COMPANY OF SAUGUS INC VINTAGE WINGS WEST YOUNGVILLE HIGHWAY HISTORY ASSOCIATION INC 16 Arts Master Plan What Do We Mean by "Arts and Culture"? There are different meanings for the terms "arts" and "culture" and their meanings often change in different contexts. The Santa Clarita Arts Master Plan adopts an expansive, inclusive definition of arts and culture. It includes a range of cultural sectors: high or fine arts as well as popular, ethnic and commercial arts, and historic preservation. A range of people: visual and performing artists, craftspeople, designers, arts educators and cultural practitioners. And a range of cultural events: performances, exhibitions, festivals and celebrations. In addition, in Santa Clarita, it includes creativity found in the film industry and other elements of the creative industries. Adopting a broad notion of creativity as part of Santa Clarita's culture reflects a contemporary sensibility, in which people do not always distinguish between creativity and "the arts." "Arts" has traditionally meant the fine arts: visual arts, music, theater, dance and literature. Choreographer Liz Lerman, winner of a 2002 MacArthur "Genius" Award, describes the shift to a contemporary definition as a vertical hierarchy becoming a level playing field. Using the dance field as an example, ballet used to be on the top of a pyramid, with dance forms such as folk dance and hip hop on the bottom. Now we see all art forms as having similar value but different focuses. Likewise, we now include in our definition of "arts" such art forms as crafts, ethnic, traditional, popular, design and electronic or digital arts. "Culture" is most often defined in anthropological terms. A standard textbook definition is: The system of shared beliefs, values, customs, behaviours, and artifacts that the members of society use to cope with their world and with one another, and that are transmitted from generation to generation through learning. (Bates and Plog, "Cultural Anthropology," McGraw Hill, 1990) 17 Arts Master Plan This is not only a very broad definition, but also one that extends far beyond the boundaries of even an expansive definition of the arts and creativity. The field of arts and culture draws an indistinct circle around its central territory of the arts, and acknowledges other cultural expressions on a case -by -case basis. Community context is one useful key. For example, Charlotte, North Carolina, is the historic and regional home of stock car racing and the NASCAR circuit. Charlotte views this racing as a cultural form and offers tours and events celebrating the races, racing history, and the community's "racing culture." San Jose, California is acknowledged as the world's leading high-tech center, and this has created a special relationship with arts and culture in Silicon Valley. This is explored and celebrated in many ways, through such expressions as the ZER01 Biennial of digital creativity. In Santa Clarita, culture certainly encompasses history and the community's Western heritage. 18 Arts Master Plan U Community Engagement Findings 19 Arts Master Plan Community Engagement Findings The Santa Clarita Arts Plan is based on extensive community engagement involving approximately 1,250 residents and workers. The community engagement process included: • Stakeholder Committee • Key person interviews • Focus groups • AMPED Arts Summit (Town Hall Meeting) • Community survey The plan's Stakeholder Committee (page 1) included community leaders from both the arts and non -arts sectors, seeking to identify ways the arts can partner with other civic interests. Planning participants spanned a diverse range that included longtime and new residents from all areas of the city, Millennial - aged students and workers, parents, educators, small business owners, artists, CalArts faculty and staff, multicultural leaders, realtors, developers, social services, the faith community, and seniors. Key Findings of the Community Engagement Santa Clarita residents are personally very active in their arts and cultural interests. Virtually everyone in Santa Clarita pursues a creative interest: nearly all residents actively participate in arts and cultural activities as well as attend cultural events. Personal participation includes reading novels, taking photographs, and cooking creative dishes or meals. More than half pursue their interests as a hobby or a way to share with friends and family. Residents attend arts and cultural activities most often in community settings —community centers, libraries and places of worship. They also frequently attend live performances at theaters, neighborhood festivals, and informal venues such as a coffee shop, bar or park. all Arts Master Plan Santa Clarita loses audience to other cities for most types of cultural activities and has strong demand for additional offerings provided in the city. Respondents most often leave to attend museums, live performances, art galleries, independent films, arts festivals, and live performances at informal venues such as a coffee shop, bar or park. In fact, they leave Santa Clarita more often than they stay to attend cultural activities. The term for this is audience "leakage." Since people prefer to attend close to home, this is a strong indication of demand in Santa Clarita for nearly all types of cultural activities. It also demonstrates the need for additional cultural facilities and venues in Santa Clarita. Respondents want more arts festivals, live performances, museums, informal performances, and independent films to be available in Santa Clarita. In line with the audience "leakage" described above, respondents express the desire for more of these types of cultural activities in Santa Clarita. This desire has a strong communal dimension, since these activities involve bringing people together for a shared experience. Also noteworthy is the fact that the demand this represents is for both traditional arts attendance —live performances at concert halls or theaters —as well as informal arts attendance —coffee shops, bars, parks. This mirrors a national trend in which citizens seek a richness of experience, including arts and culture, found throughout daily life. While they enjoy ticketed performances and other conventional arts experiences, such as visiting a museum, they increasingly desire art that is spontaneous, participatory and readily available. Events and activities mentioned in this category include a more culturally vibrant Old Town Newhall, public art, art galleries and a local music scene. The community expresses satisfaction with the quality, variety, availability and affordability of current arts and cultural offerings, while providing valuable messages regarding areas of improvement. When asked to rate these four characteristics of arts and cultural offerings in Santa Clarita, 27% to 46% rate them as excellent or good, and 26% to 30% rate them as adequate. There are 24% to 45% who rate current offerings as fair or poor. Coupled with the many comments about the desire for higher quality and greater variety of offerings, these opinions underscore the opportunity to serve more of the community cultural interests with changes to the programs 21 Arts Master Plan provided at the current venues, as well the demand for new programs and venues. Santa Clarita residents express strong interest in celebrating history and cultural heritage as well as more sophisticated, contemporary experiences. Santa Claritans equally value the past and the contemporary. More than three- quarters of respondents agree with these statements, and nearly as many also express the desire for more offerings that appeal to younger adults. This validates the idea that Santa Clarita is aware of its history and Western heritage, as well as having contemporary and next generation tastes. This may also reflect the community's long involvement with the film industry, which is both historic and contemporary. There is consensus that Old Town Newhall is the cultural heart of the city but also a desire to have cultural activities available in other areas. Planning participants consistently identified Old Town Newhall as the area of the city most associated with culture and the place that should be further developed into a vibrant cultural district. At the same time, while Santa Clarita is a relatively compact city, drive times have increased calls for arts and cultural programs closer to other areas of the city, such as Canyon Country and Saugus. This is especially true for children's activities, when parents must drive their children to a location beyond about a ten-minute distance. The desire for activities close to home reflects the general sentiment for informal activities in community settings throughout the city. Moreover, it does not negate the universal perception that Old Town Newhall is the cultural center of the city and that it is and should remain the primary focus of cultural activity. Children are very involved in arts activities both in and outside of school. Santa Clarita's children are as arts -involved as adults. Thirty-eight percent of households have children and 43% of survey respondents have children participating in the arts in school, at home or outside of school (e.g., at a community center, library, a private arts provider, church, etc.). 22 Arts Master Plan There is strong desire for enhanced arts and cultural opportunities for children and youth. Along with high arts participation rates for children in Santa Clarita, there is a strong community sentiment for providing them with more and deeper opportunities. This reflects a shared value that arts are important to a child's education and his/her development. It also reflects the strong value residents place on the arts and seek to impart to young people. Community leaders, parents and educators often articulated the desire to provide not merely more arts activities but richer, sequential and shared experiences that would develop young people's skills, knowledge and connectedness. There is demand for additional class offerings for both children and adults. There was strong demand for a broad range of class offerings. For children, the top three were visual arts, music, and dance. There is also significant demand for classes in theatre, digital arts, filmmaking, singing, creative writing and cultural traditions. For adults, the top choices were visual arts, cultural traditions, music and dance. There is also significant demand for classes in theatre, creative writing, digital arts, singing, and filmmaking. Arts and culture are seen as an excellent way to promote diversity and inclusion. Diversity and inclusion are core values for the City of Santa Clarita and its citizens. Since 1994, the City has had a Human Relations Forum that produces programs to eliminate all forms of discrimination and promote understanding and appreciation of human differences. Nonetheless, many acknowledge persistent divisions in the community arising in part from differences in race and class. This is a common issue in U.S. communities and often arises in cultural plans, since many view the arts as an effective tool to bring together people and communities, and most local arts agencies address cultural diversity in some way. Arts and culture are already used by the City and Santa Clarita's cultural organizations to celebrate diversity, bring together populations and foster increased cultural understanding. Planning participants believe in this approach and called for continued and expanded efforts to use arts and culture as a meeting ground for Santa Clarita's diversity. 23 Arts Master Plan It is important to acknowledge and support Santa Clarita's artists and creatives as a foundation for the community's cultural development. Many planning participants called out the central role of the artist in the cultural life of the community and expressed the desire for enhanced support. Santa Clarita already provides support for artists in myriad ways, from its public art program, to its Arts and Community Service Grants, to its concerts and events. Planning participants highlighted the opportunity to engage artists and creatives in multiple roles, such as serving in leadership positions, projects in the community, enhancing the arts scene, managing arts -related businesses, and providing arts education programs. There is very high support for the City taking the leadership role in arts and cultural development. 87% of residents believe the City should fully support, or take a major part in supporting and expanding, arts and cultural opportunities in Santa Clarita. Their priorities for City action are to: • Provide higher quality arts and entertainment opportunities. • Support nonprofit arts and cultural organizations (facilities, funding). • Support the development of artists in Santa Clarita (live/work space, rehearsals/performance space). • Support after -school and summer activities for children/youth and families. Citizens want to play an active role in the continued development of Santa Clarita's cultural life. Santa Clarita's residents and workers are a relatively engaged population. While they support a lead role for City government in the community's cultural development, they also want to take an active role in that development and in implementing this plan. They mention providing arts programs to the community, teaching, sharing cultural traditions, networks, committees and public/private partnerships as examples of ways to participate. This is already seen in the community through such efforts as the group formed to renovate the Newhall Elementary School Auditorium, private investors creating arts - related businesses in Old Town Newhall and elsewhere, and culturally specific 24 Arts Master Plan celebrations produced by community groups. One interesting possibility is City facilitation of private investment in arts -related businesses (e.g., City assistance in locating space, permitting assistance, and connecting investors with similar interests). Community members seek better access to information about arts events and activities. People have difficulty learning about opportunities that suit their interests. By a large margin, the greatest barrier to their participation is not hearing about what is offered (more than not being interested, traffic and parking, schedules, cost, etc.). While citizens acknowledge that there is a great deal happening, current marketing efforts are not sufficiently successful. Across-the-board, community members describe frustration in identifying useful sources of information and learning about activities in a timely manner. In fact, the most common way people learn about events is word of mouth. This is a common problem among US cities and it is a challenge to overcome the "noise" of many competing marketing messages in people's lives. 25 Arts Master Plan Arts Funding in California Cities Sustainable arts funding is an important issue in this plan, as it is in virtually all arts master plans. Santa Clarita has thus far funded its arts programs primarily from its general fund revenues. What are the available arts funding mechanisms for California cities and where might the City of Santa Clarita look to increase and sustain its arts investments? The following are conclusions of a scan of some California cities. Smaller California cities rely primarily on general funds and program revenues. Cities that Santa Clarita might consider as comparable all rely on general funds for their arts programs. These cities include Ventura, Oxnard, Lancaster, Thousand Oaks, Glendale and Rancho Cucamonga. They also generate program revenues from admissions, class fees and other user fees. Larger California cities rely more on a combination of tourism taxes, general funds and program revenues. Larger municipalities, such as San Diego, San Jose, San Francisco, and Los Angeles County all receive a dedicated portion of their hotel taxes. Some continue to also draw on general funds and generate program revenues Nonprofit "Friends of" fundraising organizations in Southern California are almost all associated with a cultural facility. "Friends of" fundraising organizations are an important source of both capital and operating funds for cultural facilities throughout California. For example, Glendale, Rancho Cucamonga, Thousand Oaks, and Walnut Creek all have nonprofit fundraising organizations that provided capital monies towards the construction and/or endowment of their cultural facilities. They also provide annual operating support, including grants to arts organizations for their use of the facility, that ranges from less than $100,000 to approximately $1 million. This reflects a fundraising truth that donors are often motivated by a commitment to a cultural facility and its role in the community. 0. Arts Master Plan There are no United Arts Funds in California —organizations that conduct United Way -style fundraising from businesses, foundations, and individuals, and re -grant this money to the arts community. United Arts Funds represent the type of arts funding organization that the City of Santa Clarita has been interested in forming. They utilize a communitywide appeal to businesses, foundations, individuals, and sometimes employee giving to raise funds for the arts, and then re -grant those funds to arts organizations, sometimes under a preset formula. These organizations have had great success in some communities in the East, South, and Midwest, notably Charlotte, North Carolina and Cincinnati, Ohio. They have not been successful in California and there are currently no United Arts Funds in the state. One can only speculate on the reasons why United Arts Funds have not prospered in California but it may reflect national trends for cause -related marketing by corporations (contributions intended to advance the business goals of the company, and not for primarily philanthropic purposes) and "venture philanthropy" (contributions where the donor retains a large share of control). Each trend is antithetical to the mission of a united fund, where funds are often re -granted to arts organizations for general operations and where the donor has little control over the use of their contribution. There are a variety of additional municipal funding mechanisms in California for special purposes. Additional funding mechanisms are familiar to those in the field of municipal finance and are sometimes adapted to arts purposes. These include general obligation and revenue bonds for capital projects and percent for art programs Sponsorships are an important source of revenues for special events and festivals. Santa Clarita is already familiar with the use of sponsorships for the Cowboy Festival and other City events. They are a natural way to involve local businesses because of the confluence of interests presented by an attractive and visible cultural program. 27 Arts Master Plan Grants from the State and Federal Governments, and from private foundations, are useful sources of one-time funding. The California Arts Council, National Endowment for the Arts, other federal and state agencies, and some private foundations make grants to cities. It is important to note that these are not a reliable source of annual operating support. However, they can be valuable in capital projects, seed funding, and placemaking projects. Examples of potential grants for Santa Clarita include the National Endowment for the Arts Our Town program (httio://arts.gov/grants- orqanizations/our-town/introduction) and Art Works program (httr)://arts.gov/qrants-orqanizations/art-works/local-arts-aqencies); grant awards in these programs typically range from $20,000 to $200,000. ArtPlace, a collaboration of private foundations and federal agencies, offers grants for creative placemaking(httr)://www.artiDlaceamerica.orq); ArtPlace grant awards range from $50,000 to $500,000. The California Arts Council provides grants to local arts agencies through its Creative California Communities program (www.cac.ca.aov/proarams/ccc.ahr)); grant awards in the most recent year ranged from $23,200 to $67,900. While all these grant programs are competitive, a well - composed proposal that aligns with the priorities of the program can be successful, and many Californian and exurban cities receive grants each year. F..; Arts Master Plan The Community's Vision for Cultural Development M Arts Master Plan The Community's Vision for Cultural Development Several visioning exercises were conducted as part of the planning process for the Santa Clarita Arts Master Plan. Visioning was done by the City Council and Arts Commission during a joint workshop, and by the Stakeholder Committee. In each of these sessions, participants were asked to identify elements of a vision for the community's cultural future, answering the question, "What would success look like?" Participants were asked to take a long view, perhaps ten years; to go beyond a list of needs or wants to focus on larger aspirations; and to identify the desired impact on the community resulting from successful cultural evolution. The collective vision articulated by these processes was corroborated and validated by the community survey and other community engagement. The following vision statement represents the community's collective definition of successful cultural development in Santa Clarita in the coming decade: The City of Santa Clarita will be recognized as a "city of the arts," where the lives of residents, artists, and visitors are enriched through artistic and cultural experiences. 30 Arts Master Plan Conclusions 31 Arts Master Plan Conclusions The community engagement and vision lead to several conclusions about Santa Clarita's cultural identity and future. First, Santa Clarita has articulated a vision of elevating its cultural life. As a relatively young community, located adjacent to one of the world's cultural capitals, Santa Clarita is coming of age in cultural terms. Its tastes and the scope of its cultural interests have expanded. Its population has grown and diversified. The community's vision is not merely for more, but rather an evolution in the way arts and culture fit in the community: increasing the quality and sophistication of local offerings, enabling community creativity, celebrating diverse cultures, and going beyond children and families to meet the needs of young adults. Second, Santa Clarita is also in the process of becoming more than a suburb of Los Angeles. It is transforming into an exurban, regional place proclaiming its own distinct identity. In cultural terms, this is reflected in the community's desire to have more available locally, but beyond this, to establish Santa Clarita as an arts place and destination, and to build on its authentic identity as a Western frontier settlement, longstanding film industry location, and an increasingly sophisticated contemporary community. Third, there is a voice in Santa Clarita favoring greater diversity and inclusion in its cultural life. While still a predominately white population, the community has become more diverse and, as is true throughout southern California, people of all backgrounds embrace cultural diversity. Fourth, the community provided a strong vote of confidence for the City to continue its leadership position in the arts, while sharing it with partners and enabling creative activities of citizens and the creative community. Lastly, while this plan is for more than City action, one focus is to define an appropriate role for the City in meeting the cultural needs of citizens. For the past two decades, the City has focused its municipal resources on building a basic cultural infrastructure for the community: the Arts Commission, a capable 32 Arts Master Plan local arts agency (the Arts & Events Office), a suite of programs and events, a nascent public art program and carefully targeted investments in cultural facilities. In the coming decade, the City can most effectively focus on strategies that meet the evolving cultural interests of citizens and that enable the community as a greater partner in cultural development. These conclusions can guide decision -making about cultural policy as the plan is implemented, as circumstances change, and as new opportunities or challenges arise. 33 Arts Master Plan low The Plan: Recommendations Arts Master Plan The Plan: Recommendations The Santa Clarita Arts Master Plan is organized according to three overarching themes and accompanying focus areas. Theme 1. Enhancing Cultural Vitality in the Community • Public Art • Old Town Newhall Arts and Entertainment District • Arts Education Theme 2. Strengthening Cultural Support Systems • Governance of the Arts • Cultural Facilities, Venues and Spaces • Supporting Artists and Arts Organizations • Arts Funding • Creative Economy • Marketing the Arts Theme 3. Fostering Greater Diversity and Inclusion • Celebrating Diversity 35 Arts Master Plan Theme 1. Enhancing Cultural Vitality in the Community 1. Public Art Public Art Overview The City of Santa Clarita developed several public art projects in the late 1990's and early 2000's, and a more evolved public art program was initiated in 2009, with the formation of the Arts Commission. Since 2009, sixteen works have been commissioned for locations throughout the city. These projects have been created on a one-off basis, with varying budgets and funding sources. The City has not adopted a systematic, percent -for -art program to provide a long-term mechanism to fund public art, although two proposals to enact such a program were researched by staff. It was determined that the community was not ready to support the program at that time. The City has suspended its public art activities pending the completion of the arts master plan process. During the planning process, several other issues relating to public art have emerged: • The desire to make Old Town Newhall a showcase for public art. • The need to develop a systematic approach to funding, commissioning, and approving public art, through the enactment of a percent -for -art ordinance for public projects. • The opportunity to integrate public art and aesthetics into the City's infrastructure. • The current approach to public art produces a series of "one- off" projects that do not reflect an overall vision for the role that public art can play in the artistic development of the city. Since 1959, when Philadelphia passed the first percent -for -art requirement, more than 600 American cities and counties have established public art programs. These programs require that one to two percent of a capital improvement project be devoted to the commissioning or purchase of art to be included in new public projects. Increasingly, this requirement is being extended to new private commercial, industrial and residential development. 0. Arts Master Plan These public art programs are instituted for several reasons. At the most basic level, public art can make public spaces more attractive and enjoyable. Public art can also reflect the history, values and aspirations of a community. In some cases, public art is used to identify neighborhoods or zones within a city, or to mark the entrances to the community. Often public art is used to increase the utilization of public facilities. For instance, dozens of transit agencies across the country have instituted public art programs and have recognized that interesting and well -designed facilities boost ridership. Santa Clarita has many sites and public spaces that would benefit from art treatment, including the Old Town Newhall district, along major transportation corridors and roundabouts, in the City's parks, and at the entrances and gateways to the city and its neighborhoods. When Santa Clarita residents and workers were asked in the community survey what the City should focus on to meet residents' arts and entertainment needs, about one-third of respondents indicated a desire for more public art projects to enliven the cityscape. The Arts Commission has been interested in developing a public art program and has sponsored several events to begin to introduce public art to the community. 37 Arts Master Plan Ways to Improve Public Art 1.1. The City should implement a public art planning and selection process that utilizes peer review and community input during the process to ensure that public art pieces meet the goals of providing enjoyable and attractive public spaces that reflect the character of the community. On the face of it, implementing a public art program seems very straightforward: identify a site, select an artist, commission the design, and install the art. However, public art programs are actually procedurally complex and should be developed by means of thoughtful planning. The planning process can be a vehicle to prepare the community for new public art, with procedures to ensure meaningful community engagement with the projects and avoid unintended controversy. The artist selection process should be similarly modeled after the current approach to projects that are reviewed by the Planning Commission. This model would allow for the Arts Commission to lead the artist selection process by selecting the artist and artwork concept for each identified public art project in the annual work plan, and provides an opportunity for the community or City Council to appeal the Arts Commission's decision. If an appeal is filed, it would be placed on the City Council agenda for consideration, and the City Council would make the final decision. These procedures should be codified in the Percent for Art ordinance that is proposed in Recommendation 1.3. The artist selection process should include the following steps: • The Arts Commission will identify public art projects in their annual work plan (Recommendation 4.2.). The work plan should identify public art projects for the coming year, with details about locations, themes, and the funding needed to successfully achieve the completion of the artworks. The public art section of the annual work plan would be created in conjunction with the Capital Improvement Projects program. • The annual work plan would be reviewed by the Arts Subcommittee of the City Council (Recommendation 4.2.). • The annual work plan would be reviewed and approved by the City Council. mtl Arts Master Plan • The Arts Commission Chair will create an Ad Hoc Artist Selection Committee for each public art project. The Selection Committee should include five members, an Arts Commissioner, a professional public artist, a professional arts administrator, a local professional artist, and a community member. • The Ad Hoc Selection Committee develops a Call for Artist (Request for Qualifications) for the project. • The Call for Artists is shared with the Arts Commission for review and approval. • The Call for Artists is released and publicized regionally and nationally. • The Artist Selection Committee reviews the artist submittals for the project and selects three to five artists to develop their concepts for the project. The number of artists selected should be based on the budget and scope of the project. • The selected artists are paid a portion of the total cost to develop their concepts for the project. • The artists present their concepts to the Selection Committee, who selects one artist/concept to create the art piece. If the Selection Committee does not believe any of the concepts are acceptable, then a new Call for Artists will be released and the process will restart. • The Ad Hoc Artist Selection Committee presents their selection to the Arts Commission for review and approval. If the Arts Commission does not approve the selected artist/concept, then a new Call for Artists will be released and the process will restart. • For thirty days after the Arts Commission approval, any member of the community or City Council can file an appeal. If no appeal is filed, then a contract is signed with the artist and they begin to fabricate their art piece. If an appeal is filed, the project would go to the City Council to review the process and selected artist/concept. If the project is not approved by the City Council, then a new Call for Artists will be released. The committee make-up of the Ad Hoc Artist Selection Committees allows for both peer review, through the representation of the professional public artist, fit Arts Master Plan the arts administrator, and the local professional artist, and provides a community voice through the local artist, the community member, and the Arts Commissioner. It is recommended that the professional public artist and the professional arts administrator be offered a stipend to cover their travel costs, as ideally these representatives would be from outside the Santa Clarita community. 1.2. The City should utilize existing neighborhoods to create thematic areas for public art projects, which will allow for a more consistent and cohesive inventory of artworks. In reviewing the existing public art projects in Santa Clarita, it appears as if there has been an approach that has resulted in little cohesion in the themes of the pieces. The "one off" nature of the projects does not allow for the impact of the artworks to reach their full potential in creating engaging public spaces. A potential solution to this issue is to identify thematic approaches to the public art for various communities within Santa Clarita, and to make sure that the annual public art plan, and the resulting Call for Artists for each project, reflects the identified themes appropriate for each area where the artworks will be installed. During the community engagement for this plan, several priorities for the future were identified, which can serve as themes for various areas of the community. Applying these priorities to the development of future public art projects, it is proposed that the following themes be utilized: • The Newhall area will focus on public art pieces that celebrate Santa Clarita's history and cultural heritage. • The Valencia area will focus on pieces that offer contemporary and abstract art pieces. • The Saugus area will have pieces that celebrate youth and families, and should include works that highlight the cultural diversity of the community. • The Canyon Country area will explore nature, the surrounding open spaces, and the environment. These themes should serve as a guide for future permanent and temporary art pieces during the planning and selection process. It is important to note that Arts Master Plan these themes should not be restrictive in terms of medium or approach. To illustrate this point, a piece developed for Newhall could celebrate the history of the community, but be realized in a contemporary way through the piece's materials or artistic approach. The goal of these themes is to provide a context for the artists to react to, rather than to be a limitation on the creativity of the artists. An exception to the above themes would be in the area of memorials or pieces that recognize the contributions of individuals or groups that have served the community. Projects that serve as memorials should not be restricted to any one area of the community. Santa Clarita is a community that values the service of others, be they veterans, police and firefighters, or community leaders, and it is essential that artworks that celebrate this service should not be limited to one area, but anywhere deemed appropriate. The themes should also not be applied to communitywide or regional art pieces, except as deemed appropriate in the planning process. 1.3. The City should enact a percent -for -art requirement for all new public capital improvement projects. The development of a public art program has been one of the highest priorities expressed by the Arts Commission and key stakeholders. It is recommended that the City enact a percent -for -art ordinance to implement this program. This requirement should apply to all future City Capital Improvement Projects, including, but not limited to, all buildings, structures, streets, bridges, and utilities. It should apply to all new construction and any major renovations that create new or expanded uses for a facility or structure. To the extent permitted, monies generated under this ordinance should be able to be aggregated and/or transferred to any public art project. 1.4. The City should explore extension of the percent -for -art requirement to new private development including commercial, industrial and multi -unit residential projects. The percent -for -art requirement could also be applied to all future private commercial, industrial and multi -unit residential projects with a permit valuation in excess of $1 million. If the private project developer prefers not to place public art within the project, the developer should have an option to deposit 41 Arts Master Plan with the City an amount equal to 1.0% of the permit valuation as an in -lieu fee. Any such fees should be deposited in a segregated public art account for public art elsewhere in the city. Any proposals for public art projects in private development should have prior review and approval of the City's Arts Commission. 1.5. The City should consider issuing a Request for Qualifications for an "on - call" artist to work with various City departments and the Arts Commission to suggest aesthetic enhancement for small-scale public improvements. Until the City adopts a percent -for -arts program, there are some opportunities to begin developing public art pieces in a modest way. Transportation projects present especially rich opportunities for art to enhance the built environment. They are highly visible. Everyone uses them. Without design embellishment, they are usually boring and banal. Potential projects include the entryways to the city, bridges, roundabouts, bus shelters, sidewalks, and sound walls. It is proposed that City departments work with the Arts and Events Office staff to utilize artists to serve as "on -call" advisors on major City projects. This artist would not necessarily or likely produce any artworks. Rather, the artist would work with department staff to develop strategies to incorporate art or aesthetic elements into the projects in the early stages of design. Often this will result in fully integrated design elements. If a concrete wall is included in the project, the artist might suggest embedding a design into the concrete formwork. This approach involves minimal costs, with high aesthetic impact. Using an on -call artist for City projects might entail a budget of $10,000 - $15,000 annually, paying the artist $100/hour for their services on an as needed basis. This is a process that the City has used on several earlier projects. 1.6. The City should create a program of temporary public art. One very successful strategy that has been used in communities beginning a public art program is to install temporary public art projects. Programs such as this have been implemented along the waterfront in San Diego, in downtown Salt Lake City and along the Arizona Canal in Scottsdale. The advantages of this approach are several: the community is introduced to public art in a context where there is no expectation of permanence. A wide variety of art in 42 Arts Master Plan various media, themes, and styles can be presented at relatively modest cost. It provides an opportunity for local and regional artists to display their work in a public setting when that opportunity might not otherwise be available. Typically, the City provides the site and a base or plinth to receive the works. Artists submit designs that are reviewed by a jury of art professionals. Selected artists are paid a small honorarium to cover their materials and costs. The artists install the work that is displayed for a fixed period —six months to a year. At the end of the display period, the artist removes the artwork and a new round of projects begin. This would be an interesting approach to art in Old Town Newhall, along major thoroughfares, or in any of the City parks. This program would involve an initial investment to install the sculpture bases, and would require an annual budget of approximately $30,000 to $40,000 to manage the program and to install 10 to 15 temporary works. It may be possible to find a local sponsor to defray all or part of the cost of such a program. Public Art Recommendations 1.1. The City should implement a public art planning and selection process that utilizes peer review and community input to ensure that public art pieces meet the goals of providing enjoyable and attractive public spaces that reflect the character of the community. 1.2. The City should utilize existing neighborhoods to create thematic areas for public art projects, which will allow for a more consistent and cohesive inventory of artworks. 1.3. The City should enact a percent -for -art requirement for all new public capital improvement projects. 1.4. The City should explore extension of the percent -for -art requirement to new private development including commercial, industrial and multi -unit residential projects. 1.5. The City should consider issuing a Request for Qualifications for an "on - call" artist to work with various City departments and the Arts Commission to suggest aesthetic enhancement for small-scale public improvements (estimated cost $10,000 - $15,000 annually). 1.6. The City should create a program of temporary public art (estimated cost $40,000 - $50,000 annually). 43 Arts Master Plan 2. Old Town Newhall Arts and Entertainment District Description of the Current District Old Town Newhall is Santa Clarita's arts and entertainment district, home to the Repertory East Playhouse, Canyon Theatre Guild, the William S. Hart Museum and the distinctive Old Town Newhall branch of the Santa Clarita Public Library Newhall was the earliest permanent settlement in the Santa Clarita Valley, established in 1876 in conjunction with the construction of the Southern Pacific Railroad. This area was a Western town founded on oil, mining and railroad workers. The community was a stop on the historic Butterfield -Overland Stage route through what is now the Newhall Pass. Newhall is also the site of the original ridge route, portions of which remain north of the City in the community of Castaic. Old Town Newhall consists of 271 acres and is comprised of several parts: two flanking neighborhoods which are separated from one another by the railroad and Downtown; a 15-block Downtown and three existing commercial arterial corridors that each connects back to greater Santa Clarita. Within one mile of Old Town, there is the The Master's College and historic William S. Hart Park. Newhall was originally platted in 1889 into approximately 50 blocks with much of that pattern intact. The Newhall District has been the subject of an area specific plan which was adopted in December 2005 and revised in May 2014. The Specific Plan area consists of a 20-block downtown served by Metrolink commuter rail, a commercial corridor in downtown, two flanking neighborhoods, and an industrial district. Upon build -out, the Specific Plan envisions up to 1,092 new residential units and nearly 1-million square feet of new commercial space. A portion of this growth will be attributed to new development, while some will also include revitalization of existing buildings. There are several goals of the Specific Plan that are relevant to the development of Old Town Newhall as a vibrant arts district: • Making great public places Arts Master Plan • Making great streets • Increasing downtown residents A number of projects were envisioned in the plan, several of which were completed before the demise of the redevelopment authority. The loss of the financing through the Redevelopment Agency has limited progress toward completing these projects. • Mercado and Plaza: This proposed commercial building and civic space will appeal to the community at large in that no such feature exists elsewhere in the City. This building and civic space represent the collection of numerous merchants offering products such as fresh produce and specialty items ranging from food and produce to clothing and cafes. • Museum: This component of civic infrastructure is probably the most exciting and the most challenging to realize because it is regional in scope. However, this museum will serve to broaden the appeal of Old Town Newhall among the greater community of Santa Clarita. Possible types include a Children's or Science - oriented Museum. • Hart Park Gateway and Entrance: The physical relationship between Old Town and Hart Park is weak and proposed for enhancement by the Plan. This project will visually and mentally extend each place into the other. • Main Street Retail and Independent Cinema: The presence of a three to six screen cinema and associated retail will enliven the north end of Main Street while announcing to the regional traffic passing by that something exciting is offered in Old Town Newhall. • Transit -Oriented Housing: There are a few sites, east of the Metrolink Station, in the East Newhall neighborhood, and on Main Street that will provide much needed transit -oriented housing with great proximity to the overall downtown area. This neighborhood is one of several areas in the Plan expected to receive development of the type that appeals to those wanting to live near transit. • William S. Hart Park: This facility, immediately adjacent to Old Town Newhall, contains 265 acres of which 160 are deeded to the County as 'wilderness.' The Park is the former ranch of Mr. Hart and was previously named "Horseshoe Ranch." The Park consists of the wilderness acreage, a picnic and camping area 45 Arts Master Plan with an equestrian trail, a barnyard animal area including a 20- acre bison preserve, a 1910 ranch house, a collection of 19th century buildings known as Heritage Junction, and Mr. Hart's personal residence "La Loma de Los Vientos" (The Hill of The Winds). The Specific Plan seeks to pay further tribute to this legacy and does so in two major ways: a) by addressing the Park's Newhall Avenue frontage and, b) by relocating a historic building to provide a visitor's center to Old Town and Hart Park. • Pardee House: The Pardee House (c. 1890) is proposed to be relocated from Heritage Junction, to the northwest corner of Newhall Avenue and Pine Street. Prior to being moved to Heritage Junction, the building was initially used as a 'Good Templars Hall' in 1890 in Newhall. • Creative Industry District: Production in the arts, culture and entertainment industry is one of the most dynamic segments of the Los Angeles County economy. Frequently, artists and craftspersons in these industries are seeking large-scale industrial live -work space that can serve flexibly as workshops, exhibition space, and as a primary residence. The residential component in this area is purely in service to the business and/or operation on a particular property. Creative industries are compatible with existing industrial activities but suitable locations that recognize this as a compatible land use are increasingly scarce. It is proposed that the existing industrial tracts (blocks 49a and 49b) east of Pine Street and south of the railroad tracks be dedicated to such activity, in a manner that would attract tenants from throughout the region. All of these projects have the potential to contribute to a lively and vibrant Main Street and several of them will help establish the arts and entertainment district as a destination for residents and visitors alike. A number of projects have been completed to date, these include: • Old Town Newhall Library: 30,000 square foot, state -of -the art LEED certified facility which opened September 29, 2012. • Veteran's Historical Plaza: Public plaza hosts annual special events. • Streetscape Improvements: Landscaping and hardscape improvement and pedestrian -friendly amenities provide great opportunities for sidewalk dining, on -street parking for shoppers and a great backdrop for hosting special events. M. Arts Master Plan • Old Town Newhall Roundabout: Completed January 2014 to allow for smoother travel to and from Old Town Newhall, while lessening traffic and emissions. • Pedestrian Improvements: Sidewalks feature landscaped parkways and trees for a charming, pedestrian -friendly aesthetic that buffers the sidewalk from traffic lanes. • Creekview Park: Five -acre community park with great amenities and play areas. • Newhall Community Center: This facility hosts over 30,000 community members annually who are enriched through a wide array of leisure, educational, and arts and cultural programming and events. • Newhall Metrolink Station: The transit station serves 250 train riders and 530 public transit riders each weekday and provides parking for Old Town Newhall. • Small Business Incubator: A collaboration of the City, College of the Canyons and the Small Business Development Center to support creative and technology focused start-up companies. • Hart Park frontage/facade project. The Old Town Newhall district is already an important site for arts and entertainment programming. Recent events sponsored by the Old Town Newhall Association include the Old Town Newhall Car Show, Street Chalk Art, Vintage Christmas, OTN Antique Appraisal, and an Octoberfest celebration. Increasing the level of programming will serve to make Old Town Newhall a more desirable and "sticky" destination for a day or an evening out. The Specific Plan has several recommendations that will be especially important in establishing the Arts and Entertainment District: the proposed museum, the creative industry center and the inclusion of public art. Ways to Improve the District The City has designated Old Town Newhall as its Arts and Entertainment District and has invested in its development in a variety of ways over a sustained period of time. It has provided funding for two of the small theaters on Main Street, built the new library, done streetscaping, and provided arts programming. An independent movie theater is planned for Main Street. 47 Arts Master Plan Nonetheless, the consensus of planning participants and City staff is that the District is not yet fulfilling its potential as the cultural heart of the city There are several things that must happen if Old Town Newhall is to become a more fully realized arts and entertainment district. It needs one or two additional "anchor" cultural organizations, such as a museum and the elementary school auditorium. It needs the presence of working artists. It needs strong public art to establish its arts character. And it needs enhanced arts and entertainment programming. This programming should be eclectic, catering to a wide variety of interests —everything from food truck rodeos to ethnic festivals to crafts fairs to pop-up galleries to live music events. The City should actively facilitate and promote these activities, ensuring that permitting and regulations do not impose barriers. 2.1. The City should explore taking management of the renovated Old Town Newhall Elementary School auditorium and actively program it. This WPA era auditorium has been the subject of community planning for more than twenty years and the charming proposed 583-seat auditorium has great potential to become one of the needed anchor cultural institutions in Old Town Newhall. It is owned by the Newhall Elementary School District, which has secured bond funding to partially fund its renovation. A community group has commenced a $600,000 campaign to complete the needed renovation budget. The School District prefers to not operate the theater although it does want to use it for instructional purposes and is contemplating converting the school into an arts magnet. There are compelling reasons why the City is an excellent choice to manage the Newhall Elementary School Auditorium. The City can be a neutral broker representing the whole community's interests in scheduling its use by community organizations. It also affords the City a relatively inexpensive way to obtain a cultural facility that is historically significant, reinforces the community's unique character, supports the revitalization of Old Town Newhall, and provides much -needed programming for children and families. The theater can be a venue for presenting by the City arts staff as well as a facility used by local arts organizations. It could also be the site for part of the film festival that is recommended later in this section of the plan. M. Arts Master Plan 2.2. Explore planning for a museum in Old Town Newhall. Part of the challenge in creating a successful arts district is achieving the critical mass of activities and venues to ensure that the visitor can have a variety of cultural experiences. A museum would be a second anchor cultural institution. This museum has been recommended in the Old Town Newhall specific plan, which suggests that it could take one of several forms: a center of innovation and creativity, an art museum, a history museum, or a children's discovery museum. A children's museum would guarantee that there are family -oriented activities in the district. Depending on the nature and size of museum planned, capital costs could range from $10 million to more than $100 million, and annual operating costs could range from approximately $1 million to $4 million. 2.3. Develop an ongoing program of public art placement in Old Town Newhall. The Old Town Newhall specific plan identifies several goals for such a program, "In order to create a clearer image for Newhall, public art is to focus on the historic, cultural, and natural character of this community and/or its region." Whatever program is developed, it must provide a balance of traditional and contemporary art styles. Public art projects will have many beneficial effects in Old Town Newhall. It will: • Unify the community • Create useable and desirable public spaces • Improve streetscapes and other public corridors aesthetically • Provide interest to the open space corridors The specific plan also suggests that the City initiate a program for encouraging public art in both public and private development in the district. It suggests requiring public art for projects that meet certain thresholds (e.g., 15,000 square feet). An option would be to establish a fee (e.g., 1 % of the project's value) that is due at certificate of occupancy and collected by the City for deposit into an Old Town Newhall Public Art Fund. This fund would collect fees from all development over 5,000 square feet with the objective of producing public art in various locations throughout Old Town. The recommended citywide percent -for -art program would fulfill this strategy in the Old Town Newhall specific plan. I • Arts Master Plan One useful approach would be to implement a program of temporary public art along Main Street. This approach would allow the presentation of a concentration of public art relatively quickly and at modest expense. This strategy is explained more fully in the Public Art section of this plan. 2.4. Begin development of a creative live/work facility in Old Town Newhall. The visible presence of artists and art making are essential to the success of the arts district, Experience in many cities has demonstrated the power of artist concentrations to revitalize neighborhoods. This facility can become a hub and gathering place for creative professionals in Santa Clarita. As noted above in an excerpt from the Old Town Newhall specific plan, the district is singled out as a desirable location for businesses in the creative industries including specific industrial tracts for live/work spaces. Live/work projects are typically financed through a variety of sources: municipal and other governmental sources, foundations, tax credits and other incentives, as well as financing amortized by the rental or sale of the spaces. There are nonprofit developers that specialize in arts facilities, such as Artspace (httr)://www.artsoace.orQ) and PLACE (httr)://welcometoolace.com). Such a developer would be an effective choice to explore the feasibility of a specific project and to potentially serve as the lead developer. An excellent local example of their work is Working Artists Ventura (WAV, httrD://www.wavartists.com). Opened in 2010, this mixed -use development in downtown Ventura's cultural district includes 69 units of affordable live/work space for artists, a small performance/exhibition space and retail businesses. The total cost was $57 million, of which the City of Ventura provided $2.5 million, primarily in the form of land and planning costs. 2.5. Provide incentives for art galleries in Old Town Newhall. The Old Town Newhall Art and Entertainment District should be a place of "art commerce," where residents and visitors can purchase the art of local and regional artists. At the same time, running an art gallery is a tough business; it takes time to establish a reputation and a regular clientele. A gallery owner must find the right roster of artists to appeal to potential customers. A critical mass is crucial: a single gallery may struggle, while a group of galleries will prosper. The City should identify strategies to provide incentives to gallery 911 Arts Master Plan owners to locate in Old Town Newhall. One way this effort might be jump- started would be to provide space for an artist co-op gallery, where the gallery would be operated and managed by the artists themselves. Another strategy might be to work with CalArts to establish a gallery highlighting work of their students. 2.6. Develop a film festival drawing on Santa Clarita's heritage and ongoing relationship with the film industry, and utilizing the collection of small venues in and near Old Town Newhall. The idea of a film festival has been widely discussed among cultural stakeholders and city planners in Santa Clarita. It is a natural fit with the valley's long and continuing history with filmmaking. It also draws inspiration from the success of the City's first cultural festival, the Cowboy Festival, which has become a staple of the national cowboy and Western heritage event calendar. A film festival, centered in Old Town Newhall, could also tie together the significant collection of small venues located in and near Old Town Newhall. These include: • Exploration of an independent cinema at the corner of Main Street and Lyons Avenue. • Canyon Theatre Guild (280 seats), located on Main Street. • Repertory East Theatre (81 seats), located on Main Street. • Newhall Elementary School Auditorium (not renovated yet, 583 seats), located on Walnut Street, between 11 th and 12th Streets. • Hart Hall, a restored historic barn building in William S. Hart Park adjacent to Old Town Newhall (200 seats). • Heritage Park, adjacent to Hart Hall, a small Western town that includes the Old Train Station (Old Depot) and several other old buildings. • Near Newhall: the Walt Disney Company is in the process of building new sound stages for ABC Studios at the Golden Oak Ranch a few miles away. • Not in Newhall: the UCLA Film Archives, which has two screening rooms, is a $250 million facility nearing completion in a location near CalArts. 51 Arts Master Plan The City should contract with a qualified programmer to create the concept and plan for a film festival. This type of festival could meet a broad range of Santa Clarita's audience interests —Western heritage, film history, sophisticated contemporary, families and children —and overtime it could become a regional or national attraction. One idea is to not limit the festival to a brief time period but continue themed programming based on the specific venues throughout a longer season of events, which would also serve to activate the Old Town Newhall Arts and Entertainment District. The film festival also has strong potential appeal for sponsorships. 2.7. Explore development of Santa Clarita Valley historic assets as a collection of attractions, including Old Town Newhall, William S. Hart Park, and further development of Mentryville and other sites (Newhall Pass, St. Francis Dam site, golden spike railroad site, old filming locations). As described in the Community Description chapter, Santa Clarita has a compelling history of Native American settlement, early California and Western history, and a century -long relationship with the film industry. There are many historic assets in the city that celebrate this heritage and tell the stories of the valley's history. Examples are located in and near Old Town Newhall —the William S. Hart Park, Melody Ranch Studio, Cowboy Festival, Santa Clarita Valley Historical Society, and history-themed businesses —with additional places located throughout the valley. Community engagement for this plan illustrated that residents and workers are well aware of this history and believe it should form a part of the community's cultural development, along with providing more sophisticated and contemporary fare and offerings that appeal to younger adults. Developing these historic properties and programs could advance these interests and bring broader attention to Santa Clarita. This is a visionary and authentic direction for Santa Clarita, one that fits the community's aspirations and is worthy of pursuit. It is also a far-reaching and potentially large investment that will necessitate additional research and planning to fulfill. The potential benefits of investing in ways to leverage the valley's historic assets include promoting Santa Clarita as a cultural destination, increasing tourism, and greater support for the City's cultural programs. 52 Arts Master Plan Old Town Newhall Arts and Entertainment District Recommendations 2.1. The City should explore taking management of the renovated Newhall Elementary School auditorium and actively programming it. 2.2. Begin exploration of a museum in Old Town Newhall. 2.3. Explore an ongoing program of public art placement in Old Town Newhall. 2.4. Begin development of a creative live/work facility in Old Town Newhall in partnership with private and/or nonprofit developers. 2.5. Explore providing incentives to create a concentration of art galleries in Old Town Newhall. 2.6. Explore development of a film festival drawing on Santa Clarita's heritage and ongoing relationship with the film industry, and utilizing the collection of small venues in and near Old Town Newhall. 2.7. Explore development of Santa Clarita Valley historic assets as a collection of attractions, including Old Town Newhall, William S. Hart Park, and further development of Mentryville and other sites (Newhall Pass, St. Francis Dam site, golden spike railroad site, old filming locations). 53 Arts Master Plan 3. Arts Education Arts education for children is a priority for Santa Claritans. Parents and other residents share a strong belief in the value of the arts as part of a child's whole education. The positive outcomes for students studying the arts are well - documented as is their essential value in promoting 21 st Century workforce skills. The five school districts serving Santa Clarita all offer some level of arts education in partial fulfillment of the California Visual and Performing Arts curriculum standards, and four of the school districts participate in Arts for All, the countywide agency promoting K-12 arts education and widely regarded as a national model. In addition the College of the Canyons sponsors a K-12 Consortium to foster arts education in the public schools and the Santa Clarita Valley Education Foundation provides some support for arts education programs. Many local arts organizations and other nonprofits in the community provide arts education programs. All three institutions of higher education in the city—CalArts, College of the Canyons and Masters College —offer arts programs. Education and arts education are a value that is broadly shared in the community. Residents and workers, and their children, personally participate in, and approve of, arts learning at high levels. They express a strong demand for arts classes of a very broad range of disciplines. Arts education emerged as a theme in this plan, including as a priority for City action. Survey respondents indicate a high demand for arts classes of a broad range of disciplines. Stakeholders engaged in this planning effort all acknowledge that, while valued, more arts education is needed and that the Arts Master Plan should address this topic. The public schools have not yet achieved implementation of the state mandated curriculum standards and some arts educators reported personal challenges in providing their classes within the current educational environment. The City's Arts and Events Office provides a variety of arts education programs, including artist residencies in schools, performances to expose students to the arts, and youth competitions. While these programs each serve a purpose, they are not based on a needs assessment or organized around a strategic goal. Yet there is every reason for the City to participate in arts education. Arts education is perhaps the only curriculum area that requires a connection between the schools and the arts community. Fulfilling California's Visual and 54 Arts Master Plan Performing Arts Standards arguably require the participation of professional artists and arts organizations that demonstrate, model and instruct arts processes and understanding for students. Communities throughout the U.S. that have made systemic improvements in public school arts education have generally adopted a collective impact model, such as the one advocated by Arts for All. The City of Santa Clarita can best leverage its efforts in support of the community's desire to improve arts education by participating in a cooperative effort, building on COC's current K-12 Consortium. The City's presence and leadership are an essential ingredient for success. It is likely that a citywide arts education collaborative would identify specific needs and strategies the City could best fulfill. In other communities, this role is often to facilitate connections between the schools and arts resources in the community, building on the many arts community relationships held by the Arts and Events Office and its networks. Arts Education Recommendations 3.1. Convene a citywide arts education collaborative to assess arts education needs in the schools and identify joint strategies, building on the College of the Canyon's K-12 Consortium. Participants can include the City, school districts, College of the Canyons, COC's K-12 Consortium, CalArts, Masters College, arts educators, arts organizations and the SCV Education Foundation. 3.2. Align the City's arts education programming with needs identified by the collaborative. 3.3. Expand the curriculum of arts classes offered for children, youth, and adults through the City Parks, Recreation, and Community Services Department, and consider developing more sequential classes that build advanced skills and communities of interest. 55 Arts Master Plan Theme 2. Strengthening Cultural Support Systems 4. Governance of the Arts The City of Santa Clarita's Arts and Events Office is located within the Community Services Division of the Parks, Recreation, and Community Services Department. This Office has responsibility for arts programming, grants, and public art, as well as coordinating special events (both arts related and non -arts related). The program is supported by approximately 38 full- and part-time staff members and has an annual budget of $2.2 million. In December 2009, the City of Santa Clarita created the City's first Arts Commission to provide leadership, vision, and commitment to cultural arts development in the City. This five -member commission is comprised of art - minded individuals and is responsible for advising the City Council, City Manager, and City staff on arts matters including public art and art programs and events throughout the community. The authorizing legislation for the Arts Commission enumerates certain specific duties: A. Advise the City Council and the Director of Parks, Recreation, and Community Services, or City Manager, in all matters pertaining to arts programming and public art, and to cooperate with other governmental agencies and civic groups in the advancement of sound arts development and arts planning and programming. B. Formulate general policies on the arts for approval by the City Council. C. Advise the City Council, with the Director of Parks, Recreation, and Community Services, or City Manager, on development of arts events, facilities, programs, and improvement of arts services. D. Make periodic inventories of arts services that exist or may be needed; interpret and convey the needs of the public to the City Council, and to the Director of Parks, Recreation, and Community Services, or City Manager. E. Aid in coordinating arts services with programs and revenue enhancement of other governmental agencies and voluntary organizations. F. Interpret the policies and functions of the Parks, Recreation, and Community Services Department for the public. 56 Arts Master Plan G. Advise the Director of Parks, Recreation, and Community Services, or the City Manager, in the preparation of the annual budget of the Department and the preparation of a long-range arts program plan. (Ord. 09-13 § 1, 8/25/09) The roles and responsibilities of the Arts Commission have been the subject of considerable discussion and some frustration, particularly on the part of the Arts Commission members. It should be noted at the outset that ALL City policy and budget authority rests with the City Council. Any Commission created by the City Council is advisory in nature and has no independent policy, program or budget authority. Having noted that, best practices in the field suggest that it should be an unusual circumstance for the City Council to override the recommendations of its advisory Commission. It should also be noted that best practices in the field dictate the utilization of expert peer panels to recommend grants funding and to select public art. The following represents the best and standard practices in the arts and cultural field in defining the respective roles: Citv Council • Appoints Arts Commission members • Authorizes budgets for arts and cultural programs • Approves arts policies and arts program guidelines • Authorizes contracts for grants and arts services • Responds to citizen input and concerns Qualifications: • City residency • Overall vision for the City • Election by the citizens Arts Commission • Articulates vision for arts and cultural development • Recommends policy and program guidelines • Recommends grant allocations, public art selections, etc. • Ensures appropriate citizen participation in arts programs Qualifications: • City residency • Civically engaged • Passionate about the arts • General knowledge of the arts 57 Arts Master Plan Peer Panels • Reviews grant applications, public art proposals, etc. • Conducts aesthetic and quality review • Recommends artists/arts groups for grants, or public art projects Qualifications: • Appointment by the Arts Commission • City residency not required • Professional level expertise in one or more arts disciplines These practices have proven to be successful in many communities due to clarity in the respective roles and reliance on the authority and expertise of each entity in fulfilling their duties. In the recent joint workshop for the City Council and Arts Commission, there appeared to be broad agreement between the two bodies concerning their vision for arts and cultural development in Santa Clarita. There have been suggestions that the Arts Commission create a Foundation to do private fundraising to support the arts. An earlier feasibility assessment suggested that such an effort would not be successful in Santa Clarita. While this approach has been successful in other communities, that success has been the result of a strong philanthropic culture and strong private sector arts leadership in the city. Those conditions do not exist in Santa Clarita. Governance of the Arts Recommendations 4.1. Adopt a three-tier process of developing arts grants and public art projects, utilizing outside peer panels. 4.2. The Arts Commission should develop an annual arts work plan as a part of the annual goal -setting process, and submit that plan to the City Council for review. 4.3. Conduct an annual joint workshop session with the City Council and the Arts Commission to define priorities and issues, in advance of creating an annual arts program work plan. 4.4. Create a standing City Council subcommittee for the arts, comprised of two council members, whose role is to provide an ongoing link between the City Council and Arts Commission, and to reinforce implementation of the plan. gtl Arts Master Plan 5. Cultural Facilities, Venues and Spaces The community identified a variety of needs for cultural facilities, venues and spaces during this planning effort. Cultural facilities have also been the subject of other City plans, including the 1998 Cultural Arts Master Plan and the 2014 Old Town Newhall Specific Plan. As discussed in the Community Description section, the City has invested in a range of cultural facilities and places over the past twenty years or so, including the Santa Clarita Performing Arts Center at College of the Canyons, two theaters in Old Town Newhall, the Old Town Newhall Arts and Entertainment District, historic park assets, and others. The City has also used its existing facilities, such as City Hall, the public libraries and the Activities Center as venues for art exhibits. Cultural facilities are major investments and, as noted in that section, the City has to date primarily chosen to contribute towards cultural facilities owned and operated by others, as an efficient partnership strategy that leverages greater use of scarce public dollars. This strategy has served the public well, generating a collection of vital venues for cultural programming. The City's Thursdays@Newhall series is one such example. In line with the community engagement for this plan, cultural facilities are defined here in a broad manner to include not only theaters but also other traditional performing and visual arts buildings (community arts centers, museums, galleries, etc.). For Santa Clarita, this definition must also include informal venues, such as coffee shops, music clubs and parks. Of course, the Old Town Newhall Arts and Entertainment District includes a range of cultural facilities, formal and informal, and is discussed in its own section. Finally, it should also be noted that public spaces, such as streets and sidewalks, parkland, shopping centers and parking lots have all been programmed to be vital temporary cultural facilities. Santa Clarita's chalk art festival is one such example. The fundamental finding of this plan in relation to cultural facilities is that the public demand for cultural programming will require additional cultural facilities. The desires for higher quality programming with a regional draw, informal art experiences throughout everyday living, further development of the Old Town Newhall Arts and Entertainment District, programming for younger adults —all have implications for cultural facilities, in its broadest definition. 59 Arts Master Plan Perhaps the longest -standing and commonly expressed desire with respect to cultural facilities is an amphitheater. An amphitheater, capitalizing on Santa Clarita's beautiful natural surroundings, favorable weather and the Southern California tradition of outdoor performances, was a recommendation of the 1998 Cultural Arts Master Plan. An amphitheater could also serve as a venue for the City's Concerts in the Park series, replacing its Central Park location, and support the continued evolution of that well -loved program. An amphitheater was sometimes mentioned as a venue that could serve as a regional attraction and not only one focused on the local community. The best focus, size and location of an amphitheater are still open questions and a specific facility plan is needed to make sound decisions about what would probably be a large investment. An intriguing possibility is for the City to facilitate private investors that seek to create arts venues in the community. Examples would be the arts -related businesses currently located in Old Town Newhall. Business owners participating in this plan discussed the challenges they faced in starting what they consider to be "passion projects" and not merely profit -driven business enterprises. The assistance requested includes help identifying available properties, with permitting, and other compliance issues. Adopting a City policy and attitude of welcoming and facilitating creative businesses in Santa Clarita would be an excellent signal to those in the business community with an arts purpose to locate and thrive in the City. It would also help establish Santa Clarita as an arts destination and allow the City to direct arts uses in a targeted manner. Old Town Newhall is obviously an excellent location for such businesses but they belong throughout the city. There is a specific desire in the community for more music venues —clubs, bars and non-alcoholic coffee shops —to support a thriving local music scene. Another facility need arising in the planning process was a community arts center, with a performance venue, gallery space and classrooms. This type of facility is common throughout the U.S. and often becomes a well -used center for community arts. These facilities are focused first and foremost on the needs of local artists and arts organizations, and community based arts activities. They are designed less around the tastes and requirements of the general audience. :1 Arts Master Plan In line with the desire for higher quality programing with a regional draw, there was some interest expressed in a larger performing arts venue, with a size that is larger than the current 868-seat Santa Clarita Performing Arts Center at College of the Canyons. Indeed, theaters that present Broadway entertainment, commercial music acts, and other higher profile artists generally require capacities or 2,500 seats or much larger. While there may be a market for such a facility, it would be the most expensive option for the City to undertake both in terms of capital and ongoing operating costs. It is not the highest priority use of public resources, given the other priorities identified in this plan. The overall cultural facilities question in this plan is how the City can best address the community's needs. The challenge of a community arts center is that it serves a small number of organizations and is not in line with the community's expressed interest in higher quality professional events that would serve as a regional draw. The challenge with a large performing arts center is primarily its cost. The community's desires can probably most efficiently be filled through a combination of other facilities, e.g., the Newhall Elementary School Auditorium, the current Performing Arts Center, an outdoor amphitheater, development of more small-scale and informal venues, and other facilities that may become available in the community. In addition, the City is currently planning a new library in Saugus and intends to include an arts classroom or other space for cultural uses in that facility. This is an excellent and cost efficient way to provide needed cultural programming in that area of the city. A study is underway to explore the best range of uses for this space. Other important cultural facility possibilities are discussed elsewhere in this plan and are cross-referenced here. They include the Newhall Elementary School Auditorium, and art galleries and a museum in Old Town Newhall. 61 Arts Master Plan Cultural Facilities Recommendations 5.1. Develop a plan for an outdoor amphitheater in a park, addressing its optimal focus, location, size and operating structure. 5.2. Facilitate private investors to create arts -related businesses, e.g., music clubs, ceramics studio, art galleries, small performance venues, film festival, etc., by providing assistance such as communicating the City's interest in arts -related businesses, identifying available properties, and helping with permitting, and other compliance issues. 5.3. Explore future development of a community arts center, oriented to the needs of community -based arts organizations and lifelong learning in the arts. 5.4. Explore future development of a larger regional performing arts center. 5.5. Include one or more cultural spaces and uses in the planned Saugus Library. 2.1. Cross-reference: Newhall Elementary School Auditorium. 2.2. Cross-reference: Museum in Old Town Newhall. 2.4. Cross-reference: Artists live/work in Old Town Newhall. 2.5. Cross-reference: Art galleries in Old Town Newhall. 62 Arts Master Plan 6. Supporting Artists and Arts Organizations Santa Clarita is home to a small but vital community of arts and cultural organizations and many individual artists and creative professionals. The community of nonprofit arts and cultural organizations operates on mostly small budgets and with a high reliance on earned income and a strong showing of volunteerism. The pathways to organizational growth and development for these organizations are made more difficult by the environment in which they operate. Contributed dollars are relatively difficult to raise in a younger community with less -well -established traditions and institutions for arts philanthropy. Few have paid professional arts administrators on staff. One of the important functions a local arts agency, like the Santa Clarita Arts & Events Office and its Arts Commission, can fill is to help build the capacity of local arts and cultural organizations. Capacity building simply refers to any improvements that allow an organization to better fulfill its mission. This can be as simple as a new computer system or as complex as creating a more effective board of directors. The challenges and solutions for each organization are highly individualized; one size does not fit all, at all, in this context. The City already provides capacity building assistance in the form of its funding program, which provides a modest but renewable form of annual financial support. The City also provides marketing assistance through the newly created online communitywide arts calendar (htto://santaclaritaarts.com). And the City pays an annual amount to the Santa Clarita Performing Arts Center at College of the Canyons to make available a certain amount of dates for use by local arts groups. The issue for this plan is to define what is the next phase of support that will most effectively enable local nonprofits to make organizational progress. An important next step for the Arts & Events Office is to provide individualized technical assistance in areas that are of particular relevance for a given organization. For example, an organization needing better online marketing could benefit from a grant made available for this purpose. There are also shared needs that could be addressed through a citywide program, such as leadership training and placement for business people on the boards of directors of local arts organizations. The partnership of the Riordan Leadership 63 Arts Master Plan Institute and the Executive Service Corps (httr)://www.escsc.ora) in Los Angeles are an example of this type of program. Individual artists also benefit from professional development and there is an increasing number of communities that provide business and career training to artists, often treating them as entrepreneurs. There are many resources available in Southern California and online to assist artists with business and career development. Local examples are the Center for Cultural Innovation (httr)://www.cciarts.orQ), Arts for LA's Artists Opportunities listings (httr)://www.artsforia.ora/forum/1), and Side Street Projects (http://sidestreet.ora). In addition to training and information resources, arts organizations in Santa Clarita would benefit from a City arts grants program with greater financial muscle. While funding is not the whole solution to organizational development, strategic funding is certainly an important component. The current Arts Grants budget of $60,000 with grants averaging $7,500, focused on providing programs, is inadequate to the task of building the capacity of its community of nonprofits. There are two reasons for this. First, the total grants budget is low in comparison with national averages. The national average for government support is 9% of an individual arts organization's total revenues (Source: Americans for the Arts 2014). In Santa Clarita, total revenues of current grantees is approximately $1.6 million, and the total revenues of the nonprofit arts community in the valley is much greater. Nine percent of $1.6 million is $144,000. Second, capacity building projects, as distinguished from program support, often involve expenses above -and -beyond the operating budget of the organization, money used to support improvements to the organizational infrastructure (better fundraising, marketing, information systems, etc.). Capacity building also often necessitates a sustained, multi -year effort. This suggests that the City create a separate grants category for this type of project. Supporting Artists and Arts Organizations Recommendations 6.1. Increase the total Arts Grants budget (incremental increases to a benchmark of $144,000 or approximately 9% of total annual arts organization revenues). 64 Arts Master Plan 6.2. Create a new capacity building category of grants for arts and cultural organizations, including assistance for unincorporated and culturally specific groups (estimated cost $10,000 annually). 6.3. Make available business and career training for individual artists, drawing on the resources available in the region and online (estimated cost $10,000 annually). 6.4. Explore development of a leadership training and placement program for business people and other community leaders to serve on boards of directors of arts and cultural organizations; this can perhaps be best accomplished through a partnership with an existing leadership organization in the County (estimated cost $10,000 annually). 65 Arts Master Plan 7. Arts Funding Currently, the City provides a budget of approximately $2.2 million for the Arts & Events Office. This budget supports both arts and non -arts programming. Staff estimates that 60 to 65% of the budget including staffing can be attributed to arts and culture related activities. This amounts to about $1.4 million annually. This includes significant support for the Cowboy Festival, which is considered a cultural event. Sports comprise about 20% of the budget. Events supported with this funding include: • AMGEN Tour of California bike race • Wings for Life World Run (Red Bull nonprofit for back injuries) • Santa Clarita Century bike ride • Santa Clarita Marathon (largest City produced sports event) There are also other, non -arts community events that are part of the Arts & Events Office budget. A partial list includes: • Day for Kids • Haunted House • Fourth of July Parade • Fourth of July Fireworks • Revved Up car shows Much of the City's Arts and Events Office budget is devoted to staffing for the production of large events, such as the Cowboy Festival, Santa Clarita Marathon, Thursdays@Newhall, Concerts in the Park and Fourth of July. The Arts & Events Office handles about 200 events a year in total. Events staff also does permitting and coordination for non -City produced events. This accounts for the relatively large size of staff. Two staff positions could be fully considered to be arts staff. At the present time, the Arts and Events Office is primarily a programming and event coordination agency. In addition to its full schedule of events, the agency administers a modest grants program, provides some arts education, manages the voluntary public art program, staffs the Arts Commission and other Arts Master Plan activities. It does not engage in some functions that are often found in the portfolio of other local arts agencies, such as technical assistance support for local arts nonprofits, professional development for artists, creative economy programs, leadership development, cultural facilities management, etc. This reflects the City's priority placed over the past two decades on building a fundamental city arts infrastructure and a focus on visible community events. As discussed in the Conclusions section, it is clearly time to expand the scope of the agency in line with the vision articulated by the community. Implementation of even some of the recommendations in this plan will require an increased budget for both programming and staff. When the Arts Commission was formed in December 2009, the City Council asked that one of the first tasks to be undertaken was the formation of an arts foundation for Santa Clarita, which would serve to increase funding opportunities for the community. The Arts Commission formed a committee to study this issue, including researching nonprofit arts support organizations in other cities, testing the feasibility among potential donors and calculating the likely cost of launching such an endeavor. In its report on this subject, the Commission suggested that an "Arts Foundation could be a vital part of developing the arts and culture environment in Santa Clarita. It could serve a valuable role in building the capacity of our local arts groups. However, the development of the Arts Foundation will need to be approached with realistic expectations, and will probably require some level of support from the City of Santa Clarita for several years. It will also require getting the right board members to lead the group and will need the buy -in and support of other groups, including the education and business communities and other government agencies." It concluded that the minimum investment during the initial years would be $200,000, supporting 2-3 staff positions. There are several challenges. While Santa Clarita has a large number of nonprofits (both arts and non -arts), there does not seem to be a strong culture of institutional philanthropy (philanthropic foundations) in Santa Clarita. This pattern is common in suburban communities, especially those in the shadow of a major cultural city, such as Los Angeles. There are many generous individuals 67 Arts Master Plan but there is inevitably significant "leakage" of philanthropic giving to the institutions in the larger city. At the same time, arts and cultural organizations in suburban cities cannot compete with the range and quality of programs that would attract major gifts. Finally, the development of major new private donors requires cultivation over a period of time. Few, if any, results could be expected in the early years. As was noted in the Commission's Foundation report: "A quick review of non- governmental contributions for the seven arts organizations that applied for the 2011 /12 Arts Grants program shows the total of individual, corporate, and foundation giving was $152,573, or less than the projected annual operational costs of the Arts Foundation. This is the biggest challenge for the Arts Foundation concept. It has often been said that once the Arts Foundation is formed, there will be funding available. Under the current conditions in Santa Clarita, and with the reality that most funders will not support an organization in its first three years, it is hard to see how to build the Arts Foundation in a way that leads to success. It should be noted that even beyond the first three years, funders are looking to support organizations that have demonstrated community support at a level that is at least as big as the funding requested, and this could be difficult to achieve." The authors of this cultural plan agree with this assessment. Perhaps a better approach might be to begin by creating an Arts and Business Leadership Council. This organization could develop leadership for the nonprofit arts groups in the city, identify potential funding and sponsorships, and potentially be a leadership group for one or more of the major initiatives proposed in this plan, such as the artist/creative live/work space or the museum in Old Town Newhall. Private funders are much more inclined to support specific projects, rather than the arts generally. 7.1. The City should assist in the formation of an Arts and Business Leadership Council, with the Santa Clarita Economic Development Corporation, the SCV Chamber of Commerce, and the Valley Industrial Association. Despite the fact that significant new private sector funding support is not likely in the short term, additional funding will be required if this plan is to be implemented. Modest amounts will be needed for program enhancements and .: Arts Master Plan augmented staffing. Significant dollars will be needed for some of the proposed capital building and renovation projects, as well as seed funding for the recommended film festival. As is noted in the Arts Funding in California Cities section of this plan, smaller cities tend to support the arts through general fund allocations. In mid -sized and larger cities, some form of dedicated revenue stream tends to be the source. In many California cities, that source is often the Transit Occupancy Tax (TOT). This could be an alternative to general funds in Santa Clarita. In 2012, the room tax translated roughly to an additional $25 million generated from local hotel -room sales. And the tax on occupied hotel rooms produced 10 percent —or nearly $2.5 million —in tax revenue for Santa Clarita's general fund. In 2012, there was a 2.7 percent increase in hotel occupancy, and a 3.1 percent increase in the Average Daily Rate. One approach would be to phase in a contribution from the revenues of the TOT. Suppose the City dedicated one-half of the growth in TOT revenues to the arts until some predetermined threshold has been reached, perhaps 10% of the total TOT stream. In today's dollars, that would translate into $250,000 in new arts funding. Given the strength of the current economy and the growth in hotel occupancy, it is conceivable that this threshold could be reached within several years. 7.2. The City should consider allocating to the arts a portion of the proceeds from the Transit Occupancy Tax, to supplement other sources of funding, such as the general fund and the recommended percent -for -art program. Arts Funding Recommendations 7.1. The City should assist in the formation of an Arts and Business Leadership Council. 7.2. The City should consider allocating to the arts a portion of the proceeds from the Transit Occupancy Tax, to supplement other sources of funding, such as the general fund and the recommended percent -for -art program. At Arts Master Plan 8. Creative Economy Santa Clarita is home to a vital collection of businesses in the creative industries as well as the creative professionals who work in this field. This is most readily apparent in the strong presence of the film industry. However, Santa Clarita's creative industries encompass a broad array of people and businesses. There is no single definition of the creative economy. Nonetheless, it is useful to consider this portion of the economy as having creative enterprises (e.g., design firms and film studios) and creative occupations (e.g., musicians and landscape architects). These two categories encompass non -creative elements: creative enterprises include workers in non -creative jobs (e.g., a museum guard or clerical staff at an architectural firm) and creative occupations include workers in non -creative enterprises (e.g., a graphic designer at a construction firm or an arts instructor at a university). But creative enterprises and occupations combine to form the creative economy in any given region. Santa Clarita has not yet studied its creative industries to assess their scope, characteristics or impact. A graduate student at the Center for Management in the Creative Industries at the Claremont Graduate University prepared a report on Santa Clarita's creative economy in 2013 for the Arts Commission. The report observes that there are strong indications that the creative industries comprise a significant segment of the Santa Clarita Valley's economy and its growth sectors. The Santa Clarita Valley Economic Development Corporation identifies six targeted industries, each of which intersect with the creative economy: • Digital Media and Entertainment • Aerospace & Defense (Research & Design) • Medical Devices (Device Design, Testing and Research) • Advanced Manufacturing (Product Design) • Information Technology (Software Development) • Tourism (Cultural and Recreational Events) The report also observes that there are three agencies devoted to economic development of the City and valley: City of Santa Clarita Economic Development Division, Santa Clarita Valley Economic Development Corporation and College of the Canyons Economic Development Division. They collaborate 70 Arts Master Plan effectively in economic development efforts and, as an example, the first two agencies have successfully positioned the valley for film industry enterprises. There are seven movie ranches, two film studios and more than 20 sound stages located in the Santa Clarita Valley. The Walt Disney Company, which has been filming on the Golden Oak Ranch in the valley since the 1950s, is in the process of building new sound stages for ABC Studios at the Ranch. Again, there are no studies documenting how many City residents are employed in the media industries but it is widely observed that industry professionals are a presence in the City. Despite the presence of major creative corporations, such as the Walt Disney Company, it is axiomatic that "creative businesses are mostly small businesses." This underscores the importance of economic development in this field that addresses basic small business development needs. Given the apparent presence and impact of the creative industries in Santa Clarita and the lack of information and planning in this area, the City should undertake targeted research and planning for this element of its economy. In addition, there are several steps the City can take that are often considered to be essential in promoting growth of these industries. The first is convening the creative professionals in the community. Creative economy organizations throughout the nation have started and continued networking events, conferences and other activities that bring together "creatives" (artists and design professionals, film industry professionals, owners of small businesses in the creative industries) to facilitate connections and identify shared needs. In addition, small business services adapted to the needs of small creative businesses are widely regarded as valuable. These services can include business or career training for individual artists, assistance for investors seeking to start a small creative enterprise (e.g., art store, design firm, music venue or recording studio), or access to capital for start-up businesses in creative fields. Many of these services are already available to people in the valley, yet they are either not suited to the specific needs of creatives or their availability is simply not well known. The City should convene creatives and identify common needs and interests. Potential services could include networking, access to small business supports, 71 Arts Master Plan facilitation for investors interested in creative businesses, online directory and an opportunities list. Creative Economy Recommendations 8.1. Create periodic convenings for Santa Clarita's creative industries based on shared needs, beginning with a high profile conference or event. 8.2. Adapt and provide small business development services for the formation and growth of small creative businesses. 8.3. Develop a creative industries directory for Santa Clarita that identifies businesses and people in the creative economy, and lists resources and opportunities (estimated cost $15,000). 8.4. Consider development of an economic development plan for Santa Clarita's creative economy. 8.5. Participate in regional efforts to develop the creative economy. 2.4. Cross-reference: Artists live/work facility in Old Town Newhall. 5.2. Cross-reference: facilitate private investors to create arts -related businesses. 6.3. Cross-reference: business and career training for individual artists. 72 Arts Master Plan 9. Marketing the Arts Citizens express the desire for better access to information about arts and cultural offerings in the community. Despite the multitude of events and activities, people have difficulty in consistently locating things that interest them and miss opportunities that have passed because they were not aware of them. As discussed above, this is a common problem among US cities and it is a challenge to overcome the "noise" of many competing marketing messages in people's lives. The Arts Commission has recognized this need and recently developed an online communitywide arts calendar (httr)://santaclaritaarts.com). Other arts calendars for the valley include: Visit Santa Clarita (httr)://visitsantaclarita.com/thinas/arts-culture/) Arts & Events Office Events Calendar (httr)://arts.santa-clarita.com/events/) Santa Clarita Guide (httr)://santaclaritaauide.com/CalendarOfEvents.[)hr)) The challenges persist despite the availability of these resources and the community clearly needs a comprehensive marketing program to connect its residents, workers and visitors with their cultural interests. This would have the added benefit of strengthening the organizations and businesses providing events and activities. Many other cities have addressed this challenge. The most successful programs include several essential elements: • A comprehensive arts and event marketing website, such as the Artsopolis platform(httr)://www.artsor)olisnetwork.com), the "Philly Fun Guide" (www.r)hillvfunauide.com), and the CNY Arts Calendar (httr)://gotocnvarts.orq). A key feature is that people and organizations providing arts events only enter their event information in one database, which is then made available to all sites. Partnerships are formed with the existing arts calendars; in Santa Clarita this might include the existing websites mentioned above. A comprehensive website becomes the primary "backbone" of information in their regions. Some serve as the event database for local/regional newspapers for instance as well as tourism and visitors bureaus. Also, these platforms extend far beyond advertising ticketed arts events. They take a broad view of "arts and culture," extending to commercial, community, educational, amateur and even sports activities. They can also provide listings for space rentals. 73 Arts Master Plan • A mobile application and robust social media to accompany the online listings. • Themed programming. Convening interested organizations, venues and agencies can identify a shared theme for a month or a year. Participants —arts organizations, creative businesses, restaurants, venues, artists —are encouraged to align their programming and co -market it under the themed banner. • Cross -promotions, such as restaurant tie-ins, ticket samplers, discounts and contests. • Earned revenue services, such as a box office service, advertising program, and other fee -based services to help fund the marketing program over time. Santa Clarita's existing arts marketing resources provide an excellent platform on which to build a stronger, more comprehensive marketing program for the arts, in line with the model elements described above. This will require staff resources, a consistent promotional effort to increase visibility and use of the online resources, and collaborative efforts with providers (e.g., themed programing, cross -promotions, etc.). In Philadelphia, the PhillyFunGuide sends a highly successful weekly e-blast/online discount promotion for arts events to more than 250,000 subscribers. In Santa Clarita, an arts marketing program could become the go -to resource for youth arts, for example, by developing a communitywide listing of arts classes, events and other activities for youth and their families. There are many other opportunities to more effectively market the arts with strategic communications, for the purpose of better connecting residents with their cultural interests. Marketing the Arts Recommendation 9.1. Develop a comprehensive, communitywide arts and cultural marketing program, in consultation with and building on the existing arts marketing resources in the community ($25,000 annual marketing costs plus potential half-time staff or contract program). 74 Arts Master Plan Theme 3. Fostering Greater Diversity and Inclusion 10. Celebrating Diversity Diversity and inclusion are core values for the City of Santa Clarita and its citizens. Since 1994, the City has had a Human Relations Forum that produces programs to eliminate all forms of discrimination and promote understanding and appreciation of human differences. Nonetheless, many planning participants believe that there are persistent divisions in the community arising in part from differences in race and class. In addition, Santa Clarita's population is changing, with an increasing presence of diverse cultures and forms of artistic expression. This is a common issue in communities throughout the U.S. and often arises in cultural plans, such as the Santa Clarita Arts Plan. In fact, addressing cultural diversity is one of the most common functions of a local arts agency. The arts are often viewed as one of the most effective ways to bring people and communities together. Diversity programs in other cities range from multicultural festivals, to training efforts designed to help nonprofit arts organizations diversify their boards of directors, to arts education focused on multicultural arts. Arts and culture are already used by the City and by Santa Clarita's cultural organizations to celebrate diversity, bring together populations and foster increased cultural understanding. Planning participants support this approach and called for continued and expanded efforts to use arts and culture as a meeting ground for Santa Clarita's diversity. Diversity is defined here as encompassing acceptance and respect. It means understanding that each individual is unique, and recognizing our individual differences. These can be along the dimensions of race, ethnicity, gender, sexual orientation, socio-economic status, age, physical abilities, religious beliefs, political beliefs, or other ideologies. Arts and culture are especially suited to promoting this understanding, given their relationships with individual expression and cultural identity. Also, cultural events and activities are well - established tools for bringing people together across differences and in finding common ground. 75 Arts Master Plan Inclusion in this context refers to efforts to welcome and embrace diverse participants into a cultural activity. This can require changes to programming, marketing, venues, the social dimension of events, and other characteristics. Changes are designed to meet the cultural interests of new participants and to reduce barriers to crossing perceived boundaries. Familiar examples of ways to encourage inclusion are seeing "people who look like me" on the stage, allowing audience members to use social media during performances ("posting while watching"), making events more social (especially important for Millennials), and marketing designed for social media. Such efforts make it easier for new audience members to participate. Inclusion can also mean events intended to celebrate and share cultural identity, such as multicultural festivals and exhibits of culturally diverse artists. During this planning process, participants came forward to be involved in this topic and to join efforts to foster diversity and inclusion as part of implementation of the plan. It is best to view this topic as not only a set of recommendations but also a theme or value to be reflected throughout all recommendations in the plan. Celebrating Diversity Recommendations 10.1. Create a Diversity and Inclusion Subcommittee of the Arts Commission to promote relevant programming, awareness and opportunities. 10.2. Explore projects that address diversity and inclusion through the City's Arts Grants and Community Services Grants. 10.3. Increase culturally diverse programming produced or supported by the City, such as community festivals celebrating cultural diversity and/or a citywide multicultural festival. 10.4. Make available technical assistance services to culturally specific organizations and support their organizational development. W. Arts Master Plan Table of All Recommendations Theme 1. Enhancing Cultural Vitality in the Community 1. Public Art Recommendations I.I. The City should implement a public art planning and selection process that utilizes peer review and community input to ensure that public art pieces meet the goals of providing enjoyable and attractive public spaces that reflect the character of the community. 1.2. The City should utilize existing neighborhoods to create thematic areas for public art projects, which will allow for a more consistent and cohesive inventory of artworks. 1.3. The City should enact a percent -for -art requirement for all new public capital improvement projects. 1.4. The City should explore extension of the percent -for -art requirement to new private development including commercial, industrial and multi -unit residential projects. 1.5. The City should consider issuing a Request for Qualifications for an "on - call" artist to work with various City departments and the Arts Commission to suggest aesthetic enhancement for small-scale public improvements. 1.6. The City should create a program of temporary public art. 2. Old Town Newhall Arts & Entertainment District Recommendations 2.1. The City should explore taking management of the renovated Newhall Elementary School auditorium and actively programming it. 2.2. Begin exploration of a museum in Old Town Newhall. 2.3. Explore an ongoing program of public art placement in Old Town Newhall. 2.4. Begin development of a creative live/work facility in Old Town Newhall in partnership with private and/or nonprofit developers. 2.5. Explore providing incentives to create a concentration of art galleries in Old Town Newhall. 2.6. Explore development of a film festival drawing on Santa Clarita's heritage and ongoing relationship with the film industry, and utilizing the collection of small venues in and near Old Town Newhall. 77 Arts Master Plan 2.7. Explore development of Santa Clarita Valley historic assets as a collection of attractions, including Old Town Newhall, William S. Hart Park, and further development of Mentryville and other sites (Newhall Pass, St. Francis Dam site, golden spike railroad site, old filming locations). 3. Arts Education Recommendations 3.1. Convene a citywide arts education collaborative to assess arts education needs in the schools and identify joint strategies, building on the College of the Canyon's K-12 Consortium. Participants can include the City, school districts, College of the Canyons, COC's K-12 Consortium, CalArts, Masters College, arts educators, arts organizations and the SCV Education Foundation. 3.2. Align the City's arts education programming with needs identified by the collaborative. 3.3. Expand the curriculum of arts classes offered for children, youth and adults through the City Parks, Recreation and Community Services Department, and consider developing more sequential classes that build advanced skills and communities of interest (potential cost of $5,000 - $10,000 as "seed capital" to experiment with new classes). Theme 2. Strengthening Cultural Support Systems 4. Governance of the Arts Recommendations 4.1. Adopt a three-tier process of developing arts grants and public art projects, utilizing outside peer panels. 4.2. The Arts Commission should develop an annual arts work plan as a part of the annual goal -setting process, and submit that plan to the City Council for approval. 4.3: Conduct an annual joint workshop session with the City Council and the Arts Commission to define priorities and issues, in advance of creating an annual arts program work plan. 4.4. Create a standing City Council subcommittee for the arts, comprised of two council members, whose role is to provide an ongoing link between the City Council and Arts Commission, and to reinforce implementation 5. Cultural Facilities Recommendations 5.1. Develop a plan for an outdoor amphitheater in a park, addressing its optimal focus, location, size and operating structure. 78 Arts Master Plan 5.2. Facilitate private investors to create arts -related businesses, e.g., music clubs, ceramics studio, art galleries, small performance venues, film festival, etc. 5.3. Explore future development of a community arts center, oriented to the needs of community -based arts organizations and lifelong learning in the arts. 5.4. Explore future development of a larger regional performing arts center. 5.5. Include one or more cultural spaces and uses in the planned Saugus Library. 2.1. Cross-reference: Newhall Elementary School Auditorium. 2.2. Cross-reference: Museum in Old Town Newhall. 2.4. Cross-reference: Artists like/work in Old Town Newhall. 2.5. Cross-reference: Art galleries in Old Town Newhall. 6. Supporting Artists and Arts Organizations Recommendations 6.1. Increase the total Arts Grants budget (incremental increases to a benchmark of $144,000 or approximately 9% of total annual arts organization revenues). 6.2. Create a new capacity building category of grants for arts and cultural organizations, including assistance for unincorporated and culturally specific groups (estimated cost $10,000 annually). 6.3. Make available business and career training for individual artists, drawing on the resources available in the region and online (estimated cost $10,000 annually). 6.4. Explore development of a leadership training and placement program for business people and other community leaders to serve on boards of directors of arts and cultural organizations; this can perhaps be best accomplished through a partnership with an existing leadership organization in the County (estimated cost $10,000 annually). 7. Arts Funding Recommendations 7.1. The City should assist in the formation of an Arts and Business Leadership Council. 7.2. The City should consider allocating to the arts a portion of the proceeds from the Transit Occupancy Tax, to supplement other sources of 79 Arts Master Plan funding, such as the general fund and the recommended percent -for -art program. 8. Creative Economy Recommendations 8.1. Create periodic convenings for Santa Clarita's creative industries based on shared needs, beginning with a high profile conference or event. 8.2. Adapt and provide small business development services for the formation and growth of small creative businesses. 8.3. Develop a creative industries directory for Santa Clarita that identifies businesses and people in the creative economy, and lists resources and opportunities (estimated cost $15,000). 8.4. Consider development of an economic development plan for Santa Clarita's creative economy. 8.5. Participate in regional efforts to develop the creative economy. 2.4. Cross-reference: Artists live/work facility in Old Town Newhall. 5.2. Cross-reference: facilitate private investors to create arts -related businesses. 6.3. Cross-reference: business and career training for individual artists. 9. Marketing the Arts Recommendation 9.1. Develop a comprehensive, communitywide arts and cultural marketing program, in consultation with and building on the existing arts marketing resources in the community ($25,000 annual marketing costs plus potential half-time staff or contract program). Theme 3. Fostering Greater Diversity and Inclusion 10. Celebrating Diversity Recommendations 10.1. Create a Diversity and Inclusion Subcommittee of the Arts Commission to promote relevant programming, awareness and opportunities. 10.2. Explore projects that address diversity and inclusion through the City's Arts Grants and Community Services Grants. 10.3. Increase culturally diverse programming produced or supported by the City, such as community festivals celebrating cultural diversity and/or a citywide multicultural festival. :I Arts Master Plan 10.4. Make available technical assistance services to culturally specific organizations and support their organizational development. 81 Implementation Arts Master Plan 82 Arts Master Plan Implementation The Santa Clarita Arts Master Plan is a plan for the City as well as partners in the community. While the City will be the lead agency for most recommendations, it cannot fulfill the community's vision for cultural development without collaborative efforts from such others as the school districts, the three institutions of higher education, the business community, artists, arts organizations, and other groups. Indeed, these people and organizations were all involved in the creation of this plan and have already contributed to its content. As the Arts Funding section of the plan describes, funding for much of the plan will be provided by a combination of City funds. Additional resources will be provided by partner organizations, matched by grants, and earned through fees for services and admissions. It is anticipated that some recommendations will attract private funding from area businesses, regional and national foundations, and federal government programs. Potential arts grant sources include the National Endowment for the Arts (in particular, the Art Place and Our Town programs), the California Arts Council, and private foundations. In fact, the development of this plan provides an excellent basis for grant proposals, since it is grounded in the assessment of community needs and demonstrates increased public commitment to fulfilling those needs. Several of the recommendations (e.g., artists live/work, Old Town Newhall cultural district, marketing program, etc.) will generate revenues. For example, the recommended arts marketing program can include an online box office, advertising, and other fees for services that can offset the cost of the program. As another example, an artists live/work development would include rental or sales revenues as part of its business model. Moreover, many of the recommendations involve partnerships and collaborations, which can bring non -City resources to shared initiatives, such as sponsorships, staff support, inkind resources, and volunteers. It is anticipated that the Arts Commission will serve as an oversight body for implementation of the plan. It should assess progress towards fulfillment of the recommendations each year and convene an open community town hall meeting to report the status of implementation, facilitate discussion about 83 Arts Master Plan current arts priorities, and provide opportunities for community members to participate in implementation efforts. It should also provide assistance, advocacy and encouragement for implementation during the year. Through its recommended Council subcommittee and annual work plan, it can communicate with Council about recommended next steps, budget priorities and other advice. 84 Arts Master Plan Planning Participants Interviewees and Discussion Group Participants SITE VISIT #1 (January 2015) CITY COUNCIL Mayor Marsha McLean Mayor Pro-Tem Bob Kellar Councilmember Dante Acosta Councilmember TimBen Boydston Councilmember Laurene Weste ARTS COMMISSIONERS Chair Gary Choppe Vice Chair Patti Rasmussen Commissioner John Dow Commissioner Dr. Michael Millar Commissioner Susan Shapiro CITY EXECUTIVE TEAM City Manager Ken Striplin Assistant City Manager Frank Oviedo Director of Community Development Tom Cole Director of Parks, Recreation, and Community Services Rick Gould Deputy City Manager/Director of Administrative Services Darren Hernandez Director of Public Works Robert Newman STAFF VISIONING Recreation and Community Services Manager Ingrid Hardy Arts and Events Administrator Phil Lantis Arts and Events Supervisor Jeff Barber Arts and Events Supervisor Mike Fleming Arts and Events Coordinator Donna Avila Arts and Events Coordinator Dave Knutson Arts and Events Coordinator Kyle Schnurr Arts and Events Coordinator Jenni Shadle Communications Manager Gail Morgan Communications Specialist Evan Thomason Communications Graphic Artist Andy Scott Economic Development Associate Denise Covert Public Works Management Analyst Alex Hernandez Human Services Administrator Hope Horner Website Coordinator Kathleen McGrath Recreation Graphic Artist Pablo Cevallos STAKEHOLDER COMMITTEE (See roster, Page 1) 85 Arts Master Plan SITE VISIT #2 (April 2015) REALTORS and DEVELOPERS Rebecca Mendoza (Keller Williams Reality) Steve Arklin (Owner Rancho Deluxe Movie Ranch) Norris Whitmore (Owner Norris Construction) Jim Bizzelle (Vice President Newhall Land) PROFESSIONAL ARTISTS Idelle Tyzbir Martha Wilcox Cecily Willis Sandy Fisher (Past Arts Commissioner) Pablo Cevallos (City staff, works as Graphic Artist for Recreation Division) Jaylene Armstrong ARTS NONPROFITS Sherry Klahs (Santa Clarita Master Chorale) Mark Elfont (Santa Clarita Philharmonic) David Stears (Santa Clarita Shakespeare Festival) Bob Hernandez (ARTree Community Arts Center) Glenna Avila (CalArts Community Arts Partnership) Elizabeth Burson (ESCAPE Theatre) Don Pittman (ESCAPE Theatre) Christy Smith (Newhall Family Theatre - formerly the Newhall Elementary Auditorium) Norma Wardon (Santa Clarita Artists Association) Jeanne Iler (Santa Clarita Artists Association) FUNDERS and BUSINESS OWNERS Erin Hopkins (White Fig Design) Sue Bird (Old Town Newhall Association) Bobbi Jean Bell (OutWest) Rima Raulinaitas (CASI Ceramic Artist Studio) SOCIAL SERVICES NONPROFITS Bryan Lake (Boys and Girls Club) Laura Mayo (Special Olympics) Tim Davis (Bridge to Home) Denise Tomey (Carousel Ranch) Sharlene Duzick (YMCA) Cheryl Jones (Child and Family Center) Leon Worden (SCV Historical Society) :. Arts Master Plan ARTS EDUCATORS John Vincent (Photography teacher at Hart High School) Bret Lieberman (Special needs teacher at Canyon High School) Brent Christensen (Theatre teacher at Hart High School) Christine Hamlin (Assistant Superintendent, Saugus Union School District) Priscilla Nielsen (Visual Art teacher at Arroyo Seco Junior High School) Drew Jorgensen (CalArts Community Arts Partnership) Ann Unger (Executive Director SCV Education Foundation) Linda Candib (College of the Canyons K-12 Outreach Program) Kathy Harris (Assistant Superintendent, Sulphur Springs School District) Lisa Bloom (Director of Instruction & Special Programs, Castaic Union School District) RELIGIOUS LEADERS Kim Patrick (Real Life Church) Rev. Garrett Craw (Christ Church Santa Clarita) Julius Harper (Santa Clarita Christian Fellowship) Gary Lindberg (Jesus Christ Church of Latter Day Saints) CULTURAL LEADERS Gloria Locke (SCVTV and many other community projects) Amber Martinez (Santa Clarita Ballet Folklorico) Ron White (Owner Entertainment Services) Claudia Acosta (Santa Clarita International Program (Sister Cities) & COC Professor) Jack Shine (Habitat for Humanity) CREATIVE ECONOMY Stephanie O'Connor PHONE INTERVIEWS Denise Grande (Los Angeles County Arts Commission) Rachel Mendoza (Los Angeles County Arts Commission) Jeannene Przyblyski (Provost at California Institute of the Arts) Dr. Dianne Van Hook (Chancellor of College of the Canyons) 87 Arts Master Plan Arts Summit (Town Hall) Participants April 6, 2015 103 Total John Alexopoulos Howard Marcovitch Phil Alhouse Cheri Marcovitch Li Ang Caroline Martin Wallis Annenberg Marilyn McDonale Yoonhee Aprahamian Bruce McFarland Mark Archuleta George Mcguinness Glenna Avila Patte McKee Lisa Barr Michael Millar Noel Bermudoz Rosemary Moffat Sue Bird Aaron Morquecho Lisa Bloom Selena Narayanasamy TimBen Boydston Sarah Nelson Cheryl Cameron Stephanie O'Connor Margaret Cockerell Sara Owinwo Curtis Colver Scott Parker Rod Cusic Leighton Pierce Eileen Daniels Don Pittman Paul Daniels Elizabeth Power Robison Hilary Darling Jeannene Przyblyski Jeremiah Dockray Shirley Pundt Erik Dunton Nadine Flambeau Karla Edwards Rima Raulinaitis Mark Elfont James Robinson Laurie Finkelstein Carol Rock Sandy Fisher Frank Rock Dianne Foderaro CJ Sarachene John Fortman Karen Schnurr Hadassah Foster Phillys Scorza Lena France's Kristy Shadle Maureen Furniss Diana Shaw Teresa Garcia Chris Shoemaker Meryl Goudey Jacqueline Sofen Raymond Guiterrez David Stears Justin Hogan Leslie Tamaribuchi Douglas Holiday Idelle Tyzbir Dawn Hovhannisyan Andrew Tyzbir Jeanne Iler Ann Unger Alyssa Janney Melissa Valencia Joseph Jasik Mr. Valencia William Kelman David Veal Chandra Khan Robert Wannamaker Janet Kubler Norma Warden Raymond Kutylo Rosalind Wayman Erica Larsen Marlowe Weisman Michele Lecrivain Brittney Westover Michelle Lecrlvain Martha Wilcox Moire Lendering Leon Worden Sister of Moire Lendering Eileen Zeidner Gloria Locke Bob Locke Tom Lund Sal Mannino Patrick Mannion Darryl Manzer ., A 9F LOS 4H i L 4 -` COUNTY OF LOS ANGELES "a DEPARTMENT OF PARKS AND RECREATION -_ C4i1K00.�P ! nT pa.k` � Willian S. Hart Regional Park Senior Building ANALYSIS Prepared by: LANDSCAPE ARCHITECTURE & DESIGN DEPARTMENT OF PARKS AND RECREATION June 2019 I. Park Information Supervisorial District: Agency: Park Name: Park Address or Location Park Phone Number: Park Classification: II. Project History 5th District Regional Agency William S. Hart Regional Park 24151 North Newhall Avenue Newhall, CA 91321 (661) 259-1750 Regional The Santa Clarita Valley Committee on Aging (SCVCOA) was formed in 1972 as a grassroots response to the needs of older persons in the Santa Clarita Valley. The SCVCOA was formally established as a Public Benefit Nonprofit 501(c)(3) Corporation in 1976, doing business as the Santa Clarita Valley Senior Center (SCV Senior Center). The building housing the SCV Senior Center was constructed in 1963. The Los Angeles County Department of Parks and Recreation provided the building to the SCVCOA rent-free in 1983, in exchange for the development and administration of multiple senior -focused programs. In May 2019, the SCVCOA relocated the SCV Senior Center to its new facility at 27180 Golden Valley Road, Santa Clarita, CA 91350, leaving the current building in William S. Hart Regional Park vacant. The Agreement between the County of Los Angeles and the SCVCOA will officially terminate on June 30, 2019. I /' 10 to I- h 111 -I V I I ti �37I: 9 1 h0l - i?I:VA �, @: VIA" if,Yl hS 1;. I: aax.lt5r.l r1101:xr, I71_(IA1:Wlr.x Mti'ie�r IC L�, t1,K., f,9�f1 ICI i� Building Plaque William S. Hart Regional Park Page 2 of 15 Senior Building Analysis June 20, 2019 III. Project Description: The Regional Agency and Supervisorial District 5 (SD5) have been in discussions regarding the vacant building and the area surrounding the vacant Senior Center. On May 2, 2019, the Regional Agency reported the following to SD5: a. The Regional Agency provided maps showing the areas that the department proposes to use at the Senior Center site. The Regional Agency proposes to use the office trailer to the rear of the Senior Center, as well as the fenced off parking area and a portion of the rear parking lot. The Regional Agency proposes to install screening material on fences to help avoid any aesthetic concerns associated with their use, vehicle parking, and/or storage in the area. b. The Regional Agency proposes to house approximately 12 employees and up to 12 County service vehicles in the small parking lot and trailer area. These employees would work out of this area, to be used for office space, meetings, some equipment storage, vehicle parking, loading and unloading. These employees will be engaged in crafts, construction and grounds maintenance activities throughout the Hart Park, Santa Clarita, Castaic, and Antelope Valley areas. C. The Regional Agency proposes to utilize portions of the larger rear parking lot areas for storage and tool bins, as well as parking for employee's personal vehicles. This area would also be fenced and screened as necessary. d. Proposed Regional Agency office operating hours would be Monday through Friday, 5:30am to 4:OOpm. Proposed Regional Agency Use of Senior Center Site William S. Hart Regional Park Page 3 of 15 Senior Building Analysis June 20, 2019 Regarding the actual vacant Senior Center building, the Regional Agency also reported the following to SD5 on May 2, 2019: a. The County's in-house Planning and Development staff (PND) will complete an analysis of the building, noting this may take up to 30 days to complete. PNDs assessment won't cover any structural, seismic, or engineering issues and would not include a cost estimate. If a more formal assessment and cost estimates are desired, then funding assistance would be required. b. PND will perform a more general assessment of the Senior Center to determine what improvements may be required to bring the building up to an acceptable level of service so that future County programming could occur. This assessment will help in determining what improvements may be needed going forward. Items that would likely be looked at include HVAC, electrical, plumbing, roofing, doors, windows, fixtures, restrooms, kitchen, floors, etc. IV. PND Analysis PND visited the site to perform the assessment on May 21, 2019 to evaluate the vacant building. The site visit was attended by: a. Jim Smith, Chief of Development, PND b. Todd Schmit, Supervising Landscape Architect I, PND C. Nam Hoang, Architectural Associate, PND d. Eric Reifman, Regional Park Superintendent II, Regional Agency f. Kevin MacDonald, SCVCOA The following items were noted during the site visit: a. Overall, the facility is in reasonably good condition. Doors and windows look good. b. No water intrusion was noted anywhere in the building, including the flooring. William S. Hart Regional Park Page 4 of 15 Senior Building Analysis June 20, 2019 Flooring in Good Condition C. The restrooms adjacent to Activity Room 4 need to be upgraded for ADA compliance. ADA Upgrades Required William S. Hart Regional Park Page 5 of 15 Senior Building Analysis June 20, 2019 d. The east exterior wall at the recent activity room addition is constructed of 2x4 framing which is below the outdoor sloping grade and is essentially acting as a retaining wall. This wall needs to be replaced with an engineered concrete retaining wall to prevent future problems. x �4 Engineered Retaining Wall Required William S. Hart Regional Park Page 6 of 15 Senior Building Analysis June 20, 2019 e The restrooms at the west side of the building are mostly ADA compliant, but will require minor upgrades. y Minor ADA Upgrades Required William S. Hart Regional Park Page 7 of 15 Senior Building Analysis June 20, 2019 f. The roof needs to be inspected for age, leaks, flashing and drainage. The roof is partially pitched at 4.12 and utilized a flat built-up composition. Some roof tiles are missing and need replacing. Some Roof Tiles Missing g. The HVAC consists of roof top package units that need to be analyzed and inspected forage, efficiency, leaks, condensate line condition, etc. h. The kitchen is a full commercial kitchen with dated equipment, hoods, exhaust, and ADA clearances. The kitchen needs to be upgraded to current standards (ADA and Health Department current codes, rules and regulations.) William S. Hart Regional Park Page 8 of 15 Senior Building Analysis June 20, 2019 Full Commercial Kitchen Upgrades Required William S. Hart Regional Park Page 9 of 15 Senior Building Analysis June 20, 2019 i. SCVCOA reports that some of the kitchen equipment is owned by other County agencies and will be removed at lease termination. j. The building should be analyzed for fire sprinkler requirements. Currently, there are no fire sprinklers. k. Some painting and trim work will be required. However, it did not appear that termites were active. However, further review is required. Painting and Trim Work Required William S. Hart Regional Park Page 10 of 15 Senior Building Analysis June 20, 2019 I. The parking lot appears to be mostly ADA compliant. The ramp into the building requires upgrades. Signage requirements should be verified. Current ADA Conditions William S. Hart Regional Park Page 11 of 15 Senior Building Analysis June 20, 2019 M. Other code and abatement concerns such as possible asbestos, as well as other contaminates and forensic inspections from third party consultants will be necessary, such as seismic. V. CEO Analysis CEO provided a Full Site Report (BIS 08214) for the Senior Center in 2016. See Appendix A at the end of this analysis for the full report. At that time, the report noted mainly low to medium priority deficiencies, showing minor repairs and/ or maintenance was required for vegetation, parking lot pavement, drains, stucco, floor slab, flooring finishes, wall finishes, gypsum board, utility doors, outdoor siding, HVAC, drinking fountains, interior lighting, wiring devices, pedestrian pavement, canopy roofing, paneling, window sealants, air outlets/inlets, exit signage, and sanitary waste/vent piping. Some of the high priority deficiencies included the built-up roofing gravel, canopy roofing, some of the board paneling, flashing, the water heaters and an open sink next to an electrical panel. No critical deficiencies were noted. Vl. PND Recommendations a. Cosmetic repairs, such as trim, painting and minor roof tile repairs can likely be completed by the Regional Agency. b. Hire an environmental consultant to evaluate the building for lead, asbestos and other contaminate materials. C. Hire a structural engineering consultant to evaluate any structural/ seismic concerns within the building as well as re -design the portion of the building where the building wall is being used as a retaining wall. d. Hire a MEP engineering consultant to evaluate the current HVAC, plumbing, and electrical systems, and recommend repairs and improvements. e. A pest control specialist should be hired to ensure that there is no termite infestation. f. Hire a certified accessibility specialist (CASP) to evaluate the current kitchen, restrooms, parking and other facilities for compliance with ADA/ CA Title 24. g. Evaluate the kitchen for code compliance with the Department of Public Health, Environmental Health Division to understand what will be required to bring it up to current codes, rules and regulations. h. The Los Angeles County Fire Dept. should evaluate the need for sprinklers in the building. i. After the lease agreement has been terminated (June 30, 2019), evaluate the existing kitchen to determine what kitchen equipment items have been removed and which items will need to be replaced. William S. Hart Regional Park Page 12 of 15 Senior Building Analysis June 20, 2019 Evaluate, repair, and/or maintain the high priority deficiencies noted in the CEO's Full Site Report (08214), including: • evaluation of the built-up roofing • board paneling and finishes • joint sealants • flashing • water heaters • removal of the sink next to an electrical panel. k. Evaluate all of the other items noted in the CEO's Full Site Report to ensure these items have not become high priority deficiencies. For those that have, evaluate, repair and/or maintain these items. After all evaluations have been completed, utilize a cost estimator consultant to provide a cost estimate to complete necessary repairs. William S. Hart Regional Park Page 13 of 15 Senior Building Analysis June 20, 2019 �O y y O O D O 9 $ ➢ D ID (p � �A (n LV tfi CO m m m m mj!m w m rn rm m rri m p rl' 3 'I0 m w m n V Senior Building As -Built Site Plan William S. Hart Regional Park Page 14 of 15 Senior Building Analysis June 20, 2019 H APPENDIX A CEO's 2016 FULL SITE REPORT (BIS 08214) William S. Hart Regional Park Page 15 of 15 Senior Building Analysis June 20, 2019 %E SISAIVNV 3000 8 a ° $ a F m�elxwe °,. s3sn a�aurmn �u.o uo snvsoi�sb �+� m�awmxi an va3°wmv°.,.+vn � .�waecxa �.. m. mureum xoumao�° _.. aw uraunoa sn° � S I I I I � A LU ap z M M U z K o ff LU uj W z M TTP d b W z 1 S S o m� m� � c � n n p + m o o \ V II M M z a c! m o !°I a R 3 owl M w w U \\ i U F_ a< a d a •• p a F� Z LL>_ K O _ O mj 1 s m IL J f w 0 < a¢< O Z w U a G 3 p W 3 p 3 g • 0 0 0 0 (1! N w O O U U O Q (00 (n O (n c0 N N + (6 3 N Q O O W M Z n N O O N � _ O Q L^ O N O 0 O N N Z O � N 6I _ + 6I II CO O N II ¢ O N 3 6 i a m O� o O� w ai a a O �//�� O O (6 d Q (6 Q mN (6 O LL N 0 3 6I Y -p U s j oI E U V J Q V F V LL' CL V i C NO a LL W_ Y U Ir Q Y Z Q n Q LL Q N� c M a_ a� Un \ Iaaa}S I a � i e A off [c; o- N ° M r� 1 1 1 1 1 o —s� 0 M a� w 0 z oL—,SL — z L 2-1 0 M a� w U) (1) [c; 0 M a� w 0 m 0 w U) cu -- w 8-,ZL E U off [c; AMS P L A N N I N G & RESEARCH City of Santa Clarita Needs Assessment for Arts/Culture Veterans Center n._-•----i unit -n --n rr( POSdi fFiv2)-Zu-Z i -Zy April, 2021 *4 / AMS P L A N N I N G & RESEARCH April 26, 2021 Jonathan Cosh E-mail: JCosh@santa-clarita.com Phone: (661) 286-4187 Dear Mr. Cosh & the City Santa Clarita Selection Committee, AMS Planning & Research Corp, is pleased to submit the following proposal to conduct a Needs Assessment for an Arts/Culture Veterans Center in Santa Clarita. We understand the purpose of this assessment is to determine if the former Senior Center would provide adequate accommodations to meet the spatial and programming needs for the community's arts, cultural, and veterans' activities. AMS is aptly suited for this work. We have recently worked in several California communities to assess supply, demand, gaps and opportunities within arts, cultural, and community ecosystems. Our work with the McConnell Foundation in Redding, CA looked inward to gain an understanding of the state of arts and cultural organizations, delineate needs and opportunities, and aid the Foundation in determining how they could more strategically deploy their resources to meet the community's needs and goals. At UC Davis, AMS was engaged to develop operating recommendations and forecasts for historic Governor's Hall. As the University created a new public space with welcoming, accessible entry points connecting the University with its neighboring communities, Governor's Hall was envisioned as a space for performances, conferences, and meetings for a wide variety of community constituencies. In Rancho Cordova, AMS conducted a feasibility study for a new multi -disciplinary community cultural center to be located on a 10-acre, City -owned parcel. With reasonable and growing demand for new space to support performing and visual arts, and community events and gathering in Rancho Cordova, AMS recommended flexible performance spaces and exhibition space, along with ancillary spaces for classrooms, art studios, rehearsal rooms, and maker space. To complete the facility programming task for this endeavor, AMS would partner with long-time colleague, Pfeiffer Partners architects. Our firms' decades of experience and our unique perspective on the performing arts and cultural sectors will provide the foundation with a thorough assessment and achievable plan going forward. We look forward to answering any questions regarding our proposal and are amenable to modifying our approach with further input from you. We hope we will have the opportunity to work with the Santa Clarita community on this important collaborative project. Sincerely, AMS Planning & Research Bill Blake, Director IV// AMS P L A N N I N G & R E S E A R C H IV// AMS P L A N N I N G & R E S E A R C H Contents Introduction....................................................................................3 References.......................................................................................4 Plan of Study / Scope of Work Program Management&Timeline......................................14 Personnel......................................................................................15 Work Sample Introduction Approach _ Our approach begins by understanding both supply and demand in the marketplace _ _ 1 with respect to arts, culture and entertainment in the Santa Clarita Valley. We assess _ demand from two perspectives: facility users and potential audiences. The current supply of venues and programs are inventoried and assessed to determine how demand is currently being satisfied and where potential gaps may be present. We also approach the work knowing community's vision and aspirations should considered as key inputs, as arts and culturz facilities are not purely market -driven endeavors. These four inputs - user demand, audience demand, supply, and community factors - provide the data for determining the size and character of new cultural facilities, what programs the space(s) could host, what real estate strategies make the most sense, and how they should be operated. We believe the key questions driving our inquiry to be: the • What are the needs of the existing arts and cultural organizations, veterans and individuals in the Santa Clarita Valley in terms of facilities, programs and support? What are the community's collective goals and vision for a shared arts venue? • How would the project need to be positioned in the community and operated given support structures to achieve success and long-term sustainability? • What can be learned from other, similar projects? How are they using collaboration to activate their spaces and communities? How can facilities imagined today maintain relevancy 20, 40, 60 years from now? What development strategies create spaces that support arts programs and participants? • How will the project be carried out? What resources (financial, human, capital, facility, etc.) are required to achieve success? The following scope of work is designed to address these questions and enable the City of Santa Clarita, its veteran population, and community at -large make informed, confident decisions regarding the future of its arts and cultural landscape. 3 111v References City of Rancho Cordova Performing & Visual Arts Center Feasibility Study Location: Rancho Cordova, CA Client: City of Ranch Cordova Project Contract: $33,400.00 / $88,900.00 Completion Date: March, 2019 - August, 2019 / September, 2020 - Present Contact: Micha Runner, Deputy City Manager Phone: (916) 851-8700 In March 2019, AMS Planning & Research was engaged by the City of Rancho Cordova to conduct a feasibility study for a new community arts venue to be located on a 10- acre, City -owned parcel along Folsom Boulevard. Through an inventory of the city's current assets, and study of the market's supply and demand in both the performing arts and visual arts, AMS identified key findings regarding the potential for a new community arts venue in Rancho Cordova. AMS conducted interviews with stakeholders to assess awareness of the project, understand the demand for additional arts facilities and arts programming in the community, and to define a successful arts and cultural endeavor in Rancho Cordova. A market area for a potential venue was defined, and AMS conducted an in-depth study of the demographics and psychographics of the market. AMS administered an online survey of potential users of a new facility to understand their current activity and needs in a new space. Finally, four comparable venues nationwide were selected and researched to offer vision as to the potential future. In the process of assessing the performing arts environment, AMS uncovered interest in visual arts spaces and activities from local artists and organizations. AMS shifted its scope of work for phase two to accommodate an assessment of the visual arts environment in Rancho Cordova. AMS concluded there is reasonable and growing demand for new space to support both performing arts and visual arts in Rancho Cordova. To meet this demand, the City would need to consider 500-850 seat performance spaces. The visual arts survey highlighted potential for increased activity among artists. Space recommendations included 500- 600 square feet of gallery or exhibition space. Ancillary spaces for classrooms, private studios, were also recommended. 4 Governor's Hall Utilization Assessment & Business Planning Location: Davis, CA Client: UC Davis (Aggie Square) Project Contract: $46,800.00 Completion Date: February, 2020 - October, 2020 Contact: Sonja Colbert, Business and Technology Executive Officer Phone: (530) 752-7461 XI K 0 `-. ; UC Davis has been working to develop an innovation center within the UC Davis Medical Center Sacramento Campus. Known as "Aggie Square," it is intended to be an environment which 'creates new public space with welcoming, accessible entry points that connects the University with its neighboring communities.' As part of a commitment to address needs of local neighborhoods, the Aggie Square team engaged AMS Planning & Research in early 2020 to develop operating recommendations and forecasts for historic Governor's Hall located in Sacramento, southeast of Aggie Square. The University envisions its potential use as a space for performances, conferences, and meetings. In conjunction with planning by UC Davis, the Aggie Square team, the Partnership Advisory Council and Community Engagement Advisory Committee, AMS studied the context within which Governor's Hall would operate to understand its potential activation and resulting business model. AMS began this study with a review of planning materials and environmental scan. While the impacts of COVID-19 impacted the pace and approach to study efforts, AMS engaged stakeholders through interviews and a survey to test potential demand. Through workshops with project leadership and input from the UC Davis Mondavi Center's leadership, AMS developed an operating model supporting an activity mix which seeks to balance demand and access for both campus and community users while minimizing the need for an ongoing operating subsidy. 5 CSU Fresno Performing Arts Opportunities & Needs Assessment, Business Plan Location: Fresno, CA Client: California State University - Fresno Project Contract: $36,800.00 / $44,900.00 Completion Dates: December, 2017 - April, 2018 / September, 2018 - December 2019 Contact: Dr. Saul Jimenez -Sandoval E: sjimenez@mail.fresnostate.edu / P: (559) 278 - 3056 FRESNO* STATE Discovery. Diversity Distinction, The President's Commission on the Future of the Arts and Humanities at Fresno State was formed in 2017 to review the University's existing programs and facilities, identify opportunities and strategies to grow the College's presence and partnerships, and explore the possibility of new facilities to support the College, the campus community, and arts and humanities activities in the Central San Joaquin Valley. In parallel with a review of campus needs and aspirations, the Commission engaged AMS Planning & Research in the spring of 2018 to conduct an independent, community - focused performing arts needs assessment to determine and provide detail regarding the need for a new performing arts center on Fresno State's campus. AMS supported the Commission through a market analysis and environmental scan to better understand whether attributes correlated with arts and cultural participation are present in the surrounding market area. AMS also conducted interviews with community stakeholders and a survey of community arts organizations to quantify the needs of potential users of a new facility and define the size, characteristics, and amenities needed to accommodate the community. AMS guided the Commission through active thinking exercises to test recommendations, develop consensus, and set the direction for further planning on campus. AMS worked closely with Fresno State leadership to select Pfeiffer Partners Architects who developed a building program, cost estimate, and visual representations of the proposed 1,000-seat venue. Using these plans, AMS shared learnings from other similarly sized Centers to provide operational and programmatic best practices. AMS also developed a profile of projected activity, recommendations for governance and management of the proposed facility, and an operating pro forma depicting a normalized year of operations. rl McConnell Foundation Arts & Cultural Sector Assessment & Development Strategy Location: Redding, CA Client: McConnell Foundation Project Contract: $64,600.00 Completion Date: March, 2018 - March, 2019 Contact: Shannon Phillips, Vice President of Operations Phone: (530) 226-6231 THE MCC©NNELL FOUNDATION RE I) DlNo,t.A1.130KN1A AMS was engaged by the McConnell Foundation as they embarked on an assessment of the needs and opportunities for the arts and cultural sector in their home City of Redding, CA and the surrounding area. AMS's key objectives were to look inward, gaining an understanding of the current state of arts and cultural organizations, delineate needs and opportunities, and aid the Foundation in determining how they could more strategically deploy their resources to meet the community's needs and goals. The study also looked outward, providing an overview of current trends, exemplars, and comparable institutions to establish criteria for potential strategies for providing arts and cultural support and development over the long-term, and to build a consensus around an impact model that would leverage the McConnell Foundation's resources to improve the quality of life in Redding. Our process resulted in developing three potential impact models that were tested with the Foundation's leadership. See attached Work Sample. 7 Plan of Study/Scope of Work Phase 1: Situation Analysis & Needs Assessment In the initial assessment phase, we would work with a small steering committee to investigate and document the current needs of arts, culture, and veterans' activities before determining how to proceed with planning for a dedicated facility in Phase 2. Phase 1 consists of an examination of the market, listening to key stakeholders, gathering community input, and presenting preliminary results for further community feedback to insure buy -in of the definition of'needs' and, ultimately, success. Specific tasks include the following: 1.1 Background Review To begin the study, AMS and Pfeiffer Partners would review the 2016 Arts Master Plan, the Analysis of the Willian S. Hart Regional Park Senior Building, the City's current strategic plan, available data and reports from the various County and local veterans' groups to ensure we begin work from an informed position. 1.2 Project Initiation In a project kick-off workshop, AMS would work with a defined steering committee to confirm the work plan and project timeframe, define project goals, and gather any relevant information regarding the Santa Clarita community. We recommend that the steering committee consist of approximately five people who can represent key constituencies connected to the proposed project, including City staff. 1.2.1 Output We would identify key stakeholders and anticipated facility users and develop and outline the plan for public engagement based on steering committee input. 1.3 Site Review Pfeiffer Partners would conduct a site visit to review conditions at the Senior Center property, including space and technical capacity and limitations, opportunities, and constraints. Available documentation on the building and site would also be reviewed. This visual, non -technical review would enable the consulting team to develop scenarios in Phase 2 for possible reuse of the building or repurposing of the property. 8 1.3.1 Output Site and facility situation analysis. 1.4 Key Stakeholder & Small Group Interviews AMS would conduct 15 to 20 individual stakeholder ' - and small group interviews with City Council members, 5th District office, Arts Commission, Parks, Recreation and Community Services Commission, independent artistic stakeholders, County Art _. Commission, California Institute of the Arts (Cal Arts), veterans' groups, and other relevant stakeholders to gain an understanding of contextual ` issues and opportunities, and to test community interest in the proposed project. An initial list of prospective interviewees would be developed collaboratively with the steering committee. AMS would then develop a topic guide and conduct the confidential meetings and report backto the committee on themes, ideas, concerns, and opportunities discovered during the process. 1.4.1 Output Qualitative information critical to determining the feasibility of the project, and key insights into partnerships, funding, and programming opportunities would be presented to the committee. 1.5 Market Analysis We would conduct a demographic and psychographic analysis of the Santa Clarita's primary and secondary trade areas to understand attributes that correlate with participation in arts and cultural activities. This would draw on demographic and lifestyle data for the region provided through our partnership with Claritas, AMS's proprietary patron models, and other local audience data (as available). 1.5.1 Output Market Analysis including Median age, income, education attainment, socio- economic segmentation distribution, race/ethnic distribution, and propensity to engage in arts and cultural activities. 1.6 Environmental Scan & Inventory ar. To gain understanding about local and regional 'supply' factors that may impact facility and program operations, AMS would conduct a scan of Santa Clarita's regional arts and cultural assets and inventory local and regional venues, summarizing characteristics, levels of activity, programs, operating structures, and audience / visitor information (as available). 9 1.6.1 Output Documentation of existing models of operation, needs currently being met, and available opportunities within the market area. 1.7 Community Forum #1 This first Community Forum would gather broad input regarding what is envisioned to enhance arts, culture, and veterans' programs for the area and share findings of the research completed to date. In addition to veterans' groups and the arts and cultural sector, local business organizations, civic leaders, and other stakeholders would be invited with significant input from the steering committee. Areas of inquiry may include: • perceptions of current arts and cultural programming; preferred venues at which programs are offered, • barriers and drivers to attendance at current facilities, programs and events, and available accommodations (both physical and financial), and • additional programs and facilities that might be implemented to accommodate community interests and address seasonality of offerings. AMS would work with the City (and others as appropriate) to ensure that these meetings are well publicized to ensure they are inclusive of a broad and diverse constituency of community stakeholders. Facilitation tools may include real-time polling as well as visioning and'Active Thinking' exercises. 1.7.1 Output These open sessions would help AMS and project leadership assess the community's areas of interest and come to understand what components would comprise a successful venue. 1.8 Facility User Needs Survey AMS would undertake an arts and cultural needs survey to define the spaces and amenities needed to accommodate arts and cultural organizations, veterans' groups, and the community. This quantitative assessment of the veterans and creative communities' needs provides critical data for determining the strength of the case for establishing a new venue, and defining its ji► r `'r size, characteristics, and operating model. To ensure a robust and timely response, AMS would develop an on-line survey and provide a link to be circulated via existing distribution channels coordinated by the steering committee and other partners, such as the Santa Clarita Arts Commission, Parks, Recreation and Community Services Commission, County Art Commission, California Institute of the Arts (Cal Arts), County Veteran Affairs, and others as appropriate. 1.8.1 Output Survey results and analysis. 1.9 Success & Scenario Workshop Armed with a market understanding and community feedback, AMS would facilitate an on -site workshop with the steering committee to facilitate development of a shared understanding of'needs' and definition of'success' for the proposed project. We would define a facility vision and evaluate opportunities, including potential partnerships and scenarios. 1.9.1 Output A copy of the presentation along with appended research documents would comprise the deliverable for Phase 1. 11 Phase 2 - Project Definition The second phase of the project turns toward defining activities to be supported, spaces needed, and a review of best practice exemplars based on similar venue types within demographics similar to that of Santa Clarita's. 2.1 Activity & Facility Program Workshop ` AMS would convene a workshop to develop a scenario for activity and programming within the former Senior 4 Center in alignment with the needs, opportunities, and vision for success, as defined within the previous phase. We would examine best practice exemplars and ` determine to what degree the Senior Center can ` - accommodate the anticipated needs opportunities. 2.2.1 Output -Activity Profile Based on workshop findings and input from the community and steering committee, AMS would outline type and quantity of space needed in a proposed facility, estimating the number of programs and activities, which would inform the development of the building program - including seating capacities, as applicable - and operating requirements. 2.2.2 Output - Facility Program Using the Activity Profile, interviews with key users, and past experience as a guide AMS, and Pfeiffer Partners architect, would develop a preliminary building program/space list for review with project leadership. Subsequently, reductions and/or modifications would be incorporated into a revised program to inform site selection, preliminary building test -fits, and range of magnitude capital cost estimates. 2.2 Trends & Best Practice Exemplars AMS would identify up to three peer venues for comparative analysis. The venues would be selected in collaboration with the steering committee as well as market size and other factors. 2.2.1 Output For each venue we would analyze factors including programming and utilization, operating structure and finances, markets served, community partnerships, and other opportunities and lessons learned. 12 2.3 Operational Scenario(s) AMS would develop operational requirements, including management and governance requirements based on the activity profile, program, and capital needs, based on comparative and exemplar data. 2.3.1 Output AMS would develop a short presentation delineating possible operating scenarios for the facility. The steering committee may select a 'preferred scenario' for consideration by the community and City leadership. 2.4Community Forum #2 During this site meeting, AMS would deliver a public update of Phase 2 findings, allow for feedback, and if appropriate, guide discussion surrounding overlaps, gaps, areas for future growth, and vision as described above. 2.3.1 Output Learnings from exemplar cities and survey results would be presented in the context of success and to gain feedback about the potential venue within Santa Clarita's cultural ecosystem. 2.5 Draft Presentation In a final on -site workshop, AMS would present the feedback from the second Community Forum and final recommendations of the needs assessment to the project steering committee. As a group, we would discuss risks and opportunities for the proposed project, solicit feedback from the committee, and identify next steps before finalizing the report and final recommendations. 2.6 Summary Final Report To conclude the study's work, we would submit a summary final report, including relevant appendices. The summary report would identify a series of recommended next steps to advance the project. 13 Program Management & Timeline AMS's project management methodology is most closely aligned with the Agile approach: we conceive of a scope of work and timeline and are then flexible and iterative during the process with high regard for adapting in collaboration with our - client as conditions demand. - _ Timing: AMS proposes to complete the scope of work as outlined in this proposal - - - over a proposed 24-week period. The schedule is dependent upon the timely - scheduling of key meetings and presentations and receipt of background and other _ materials from the client and other project participants. Modifications and changes - to the workplan would be discussed and agreed upon, should any become necessary. City of Santa Clarita Needs Assessment Preliminary Project Schedule *workshops, webinars or meetings Month) Month 1 I Month 2 I Month 3 I Month 4 1 Month 5 1 Month 6 1 Phase 1: Situation Analysis 1.1 Background Review 1.2 Project Initiation 1.3 Site Review 1.4 Interviews 1.5 Market Analysis 1.6 Environmental Scan 1.7 Community Forum #1 1.8 User Needs Survey 1.9 Phase 1 Workshop Phase 2: Project Definition 2.1 Activity Profile & Facility Program 2.2 Exemplars 2.3 Operational Scenario(s) 2.4 Community Forum #2 2.5 Draft Presentation 2.6 Summary Report 14 Personnel AMS and Pfeiffer Partners are lead and supported by diverse and collaborative teams that bring a wealth of experience in arts, culture and community facility planning. The ` - individuals below will be guiding this study on behalf of AMS and Pfeiffer Partners _ with contributions from others throughout the firms, as needed. Bill Blake, Director Project Role: Bill would serve as Project Director, guiding the project process and providing oversight to achieve project goals and objectives. Bill would be the main point of contact for project - _ leadership. Bill is a Director at AMS and heads the firm's Sacramento office. Drawing on his experience as a leader, advocate, manager, educator, and consultant, Bill guides clients large and small through strategic and business planning, facility feasibility studies, and policy development processes. Developing plans that mobilize ideas and aspirations into actionable steps is always Bill's top goal with clients. His years of experience combined with his pragmatic approach to planning gives him great insight into how to implement strategies quickly and effectively. Years of Experience: 27 Education: MA, Arts Administration, Goucher College; BA, Theatre Production, Principia College Significant Projects: University of California - Davis - Aggie Square, Facility Feasibility Study California State University - Fresno, Performing Arts Opportunities, Needs Assessment, Business Plan City of Rancho Cordova, Feasibility Study, Business Planning, Project Counsel McConnell Foundation, Arts & Cultural Sector Assessment and Development Strategy City of Lethbridge, Operting Model and Business Planning Study City of Boise, Feasibility Study, Business Planning Amy Ben-Kiki, Project Manager Project Role: Amy would serve as Project Manager, overseeing _ completion of project tasks, organizing and interpreting data, and coordinating and formatting all project related communication. Amy would coordinate community engagement, serve as focus group leader, and conduct Interviews. AM 15 Amy is focused on the role of arts in developing individuals and communities. Her commitment to advancing the sector and challenging its boundaries is evident in her strategic planning work with museums, cultural centers and higher education institutions, and in her management of several large-scale assessment projects. _ Years of Experience: 25 Education: EcI.M, concentration in arts -in -education, Harvard University Significant Projects: Perelman Center for the Performing Arts at the World Trade Center, New York, NY, Business Planning and Strategy Dr. Phillips Performing Arts Center in Orlando, FL, Business Planning and Strategy The Stages at Northstar intake Tahoe, CA, Feasibility Study Hillsborough County, FL, Cultural Assessment ArtsBridge Foundation Education Centre, Atlanta, GA, Feasibility Study Subcontractor - Pfeiffer Partners Sonya Julian Lester, Pfeiffer Partners, Project MonagerAIA, LEEDAP Project Role: Project Manager, Architecture, Site Review, Facility Program Working with diverse clients across the US, Sonya has more than 19 years of experience with the planning, programming, and design of facilities for arts and culture, including efforts to understand existing facilities and evaluate options for Al improvements. She is responsible for successful project management, consultant and internal team coordination, working with the team and clients on a day-to-day basis to plan and create successful facilities that respond to the unique needs of each project. Education: Master of Architecture, Tulane University; Bachelor of Architecture, Tulane University Licenses: Licensed Architect in California, C 31416, exp 12/31/2021 Significant Projects: Performing Arts Center Feasibility Study, California State University- San Bernardino School of Music Facilities Planning, Baldwin Auditorium Renovation, Page Auditorium Renovation Study, Duke University Musco Center for the Arts Programming / Design, Chapman University Performing Arts & Music Conservatory Phase II Expansion, The Colburn School Bridge Hall & Leventhal Hall Historic Renovation/Expansion, University of Southern California Performing Arts Center Programming / Design, Cerritos College 16 Exceptions Professional Liability Insurance: AMS typically carries $250,000 in errors & omissions insurance. Arts management consultants are not a licensed profession, and as such underwriters do not have an experience base to price coverage, making larger limits prohibitively expensive. Therefore, it is not standard for consultants to carry $1 Million in professional insurance coverage. If required, AMS can provide increased coverage, at an additional cost, which would be an additional project expense beyond our proposed fixed fees. Sustainability AMS Planning & Research is committed to environmental, social, and economic sustainability in all aspects of our work, including: Waste Reduction AMS Planning & Research works to minimize the quantity of wastepaper and other products which result from our work. Where possible, we use electronic documents internally and as project deliverables. We use paper with 100% recycled content and recycle all our office paper products to divert waste from landfills. Transportation: Where possible, AMS books overnight accommodation within walking distance to meeting locations. We utilize public transportation systems where available. When possible, we employ video conferencing services to minimize long distance travel. Socio-Economic Sustainability As consultants working exclusively in the arts and culture sector, nearly every facet of our work touches issues of socio-economic sustainability in some way. As a firm, we are committed to helping clients make informed decisions to ensure their own financial sustainability so that arts and culture can thrive in communities around the world. Through our work, we hope to advance social and economic wellbeing for all people through arts and culture. 17 i z 0 W H 0 IA O z 03 u � a, O W O am Li r O O u W O u V L L E E u W N a) U010 — N L co cd a) _ 7 L V cd v�- O co Y Cd V N co E v"- Y- E E O c a 0 O co y L O > L n. v c °1 + (U c a cd y 'u _ Y X -0 c w O 3 E m a E o V ;t M s U -0 3 0 N d C cz O O L cd N Y a a- -0 o o 0 s o 0 o -r- a) 4-1 co Co -0 CO 4-J d co N co N E w O 0 m •T O L. cA co 41 m�; a) 0) N L. N 0 � 3 Li U co a acz -0 L N V E E O >. 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Oo EA oN a) L a) 3 r f .0 a) s a) N o. o s-0 � c `� O v '41 E > as Y Is— 0 y ++ Q a) a) O > 0 _V r 0 u O �1 � a 41�., (d V O 0 Q% V c V of of .� .O U0 of �••, V V a) d L a) 0 a E a, c co 4-1 w� c a) O 41 41 c co t O a E a) .3 u V c co co co City of Santa Clarita Cost File #N S-20-21-29 e Aa M S P L A N N I N G & RES E A R C H Professional Fee This proposal is a firm offer, valid for a 120-day period. The proposed work shall be performed at the below noted "not -to -exceed" price and shall include all deliverables and meeting attendance as laid out in the scope of work. Total Pfeiffer Phase 1: Situation Analysis Fee AMS Fee Fee 1.1 Background Review $1,900 $1,900 $0 1.2 Project Initiation $3,600 $3,100 $500 1.3 Site Review $5,200 $2,200 $3,000 1.4Interviews $4,400 $3,900 $500 1.5 Market Analysis $2,400 $2,400 $0 1.6 Environmental Scan $3,500 $3,500 $0 1.7 Community Forum #1 $5,500 $5,000 $500 1.8 User Needs Survey $5,400 $5,400 $0 1.9 Phase 1 Workshop $4,900 $4,400 $500 Phase 1 Total $36,800 $31,800 $5,000 Phase 2: Project Definition 2.1 Activity Profile & Facility Program $6,800 $2,800 $4,000 2.2 Exemplars $4,600 $4,600 $0 2.3 Operational Scenario(s) $1,900 $1,900 $0 2.4 Community Forum #2 $4,400 $3,900 $500 2.5 Draft Presentation $4,900 $4,400 $500 2.6 Summary Report $3,500 $3,500 $0 Phase 2 Total $26,100 $21,100 $5,000 Fee Total $62,900 $52,900 $10,000 Reimbursable Expenses (estimated) $2,000 Expenses: Reimbursable expenses, including travel and transportation, accommodations, and communications costs (e.g., couriers, and report printing and binding) incurred in the delivery of these services are ordinarily charged in addition to professional fees, at cost. With the unknowns surrounding COVID- 19 and travelling conditions, we do not anticipate any direct expenses at this time. Connecticut:107 John Street, Suite 1E, Southport, CT 06890 �, 203.256.1616 ® ams-online.com California:2617 K Street, Suite 225, Sacramento, CA 95816 I', 916.503.4402 Site Visits: Should travel be permitted (dependent upon COVID conditions) prior to project completion, we have provided an allowance of $2,000 for up to �2,site visits related to workshops and presentations. Additional site visits, if possible, would be charged at the daily rates and considered additional services. ` AMS Planning & Research Steven A. Wolff, Principal Needs Assessment for Arts/Culture Veterans Center City of Santa Clarita Proposal NS-20-21-29 CULTURAL PLANNING GROUP TABLE OF CONTENTS INTRODUCTION.....................................................................................................................................2 REFERENCES............................................................................................................................................4 Summaryof Relevant Projects............................................................................................................. 4 References..............................................................................................................................................8 Firm Description: Cultural Planning Group...................................................................................... g SelectClient List..................................................................................................................................ii PLANOF STUDY......................................................................................................................................13 ProposedScope of Work......................................................................................................................13 SCHEDULE..............................................................................................................................................18 PROGRAMMANAGEMENT.................................................................................................................. ig PERSONNEL, EQUIPMENT & FACILITIES....................................................................................... 21 ProjectTeam........................................................................................................................................ 21 TeamMember Bios.............................................................................................................................. 22 SUB-CONSULTANTS............................................................................................................................. 25 Cultural Planning Group I Page 1 INTRODUCTION This is a bold and visionary project. Linking arts and culture with veterans asks, "Howcan we best use creativityto serve theneeds ofthe communityand demonstrate our commitment to specific populations?" What this linkage means and how it manifests is at the heart of this project. While there are many creative potentials, there are multiple questions to be asked and answered through the needs assessment. • Whatis the community's vision and opportunitiesforarts and cultural programs within theformatoftheformerseniorCenteg • Howcan thatfacilitysupportlocal artists and arts organiza tions? Children and young people? Diverse cultures? • Are there unmet needs ofveteransforservices, support, recreation, creative expression, and agatheringplace? • Howcanacenterserveseparateandjointinterests?Andhowcanthesevariousneeds combinein an authentic and usefulmanneg Cultural Planning Group (CPG) has long familiaritywith Santa Clarita and its arts community. It developed the City's two cultural plans in 1998 and 2o16 and conducted comprehensive community engagement and needs assessment for those projects. In fact, the arts center concept is one recommendation of the 2o16 Arts Master Plan, now enriched bythe synergy of relating it with a veterans' center. In addition, CPG has conducted needs assessments in approximately 85 communitywide cultural planning projects throughout the US over the past zz years. A number of these projects have involved the military and veterans as stakeholders, and CPG is well -versed in the field of arts in the military, as exemplified by the National Endowment for the Arts Creative Forces initiative and Americans for the Arts NationallnitiativeforArts and Health in the Military. CPG's expertise includes extensive work with city and countygovernment as clients, and has experience in city/county collaborations, such as the relationship proposed in this project. We understand that the City seeks a comprehensive, multifaceted needs assessment of the entire community leading to a report that can guide the City's efforts in partnership with Los Angeles County. The City and County seek to develop a future arts, culture and veterans center in the former Senior Center in William S. Hart Park. This means that the needs assessment must encompass communitywide engagement, as well as specific arts and veterans stakeholders. It must also arrive at conclusions and recommendations for the space and operational needs of a joint center. There is certainly an opportunitywith this project to consider innovative and model approaches to the use of arts and creativity in veterans' services and programming. There are many exciting and effective organizations and programs around the nation that combine arts and the military, and serve specific needs of veterans, from healing and recovery, to honor and recognition, to career transition. However, there are likely to be specific arts interests alongside veterans' needs, so the needs assessment will address how a range of uses can be accommodated in one facility. Our proposed Plan of Study includes the tasks outlined in the RFP, and we recommend that C PG conduct an optional statisticallyvalid community survey to provide more accurate data on public opinion and priorities. We anticipate that this project can be completed in nine months from the notice to proceed. Cultural Planning Group I Page 2 r� u � "Santa Clarita is � transforming into an � exurban, regional place proclaiming its own rlietinrt irlAntlty/. age in ns.,, REFERENCES Summary of Relevant Projects Cultural Planning Group has extensive relevant experience for this needs assessment project. CPG has developed more than 85 city- and county -wide cultural master plans throughout the US, including Santa Clarita's two cultural plans. These master plans all include communitywide stakeholder engagement and needs assessment, and almost all include facility and placemaking recommendations based on the needs assessment. In addition, we have engaged with veterans' groups, and active duty servicemembers, as stakeholders in multiple projects and interacted with many arts organizations providing programs for veterans. We understand the multiple ways in which arts can fit into therapeutic, vocational and recovery strategies for veterans. The following pages highlight three projects and references: L San Bernardino County/ MorongoBasin StrategicPlanfor Culture and theArts(zoz8) z. City of Oceanside / OArtsMasterPlan (2oz8) 3. City of Raleigh/Creative Life, Raleigh ArtsPlan(zo16) In addition, we would like to highlight several additional projects: City of Santa Clarita/ CulturalArtsMasterPlan (1998) We developed the City's first cultural plan in two phases in 1997 and 1998. The second phase included a community needs assessment for cultural facilities and recommended three options, which have been pursued in varying forms. City of Santa Clarita / ArtsMasterPlan (2oz6) We were gratified to return to Santa Clarita and work with the Arts Commission and the Arts and Events Office to develop the City's second cultural plan. This plan included a needs assessment and a broader set of recommendations for cultural facilities, venues and spaces. Again, the City has acted on these recommendations. Fayetteville NC /Arts District andPublicArtPlan (2oz6) CPG developed related plans for a downtown arts district - now the Cool Spring District - and a citywide public art master plan. Leadership from Ft. Bragg was deeply involved in both projects. For the arts district CPG worked closelywith the leadership of the Airborne and Special Operations Museum (Army Rangers museum) which anchors one end of the district. Particularly interesting in the public art plan was the number of veterans - many in their mid -late 30's - who stayed in Fayetteville after their service and were seeking opportunities for arts expression. For example, the needs assessment showed that there was a large underground spoken word circuit of young veterans and a group of visual artists that were looking for inexpensive shared studio space. City and County of Sacramento /Creative Edge (2oz8) CPG developed this master plan primarily for the City's Metro Arts Commission, which has been a unique city/county collaboration. Planning focused primarily on city residents and workers and included regional community forums throughout Sacramento County. The plan led to citywide and countywide strategies, including a major arts education collaborative involving all school districts in the county. Cultural Planning Group I Page 4 1 .-- V4110*i. A y,1 MORONGO BASIN STRATEGIC PLAN FOR CULTURE AND THE ARTS The Joshua Tree area of San Bernardino County has evolved as home to an CLIENT AGE N CY international community of artists who have chosen to live and work in the San Bernardino County, California inspirational desert environment. While the nine rural communities of the region PROJECT NAME have little infrastructure for the arts, there is great potential for leveraging this Strategic Plan for well -kept -secret of artists and cultural assets. The County sought through this Culture and the Arts plan to empower and equip the arts community, and its partners, to generate PROJECT DATES greater cultural tourism, economic growth, and community benefits. A core value July 2017 -July 2018 was to promote and preserve the desert qualities that make these communities PROJECT MANAGER so attractive to creative people. Developed in part by the artists themselves, the Karen Watkins, Planning Manager karen.watkins(a)Ius.sbcounty.gov plan focuses on four goals: tourism marketing, the arts market, arts education 909-387-4218 and cultural equity. CONTRACT VALUE $140,973 The plan's steering committee included a representative from the Marine Corps Air Ground Combat Center-29 Palms, as well as an arts organization focused on FOR MORE DETAIL http://joshuatreelivingarts.org arts programming for veterans. Community engagement included discussion groups and interviews with active duty service members, Base leadership and families. The plan identifies and addresses the need for affordable space and facilities, and recommends creation of an arts center (the Arts Hub) and artists' live/work spaces. Among other outcomes of this plan, a community committee is now working to establish the Arts Hub in Joshua Tree. Cultural Planning Group I Page 5 p7t O'ARTS: CITY OF OCEANSIDE ARTS MASTER PLAN CLIENT City of Oceanside, California O'Arts is the City of Oceanside's first arts master plan. Although the City's role in arts leadership dates to the early 1990s, City Council commissioned this plan to SCOPE OF WORKCitywide Arts Master Plan advance Oceanside's arts and define ways the arts could contribute even more to the community. Building on the momentum of recent successes, including PROJECT DATES June 2017 - Feb 2019 California Arts Council designation of the downtown cultural district, it was an opportune time to consider the multiple roles the arts play in the local economy, PROJECT MANAGER CJ Di Mento, Library Division Mgr. for youth, and in the ongoing development taking place throughout the cdimento@oceansideca.gov community. The plan is based on the community's distinct and authentic local 760-435-5614 culture, and defines multiple strategies for creative placemaking throughout the FOR MORE DETAIL city. O'Arts Master Plan PROJECT BUDGET Oceanside is home to Marine Corps Base Camp Pendleton and a longstanding $46,000 community of active duty service members, veterans and others. Planning involved discussions with military families, art therapists working with wounded veterans, and arts program serving veterans -- their needs became part of the fabric of the plan. Cultural Planning Group I Page 6 CREATIVE LIFE: RALEIGH ARTS PLAN The Raleigh Arts Plan lays out a bold goal: every citizen is empowered to lead the creative life they envision. The plan for the state capital of North Carolina was developed with the direct participation of more than 4,000 citizens. Done under the Parks, Recreation and Cultural Resources Department, the plan recommended a range of strategies to integrate arts and cultural programming into community centers, parks and the City's two arts centers. After five years, the "creative life vision" remains a powerful guiding principle. The plan has resulted in renovation of the arts centers, new programming in the parks system, increased cultural funding, expanded public art, greater community voice in decision -making and more opportunities for individual artists. CLIENT City of Raleigh, Office of Raleigh Arts SCOPE OF WORK Citywide cultural plan PROJECT DATES July 2014 - Feb 2016 PROJECT MANAGER Sarah Powers, Executive Director Sarah.Powers(c-)raleighnc.gov (919) 996-4685 PROJECT BUDEGT $222,490 FOR MORE DETAIL https://www.raleighnc.gov/parks/ content/ ParksRec/Artic les/ Projects/ArtsPlan.html Cultural Planning Group I Page 7 References References are listed on the References form and are provided again here: MomngoBasm StrategicMan for CultureandtheArts (2oM) San Bernardino County Land Use Services Karen Watkins, Planning Manager karen.watkins Cablus. sbcounty. eov 9o9 387 4a18 - $140,973 A cultural/strategic plan for the rural communities in and near Joshua Tree. OArts. CityofOceamideArtsMasterAm (2018) City of Oceanside, Arts Commission CJ Di Mento, Library Division Manager cdimento(@oceansideca.eov 76o-435-5614 $46,000 The City's first citywide cultural plan. CreativeLtfe. RaleigfiAmPlan (2oi6) City of Raleigh, Office ofArts Sarah Powers, Executive Director sarah.DowersCaraleighnc. eov 919-996-4685 - - $zaa,490 A citywide cultural plan for this state capital. Cultural Planning Group I Page 8 Firm Description: Cultural Planning Group We bring clarityand collaboration to the cultural planning process, delivering a variety of services designed to connect communities to their unique sense of people and place. It's more than expertise that defines the high level of success we achieve with our clients. When you choose C PG, you bring visionary values and courageous collaboration to your planning project. We actively listen and learn with a deep commitment to uncover the vital creativity and culture of your community, culminating in a plan that is uniquely and powerfully about Nashville. CPG offers a wide variety of cultural planning services delivering transformative success with complete access to our principal partners every step of the way. The planning journey is a profound time of discovery and possibility. CPG empowers communities to lead their own creative transformation through an inclusive and insightful process that deeply connects people and place. Since the firm was founded in 1998, CPG partners have prepared more than 85 arts -related master plans for communities throughout the nation. We developed plans for diverse places, ranging from rural towns to major metropolitan regions, and all in between. Recently completed plans include the Cities of Sacramento, Raleigh and Houston, and Fulton County (Atlanta). We have prepared recent cultural facilities plans for Chandler AZ, Helena MT, and Madison School District in Phoenix AZ. Additional cultural plans are for Healdsburg CA, Santa Ana CA, Oceanside CA, Laguna Beach CA, Joshua Tree CA, Thousand Oaks CA, Ventura CA, Sunnyvale CA, Greensboro NC, Kansas City MO, Boston MA, Washington DC, Naples FL, San Jose CA, and East Point GA. For more detail, please see Relevant Projects, page 4. Our practice is grounded in the real -world experience of deep community engagement — a hallmark of our work — and a thorough knowledge of the local arts community. Each place poses its own vision, politics, aspirations, history and potential. OUR VISION All communities engage in the discovery of the deep cultural connections of people and place. OUR SERVICES ARTS, CULTURAL & CREATIVE ECONOMY PLANNING PUBLIC ART MASTER PLANNING STRATEGIC PLANNING CULTURAL FACILITIESAND DISTRICT PLANNING CULTURAL TOURISM FEASIBILITY STUDIES CREATIVE PLACEMAKING SUPPORT FOR URBAN PLANNING Cultural Planning Group I Page 9 WE BELIEVE IN The Power of People and Place We believe a community's unique character and culture are among its most original and irreplaceable resources. Creative Societies We see communities fully realized when their causes, voices,and stories are openly shared through art and culture. An Inquisitive Approach Our vocation to guide communities is rooted in respect and driven by a spirit of curiosity and joy. Telling Tales We acknowledge that community culture is rooted in stories new and old, told through artistic expressions that speak to the collective truth and soul of a people and place. WHAT DISTINGUISHES OUR WORK We are cultural planners. EACH COMMUNITY POSES ITS OWN VISION, POLITICS, ASPIRATIONS, HISTORY AND POTENTIAL. WE EMBRACE THE WORK OF IDENTIFYING WHAT EACH COMMUNITY SEEKS TO BECOME ANDCREATING THE BEST PLAN TO ACH I EVE THEIR GOALS. Our team has extensive work experience in cultural planning, public art planning and administration, strategic planning, cultural tourism, civic engagement, urban planning, arts administration, arts philanthropy,and creative placemaking projects. We practice the nation's most advanced and inclusive planning process. Based on engagement and complementary research customized to each community and to each project, CPO's comprehensive planning process elicits a communitywide vision for planning and identifies resources, needs, opportunities and priorities. We build relationships with clients, constituents, communities, and partners. We have atrack record of innovation and progressive cultural planning. This means that we can assist Nashville to invent appropriate, innovative approaches to developing a strategic and cultural plan rooted in the context ofyour community. Our team hasworked extensivelyfor andwith cityand countygovernment. We understand the realities ofgettingthings done in the municipal context. We love what we do. We enjoy the process of dialogue with our clients and the community, and help create the conditions for success, creativity, and fun along the way. We continue to support the client relationship long after the plan is approved. Cultural Planning Group I Page 10 Select Client List GOVERNMENT AGENCIES Arts Council of Fayetteville/Cumberland County, North Carolina Broward County, Florida California Arts Council Centro San Antonio, Texas City ofAlexandria, Virginia City of Boston City of Boulder, Colorado City and County of Denver City of Chandler, Arizona City of Dallas City of East Point, Georgia City of Greensboro, North Carolina City of Healdsburg, California City of Helena, Montana City of Fort Lauderdale, Florida City of Kansas City, Missouri City of Laguna Beach, California City of Lauderhill, Florida City of Livermore, California City of Los Angeles Cultural Affairs Division City of Kansas City, Missouri CityofNaples. Florida City of Oceanside, California City of Pasadena, California City of Philadelphia, Office ofArts, Culture andthe Creative Economy City of Riverside, California City of Rockland, Maryland City of Roseville, California City of Roswell, Georgia City of Sacramento, California City of San Antonio, Texas City of San Diego, California City of San Jose, California City of SantaAna, California City of Santa Clarita, California City of Santa Monica, California City of Sunnyvale, California City of Thousand Oaks, California City of Tempe, Arizona City of Ventura, California City of West Sacramento, California City of Winona, Minnesota Collier County, Florida Contra Costa County, California County of Maui Office of Economic Development/Iao Theatre, Hawai'i DC Commission on Arts and Humanities, Washington, DC Fulton County Arts & Culture, Atlanta, Georgia Los Alamos County, New Mexico Los Angeles County Department ofArts and Culture Marin County, California Monroe County Council on the Arts, Florida National Endowment for the Arts, Washington, DC New Jersey State Council on the Arts Ohio Arts Council Port of San Diego, California Salt Lake County, Center for the Arts Salt Lake County, ZAP (Zoo, Arts & Parks) Program San Bernardino County, California Sonoma County Economic Development Board, Santa Rosa, California Town of Flower Mound, Texas ARTS AND CULTURAL ORGANIZATIONS Abington Art Center, Abington, Pennsylvania Act II Playhouse, Ambler, Pennsylvania African American Museum of Philadelphia American Revolution Center, Philadelphia Americans for the Arts, Washington, DC Art Sanctuary, Philadelphia Arts and Business Council of Greater Philadelphia Arts Connection, San Bernardino, California Arts Council of Lansing, Michigan Arts Council of Napa, California Arts KC, Kansas City, Missouri Bach Choir of Bethlehem, Pennsylvania Chamber Music Hawaii, Honolulu Center for Emerging Visual Artists, Philadelphia, Pennsylvania Dance/USA Philadelphia Ennis House Foundation (Frank L1oydWright), Los Angeles Fonkoze USA, Washington, DC Hawaii Arts Ensemble (Halau Hula Ka No'eau), Honolulu and Waimea Historical Society of Pennsylvania, Philadelphia InterAct Theatre Company, Philadelphia, Pennsylvania IONA Contemporary Dance Theatre, Honolulu L.A. Stage Alliance Lantern Theater Company, Philadelphia, Pennsylvania LEONARDO/The International Societyfor the Arts, Sciences and Technology Montgomery Theater, Souderton, Pennsylvania Music Center of Los Angeles, Center Dance Association New Jersey Theatre Alliance, Morristown, New Jersey Painted Bride Arts Center, Philadelphia People's Light & Theatre Company, Malvern, Pennsylvania Performance Garage, Philadelphia, Pennsylvania Philadelphia Regional Arts Consortium The Philadelphia Singers Raices Culturales Latino Americanas, Philadelphia Scottsdale Public Art, Arizona Settlement Music School, Philadelphia, Pennsylvania Side Street Projects, Pasadena, California Symphony in C, Collingswood, Pennsylvania The Smithsonian Institution Torpedo Factory, Arlington, Virginia Southwest Chamber Music, Pasadena, California Taller Puertorriquefio, Philadelphia Wichita Falls Arts Alliance, Texas FOUNDATIONS AND EDUCATION Florida International University, Miami, Florida Hawaii Community Foundation, Honolulu Inland Empire Community Foundation, Riverside, California Lindy Institute, Drexel University, Philadelphia, Pennsylvania Madison School District, Phoenix, Arizona Parkway Council Foundation, Philadelphia, Pennsylvania PennPraxis, School of Design, University of Pennsylvania Pew Center for Arts & Heritage, Philadelphia Cultural Management Initiative San Diego Unified School District The Emily Hall Tremaine Foundation, New Haven, Connecticut The James Irvine Foundation San Francisco The San Diego Foundation Terasaki Foundation, Los Angeles The Montgomery County Foundation, Pennsylvania URBAN PLANNING AND ARCHITECTURE FIRMS AECOM, Raleigh, Sacramento, San Diego HR8A, Los Angeles KPMG LMN Architects, Seattle Raimi+Associates, Berkeley Cultural Planning Group I Page 11 "The intense needs of military - connected populations resulting from the prolonged conflicts, as well as the sheer numbers of post 9/11 Veterans requiring services, have made it clear that... communities must be a central part of promoting and sustaining health and well-being for service members and Veterans." National Institute for Arts & Health Across the Military 2021 PLAN OF STUDY Our plan of study (proposed scope of work) reflects our approach to fulfilling the goals of this work based on our current understanding of the project. We encourage an iterative dialogue in determining a final scope ofworkto best meet the client's needs and is aligned with available resources as necessary. Proposed Scope of Work Estimated Timeline: 9 months SuoDlier Responsibilities Task 3.1. Project initiation. • We will beginwith a project start-up meetingwith the City and County staffteam (client) to confirm project understanding, refine the workplan and schedule, and clarifyroles and responsibilities. We will also discuss political issues and potential barriers to a successful project. • Because of the uncertainty involved in society's emergence from COVID and levels of quarantine, we will assess with the client the opportunities for in -person and virtual engagement for this project. We expect that a mixed presence approach will be possible, conducting meetings virtuallywhere it is more convenient and suitable, and in -person where it is allowable and will provide better engagement. • Output: detailed project workplan and schedule, including delineation of in -person and virtual meetings. Task 3.2. The selected firm must familiarize themselves with the demographics of the City, especiallywith respect to veterans. • We will update and summarize our understanding of the City's and US Census data for Santa Clarita and other information sources. • We will also identify, review and summarize relevant reports and plans, to set a context for the needs assessment. • Output: documentation in the final report of demographics and relevant background reports and plans. Task 3.3. Collaborate and communicate with County and City staff to coordinate the plans, processes, and schedules associated with this project. • As noted in Task 3.1, we will begin the project with a start-up meeting. • We will agree on a communications and reporting schedule with the client team, often a biweekly or monthlyteam meeting. • We will also discuss and prepare a basic public communications strategy for the project, such as a project description and integration of project communication into regular City and County marketing/communications channels. • Output: communications plan and periodic reports to the client. Cultural Planning Group I Page 13 Task 3.4. Conduct meetings with County and City staff and work closelywith County and City staff to identify stakeholders. • During project initiation in Task 3.1, we will develop in consultation with the client a list of stakeholders for interviews and focus groups, and an engagement plan and schedule for these meetings. The list will include all stakeholders listed in Tasks 3.5 and 3.6, plus additional people and groups identified during the process as important to the needs assessment. The exact number of interviewees and focus groups to be conducted will be set in consideration of agreed -on priorities and available time. • During project initiation, we will discuss with City and County staff their ideas, questions, opportunities and suggestions regarding stakeholder and community needs. This discussion will help inform and focus the stakeholder inquiry. • Output: master list of stakeholders and interview/meeting schedule; list of key issues and questions to inform stakeholder and community engagement. Task 3.5. Interview stakeholders, which may include members of the City Council, 5th District office, Arts Commission, Parks, Recreation and Community Services Commission, independent artistic stakeholders, CountyArt Commission, California Institute of the Arts (Cal Arts), and others as needed. • We will conduct and document interviews and focus groups according to the agreed stakeholder list and schedule in Task 3.4• • Output: summary of key themes of interviews and group meetings as part of the needs assessment report. Task 3.6. Interview and gather data from County Veterans Affairs representatives, College of the Canyons Veterans Services, and local veterans' groups, including but not limited to the American Legion, Veterans of Foreign Wars, the Santa Clarita Veteran Services Collaborative, and the Los Angeles County5th District Veterans Affairs Deputy. • We will conduct and document interviews and focus groups according to the agreed stakeholder list and schedule in Task 3.4• • Output: summary of key themes of interviews and group meetings as part of the needs assessment report. Task 3.7. Data Collection and Analysis - Analyze current available data regarding community offerings and conduct a benchmark study. • We will identify, compile, review and analyze relevant data on available arts and cultural offerings in and near Santa Clarita, as well as similar data for veterans' programs and services. • Based on the findings of the stakeholder engagement and data analysis, we will suggest and identify in consultation with the client a list of relevant ideas and potential programs/organizations to form the basis of benchmarking. • We will conduct the benchmarking study through internet research, interviews and other research, as indicated. • Outputs: summary findings of stakeholder engagement and data analysis; benchmarking report. Cultural Planning Group I Page 14 Task 3.8. Programming and Required Space Analysis - Complete an assessment of programmatic needs and space and operational requirements to provide sufficient services within available location(s). • Once the stakeholder and public/community engagement, and the data analysis and benchmarking, are all completed, we will develop an assessment with conclusions and recommendations for the programmatic and operational requirements of the arts/culture and veterans center based at the former seniors center. • Outputs: assessment findings and recommendations for programming and operations of the center. Task 3.9. Public Participation - Develop a community -based approach to information gathering that engages community members and stakeholders throughout the Santa Clarita Valley. A key element of public participation will be a survey of the general public - primarily for residents of the city and nearby areas of the Santa Clarita Valley - to gauge community opinion and priorities. While we can conduct an open, online community survey, as we did for Santa Clarita's cultural plans, and this is within the current budget, we strongly recommend a statisticallyvalid survey. This type of community survey is included in our budget as an optional service (estimated cost $18,000). Compared to a voluntary survey, a statisticallyvalid methodologywill provide more accurate data on community opinion and priorities. It will also provide a more reliable basis for administrative and political decision -making. Either methodologywill include a Spanish language option. We will design the surveygoals and questionnaire in consultation with the client. The surveywill probe such issues as the community's attitudes, desires and priorities for arts and cultural programming, and for veterans' programs and services, and their opinions about a new city/county center in William S. Hart Regional Park. To administer the survey, we can work with a survey firm that we often use, Research America in Sacramento, or identify another firm in consultation with the client. • Output: survey report and data file. Task 3.1o. Facilitate focus groups and conduct a minimum of two community meetings. • As part of tasks 3.4-3.6, we will develop in consultation with the client a list and schedule of focus groups and community forums to be included in the stakeholder and public participation. We will want to conduct focus groups of potential arts users, such as artists of diverse backgrounds and disciplines, arts organizations, parents, youth/teens, arts educators, veterans with a specific interest in the arts, and others. We will also want to consider focus groups that supplement the specific veterans' stakeholder groups listed in Task 3.6, to gain a more community -based perspective. • We will facilitate and document the focus groups and community meetings. • Output: summary of key themes of focus groups and community meetings as part of the needs assessment report. Due Dates/Schedule/Timelines 4.1. The selected firm shall provide schedules of performance or timelines applicable to the responsibilities and deliverables related to this scope ofwork. • As part of Task 3.1, we will develop a schedule as part of the project workplan in consultation with the client. It will include milestones and deliverables and serve as the basis for project management, reporting and accountability. We will update this schedule as needed as the project progresses. Cultural Planning Group I Page 15 • Please see Schedule, page 18, for a projected schedule, based on our current understanding of the project. • Output: detailed project workplan and schedule, including delineation of in -person and virtual meetings. Reports and Meetings 5.1. The selected firm shall prepare and provide a Draft Needs Assessment Report to City and County staff for review and comment. • Once tasks 3.1-3.10 have been completed (or substantially completed), we will prepare a draft needs assessment report for review and comment. • The draft report will contain consolidated findings of stakeholder and community engagement; results of the data analysis and benchmarking; a prioritized list of needs related to the proposed arts/culture and veterans center; observations and conclusions of the assessment; draft recommendations, addressing on a conceptual level uses, programs, users, partners, management, operations, outstanding issues and potential barriers, and other relevant characteristics of the proposed center; and a description of the assessment process. • We will discuss the client's comments, edits, changes, and gaps in the report, in a work session. • Output: draft assessment report, containing the elements listed. 5.2. Following the review and comment period, the selected firm shall prepare and provide a Final Needs Assessment Report. The Final Needs Assessment Report for the Arts/Culture and Veterans Center must include, but is not limited to, the following elements: an executive summary, a series of recommendations related to the proposed Arts/Culture and Veterans Center, including identified and prioritized needs to provide sufficient services. The Final Needs Assessment Report should also contain a summary of the public participation conducted. • Based on the client feedback and requests, we will revise the draft needs assessment report into a final version, for review and approval. The final report will contain all the elements of the draft report, addressing any gaps. • We will discuss the client's response to the final report and make any remaining edits to prepare for presentations. We will provide the final report in Word and PDF format. • Once the client has approved the final report, we will prepare a PowerPoint for the presentation process. • Output: final needs assessment report, containing the elements listed; PowerPoint presentation/summary of the report. 53• Representatives of the selected vendor must be available in -person or via virtual means to present research/findings as required to the Los Angeles CountY5th Supervisorial District and County staff and commissions, and to the City of Santa Clarita City Council, City Manager, City staff, and City Commissions. • We will make in -person or virtual presentations of the final report as needed, and receive any feedback, edits, and suggestions. • We will make a final round of edits, as indicated by the review and presentation process. • Output: revised final report, as needed. Cultural Planning Group I Page 16 Citv and Countv Responsibilities 6.1. The Cityis responsible for providing any Cityor County -owned document that the supplier needs to obtain background information for the Needs Assessment. CPG Reauests of Citv Staff CPG has had productive working relationships with City staff in past projects, and would like to request similar cooperation from staff: • Assistance in identifying stakeholders relevant to the project • Assistance with meeting scheduling and logistics • Implementation of public communications regarding the project Cultural Planning Group I Page 17 SCHEDULE We anticipate that this project can be completed in nine months from the notice to proceed. PROJECT SCH EDULE 3.1 Project Intiation 3.2 Demographics and Background Documentation 3.3 Client Communication 3.4 Stakeholder and Issue Identification 3.5 Stakeholder Engagement 1 3.6 Stakeholder Engagement 2 3.7 Data Collection and Analysis 3.8 Programming and Required Space Analysis 3.9 Public Participation (Community Survey) 3.10 Focus Groups and Community Meetings 4.1 Due Dates/Schedule/Timelines 5.1 Draft Needs Assessment Report 5.2 Final Needs Assessment Report 5.3 Presentations Cultural Planning Group I Page 18 PROGRAM MANAGEMENT CPG shares a vision of client service emphasizing mutual respect, delivery of high -quality professional services, and a commitment to successful project outcomes. While we understand there is a need to adhere to and fulfill a contract, the team goes above and beyond to exceed expectations. This is accomplished by: • Establishing a detailed project work plan and basic communications plan at the onset of the project. Clear expectations and effective client communications are top indicators of great client service. • Practicing respect for community members and project stakeholders in the community engagement process. By understanding different people engage in different ways and providing opportunities for engagement based on those preferences, we respect every resident - even those who do not want to be part of the process. • Listening well, reflecting participants' observations and suggestions, and leaving our biases at the door. • Performing most of the work by principals in our firms and reputable and accomplished sub -contractors. If project administration is performed by an assistant to the project, we practice consistent and frequent oversight. • Ensuring an open, transparent planning process with the client and with the community. • Supporting the client after project completion. We provide three months of consultation after the report is approved, and schedule check -ins at intervals thereafter. In summary, we continue to support the client relationship long after the project is complete. • Please see the proposed Project Schedule, page 18. Cultural Planning Group I Page 19 We believe every community and person has the right to choose their own creative life. cpg n PERSONNEL, EQUIPMENT &FACILITIES Project Team All work in this proposal will be performed by CPG partners. Co -Founder David Plettner- Saunders will serve as project lead. Plettner-Saunders also led development of the two Santa Clarita cultural plans and has maintained relationships with City staff throughout the last fourteen years. He is joined by Martin Cohen, who will share responsibilityfor most project tasks, and Linda Flynn, the firm's research director, who will develop the community survey. TEAM MEMBERS David Plettner-Saunders Partner & Co -Founder Project Lead Cultural Planning Group Martin Cohen Partner Project Consultant Cultural Planning Group PROJECT ROLE David will serve as the Project Lead and day-to-day contact. He will lead all aspects of the needs assessment; stakeholder and community engagement; client communications; and preparation, vetting and adoption of the report. David is budgeted for 53% of total fees. Martinwill assist with the needs assessment; stakeholder and community engagement; and drafting, review, and finalizing of the report. Martin is budgeted for 38% of total fees. Linda Flynn, Ph.D. Linda will design and implement the Partner and Research Dir. community survey. Cultural Planning Group Linda is budgeted for 9% of total fees. EXPERTISE David is the firm's co-founder and has long experience with cultural and strategic plans for local arts agencies. He brings deep political experience to each project. Martin has broad experience with municipal cultural planning, research and assessment, and in leading similar projects. Linda is the firm's Research Director and is our lead for research and communityprocess. She has extensive experience in quantitative and qualitative research and survey design. Cultural Planning Group I Page 21 Team Member Bios DAVID PLETTNER-SAUNDERS WHYPIM: David Plettner-Saunders is Co -Founder of Cultural Planning Group. A consultant for 30 years, David has prepared arts and cultural plans for more than 4o communities. His arts and cultural planning work reflects many of the pressing and complex issues facing communities, such as advancing equity, affordable spaces, and creative placemaking. In addition, his plans often address arts funding, creating public/private partnerships, and identifying appropriate roles for local government. He led development of Santa Clarita's two cultural plans, in 1997 and zo16. David has led development of cultural plans for communities large and small, rural and urban, such as Sacramento, Salt Lake, Raleigh, Tempe, Laguna Beach, Oceanside, Thousand Oaks, Ventura, Santa Monica, Pasadena, Riverside and Joshua Tree. These plans included elements for arts education, cultural facilities, and public art. He has also led development of the arts elements of general plans, and developed plans for public art. David has also developed national and regional studies on individual artists as well as plans focusing on arts education. He has prepared assessments and strategic plans for cultural facilities and arts and cultural organizations of virtually all disciplines and sizes, and in a great variety of communities. A retired modern dancer, he is co-founder with his wife, Victoria Plettner- Saunders, of the former San Diego Alliance for Arts Education, responsible for successfully preserving and advancing arts education in the San Diego Unified School District, one of the nation's largest school districts, during the Recession. He is a board member of Side Street Projects, an entirely mobile, off -the -grid, artist -led organization in Pasadena, CA. He is the past Chair of the Southern California Dance Futures Fund and the Dance Resource Center of Greater Los Angeles. HIGHLIGHTED CLIENT LIST LOCAL ARTS AGENCIES City of Culver City City of Laguna Beach City of Pasadena City of Raleigh City of Sacramento City of San Antonio City of San Diego City of San Jose City of Tempe City of Thousand Oaks San Bernardino County Sonoma County Kansas City Salt Lake City & County ARTS FUNDERS & ORGANIZATIONS California Arts Council EXPERIENCE 30 years EDUCATION J.D., University of North Carolina School of Law, Chapel Hill B.A., Wesleyan University, Middletown, Connecticut Special Student in Dance, University of North Carolina School of the Arts, Winston- Salem MEMBERSHIPS American for the Arts Arts Action Fund, Americans for the Arts California Community Foundation Center Dance Associates, Music Center of Los Angeles County Ennis House Foundation (Frank Lloyd Wright), Los Angeles Hawaii Hawaii Community Foundation Inland Empire Community Foundation James Irvine Foundation Madison Center for the Arts/School District National Endowment for the Arts Philadelphia Music Alliance for Youth San Diego Unified School District Side Street Projects American Planning Association Californians for the Arts San Diego Regional Arts & Culture Coalition Cultural Planning Group I Page 22 MARTIN COHEN PARTNER Martin Cohen joined Cultural Planning Group in zoio following a 3o-year career in arts administration and arts philanthropy. His recent projects include co -leading the cultural planning process for Greensboro, NC and Flower Mound, TX as well as leading the Cultural Economic Development master plan for the Arts Council of Greater Lansing (MI). Martin has served as co -lead for the firm for Boston Creates, the cultural planning process forthe City of Boston; and lead of the planning processes in Alexandria, VA, Boulder, CO and Hilton Head Island, SC. From aoio through zoiz he served as the project director for development of the Local Arts Index, a national project of Americans for the Arts. In his role, he coordinated the research process of ioo+ participating local arts agencies and led the design for primary research in each location. Prior to joining as a Partner with CPG, Martin served as director of the Philadelphia Cultural Management Initiative (PCMI), a program ofthe Pew Centerfor Arts & Heritage. In his role with PCMI, Martin conceived and implemented a comprehensive capacity building program focused on facilitating organizational change and implementing best practices throughout the arts, culture and heritagesector of the five -county Philadelphia region. During his tenure, he created and launched programs focused on organizational assessment, providing organizationswith opportunities for guided reflection and planning. Prior to his position with PCMI, he served as executive director of Dance/USA (the national service organization for dance), the Kansas City Ballet, the Washington Ballet, and the AMAN Folk Ensemble of Los Angeles. PARTIAL CLIENT LIST EXPERIENCE 35 years in arts leadership EDUCATION BGS — Arts Administration Ohio University Certificate in Mediation CDR Associates Boulder, CO Executive Coaching Program Certificate Wharton School of Executive Education City Greensboro, NC Fulton CountyArts & Culture, Atlanta, GA Town of Flower Mound, TX City of Philadelphia, PA City ofAlexandria, VA Arts Council of Fayetteville and Cumberland Arts Council of Greater Lansing, MI County, Fayetteville, NC City of Rockville, MD Parkway Council, Philadelphia, PA DC Commission on Arts and Art Sanctuary, Philadelphia, PA Humanities Torpedo FactoryArts Center, Alexandria, VA Cityof Boulder, CO Raices Culturales Latino Americanas, City of Helena, MT Philadelphia, PA City of Kansas City, MO Painted Bride Arts Center, Philadelphia, PA Town of Hilton Head Island, SC Settlement Music School, Philadelphia, PA Cultural Planning Group I Page 23 LINDA FLYNN, PH.D. PARTNER AND RESEARCH DIRECTOR Linda Flynn is a partner and director of research for Cultural Planning Group. She is a planner who has contributed nationally to best practices in research, civiclearning and engagement for the arts and cultural sector. Linda has developed innovative cultural plans, cultural tourism plans, and public art master plans for diverse cities and counties, based on the foundation of community. As the Research Lead for CPG, Linda designs innovative, customized research processes for cultural master plans, public art plans, and strategic planning efforts, as well as targeted economic development and organizational assessments and urban planning initiatives. She has demonstrated experience in leading large-scale planning projects, facilitating equitable civic engagement programs, and translating data to focused, action -oriented planning initiatives. Recent projects inpublic art master planning and cultural plans include Greensboro, NC; Sunnyvale, CA; Collier County, FL; Naples, FL; East Point, GA; Fulton County, GA; and many communities in California. Her process for community -based planning is based on a foundation of quantitative community data, public and private partnerships, inclusivity, and collaboration. Linda works with creative workers and artists to infuse the research process with creativity and user experience insights. Prior to her work with C PG, Linda's experience and relationships cross many industries and sectors, working with all levels in organizations including conducting behavioral research with transportation firms, urban planners, othergovernment agencies, nonprofit organizations, and private sector corporations. Linda holds a doctorate in organizational managementwith a concentration inconflict management, and various certificates in qualitative and quantitative research. She is a published author of her research with organizations and volunteers her time at several local nonprofit organizations focused on the improvement ofyouth educational experience. PARTIAL CLIENT LIST EXPERIENCE zoyears EDUCATION PhD., Social Sciences/ Conflict Resolution Nova Southeastern University Bachelor of Science, Psychology Florida Atlantic University MEMBERSHIPS Leadership Broward, Member and previous Board Member Americans for the Arts, Member American Planning Association, Member Broward College City of Sacramento, CA Broward County, FL DC Commission on the Arts & Humanities Cityof Fort Lauderdale, FL. Emily Hall Tremaine Foundation Cityof Greensboro, NC Ohio Arts Council Cityof Laguna Beach, CA Salt Lake City & County, UT City of Orlando, FL San Bernardino County, CA City of Raleigh, NC Smithsonian Institution Cultural Planning Group I Page 24 SUB -CONSULTANTS Cultural Planning Group proposes to do this project using its own partners andwithout subconsultants. Should the City decide to include the optional statisticallyvalid survey, we will select a firm to administer the survey in consultation with the City. Cultural Planning Group I Page 25 Thank You! CULTURAL PLANNING GROUP COST FILE For Proposal # NS-20-21-29 Statement of Offer and Signature Cultural Planning Croup's proposal is a firm offer for a 12a-day period, and should our proposal be accepted, the proposed work shall be performed at the "not -to -exceed" price as listed in our proposed budget. This shall include all deliverables and meeting attendance as laid out in the scope of work. Arts/Culture & Veterans Center Needs Assessment Proposed Project Budget Billable Days Task Description Plettner-Saunders Cohen 3.1 Project Initiation 1.00 0.50 3.2 Demographics and Background Documentation 1.00 0.50 3.3 Client Communication 1.00 0.50 3.4 Stakeholder and Issue Identification 0.50 0.50 3.5 Stakeholder Engagement 1 3.00 2.00 3.6 Stakeholder Engagement 2 3.00 2.00 3.7 Data Collection and Analysis 1.00 2.00 3.8 Programming and Required Space Analysis 1.00 1.00 3.9 Public Participation (Community Survey) 1.00 0,25 3.10 Focus Groups and Community Meetings 2.00 2.00 4.1 Due DateslSchedule/Timelines - - 5.1 Draft Needs Assessment Report 2.00 1.00 5.2 Final Needs Assessment Report 1.00 0.50 5.3 Presentations 1.00 0.50 Total Days/Consultant 18-5 13.25 Total Billable Days 34.75 Daily Rate $1,400 Total Consultant Fees $48,650 Travel Expenses (estimated) $1,500 Total Cost $50,150 Optional Service Statistically Valid Survey (estimated) $18,000 Si L s � J z-/Z- David Plettner-Saunders, Partner, rural Planning Croup Date Flynn 2.50 0.50 9XIIi1 PROPOSAL FOR PROFESSIONAL SERVICES Needs Assessment for Arts/Culture Veterans Center City of Santa Clarita, California RFP: NS-20-21-29 APRIL 26, 2021 dREENPLAYLLC The Leading Edge In Parks, Recreation, And Open Space Consulting -'EN3®`1 N NEWHALL 23 RII 14 'KING AF OLIVE. ", "1 OAR" 15- 1 f Ire +rrr�� i 1 GreenPlay, LLC GREENPLAYLC TM1e LeatllnF EtlFe In Parks, Feereaho Antl Open Spaex LonsulM1ng April 26, 2021 City of Santa Clarita Attn: Jonathan Cosh 23920 Valencia Blvd., Suite 120 Santa Clarita, CA 91355 Dear Mr. Cosh and Members of the Selection Committee: &EENPLAYLc The Leading Edge In Parks, Recreation And Open Space Consulting GreenPlay, LLC, is pleased to present our proposal to create a needs assessment to determine community needs for cultural arts and veterans programs and services. We are excited for the opportunity to help you determine how best to offer these programs and services in your City and County while providing value to the community. Our team will collaborate with you and your community to develop a plan that is implementable and tailored to residents of Santa Clarita. Since 1999, GreenPlay has developed similar needs assessments for recreation, arts, and cultural services, and related projects for nearly 600 communities in California and throughout the country. To help the City of Santa Clarita meet and exceed all of your goals for this plan, we have assembled a comprehensive team to address each of your desired outcomes, including recommendations that will help determine accurate needs for a community arts center and additional veterans services. This team blends local and technical knowledge with GreenPlay's experience and expertise in parks and recreation operations. The team includes: • GreenPlay: Art Thatcher, MPA, CPRP, and Jeff Milkes, MS, CPRP We are management planners focusing on project management and coordination, community and stakeholder engagement, financial analysis, and development of final recommendations. Project Manager Jeff Milkes has experience running arts programs and facilities, as well as recreational and other programs for active and former military members. • RRC Associates: Chris Cares RRC Associates will design and implement a statistically -valid survey as part of the community and stakeholder engagement portion of the plan. RRC has developed surveys for over 100 similar projects with GreenPlay. We look forward to the opportunity to apply the same skills to assess your community's needs for arts, cultural, and veterans programs and develop innovative, yet implementable recommendations with you. Once completed, this plan will guide the City and County with planning, funding, creating and programming a future Arts/Culture and Veterans Center. I will serve as primary contact person during the proposal and contracting. If you have any questions related to this proposal, please feel free to contact me at the number listed below. I am authorized to represent GreenPlay. Sincerely, Lb� -� Teresa L. Penbrooke, PhD, MAOM, CPRE, CEO and Founding Managing Member (303) 870-3884 (direct) I teresap@greenplayllc.com 1021 E. South Boulder Rd. if Suite N if Louisville, CO 80027 if 303.439.8369 if www.greenplaylic.com 1.1.1 1 Introduction BRIEF COMPANY OVERVIEW GreenPlay, LLC, was founded in 1999 and is headquartered in Colorado with ten regional offices around the country. We operate as a CONSORTIUM OF EXPERTS specifically to provide management and consulting services for parks, trails, recreation, open space, and related quality of life agencies. We serve as a resource for agencies by organizing teams that are responsive, experienced in the field, and who understand the needs of individual communities. Our firm works nation-wide with 20 employees and over 75 technical consortium affiliates and sub -consultants to complete projects for large and small agencies throughout the nation. GreenPlay has successfully completed nearly 600 projects, working with local, state, and national government agencies, as well as with private sector organizations. Responsible Corporate Officer Teresa Penbrooke, PhD, CPRE 1021 E. South Boulder Rd., Suite N Louisville, CO 80027 (303) 870-3884 1 teresap@greenplayllc.com GreenPlay is a 100% Women Owned Business. A Proven Record of Experience and Expertise in Recreation, Cultural, and Arts Planning These types of projects are not an adjunct service for our firm! This is what we do at GreenPlay, everyday, successfully, for small and large communities of all types, all over the United States. We also regularly teach others around the country how to successfully complete similar projects. We have a strong national reputation based on many years of experience, with staff who will help you to develop a community - specific plan that will be easily implemented, help gain engagement and consensus, and will address your key issues. Our team has direct experience conducting community and stakeholder engagement in cities with diverse populations. We tailor our strategies to meet people where they are and give them meaningful opportunities to participate in the planning process. Ninety-five percent (95%) of our projects have been CLIENTS performed for public clients. GreenPlay enjoys creating "Clients FOR for Life"! Because of LIFE our ability to create realistic and usable plans, we have many repeat clients. Our experience allows us to produce plans that are detailed, customized, and implementable. GreenPlay team members have direct experience leading parks and recreation departments across the country as senior level administrators. Having worked as individuals on "your side of the table," we know how important it is for consultants to be accessible. We also understand the importance of your daily responsibilities. Relevancy of Similar Work Experience Our firm has experience that is directly relevant to this project. We have completed similar projects for over 55 California communities, including, Clovis, Discovery Bay, Dublin, Encinitas, Goleta, Irvine, Lathrop, La Quinta, Laguna Hills, Palm Desert, Palm Springs, Rancho Cucamonga, San Bernardino, San Diego County, the City of San Diego, San Gabriel, San Luis Obispo County, Santa Maria, Santee, Signal Hill, Ventura, and Walnut, along with the Cosumnes Community Recreation District, Desert Recreation District, Greater Vallejo Recreation District, Hesperia Recreation and Park District, Pleasant Valley Park and Recreation District, Phelan Pifion Hills Recreation District, the Riverside Regional Park and Open Space District, and many others. We will be able to quickly discern needs in your community and help you plan to address them in an effective manner. 4 GREENPLAYLc TM1e Leatling Etlge In Parks, Fecreaho Antl Open Space LonsulM1ng GreenPlay operates with five principals and two owners. We have been completing similar plans since 1999, and our project managers have experience as administrators in parks and recreation departments. Project Manager Jeff Milkes created and managed the large arts and culture program for the city of Portland, Oregon for 10 years. He oversaw arts facilities, a community music center and created a special events office that offered over 150 special events and festivals annually. He managed arts facilities in Germany, Guam, and Spain for the military for another 10 years. • 55� Completed projects in California • • ,�' C�:- Staff and Project agency Specific needs Experts Research Funding & and Economic Surveys Impact Balance Computer Needs +Resources National & Models & Regional Databases Achieve Goals Trends StakeholderLocal Needs &History WantsKnowledge Public Site pr c Resources GreenPlay, LLC At GreenPlay, LLC, we believe that the best services and products come from using a wide variety of tools. Some recreation consulting firms concentrate on computer models, databases, or surveys. While we believe these tools are valuable, we take our evaluation and assessment tools to the next level by utilizing innovative methods and processes that are most effective for your individual community. The results provide a more comprehensive solution for achieving your goals. This schematic illustrates the various tools that GreenPlay uses to help your agency meet its expectations. We balance your needs, and those of your stakeholders, with the reality of available resources. Proposal for Needs Assessment for Arts/Culture Veterans Center 5 1.1.2 1 References SAN MARINO, CALIFORNIA RECREATION NEEDS ASSESSMENT Reference: Dr. Marcella Marlowe, City Manager 2200 Huntington Drive San Marino, CA 91108 (626) 300-0781 mmarlowe@cityofsanmarino.org Project: This Needs Assessment project provided an accurate assessment of community needs and desires for recreation programming and to re -vision recreation service delivery to San Marino citizens. The City of San Marino, Community Services Department had been working for several years to re -vision the Recreation Division to better serve the citizens of San Marino. The Division offers an abundance of cultural and arts programs to residents. In order to develop an in-depth and current picture of recreation needs that should be fulfilled by the Recreation Division, the City engaged the public through focus groups and stakeholder meetings, as well as a comprehensive statistically -valid survey. The outcome of this project was a set of areas of focus and action steps that will allow the City to continue to improve how it provides recreation services and programs to residents and visitors. Team members included RRCAssociates. 6 GREENPLAYLc TM1e Leatling Etlge In Parks, Feereaho Antl Open Spaex LonsulM1ng SANTA MARIA, CALIFORNIA LEISURE NEEDS ASSESSMENT AND ACTION PLAN Reference: Dennis Smitherman, Management Analyst 615 S. McClelland St. Santa Maria, CA 93454 805.925.0951 ext. 2263 dsmitherman@cityofsantamaria.org Project: Green Play worked with the City of Santa Maria to develop a Leisure Needs Assessment and Action Plan for the Recreation and Parks Department (R&P). This project will allow the City to evaluate its recreational needs. The Mission of R&P is: "to enrich the lives of the residents of Santa Maria through quality recreation programs and services; and to provide safe and well maintained facilities and parks, while anticipating the changing needs of the community." Santa Maria is located in Santa Barbara County and consists of about 100,000 residents. Its picturesque scenery and attractions, including vineyards and the Guadalupe-Nipomo Dunes bring in tourists from throughout the region and all over the country. The City is home to a vibrant arts scene with a number of arts and cultural programs and events offered to residents. Recreation and Parks has a commitment to involve the community in planning efforts, including this Leisure Needs Assessment and Action Plan. Our team involved the community throughout the development of this project. This will result in realistic and justifiable recommendations, as well as an accurate assessment of potentially unmet needs in the system. The project also consists of an inventory and level of service analysis, development of an action plan and recommendations, and an overview financial analysis of the Department. Team members include KTUA and RRC Associates. -,-AD E LO; r City of Santa Maria Recreation & Parks Department Proposal for Needs Assessment for Arts/Culture Veterans Center 7 GREATER VALLEJO RECREATION DISTRICT MASTER PLAN Reference: Gabe Lanusse, General Manager 395 Amador St. Vallejo, CA 94590 (707) 648-4603 glanusse@gvrd.org Project: This Master Plan has been created as a 10-year comprehensive blueprint for providing quality recreation services, parks, open spaces, facilities, and programs throughout the Greater Vallejo Recreation District (GVRD). The objectives of the Master Plan are to establish goals, procedures, and comprehensive achievable strategies and implementation approaches that directly impact residents' quality of life over a ten-year term and beyond. The GVRD operates as a special district to provide recreational services and manage parks and open spaces, owned by the City of Vallejo. While the District does not own the parks, it has autonomous responsibility for management based on an agreement with the City. The project consisted of community engagement, a facility inventory, GRASP' level of service analysis, a needs assessment, operational, recreation and organizational analysis, and development of recommendations. Due to COVID 19 meeting restrictions, public engagement for this plan was completed virtually using a combination of Zoom and social media engagement. Team members included LandDesign and RRC Associates. 4 8 GREENPLAYLc TM1e Leatling Etlge In Parks, Feereaho Antl Open Spaex LonsulM1ng GROVER BEACH, CALIFORNIA SENIOR CENTER NEEDS ASSESSMENT AND FEASIBILITY STUDY Reference: Janet Reese, Associate Planner 154 S. 8th Street Grover Beach, CA 93433 (805) 473-4524 1 jreese@groverbeach.org Project: The purpose of this study was to conduct a Needs Assessment and Feasibility Study for a senior center for the City of Grover Beach. This study determined programming and services that could be offered at a senior center and evaluated the potential for renovations to existing facilities and as well as sites for a new facility. The results of this study may be used by the City to determine future costs and/or apply for Community Development Block Grant (CDBG) funding. The study looked at the appropriate mix of programs and amenities for a proposed Senior Center, determined the projected construction costs associated with building a new facility or renovating existing facilities, determined the potential expenses and revenues, as well as cost recovery of a new facility or renovated facility. The study assists the City of Grover Beach in determining the necessary building elements needed in a senior center meet the program needs identified in the recent community needs assessment survey and during this study. The Grover Beach project team included the City's Associate Planner, City Manager, Community Development Director and Parks & Recreation Program Director to help guide this project. This team provided input to the consultant team throughout the planning process, resulting in a collaborative effort to create a plan that blends the consultant's expertise with community input and history. Other team members included KTUA and BRS. 4 R v-pll Proposal for Needs Assessment for Arts/Culture Veterans Center C� LAGUNA HILLS, CALIFORNIA RECREATION CENTER NEEDS ASSESSMENT Client Contact: David Reynolds, Deputy City Manager 25555 Alicia Parkway, Laguna Hills, CA 92653 949-707-2680 1 dreynolds@lagunahillsca.gov Project: This Needs Assessment was developed to provide an updated evaluation of the City's recreation facilities. The City's previous inventory and analysis of recreation facilities had been conducted 12 years prior, and an update was needed to determine residents' needs and satisfaction levels. This project included a detailed public input process with a statistically valid survey in order to provide an accurate assessment of potentially unmet needs. Recommendations were presented publicly and incorporated into the City's Master Plan update. Team members included Design Concepts. Project completed 2009. 10 GREENPLAYLc TM1e Leatling Etlge In Parks, Feereaho Antl Open Spaex LonsulM1ng 1.1.3 1 Plan Study/Scope of Work The City of Santa Clarita is home to about 225,000 with an additional 75,000 residents who live in the Santa Clarita Valley. Your Recreation and Community Resources Department currently offers a variety of classes and other development programs to these residents at two community centers. We understand that Santa Clarita residents value the cultural heritage of the city and have been provided arts and cultural programming for decades. This Needs Assessment was recommended as part of your Arts Master Plan. It will allow you to assess community need for arts, cultural, and veterans programs and services. It will determine the feasibility of building a new center specifically dedicated to culture, arts, and veterans programs and services, allowing you to remain competitive with other municipalities in the area. Our team is comprised of individuals who have managed these types of facilities. We are proposing as lead to serve as an unbiased third party with no inherent benefit in making recommendations. To help you meet and exceed all of your goals for this plan, we will conduct the following scope of work. Tasks are described with each subtask in bold Outputs are described in each section. Project Approach A. PROJECT MANAGEMENT Strategic Kick Off (SKO) and Determination of Critical Success Factors To complete the Needs Assessment for Arts, Culture, and Veterans for the City of Santa Clarita, GreenPlay will schedule a Strategic Kick Off meeting to review Project objectives, approach, schedule and provide a Detailed Work Plan, following the award of a contract and execution of the Professional Services Agreement. At this meeting, we will define the process, identify known issues/concerns, review the details of the work plan, budgets, relevant information from previous and/or current planning documents, formalize the timeline and detail phases of the amenities study, including accepted methodologies and tasks, final number and types of meetings, expected quality and formats for deliverables, and agreement on goals and priorities. We will work with your team to finalize a timeline and review the details for the community involvement and the anticipated approval process. Project Coordination We will work closely with your team during Start -Up to identify key "Critical Success Factors" that will help ensure that this project is successful and achieves your desired level of involvement and outcomes. We will provide written Monthly Progress Reports that cover recent progress, outstanding items or information needed, and upcoming meetings and agendas. We will always be available for video conferencing, phone, or email communication. GreenPlay has successfully completed nearly 600 projects since 1999, and we pride ourselves on never having missed a project end date due to internal workloads. We want to be as timely and efficient as possible, while also being thorough and complete. Following the SKO, we will begin by working closely with city representatives and proposed user groups to identify specific issues while discussing various problem -solving approaches. As a team, we: • Combine the expertise of GreenPlay with the client's understanding of issues. • Seek and value the input of all stakeholders in the project. • Seek creative opportunities to involve the city representatives in the information gathering stage. • Evaluate the anticipated parameters for the project. • Seek and define the best, most effective opportunities. You can count on GreenPlay being increibly responsive to your needs, desires and project timeline. Our expectations are that we will work closely with the City Project Manager and staff. We will provide a list of needed documents at the beginning of the project and will ask that the City coordinate invitations to the stakeholder and focus group meeting participants. We will ask the City to review and approve tasks during the planning process. Information Gathering - City Policy and Document Review Our team will collect as much information as possible on awareness, use patterns, satisfaction, desires, barriers, vision, priorities, funding possibilities, and willingness to pay, so as to inform the development of the needs assessment. As it pertains to the project, we will integrate information from recent and/or current planning work completed by the City of Santa Clarita, including: Proposal for Needs Assessment for Arts/Culture Veterans Center 11 • Arts Master Plan • Santa Clarita General Plan • Individual Park Master Plans The planning process will consolidate relevant information from these planning documents, and from budgets, work plans, and funding plans utilized by the City to facilitate the comprehensive coordination of goals and priorities for the Arts, Culture, and Veterans Needs Assessment. B. COMMUNITY OUTREACH AND VISIONING GreenPlay will meet with members of the Santa Clarita community, particularly veterans, to determine their programming needs. We believe deeply in creating an in-depth, efficient and cost-effective citizen -focused process as part of all projects. We utilize a detailed and well -developed stakeholder methodology that helps identify all the needs, issues, COVID-19 CONSIDERATIONS and opportunities for your community. Our team will explore knowledge of local issues and concerns that will assist in producing useful and pertinent community feedback. We will work with the Project Team during Start - Up to schedule all necessary meetings and project tasks and to arrange proper noticing of meeting(s) associated with the plan's development. GreenPlay's consultant team will review all prepared information for the meetings with the Project Manager prior to a scheduled meeting. The participation process utilized will be customized to your organization's unique situation, emphasizing data collection methods that are efficient, effective, and that incorporate your available resources to the greatest extent possible. GreenPlay has been successfully completing projects including community engagement throughout the Covid-19 Pandemic. We are very sensitive to local conditions and phasing guidelines. All in -person engagement will be conducted with appropriate social distancing protocols, and we can conduct virtual engagement through various methods. 12 GreenPlay, LLC GREENPLAYLc TM1e LeatllnF EtlFe In Parks, Fecreaho Antl Open Space LonsulM1ng GreenPlay staff members are experienced and skilled facilitators, and we draw from a variety of methodologies that are designed to encourage and structure feedback for clearly identified and measurable outcomes. A suggested approach is provided; however, the actual methodology will be customized, detailed and determined during Strategic Kick -Off. Based on previous successes, the following community involvement strategy approach is designed to assure City Staff, City Council, veterans, County Veterans Affairs representatives, 5th District office, Arts Commission members, Recreation and Cultural Services employees, the County Arts Commission, College of the Canyons Veterans Services representatives, independent artistic stakeholders, local veterans groups, and other stakeholders that they are provided an opportunity to participate in the development of the plan, and is recommended for this project: • Initial Information Gathering: Collect as much information as possible on awareness, use patterns, satisfaction, need for additional park amenties, barriers, vision, and priorities, so as to inform the development of the statistically -valid needs assessment survey. A minimum of three (3) focus group meetings drawing from user individuals, special interest groups, associations, staff, other service providers, and all age groups, etc., but also open to the public at large. We will conduct separate focus groups with arts and culture stakeholders and with veterans in order to focus on the specific needs of each group. This method ensures a nucleus of participants with vested interest while also encouraging others to participate. • Two (2) community -wide public workshop meetings to provide information, elicit broad - based community input, and to validate information received from the focus groups. • Stakeholder interviews with those who can contribute specific information that may need to be conveyed in a more detailed manner (might include representatives from existing facilities, city staff, City Council, etc.). • Statistically -Valid Survey— see full description. • Findings Presentation: We will compile and present a summary of findings from the facility inventory, needs assessment and initial analysis for validation by city staff, City Council, stakeholders, and the community. • Draft Report Presentation: We will compile and present a comprehensive draft report for validation by city staff, City Council, stakeholders, and the community. • Final Presentation to city staff and City Council: Hearing, open to the public. to INTERCEPT SURVEYS SOCq�MFO/q \��\GP���JP��DSUR�EY ON,SITEQgTgCO`<10 POP-UP EVENTS 4-101 41667-jNGS OJ 0 W N y GreenPlay o m _ ONLINE SURVEYS } * Tools for U) o Comprehensive Information Gathering and Community WEgsrcescoo s � �� Engagement STgKEHOLDER INTERV10S Proposal for Needs Assessment for Arts/Culture Veterans Center 13 uWa AAOE MOBILE OPTIMIZED ENGAGEMENT TYPICALLY 30-40 PARTICIPANTS Participation numbers for facilitated public meetings have ranged from 15 to 140 people, typically with about 30-40 participants. We call our online engagement practices MOE —Mobile Optimized Engagement. We can easily facilitate online meetings and webinars for Staff, Board, Council, and Commission meetings using state-of-the-art technologies. These meetings can be private or fully public, transparent, and usually meet requirements for "open meetings laws:' 81 OYo of American Adults Own Smartphones. Now most people can easily participate in community planning from their couch. source: Pew Research Center, tps://www.pewresearch.org/ nternet/fact-sheet/mobile/ rt LIVESTREAMING Livestreaming will increase reach; for example, one agency that lives- treamed a public meeting received 250+ views on Facebook VIDEO RECORDING provided to clients, which can then be posted to the website, sent to email contacts, or posted on social media We provide the email list of those hat participate, which can be use( to directly follow up with them at the next phases of the project ISTRONG SAFETY PROCOLS We use strong safety protocols, and tried and true online technologies 14 GreenPlay, LLC GREENPLAYLC TM1e Leatling Etlge In Parks, Fecreaho Antl Open Space LonsulM1ng GreenPlay staff members function as professional, unbiased facilitators to gather specific information about services, use, and preferences, along with amenities, strengths, weaknesses, opportunities, and threats. Participant feedback indicates to us that our techniques and formats are well received and provide them with the opportunity to better understand the planning process and make a meaningful contribution, resulting in the feeling that attending an input session was a good use of someone's valuable time. We are well aware of the misuse of the public process that results in frustration over having to attend too many sessions or not feeling like the time was well spent, or that a person or group of people monopolized the meeting time. Our sessions are designed to avoid these common pitfalls. We help to build consensus and support for the plan by identifying, up -front, the project "givens" or parameters; making the participants aware of the process from start to finish, including where they have opportunities to contribute and who will be making final decisions; allowing and encouraging participants to hear from one another; and identifying common ground as the plan evolves. Knowing consensus is not always possible, we encourage participants to think about what they can "live with" if their ideal desire is not able to be met, and we convey information for informed decision making to the City Council and interested Commissions. We provide written records and summaries of the results of all community input process and communications strategies appropriate for posting to the City's website. Statistically -Valid Community -wide Survey GreenPlay will work with RRC Associates (RRC), an experienced survey research firm located in Boulder, Colorado, to create a geographically diverse survey to be mailed to approximately 3,000 households in the City (depending upon available budget, desired level of accuracy, and level of sub -community segmentation required). The survey will provide critical information for determining community values, satisfaction levels, needs and priorities, and demographics for the City's long range planning efforts. The primary approach we would propose would be a mail survey of City residents. RRC will also provide a web -based survey, along with the mail survey process and retain the integrity of the statistical validity. Citizens would be given the option of either completing the survey form mailed to them or accessing the survey online using an individual passcode assigned to each household that would be included in the mailed survey. We frequently use this technique for related community surveys and find it to be effective in maintaining the random sample while also increasing opportunities for respondents to complete the survey. Additionally, the survey would be made available to a larger audience through an "open" web site. We would not merge the "open" web data with the results from the random survey. Instead, the "open" web survey would be designed to expand community input opportunities, as essentially everyone in the community would have access to completing a survey, even if they did not receive one of the random surveys in the mail. Questions would be drafted based on information gleaned in the public involvement process as well as from staff, community leaders, and Parks and Recreation Commission input. We will ask questions about what types of amenities and services residents want in City parks, level of current usage, providers of services, quality and satisfaction levels with existing amenities and facilities, priorities, and willingness to pay for new services and facilities. These questions will be supplemented with questions about specific, identified community issues, as deemed appropriate. RRC would typically create a survey of 4 pages in length (including cover letter). To help improve response rates, we would also anticipate that the City would assist with marketing and creating public awareness of the survey through media and other channels, such as local newspaper, radio, cable TV, the City web site, and so on. We have substantial experience in designing surveys specifically for parks issues that are effective and representative of the users and non -users. The survey will be well written and easily understood, and the results of overall needs will be tallied and summarized. All respondent comments will be included in the final report. Proposal for Needs Assessment for Arts/Culture Veterans Center 15 Strengths, Weaknesses, Opportunities, and Threats (SWOT) Analysis To develop a short and long-term strategy for the future planning of the Santa Clarita's arts, culture, and veterans programs and services provisions, we will conduct a SWOT Analysis. A SWOT Analysis is an effective and realistic way of identifying the market Strengths and internal and external Weaknesses, and for examining the Opportunities and Threats faced by the organization. This process will help to identify any deficiencies in the provision of park facilities and amenities, and it will also help to identify potential partners in the service area. Project Manager, Jeff Milkes dedicated fifteen years overseas to serving active duty, retirees and their family members in various Morale, Welfare and Recreation roles for the Army, Navy and Marines, retiring as Chief of Community Recreation on a base in Germany. We are uniquely positioned to complete this critical needs assessment. We will study the needs, gaps and opportunities and provide recommendations that intersect veterans' needs and creative arts programs. We will study the needs of local veterans through a survey and community input, to determine needs for creative arts, adaptive sports, recreation therapy, and various support programs. We will look at potential partnerships with the Veterans Administration and other Veterans groups to identify the best program possible. We will study and make recommendations for partnerships and funding opportunities and look at events and activities that can assist with the transition from active duty. C. ARTS, CULTURE, AND VETERANS PROGRAMMING TREND ANALYSIS GreenPlay will conduct a complete demographic analysis utilizing all information available from the previous planning efforts, the U.S. Census Bureau, Esri, and other national and local sources. We will portray relevant demographic information in easy to read charts and figures with analysis of important topics that will impact parks and recreation service delivery. In addition to informing our goals and priorities, we utilize the demographics to customize our approach to your community, including adjustments in our outreach efforts to include specific sub -segments of your population. Trends analysis helps evaluate demographic shifts and their impact on future parks and amenities. This analysis helps identify regional interest and participation levels for a variety of activities; how services are provided through both administrative and planning trends; and how arts and culture amenities, programs, and events compare to national and regional trends, along with trends that are popular with veteran communities and VA services and facilities. We will complete a benchmarking analysis of local agencies to provide perspective to make management decisions. D. PROGRAMMING AND SPACE ANALYSIS Our team will create an assessment of programming needs and spaces as well as operational requirements needed to provide services at existing locations. Community Needs Assessment - Rank and Prioritize Demand and Opportunities Using the results of the community survey, focus groups, stakeholder meetings, needs assessment, current level of service, current capacity and future growth, standards, and classifications analysis, GreenPlay will identify and prioritize the unmet arts, cultural and veterans services needs in the community. The gaps in arts, cultural and veterans services programming can be identified using the nexus of unmet need and high importance. We will include a prioritization of each potential improvement, grouped into three priorities (1-3). Priorities will be assigned based on existing park conditions and needs based on community input provided during the community meetings and surveys. • Priority 1: 0-5 years • Priority 2: 10-15 years • Priority 3: 20 years or more Each potential improvement will also be described in detail including the need, the purpose, the steps to complete the improvement, and the projected cost. The provided details will serve as a planning document for future Capital Improvement Projects (CIP) and maintenance projects. 16 GREENPLAYLc TM1e Leatling Etlge In Parks, Fecreaho Antl Open Space LonsulM1ng E. DRAFT REPORT AND PRESENTATION Deliverables Deliverables will include all aspects outlined in the Draft Plan and Presentation GreenPlay will work with you to provide a draft Needs Assessment that outlines and prioritizes options for the new facility. This plan will include tables, graphs, illustrations, concept designs, photos, and other information. While the draft report is comprehensive regarding the prioritized options, the balance of the report provides detailed backup information. If desirable, we will also make a presentation of the Draft Needs Assessment as well as an open public forum to include community stakeholders. Any revisions to the draft budget will be incorporated into the final budget. F. FINAL REPORT AND PRESENTATIONS Final Plan and Deliverables All relevant comments on the draft recommendations will be incorporated into your final report, and as necessary, we will assist in guiding the Needs Assessment through the formal adoption process, including review and recommendation by the City Council for review and acceptance. preceding tasks, summarized as: • A detailed work plan identifying a schedule for completion. • One (1) printed and one (1) electronic copy of the Draft shall be provided for distribution and review. • Appropriate written materials and graphics (maps, slides, power point presentations, etc.) will be provided for public presentations. • One (1) printed and one electronic (1) copy of the Citywide Parks Needs Assessment. • All deliverables will be submitted in a format compatible with the City's software. Proposal for Needs Assessment for Arts/Culture Veterans Center 17 U LLI U Eb oocc (1) a 4� m d V) V) tin c 6) c6) G N -a U c 3 ; 6) 6) 6) i J a� 1 _ C f6 .N z U cm 0" C 76 � a o U Q z L a) N U CEC C O Co C (6 (6 6) LL U ci ci 5 V) CJ Ln 2— m z O N z0 Q N � z W H z U C V1 W i cn o J -a c M 0 , m c Q N C o N � ° o C: o � CU N ui 0 Z Q O uj oc 6L Q c � d C: m C M a W 0 Q a c W m OC C: J m Q a ` z a) > � o U o .L a p ui fL6 LL u: L.L a LL n.o 7 � d 4J G tlA 7 � d 4J G tlA 7 � d 4J G O Y N 1.1.5 1 Program Management GreenPlay is a firm that has been built on quality and maintaining quality control in all projects. Our project management practices are professional and our team members pride themselves in being dedicated to identification of best practices and methodologies, and using the best planning techniques available in the nation. In addition, we have specific internal steps for ensuring quality throughout each project, many of which are identified in our proposed Scope of Work, including: • Identification of Critical Success Factors during Start -Up with your project team • Specific and ongoing review for validation and accuracy • Regularly scheduled meetings and Monthly Progress Reports • Draft and Final review points In addition, every project team includes a "Principal -In- Charge," whose role is specifically to review the steps above with your Project Manager, along with review of all documents produced for the Public, including editing and adding additional professional insights, clarifications and suggestions as needed. We have found our processes work, and we are proud to be one of the premier management consulting firms for public parks and recreation in the United States. We are confident that our References will continue to attest to this, and our High Quality Work Products will continue this ongoing focus. Proposal for Needs Assessment for Arts/Culture Veterans Center 19 1.1.6 1 Personnel, Equipment and Facilities EDUCATION: M.S., Recreation and Resource Development, Texas A&M University, 1987 B.S., Recreation & Park Management, University of Oregon 1985 CERTIFICATIONS Certified Park & Recreation Professional (CPRP) National Recreation and Park Association Graduate, Parks & Recreation Director's School, National Executive Leadership School & Supervisors Management School, National Recreation & Parks Association Numerous presentations at NRPA Conference, Oregon Recreation and Parks Association, Washington Recreation and Parks Association, and the International Livable Cities Conference Medal for Superior Civilian Service and the Commander's Award for Civilian Service, US Army Jeffrey Milkes, MS, CPRP PROJECT MANAGER WORK EXPERIENCE: Jeff is a successful parks and recreation professional with over 35 years of progressively responsible experience with municipalities, special districts, and military recreation organizations. His work has focused on leadership development, performance management, non-traditional financing opportunities, and the provision of athletic and special events. Jeff brings with him extensive experience managing aquatic, recreation, music, and cultural arts facilities; sports and fitness programs; and park maintenance. He is passionate about developing community offerings with a high level of creativity and imagination. During his long and successful career, Jeff has served in a variety of capacities in the parks & recreation field. He worked his way up from Recreation Coordinator, Sports Director, Community Center Manager, Aquatics Facility Manager, Recreation and Parks Manager to Director of Parks & Recreation. He has delivered recreation services in small, mid -sized and large communities in Oregon and California. Jeff's professional view of the field and judgement are often seen through the unique lens of an individual who has spent over fifteen years working overseas, supporting our active duty military and their family members. He served as a Supervisory Recreation Specialist, Athletic Director and finally as Chief of Community Recreation, working on both Army and Navy bases in Germany, Korea, Guam, and Spain. Jeff earned numerous awards and medals for his service. • Project Manager/Consultant, 2019-Present, Green Play, LLC • Director, Parks & Recreation: City of Cupertino, California • Southeast Services Manager: Portland, Oregon Parks & Recreation • Chief, Community Recreation Division: Dept. of Army, Baumholder, Germany • Recreation & Aquatics Manager: North Clackamas Parks Rec. Dist., Milwaukie, OR • Supervisory Recreation Specialist: US Army & US Navy, Rota, Spain, Dededo, Guam, Taegu, Korea and Stuttgart, Germany REPRESENTATIVE GREENPLAY PROJECT EXPERIENCE: • Town of Fountain Hills, AZ — Community Services Parks, Trails and Recreation Master Plan • City of Perris, CA — Parks and Recreation Master Plan • City of Montebello, CA — Park Facilities Master Plan • City of Umatilla, OR — Park Master Plan • Town of Windsor, CO — Land Dedication and Development Fee Study • City of Winnemucca, NV — Aquatic Center Feasibility Study • Greater Vallejo Recreation District, CA — 10-Year Master Plan REPRESENTATIVE PROJECT EXPERIENCE: • Led a data driven operational restructuring of parks and recreation services for one of the country's premier parks agencies in Portland Oregon, serving as SE Services Manager from 2005-2016. Jeff was responsible for neighborhood engagement and policy development to bring all recreation services and parks assets in east Portland under one organization. He managed seven community centers and greater than 100 parks. • Led the formation of one of the country's largest special events programs, developing methods of alternative financing, and offering creative events in nearly every neighborhood in Portland Oregon from 2007-2016. Jeff's efforts were recognized as a contributing factor to the City of Portland being awarded NRPA's Gold Medal as the best large parks and recreation agency in the country in 2011. 20 GREENPLAYLc TM1e Leatling Etlge In Parks, Fecreaho Antl Open Space LonsulM1ng EDUCATION & CERTIFICATION Old Dominion University, Masters of Public Administration, 2005 Christopher Newport University, Bachelors of Science, 1981 Certified Parks and Recreation Professional, National Recreation & Parks Association (NRPA) NRPA Director School, 2010; NRPA School of Sports Management, 1990; NRPA Leadership Training Institute, 2014; VRPS The Business Institute for Parks, Recreation and Leisure Services, 2002; NRPA LEAD, Weldon Cooper Center for Public Service (UVA), 1999 SPEAKER/PRESENTER National Recreation & Parks Association (NRPA Virginia Parks and Recreation Society California Parks and Recreation Association Colorado Parks and Recreation Association Maryland Parks and Recreation Association GP RED Think Tank Oregon Parks and Recreation Association Art Thatcher, MPA, CPRP PRINCIPAL c RP Zl.0, WORK EXPERIENCE: Art is a Principal with Green Play LLC, a lecturer with GP RED, and a CPRP with 30 years of experience in public parks and recreation operations, programming and administration, volunteer board leadership, facility design and operations, and community engagement. Throughout his career he has concentrated on strategic and master planning, youth civic engagement and teen comprehensive planning, operations and facility management planning, outdoor adventure recreation development and programming, and community engagement facilitation. Since 2013, Art has worked with over 70 communities across the country. He is an expert in working with adventure -based communities, including those that manage beaches and waterfronts as part of their parks and recreation systems, and communities that rely on outdoor and adventure recreation as economic drivers. Art is a well-known speaker and has made presentations at NRPA, VRPS, CPRS, MRPA, ORPA, and the GP RED Think Tank. He is past President and former Chair of the Board of the Virginia Recreation and Parks Society and is currently on the Board for the Leadership Training Institute. • Green Play LLC, Project Consultant: 2013 - Present • Bureau Manager of Recreation and Human Development — City of Norfolk, VA • Information Technology Project Coordinator— City of Hampton, VA • Superintendent of Parks & Recreation — City of Hampton, VA • Operations Director, Norfolk FestEvents Ltd. — Norfolk, VA • Director of Parks and Recreation — City of Poquoson, VA REPRESENTATIVE PROJECT EXPERIENCE: • Amherst, NY— Recreation and Parks Master Plan Update • Arlington County, VA — Sports Fields Use Study • Bethlehem, NY — Parks and Recreation Master Plan • Brookline, MA —Athletic Field Master Plan • Caswell County, NC — Parks and Recreation Master Plan • Chatham County, GA— Parks and Open Space Master Plan • Clovis, CA— Parks Master Plan • Dublin, CA — Parks and Recreation Master Plan • Encinitas, CA— Parks and Recreation Master Plan, & Financial Sustainability Assessment • Glenwood Springs, CO — Park, Recreation, Open Space and Trails Master Plan • Gloucester County, VA — Needs Assessment for Parks, Recreation, and Tourism • Greenbelt, MD — Recreation and Park Facilities Master Plan • Hesperia Recreation and Park District, CA— Master Plan • Maitland, FL— Parks and Recreation Master Plan • Manassas, VA— Parks, Recreation, & Culture Needs Assessment and Facilities Plan • Martin County, FL— Parks and Recreation Master Plan • New Hanover County, NC — Department of Parks and Gardens Master Plan Update • Oceanside, CA — Parks and Recreation Master Plan • Roanoke Regional Partnership, VA —Outdoor Needs, Operations Capital & Financial Analysis • San Diego County, CA — Parks and Recreation Master Plan • San Gabriel, CA— Parks, Recreation, and Open Space Master Plan • Santa Ana, CA — Services and Financial Sustainability Assessment • Santa Maria, CA — Parks and Recreation Needs Assessment and Action Plan • Santee, CA— Parks and Recreation Master Plan Update • Signal Hill, CA— Parks and Recreation Master Plan • Wake Forest, NC — Parks, Recreation, and Cultural Arts Master Plan • West Palm Beach, FL— Parks and Recreation Master Plan • Williamsburg, VA — Parks and Recreation Master Plan • Wilsonville, OR — Parks and Recreation Comprehensive Master Plan Proposal for Needs Assessment for Arts/Culture Veterans Center 21 1.1.7 1 Sub -Consultants ASSOCLE RRC IATES RRC Associates offers services in research, planning, and economic/feasibility analysis to parks and recreation departments, local governments, public agencies, corporations and private developers. In addition, RRC has experience with a variety of specialized recreation topics and situations and frequently works with resort communities and ski area operators, trade associations, destination marketing organizations, non -profits, and others interested in recreation, tourism, and "quality of life topics." The company is made up of a small group of professionals with extensive experience and qualifications to meet the needs and challenges of recreation -oriented organizations. The RRC team uses proven research tools to conduct quantitative and qualitative studies to support needs assessments, master plans and other specialized evaluations. Through extensive consulting work with a variety of clients, the staff at RRC is knowledgeable about best practices, industry benchmarks, market trends, and the wide range of programs and approaches that are being used by recreation and tourism organizations throughout North America. RRC Associates strives for a pragmatic approach that balances innovation, customization, and providing proven services at a reasonable cost. The firm takes pride in our demonstrated ability to meet a project's time and budget requirements. Our firm's small size permits us to offer a very personal level of service to our clients; senior members of the firm are highly involved in every project. SERVICES OFFERED Surveys and Market Research Parks, Recreation and Open Space Surveys Market Studies and Strategic Analysis Customer/User Satisfaction Surveys Demographic Research Community Surveys/Performance Evaluations Site Selection Research Special Client Services General Consultation Project Team Coordination and Management Financial Presentation Packages Public Participation Workshops Strategic Project Positioning Workouts and Repositioning Strategies Community Planning Parks and Recreation Program Analysis Housing Needs Assessments Population and EmploymentResearch Economic Development Planning Economic Impact Analysis Fiscal Impact Analysis Program Development and Optimization Project Feasibility Analysis Public Processing and Approvals Goals and Policy Formulation Contact: Chris Cares,chris@rrcassociates.com 4770 Baseline Road, Suite 360 1 Boulder, Colorado 80303 1 P: 303.449.6558 1 www.rrcassociates.com 22 GreenPlay, LLC GREENPLAYLc TM1e Leatling Etlge In Parks, Fecreaho Antl Open Space LonsulM1ng C. CHRIS CARES Chris possesses a diverse background in public and private planning. A founding partner of RRC Associates, he specializes in practical applications of research techniques including survey and qualitative research, modeling and applied analysis to solve prob- lems in city planning, administration, and business applications. Parks and recreation needs assessments are particular areas of specialization. Chris has overseen numerous community/citizen surveys in towns and counties throughout the United States, which provide input to parks, recreation, trails, open space, and planning needs assessments. The results of these studies typically become incorporated into parks and open space master plans, or other policy documents. Professional Experience 1983 to present MANAGING DIRECTOR/FOUNDING PARTNER RRC Associates, Boulder, CO Representative Projects Parks and Recreation Surveys for Master Plans and Needs Assessments: RRC A 5 5❑ C I A T E S Charleston County, SC Waukesha, WI Florence, AZ Martin County, FL Ashville, NC Prospect Heights, IL Littleton, CO West Palm Beach, FL Cary, NC Erie County, NY Louisville, CO Asheville, NC Caswell County, NC Gloucester County, VA State of Maryland Colchester, VT Leland, NC Hunterdon County, NJ State of New Mexico Meridian, ID New Hanover County, NC Rancho Cucamonga, CA Palm Springs, CA Maryland-NCPPC- Wake Forest, NC San Diego County, CA Pearland, TX Prince George County, MD Williamsburg, VA Amherst, NY Wilsonville, OR Encinitas, CA Chatham County, GA Winchester, VA Dunwoody, GA San Gabriel, CA Cedar Rapids, IA Desert Rec. Dist., CA Santee, CA Keene, NH Bella Vista Village, AR Farmington, NM Manassas, VA Fitchburg, WI Coconino County, AZ Tualatin Hills, OR Tourism and Ski Area Visitor Research (examples include National Ski Areas Association, Colorado Tourism Office, Vail Resorts, Copper Mountain, Telluride Ski and Golf Company, Crested Butte Mountain Resort, Cedar Rapids, IA) Housing and Transportation Needs Assessments (examples include Boulder, Lafayette, Longmont and Westminster, 00: Eagle County and Town of Vail; Grand Junction, Pueblo, Weld County, CO) Education Master of City Planning: Harvard University, 1975 Bachelor of Arts, Political Science: University of Rochester, 1972 University of Michigan, 1971 Further Work Experience 1977-81 PLANNER/ASSOCIATE, Gage Davis Associates Boulder, CO Associate in charge of research studies for major destination resorts in Colorado and Utah 1976-77 PLANNER, City of Boulder Boulder, CO 1975 PLANNER, Lincoln -Uinta Counties Planning Office Kemmerer, WY Proposal for Needs Assessment for Arts/Culture Veterans Center 23 NOTICE TO PROPOSERS REGARDING CONTRACTUAL REQUIREMENTS PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center 1. SUMMARY OF CONTRACT REQUIREMENTS a. A contract is required for any service performed on behalf of the City. Contract language will be negotiated upon acceptance of proposal and prior to commencement of work. Work cannot begin until the contract has been fully executed by both parties. 2. SUMMARY OF INSURANCE REQUIREMENTS a. These are the Insurance Requirements for Consultants providing services or supplies to the City. By agreeing to perform the work or submitting a proposal, you verify that you comply with and agree to be bound by these requirements. When Contract documents are executed, the actual Contract language and Insurance Requirements may include additional provisions as deemed appropriate by City's Risk Manager. b. You should check with your Insurance advisors to verify compliance and determine if additional coverage or limits may be needed to adequately insure your obligations under this agreement. These are the minimum required and do not in any way represent or imply that such coverage is sufficient to adequately cover the Contractor's liability under this agreement. The full coverage and limits afforded under Contractor's policies of Insurance shall be available to Buyer and these Insurance Requirements shall not in any way act to reduce coverage that is broader or includes higher limits than those required. The Insurance obligations under this agreement shall be: 1—all the Insurance coverage and limits carried by or available to the Contractor; or 2—the minimum Insurance requirements shown in this agreement, whichever is greater. Any insurance proceeds in excess of the specified minimum limits and coverage required, which are applicable to a given loss, shall be available to City. c. Contractor shall furnish the City with original Certificates of Insurance including all required amendatory endorsements and a copy of the Declarations and Endorsement Page of the CGL policy listing all policy endorsements to City before work begins. City reserves the right to require full -certified copies of all Insurance coverage and endorsements. 3. INSURANCE a. General Insurance Requirements i. All insurance shall be primary insurance and shall name City of Santa Clarita as an additional insured. The naming of an additional insured shall not affect any recovery to which such additional insured would be entitled under the policy if not named as an additional insured, and an additional insured shall not be held 24 GREENPLAYLc TM1e Leatling Etlge In Parks, Fecreaho Antl Open Space LonsulM1ng liable for any premium or expense of any nature on the policy or any extension thereof solely because they are an additional insured thereon. ii. If the operation under this Agreement results in an increased or decreased risk in the opinion of the City's Risk Manager, then Consultant agrees that the minimum limits hereinabove designated shall be changed accordingly upon written request by the Risk Manager. iii. Consultant agrees that provisions of this Section as to maintenance of insurance shall not be construed as limiting in any way the extent to which Consultant may be held responsible for the payment of damages to persons or property resulting from Consultant's activities, the activities of its subconsultants, or the activities of any person or persons for which Consultant is otherwise responsible. iv. A Certificate of Insurance, and an additional insured endorsement (for general and automobile liability), evidencing the above insurance coverage with a company acceptable to the City's Risk Manager shall be submitted to City prior to execution of this Agreement on behalf of the City. v. The terms of the insurance policy or policies issued to provide the above insurance coverage shall provide that said insurance may not be amended or canceled by the carrier, for nonpayment of premiums otherwise, without 30 days prior written notice of amendment or cancellation to City. In the event the said insurance is canceled, Consultant shall, prior to the cancellation date, submit new evidence of insurance in the amounts heretofore established. vi. All required insurance must be in effect prior to awarding this Agreement, and it or a successor policy must be in effect for the duration of this Agreement. Maintenance of proper insurance coverage is a material requirement of this Agreement, and the failure to maintain and renew coverage or to provide evidence of renewal may be treated by the City as a material breach of contract. If Consultant, at any time during the term of this Agreement, should fail to secure or maintain any insurance required under this Agreement, City shall be permitted to obtain such insurance in Consultant's name at Consultant's sole cost and expense, or may terminate this Agreement for material breach. vii. Without limiting any other Consultant obligation regarding insurance, should Consultant's insurance required by this Agreement be cancelled at any point prior to expiration of the policy, Consultant must notify City within 24 hours of receipt of notice of cancellation. Furthermore, Consultant must obtain replacement coverage that meets all contractual requirements within 10 days of the prior insurer's issuance of notice of cancellation. Consultant must ensure that there is no lapse in coverage. b. General Liability and Property Damage Insurance i. Consultant agrees to procure and maintain general liability and property damage insurance at its sole expense to protect against loss from liability imposed by law for damages on account of bodily injury, including death therefrom, and property damage, suffered or alleged to be suffered by any person or persons whomsoever, resulting directly from any act or activities of Consultant, its subconsultants, or any person acting for Consultant or under its control or direction, and also to protect against loss from liability imposed by law for damages to any property of any person caused directly or indirectly by or from acts or activities of Consultant, or its subconsultants, or any person acting for Consultant, or under its control or direction. Such public liability and property damage insurance shall also provide for and protect City against incurring any legal cost in defending claims for alleged loss. Such general liability and property damage insurance shall be maintained in the following minimum limits: A combined single -limit policy with coverage limits in the amount of $1,000,000 per occurrence will be considered equivalent to the required minimum limits. c. Automotive Insurance i. Consultant shall procure and maintain public liability and property damage insurance coverage for automotive equipment with coverage limits of not less than $1,000,000 combined single limit. If Consultant does not use automobiles in performing its work under this Agreement, Consultant shall provide a waiver releasing City from all liability resulting from Consultant's use of personal vehicles under this Agreement. d. Worker's Compensation Insurance i. Consultant shall procure and maintain Worker's Compensation Insurance in the amount of $1,000,000 per occurrence or as will fully comply with the laws of the State of California and which shall indemnify, insure, and provide legal defense for both Consultant and City against any loss, claim, or damage arising from any injuries or occupational diseases happening to any worker employed by Consultant in the course of carrying out this Agreement. ii. Waiver of Subrogation: The insurer(s) agree to waive all rights of subrogation against City, its elected or appointed officers, officials, agents, volunteers and employees for losses paid under the terms of the workers compensation policy which arise from work performed by Consultant for City. Questions and requests for modification of these terms must be negotiated and approved prior to contract execution and are at the full discretion of the City. I have read and understand the above requirements and agree to be bound by them for any work performed for the City. Authorized Signature: �frtTel�-- Date: 04/26/2021 Printed Name: Teresa L. Penbrooke DESIGNATION OF SUBCONTRACTORS/SUBCONSULTANTS PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center Subcontractor DIR Registration No. RRC Associates N/A Age of firm: °C�Y2e IS 37 years .+;F.,;n Location and Place of Business 4770 Baseline Rd., Suite 355, Boulder, CO 80303 Bid Schedule Item No's: Description of Work Statistically -Valid Survey License No. Exp. Date: / / N/A Subcontractor Age of firm: Location and Place of Business Bid Schedule Item No's: License No. Subcontractor Age of firm: Location and Place of Business Bid Schedule Item No's: License No. DIR Registration No. Description of Work Exp. Date: / / DIR Registration No. Description of Work Exp. Date: / / Dollar Value of Work $15,500 Annual Gross Receipts: N/A (privately held company) Phone ( ) (303) 449-6558 Dollar Value of Work Annual Gross Receipts: Phone ( ) Dollar Value of Work Annual Gross Receipts: Phone ( ) REFERENCES PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center City of Santa Clarita, California The following are the names, addresses, and telephone numbers of three public agencies for which proposer has performed work of a similar scope and size within the past 3 years. If the instructions on this form conflict with the references requested in the scope of work, the scope of work shall govern. Complete this form out accordingly. Fill out this form completely and upload it with your proposal. 1. Greater Vallejo Recreation District, 395 Amador St., Vallejo, CA 94590 Name and Address of Owner / Agency Gabe Lanusse, General Manager, 707-648-4603 Name and Telephone Number of Person Familiar with Project $119,999 10-Year Master Plan In progress Contract Amount Type of Work Date Completed 2. City of San Marino 2200 Huntington Dr., San Marino, CA 91108 Name and Address of Owner / Agency Dr. Marcella Marlow 626-300-0781 Name and Telephone Number of Person Familiar with Project 529.995 Recreation and Leisure Needs Assessment 09/2020 Contract Amount Type of Work Date Completed 3. City of Santa Maria, 615 S. McClelland St., Santa Maria, CA 93454 Name and Address of Owner / Agency Dennis Smitherman 805-925-0951 Name and Telephone Number of Person Familiar with Project S77.795 Parks and Recreation Needs Assessment and Action Plan 12/2019 Contract Amount Type of Work Date Completed The following are the names, addresses, and telephone numbers of all brokers and sureties from whom Proposer intends to procure insurance bonds: See attached (note - new certs for 2021-2022 have not yet arrived in the mail but we have renewed nur coverage) GREELLC-03 BQUINONEZ ,a►�URO CERTIFICATE OF LIABILITY INSURANCE DAT56/2 DIYYYY) 1612020 THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AFFIRMATIVELY OR NEGATIVELY AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. THIS CERTIFICATE OF INSURANCE DOES NOT CONSTITUTE A CONTRACT BETWEEN THE ISSUING INSURER(S), AUTHORIZED REPRESENTATIVE OR PRODUCER, AND THE CERTIFICATE HOLDER. IMPORTANT: If the certificate holder is an ADDITIONAL INSURED, the policy(ies) must have ADDITIONAL INSURED provisions or be endorsed. If SUBROGATION IS WAIVED, subject to the terms and conditions of the policy, certain policies may require an endorsement. A statement on this certificate does not confer rights to the certificate holder in lieu of such endorsement(s). PRODUCER CONTACT NAME: DCI (Lakewood) PHONE FAX 1074 SOUth Alkire Street (A/C, No, Ext): (303) 987-3373 (A/C, No):(303) 969-9120 Lakewood, CO 80228 E-MAILADDRESS: john.ossian@dcinsurers.com INSURER(S) AFFORDING COVERAGE NAIC # INSURER A: The Hartford 29424 INSURED INSURER B : Plnnacol Assurance 41190 GreenPlay LLC INSURER C : 1021 E. South Boulder Road Suite N INSURER D Louisville, CO 80027 INSURER E _ INSURER F : COVERAGES _ CERTIFICATE NUMBER: _ REVISION NUMBER - THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED. NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES_ LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS INSR TYPE OF INSURANCE ADDL SUBR POLICY NUMBER POLICY EFP POLICY EXP LIMITS LTR INSD WVD rMMIDDlYYYYI IMMIODIYYYYI A X COMMERCIAL GENERAL LIABILITY EACH OCCURRENCE $ 2,000,000 CLAIMS -MADE X OCCUR 34SBAIR6876 5/1/2020 5/1/2021 DAMAGESO RENTED $ 1,0009000 ( a occurrence) 10,000 MED EXP (Any one person) $ 2,000,000 PERSONAL & ADV INJURY $ GEN'L AGGREGATE LIMIT APPLIES PER GENERAL AGGREGATE $ 4,000,000 POLICY JECOT- LOC PRODUCTS - COMP/OP AGG $ 4,000,000 OTHER. $ A AUTOMOBILE LIABILITY COMBINED SINGLE LIMIT (Ea accident} 1,000,000 $ X ANY AUTO 34UECJJ1390 5/1/2020 5/1/2021 BODILY INJURY (Per person) $ OWNED SCHEDULED AUTOS ONLY AUTOS BODILY INJURY (Per accident) $ PROPERTY acc d ntDAMAGE AUTOS ONLY AUUTOS ONLY $ _ S A X UMBRELLA LIAB X OCCUR EACH OCCURRENCE $ 1,000,000 EXCESS LIAB CLAIMS -MADE 34SBAIR6876 5/1/2020 5/1/2021 AGGREGATE S DED X RETENTION $ 10,000 Gen Aggregate _ 1,000,000 B WORKERS COMPENSATION PER OTH- AND EMPLOYERS' LIABILITY Y / N STATUTE ER PROPRIETOR/PARTNER/EXECUTIVE 4019301 5/1/2020 5/1/2021 E-L- EACH ACCIDENT 1,000.000 $ QAAN�Y {INFFICEtoryENH EXCLUDED? N / A 1,000,000 If yas describe under E L DISEASE - EA EMPLOYEE $ 1,000,000 Q(CRIPTIO OF OPERATIONS below E L DISEASE - POLICY L%41T $ A Business Owners Poli 34SBAIR6876 5/1/2020 5/1/2021 Ded 500 36,700 A Business Auto 34UECJJ1390 5/1/2020 5/1/2021 comp 500 & Coll. 500 DESCRIPTION OF OPERATIONS I LOCATIONS / VEHICLES (ACORD 101, Additional Remarks Schedule, may be attached if more space is required) CERTIFICATE HOLDER �+7_ z1@J_41I[W_'W0Pi SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE For Information Purposes Only THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN p y ACCORDANCE WITH THE POLICY PROVISIONS. AUTHORIZED REPRESENTATIVE ACORD 25 (2016/03) © 1988-2015 ACORD CORPORATION. All rights reserved. The ACORD name and logo are registered marks of ACORD 1 r�i DATE (MMIDDIYYYY) ,`��►rrr CERTIFICATE OF LIABILITY INSURANCE 05/06/2020 THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AFFIRMATIVELY OR NEGATIVELY AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. THIS CERTIFICATE OF INSURANCE DOES NOT CONSTITUTE A CONTRACT BETWEEN THE ISSUING INSURER(S), AUTHORIZED REPRESENTATIVE OR PRODUCER, AND THE CERTIFICATE HOLDER. IMPORTANT: If the certificate holder is an ADDITIONAL INSURED, the policy(ies) must have ADDITIONAL INSURED provisions or be endorsed. If SUBROGATION IS WAIVED, subject to the terms and conditions of the policy, certain policies may require an endorsement. A statement on this certificate does not confer rights to the certificate holder in lieu of such endorsement(s). PRODUCER I CONTACT Cory Gournic I NAME: Associates Insurance Group I PHONE (303) 793-3388 I FAX (303) 793-3386 {( IC No. Extl: ;A/C . Nol: 7395 E. Orchard Rd. I E-MIL @g g c ournlc eta c com ADDRESS: g INSURER(S) AFFORDING COVERAGE NAIC # Greenwood Village CO 80111 INSURER : ACE Fire Underwriters Insurance Company 20702 INSURED INSURER B : HSB Specialty Insurance Company 14438 Greer -Play, LLC INSURER C 1021 E. South Boulder Rd INSURER D : Suite N INSURER E . Louisville CO 80027 INSURER F : COVERAGES CERTIFICATE NUMBER: Master REVISION NUMBER: THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED, NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS. INEXP LSR TYPE OF INSURANCE INS OWV0 RPOLICY NUMBER (MMI-DD YYYYY) (MMCDD YYYY) LIMITS COMMERCIAL GENERAL LIABILITY EACH OCCURRENCE $ DAMAGE TO RENTED �r AIMS -MADE OCCUR i PREMSES(Ea oceurrance) MED EXP (Any one person) $ PERSONAL & ADV INJURY $ GEN'LAGGREGATE LIMITAPPLIES PER GENERAL AGGREGATE $ LL--11 POLICY PRO- JECT E LOC PRODUCTS - COMP/OP AGG $ OTHER AUTOMOBILE LIABILITY LANY AUTO OWNED SCHEDULED _ AUTOS ONLY AUTOS HIRED NON -OWNED AUTOS ONLY AUTOS ONLY UMBRELLA LIAB OCCUR EXCESS LIAB HCLAIMS-MADE DED I I RETENTION $ WORKERS COMPENSATION AND EMPLOYERS' LIABILITY Y / N. ANY PROPRIETOR/PARTNER/EXECUTIVE �") OFFICER/MEMBER EXCLUDED? ju N / A (Mandatory in NH) If yes, describe under DESCRIPTION OF OPERATIONS below A Professional Liability EONCOF111871952 05/01/2020 05/01/2021 DESCRIPTION OF OPERATIONS / LOCATIONS I VEHICLES (ACORD 101, Additional Remarks Schedule, may be attached If more space is required) CUMBINEDSI IGLELIMIT $ (Ea BFgdianl} BODILY INJURY (Per person) $ BODILY INJURY (Per accident) $ PROPERTYOAMAGE $ iPer accident) EACH OCCURRENCE $ AGGREGATE $ PER } 0TR- I STATUTE I ER E.L EACH ACCIDENT $ E.L. DISEASE - EA EMPLOYEE S E.L. DISEASE - POLICY LIMIT $ Each Claim 2,000,000 Aggregate 2,000,000 Disciplinary Expense 5,000 CERTfFICATE HOLDER CANCELLATION SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN `*'for information purposes— ACCORDANCE WITH THE POLICY PROVISIONS. AUTHORIZED REPRESENTATIVE ©1988-2015 ACORD CORPORATION. All rights reserved. ACORD 25 (2016/03) The ACORD name and logo are registered marks of ACORD ACKNOWLEDGEMENT & ACCEPTANCE OF SCOPE OF WORK PROPOSAL # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center By providing the three (3) required signatures below, the Consultant acknowledges full understanding, complete agreement to, and accepts in its entirety, all Scope of Work for the Needs Assessment for Arts/Culture Veterans Center. The Consultant will be expected to perform maintenance practices and uphold the standards herein to the established Scope of Work throughout the length of the contract. Company: Green Play, LLC Name (Print): Teresa L. Penbrooke Email: teresap@greenplayllc.com Address:1021 E. South Boulder Rd., Suite N Louisville, CO 80020 Company Phone No.: (303) 439-8369 * ` r �'+'�C`�— Date: 04/26/2021 *Supervisor's Signature: �f-- *Estimator's . 04/26/2021 Signature: Date. *Owner's Signature: 0Date: 04/26/2021 4 *All three signatures required COST PROPOSAL Needs Assessment for Arts/Culture Veterans Center City of Santa Clarita, California RFP: NS-20-21-29 APRIL 26, 2021 dREENPLAYLLC The Leading Edge In Parks, Recreation, And Open Space Consulting Efl30Y N 1V EVI/FaALL AP]`II 33viNG 13-14 Green Play, LLC GREENPLAYLc TM1e Leatling Etlge In Parks, Feereaho Antl Open Spaex LonsulM1ng TASK A: Strategic Kick -Off, and Determination of Critical Success Factors TASK B: Community and Stakeholder Engagement TASK C: Trends Analysis TASK D: Programs Assessment and Operations TASK E: Draft Plan and Presentations $2,363 $2,363 $13,650 $15,500 $29,150 $ 2, 940 $ 2, 940 $3,675 $3,675 $5,250 $5,250 TASK F: Final Plan and Deliverables $6,621 $6,621 ORM This project is billed as Firm -Fixed Fee, meaning that all travel, reimbursables, and deliverables are built into the per task cost. Fee Basis GreenPlay does not bill on an hourly basis. We have established an inclusive fee schedule that covers the salaries of our professional project staff and of support staff who enable them to function effectively and efficiently. We consider the prevailing rates in our industry and the level of specialized expertise that we provide. For projects which require more than 100 hours of work, GreenPlay proposes using a Firm -Fixed Price model for compensation. This means that the contract is based on a projected number of hours, but the compensation is actually based on the completion of pre -determined contracted tasks identified in the Scope of Work and within a pre -specified timeline. This typically works well for the client, ensuring that all work is accomplished regardless of the time required to complete each task. In the event that the contracted Scope of Work is changed by the client during the project, GreenPlay can adjust total contract fees accordingly based on our regular hourly rates. This project is proposed as a Firm -Fixed Fee project; therefore, individual hourly rates and projected number of hours are not applicable. Our rates include: ➢ All deliverables as outlined in the Scope of Work. ➢ Professional staff, sub -consultant, and administrative salaries. ➢ All office overhead, equipment, utilities, and consulting insurances. ➢ Taxes, employee benefits, and Worker's Compensation. ➢ Administrative support staff and supplies, and local travel. ➢ Work Products and meetings as outlined in the Scope of Work. ➢ All travel costs are built into the firm -fixed fee. Proposal for Needs Assessment for Arts/Culture Veterans Center Rates do not include: ➢ Materials and services outside of the pre -specified Scope of Work (may include extra meetings, re- quested copies and printing of work products). ➢ Geotechnical services and reports. ➢ Topographic and boundary surveys (site surveys). ➢ Site Testing. ➢ Project related legal and safety consultant services. ➢ Permits and fees borne by the agency. ➢ Detailed schematic and construction documents. Additional Services: If Requested GreenPlay's rate for additional services is based on an average of $150 per hour if not proposed as "firm -fixed fee." For sub -consultants, hourly rates range from $60 to $150 per hour, depending on the task. As this project is based on a firm -fixed fee, our consultants will dedicate the necessary time to complete the project. Our sub -con- sultant team members set their hourly rates according to their individual firm fee schedules. While the hourly rates may sound high, when considering the costs for implementing additional experienced and professional full- time staff, benefits, insurances, office space, computers and equipment, support staff, utilities, etc., we find that this rate is usually comparable to or lower than what an agency would spend for in-house staff. An additional benefit is that when the project is finished, the expense ends. GreenPlay typically submits an invoice for payment to the project manager/primary contact person on a monthly basis. Each invoice includes a brief description of the services provided and percentage of Scope completed to date. Invoices past due over 60 days will accrue 1.5% interest per month. Other structures for compensation and payment can be negotiable prior to contract award. Project Delay Fee GreenPlay will work with your project team to jointly lay out an achievable schedule during contracting and detailed during the SKO. There is a cost to GreenPlay if the project is delayed beyond the accepted contracted schedule end date, so we will work diligently with you to achieve it. We expect prompt responses and to keep milestones for approval points. If the project is delayed due to County requests or non -response, we may request additional fees to do so. Typically, this fee is around 10% of remaining budget for each month of client caused delays. We are happy to help keep this project on schedule, and value open and transparent conversations about how to best do so throughout the project. 4 GreenPlay, LLC GREENPLAYLc TM1e L a Etlge In Parks, Fecreaho Antl Opepn ' Space LonsulM1ng Market research • Policy analysis Business strategy • Implementation 701 N. 1st Street Phoenix AZ 85004 www.keenindependent.com CITY OF SANTA CLARITA RFP # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center COST FILE April 26, 2021 Prepared for: Jonathan Cosh Buyer City of Santa Clarita 23920 Valencia Blvd., Suite 300 Santa Clarita CA 91355 Prepared by: Alex Keen, Chief Operating Officer Keen Independent Research LLC 701 N 1st Street Phoenix AZ 85004 Mobile: 303-520-6339 Phone: 303-385-8515 alexkeenCcDkeenindependent.com www.keeninder)endent.com COST FILE Included below, per RFP instructions, is Keen Independent's Statement of Offer and Signature as well as proposed pricing to complete the City of Santa Clarita Needs Assessment for Arts/Culture Veterans Center. Statement of Offer and Signature Keen Independent's proposed budget to complete the Needs Assessment project is a fixed, not -to -exceed total price for the services and deliverables described in the City's RFP under Section B — Scope of Work. Keen Independent's proposal is a firm offer and shall remain valid for a period of 120 calendar days. April 23, 2021 Alex Date Chief Operating Officer/Senior Consultant Proposed Budget Keen Independent projects a total budget of $49,862 to complete the Needs Assessment for Arts/Culture Veterans Center. Keen Independent can adjust the price to best meet the City of Santa Clarita's needs. Figure 1 on the following page provides costs of all study aspects, by task. Keen Independent will invoice for our work monthly based on the percent completion of each task. We will submit all payment requests to the City with appropriate documentation including a progress report of all work that was completed in the billing month. Discount. Due to the local presence of Keen Independent staff located near the Santa Clarita area, we have waived travel expenses for this project. Figure 1. Professional fees by task Budget Task total 1 Project management $ 5,160 2 Data collection and analysis 11,826 3 Stakeholder engagement 22,050 4 Programming and required space analysis 10,826 Total $ 49,862 KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP ## NS-20-21-29 COST FILE, PAGE 1 Market research • Policy analysis Business strategy • Implementation 701 N. 1st Street Phoenix AZ 85004 www.keenindependent.com CITY OF SANTA CLARITA RFP # NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center RESPONSE FILE April 26, 2021 Prepared for: City of Santa Clarita Attention: Jonathan Cosh 23920 Valencia Blvd., Suite 300 Santa Clarita CA 91355 Prepared by: Alex Keen, Chief Operating Officer Keen Independent Research LLC 701 N 1st Street Phoenix AZ 85004 Mobile: 303-520-6339 Phone: 303-385-8515 alexkeen(cDl<eenindependent.com www.keeninder)endent.com SECTION 1.1.1. Introduction Rkog D k mok April 26, 2021 Jonathan Cosh Buyer City of Santa Clarita 23920 Valencia Blvd., Suite 300 Santa Clarita CA 91355 i cosh(&, santa-clarita.com Market research • Policy analysis Business strategy • Implementation 701 N. 1st Street Phoenix A7 85004 www.keenindependent.com Re: RFP NS-20-21-29 Needs Assessment for Arts/Culture Veterans Center Dear Jonathan Cosh: Keen Independent Research LLC (Keen Independent) is pleased to submit our proposal to complete a Needs Assessment for the proposed Arts/Culture and Veterans Center. Keen Independent is a national economic consulting and market research firm, with offices in Phoenix and Denver. The firm's 23 professionals combine strong technical capabilities with expertise in needs assessments and strategic planning for arts and cultural organizations. Our portfolio includes recent projects for performing arts/cultural arts assignments for the cities of Denver, Colorado and Waco, Texas, as well as other culturals nationwide. Project management and summary of roles. Keen Independent will serve as prime consultant for this assignment. Alex Keen, Keen Independent COO/Senior Consultant, will be the project lead and has served in this role for each of the firm's recent cultural arts assignments. For the Needs Assessment assignment, Alex will be supported by the following Keen Independent study team personnel: ■ David Keen and Annette Humm Keen, firm Principals, who have nearly 40 years of experience conducting market research and outreach -focused studies for arts and cultural facilities; ■ Jennifer Tuchband, Consultant, who has strong arts entrepreneurship and management experience as well as well as data management and interview expertise; KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.1, PAGE 1 ■ Ellen Meiser, a Keen Independent Consultant based in Los Angeles with many years of experience conducting in-depth interviews and expertise in quantitative methods; and ■ Tyler Cullen, Program and Research Coordinator, who brings a vast professional background in community outreach to the study team as well as unique insights regarding retirees and military families through her extensive professional and volunteer work within the military community. The Keen Independent study team forges strong client relationships through unbiased assessments of community offerings, programmatic needs and space and operational requirements. We offer comprehensive community outreach using innovative methods to reach diverse target groups. Understanding of the work to be performed. The City of Santa Clarita is seeking a consultant with experience conducting comprehensive cultural arts assessments, including expertise performing surveys and community outreach to prepare a multi -faceted Needs Assessment of the local community. Keen Independent will draw from its local knowledge and national expertise to analyze current facilities, programming and services offered to arts and culture and veterans. Ability and commitment to perform. The study team is committed to conducting the cultural arts strategic planning process in an inclusive and thoughtful manner while remaining timely and within budget. Keen Independent has in-house Spanish -language and other relevant language capabilities. In concert with this introduction (Section 1.1.1), our proposal includes: ■ References (Section 1.1.2); ■ Plan of Study/Scope of Work (Section 1.1.3); ■ Schedule (Section 1.1.4); ■ Program Management (Section 1.1.5); ■ Personnel, Equipment and Facilities (Section 1.1.6); and ■ Subconsultants (Section 1.1.7). Statement of offer and signature. As described in our Cost File response (submitted separately via BidNet) Keen Independent's proposed budget to complete the Needs Assessment project is a fixed, not -to -exceed total price for the services and deliverables described in the City's RFP under Section B Scope of Work. Keen Independent's proposal is a firm offer and shall remain valid for a period of 120 calendar days. We look forward to the opportunity to discuss this proposal further. Sincerely, Alex Keen Chief Operating Officer/Senior Consultant 303-520-6339 (mobile), 303-385-8515 alexkeenna.keenindep endent. com KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.1, PAGE 2 SECTION 1.1.2. References Keen Independent is pleased to present our relevant experience for conducting a Needs Assessment for the proposed Arts/Culture and Veterans Center. We begin Section 1.1.2 with an overview of study team experience followed by descriptions of similar projects as well as references. A. Summary of Study Team Experience Keen Independent has a proven track record of performing high quality, on -budget and on -time work. We attribute our success to our professional team and enhanced philosophy and capacity to complete assignments. Innovative public outreach and stakeholder engagement. Keen Independent is uniquely qualified for this assignment as we combine rigorous research methods (in-depth interviews, focus groups, survey research, ethnography and complex statistical analysis) with innovative community outreach and engagement strategies tailored to each assignment. For example, we have: ■ Worked with cities to gather input from hundreds of thousands of businesses and community stakeholders on issues of economic development and equity in New York, Massachusetts, Georgia, Pennsylvania, Maryland, Delaware, Florida, Ohio, Missouri, Arizona, Nevada, Utah, California, Texas, Washington, Oregon, Minnesota, Colorado, Louisiana and others. ■ Overseen a broad -reaching listening campaign for the Denver Foundation to integrate art, education, environmental health and safety and inclusiveness for the purpose of enhancing and sustaining a high quality of life citywide; ■ Employed performance art to facilitate discussions with Arizona residents and business owners regarding awareness and perception of rural arts and cultural amenities; ■ Implemented innovative "mini -focus groups" to seek input from thousands of visitors and patrons of museums, performing arts venues, botanic gardens and other cultural entities across the nation from the Smithsonian National Zoo to the Denver Art Museum; ■ Assessed visitor perception of outdoor public space and city parks, new art and cultural museum exhibits/expansions and patron experiences for communities in Pennsylvania, Ohio, Colorado and Texas including evaluation of how arts organizations and other interested stakeholders can potentially use a city's Sculpture Park to strengthen diversity and inclusion; and ■ Led virtual workshops with hard -to -reach community stakeholders and arts advocates. Since the outset of the COVID-19 pandemic, we have developed virtual options for these methods. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.2, PAGE 1 In sum, study team outreach experience includes: ■ Engaging stakeholders in meaningful and actionable dialogue; ■ Researching visitor perceptions; ■ Examining availability and utilization of arts organizations and venues; ■ Evaluating, adapting, and developing strategic plans; and ■ Analyzing economic impact of arts initiatives. Los Angeles area experience. Keen Independent has extensive experience conducting needs assessments, market research and strategic and cultural planning assignments for local public agencies and cultural organizations in California. Keen Independent's community outreach expertise includes working with cities, such as the City of San Jose, for example, to gather input from hundreds of thousands of businesses and community stakeholders on issues of economic development. Ellen Meiser, Consultant, is located in Los Angeles. She is currently conducting qualitative analysis as part of an ongoing strategic planning assignment for a local agency in Southern California. In addition, Jennifer Tuchband is currently advising on strategic and long-range planning for Conundrum Theatre Company in Burbank, California. Operations, management and business planning. Keen Independent combines extensive stakeholder input, market research, benchmark research and other data with industry practices and professional experience to effectively develop, assess and improve operations, management and business plans. Keen Independent has staff who have previously run performing arts centers and other staff who have worked in all parts of a performing arts center from box office to technical production to fundraising and more. Our team has utilized these experiences to develop realistic and actionable plans with a proven track record of success. Keen Independent operational, management and business planning clients include Denver Arts & Venues, Mizel Arts and Culture Center, Ent Center for the Arts, Wheeler Opera House and the Town of Plainfield, Indiana. Unbiased results and history of forthrightness. We are known for unbiased, independent results. Keen Independent will provide a rigorous, research -based assessment for the proposed Arts/Culture and Veterans Center as well as recommendations to provide sufficient services. We will also examine how entities in the County of Los Angeles have conducted arts and culture assessments in the past, as well as how these efforts can be improved in future practice. The senior leadership of Keen Independent have a reputation for providing straight answers to our clients' complicated questions. We work with private, not -for -profit and public sector organizations that are considering large, long-term plans, investments and initiatives. Our analysis combines rigorous quantitative and qualitative research. Client -first approach. David Keen and Annette Humm Keen, Keen Independent Principals, have provided consulting advice with a high level of integrity for more than 40 years. They, and the team at Keen Independent, are focused on providing client -centered services with clear and consistent communication. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.2, PAGE 2 B. Descriptions of Past Work The study team has a broad range of experience relevant to the City of Santa Clarita Needs Assessment assignment. Presented below are descriptions of past projects of similar size and scope. City of Waco Planning and Feasibility Study. Keen Independent completed Phase 1 of a cultural facility consulting assignment for the City of Waco, Texas and is currently nearing the conclusion of Phase 2. Keen Independent staff are working closely with Creative Waco, Baylor University, Waco Symphony, Waco Civic Theater and other community organizations to identify potential partnership opportunities with the City. This project involves conducting a market analysis and comprehensive needs assessment and developing an operating plan and budget for a potential new performing arts facility that supports the community. As a key part of this study, Keen Independent conducted citywide and regional outreach to encourage input from diverse groups representative of the communities a new center would serve. The study team held public meetings, virtual workshops, in-depth interviews and survey research. We engaged over 300 community members on the study. This project was so well -received that the Waco Tribune -Herald published on its front page that one of our community events brought an "overflow crowd." Keen Independent toured nearly every indoor and outdoor event venue in Waco, including Chip and Joanna Gaines's Magnolia, the Extraco Events Center and Waco Civic Theatre to understand venue inventory, identify any potential gaps in the market, assess the survivability of arts organizations and other potential facility users and assess the impact a new facility would have on other local venues. The study team determined an ideal location and seat count for a potential new venue as well as developed an estimated cost to build the facility. Through our comparative analysis of similar -sized venues in similar communities, the study team developed operating budgets and business models. In Phase 2, now underway, the study team is expanding on initial study results to develop recommendations regarding the City's economic development goals to revive the community post COVID-19. "", - m n L I A KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.2, PAGE 3 Denver Performing Arts Complex Venue Market Analysis and Feasibility Study. Keen Independent directed a feasibility study and long-term business planning assignment for the City and County of Denver, Denver Center for the Performing Arts, Opera Colorado and Colorado Ballet. This study was one of the largest of its kind. The Keen Independent study team collaborated with a diverse array of community members, elected officials and staff of the City and County of Denver. Community engagement efforts included outreach to leaders and artists from more than 100 performing arts organizations. Throughout the study process, Keen Independent engaged more than 250 stakeholders, including venue managers, leaders of arts organizations and other community members in workshops and in-depth interviews to determine future demand for and the needs of performing arts organizations in the Denver area. The project involved identifying practical and technical needs of arts organizations seeking to perform and rehearse in downtown venues, especially those serving diverse audiences. We also evaluated potential artistic and operating synergies among different performing arts organizations, educational institutions and community groups to identify potential solutions making the Denver Performing Arts Complex more accessible to diverse community organizations. The study team developed capital and operating budgets and recommended business models consistent with our comprehensive plan for moving the Arts Complex facilities to the next phase of development. Keen Independent brought new, diverse voices into this planning process. Keen Independent provided short-, mid- and long-term recommendations to help achieve the goals of the Arts Complex, resident companies and community stakeholders. One major study recommendation involved replacing Boettcher Concert Hall with a smaller venue that best fits the size needs of the Colorado Symphony, Boettcher Concert Hall's primary user. Through demand projects and a complex analysis of the Symphony's ticket sales, the study team determined an ideal seat count and cost estimates for the recommended new concert hall. This new concert hall is now in the design build stage. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.2, PAGE 4 Mizel Arts and Culture Center Feasibility Study and Management and Operational Assessment. For the Staenberg-Loup Jewish Community Center (JCC) Mizel Arts and Culture Center (Mizel Center) in Denver, Keen Independent conducted a feasibility study and management and operational assessment which included the development of operating revenue and cost structure recommendations, creation of new staffing models and analysis of service delivery methods. Keen Independent assisted the Mizel Center with developing a sustainable business model, increasing educational and community arts collaborations and creating a roadmap for organizational restructuring. Keen Independent assessed the organizational structure of the Mizel Arts and Culture Center and developed a list of options for next steps to increase operational efficiencies. Alex Keen worked closely with JCC leadership, staff and board members to facilitate brainstorming sessions and solution development for a more efficient and impactful community cultural center. This project involved a comprehensive market, operational and financial analysis and an assessment of the organizational structure. The study team created an operating plan and budget for the next three years under the new recommendations and addressed the organizational impact from COVID-19. One outcome of this assignment included the development of a Manager on Duty program. When staff reported that they were being overworked and renters indicated that staff seemed like they were often pulled in many directions, Keen Independent recommended this Manager on Duty solution to limit the need for multiple senior -level staff members to be on - site at one time, especially during small events. This program involved having a different staff member assume this role each event day for the whole Mizel Center. The Manager on Duty oversees all aspects of the event's production, front of house and patron services. At the conclusion of this assignment, Keen Independent was re-engaged by the JCC to provide program evaluation services for the entire JCC, write job descriptions for new positions and other ongoing consulting services. Keen Independent continues to provide ongoing support to the JCC and Mizel Arts and Culture Center to this day. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.2, PAGE 5 Ent Center for the Arts Management and Business Planning. The Ent Center for the Arts is a 92,000 square foot center that opened in January 2018. This building contains three theaters, a contemporary art gallery and studio space, all of which support the University of Colorado Colorado Springs (UCCS) Visual and Performing Arts Department, Gallery of Contemporary Art (GOCA), Artist Series, rental events and a resident theater company called Theatreworks. Since its opening, executive leadership of the Ent Center has experienced some turnover, and the facility has been operating without a comprehensive business plan, which poses a risk to future success of the Ent Center. In response, UCCS staff have retained Keen Independent to assess current operations of the Ent Center for the Arts and provide recommendations for strong governance and staffing, program right sizing and business planning. This project includes interviewing and conducting focus groups with arts center stakeholders including executive leadership, staff, advisory board members, UCCS students and community members. Keen Independent is currently conducting a comparative venue analysis of similar multi -venue university facilities in similar communities. The study team is also comparing rental prices among other facilities in the area and analyzing finances, ticketing revenue and utilization of each venue within the facility to help us assess the operations of the Ent Center. Keen Independent is using all study findings to develop a new operating pro forma, governance structure and budget. Plainfield Arts Market Study. The Town of Plainfield, Indiana retained Keen Independent to perform a market study and needs assessment to assess how COVID-19 has affected the local arts market and to update the current business plan and pro forma of a future performing and fine arts center. This assignment involved following up with stakeholders who participated in an earlier feasibility study for the performing and fine arts center, projecting future demand and developing best -case, realistic, and worst -case scenarios to help the Town understand potential future subsidies and other needs for the future facility. Despite community engagement challenges due to COVID-19, the study team gathered input from over 700 stakeholders. A copy of the study report is attached and online at: https://www.keenindependent.com/wp- content/unloads/2021/04/KeenIndeoendentPlainfieldArtsMarketStudv03262021 2.ndf _f KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.2, PAGE 6 Children's Museum of Denver Strategic and Business Planning. Dave Keen worked with the Denver Children's Museum to better understand current and future audiences, public perceptions and opportunities for new partnerships. His work also included marketing communications assessments, membership benefits and pricing. Research influenced long-term business planning and strategic initiatives. Keen Independent has conducted similar studies for History Colorado, Museum of Science Boston and Philadelphia Museum of Art. C. References Keen Independent provides the following references who can attest to the quality of our work. Additional details regarding these projects can be found under Part B of the section. Mizel Arts and Culture Center Feasibility Study and Management and Operational Assessment Client: JCC Mizel Arts Project dates: October 2019—present and Culture Center Contract value: $50,000 350 South Dahlia Street Denver CO 80246 Description: For the JCC Mizel Arts and Culture Center, Keen Independent led a feasibility study for the future of the Contact: Kent Rice Center's two theaters. We were then reengaged to provide Interim Chief Operating Officer management and operational assessment of the Center. Phone: 303-699-4200 Email: krice@jccdenver.org Work performed: Needs assessment; market analysis; utilization analysis; ticketing analysis; demand projections; facility planning; governance and staffing recommendations; planning and programming during COVID-19. Outcomes: Organizational restructuring; increased operational efficiencies; development of a Manager on Duty program. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.2, PAGE 7 Waco Arts Feasibility Study Client: Creative Waco Project dates: October 2019—March 2020 (Phase 1) 712 Austin Ave April 2020—present (Phase 2) Waco TX 76701 Contract value: $145,120 Contact: Fiona Bond, Description: Keen Independent has completed the first phase Executive Director of a cultural facility consulting planning assignment that Phone: 254-214-7640 involved a facility needs assessment, market analysis, and Email: Fiona@creativewaco.org extensive community outreach and engagement, as well as the development of an operating plan and budget for a new performing arts center. In Phase 2, now underway, the study team is expanding on initial study results to develop recommendations regarding the City's economic development goals to revive the community post COVID-19. Work performed: Needs assessment; community outreach and engagement; market analysis; demand projections; facility planning; recommendations related to planning during COVID- 19. Outcomes: Community consensus, including successful engagement of 300+ community members. Denver Arts & Venues Venue Market Analysis and Feasibility Study Client: Denver Arts & Venues Project dates: December 2018—November 2019 1345 Champa Street Contract value: $358,375 Denver CO 80204 Description: Keen Independent conducted a feasibility study Contact: Mark D. Najarian, and long-term business planning study for the City and Director of Strategic Projects County of Denver, Denver Center for the Performing Arts, Phone: 720-865-4236 Opera Colorado and Colorado Ballet. Email: mark.naiarian@denvergov.org Work performed: Needs assessment; community outreach and engagement; market analysis; short-, mid-, long-term planning; venue utilization analysis; ticketing analysis; demand projections; facility planning. Outcomes: Actionable initiatives, including beginning the process of replacing Boettcher Concert Hall to better accommodate user needs; consensus -building. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.2, PAGE 8 SECTION 1.1.3. Plan of Study/Scope of Work Section 1.1.3 details our comprehensive plan of study/scope of work in three parts: A. Project understanding, B. Work program and proposed approach; and C. Detailed scope of work and deliverables. A. Project Understanding The City of Santa Clarita is seeking a consultant to carry out a comprehensive, multi -faceted Needs Assessment of the community as it relates to arts, culture and veterans. This assessment will guide the City in partnership with the County of Los Angeles efforts in determining how to proceed with planning, funding, creating and programming a future Arts/Culture and Veterans Center. An ideal candidate for this project is a consulting firm that has led similar assessments and has strong experience conducting surveys for municipalities and community outreach as well as experience in arts and community services, and experience in services and collaborations related to veterans affairs. B. Work Program and Proposed Approach Keen Independent is ideally suited to work with the City and County to conduct this Needs Assessment. Our recent work with the City of Aspen's Wheeler Opera House is an example where rigorous research and community outreach resulted in a thorough understanding of the City's priorities and the needs of the Aspen communities. Community consensus was a key outcome of this assignment. The study team has performed similar work supporting needs assessments for the Town of Plainfield, Indiana and the City of Waco, Texas. For the Santa Clarita Needs Assessment, Keen Independent will: ■ Work closely with City and County staff to assess the current facilities, programming, and services provided for arts, culture and veterans; ■ Develop and conduct a comprehensive community engagement process; and ■ Complete a Needs Assessment for the proposed Arts/Culture and Veterans Center. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.3, PAGE 1 Keen Independent will approach this assignment with objectivity, consensus building and by asking the right questions. Objectivity. Each member of the study team has a reputation for honest, objective research. We contribute to the field through independent assessments that help practitioners better implement programs. Consensus building. The study team has experience working with governments nationwide to facilitate consensus -building in safe spaces as part of transformation processes and other initiatives. For example, for the Denver Arts and Venues assignment, Keen Independent worked with a core project team (Denver Arts and Venues, Denver Center for the Performing Arts, Colorado Opera and Colorado Ballet), as well as more than 250 community stakeholders. We analyzed the needs of local organizations and made recommendations for the next steps for the Denver Performing Arts Complex and its community of resident and non-resident stakeholders. Consensus -building was a key outcome of the study. Asking the right questions. We will ask the right questions that achieve effective and actionable results. Although we will review past research, we will approach this assignment with fresh eyes drawing from best practices and local knowledge. In sum, the Keen Independent study team will work with our client and stakeholders to conduct a needs assessment that is grounded in real information, incorporates diverse voices (including veterans), integrates with economic, strategic and other plans, and leads to effective community decision -making and implementation. C. Detailed Scope of Work and Deliverables We present our detailed scope of work and deliverables in four tasks: 1. Project management; 2. Data collection and analysis; 3. Stakeholder engagement; and 4. Programming and required space analysis. Task 1. Project management. Keen Independent will manage this Needs Assessment though coordination of plans, processes and schedules as well as facilitation of meetings as described below. Sub -task 1-a. Coordination of plans, processes and schedules (responds to section 3.3 of the scope of work). Keen Independent will kick off this assignment by facilitating a conference with City and County staff to refine the project plan, processes and schedules. The objective will be to gather input regarding next steps for developing a comprehensive project plan including: ■ Refining goals, objectives and methodology; ■ Determining best strategies for internal and external communications; KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.3, PAGE 2 ■ Discussing stakeholder and other community engagement strategies; ■ Defining meeting protocols; and ■ Finalizing the project timeline and schedule for deliverables including progress reports and presentations to key stakeholders. Throughout the project, Keen Independent will collaborate with City and County staff to ensure a successful process, provide progress reports and track contract compliance. Our monthly written progress reports will detail: ■ Accomplishments by task; ■ The status of each task; ■ Any issues encountered and proposed solutions; and ■ Assessments of whether each task is on schedule. We will also develop and implement a communications strategy to reach and engage relevant stakeholders. In collaboration with City and County, Keen Independent will design collateral materials such as media posts, press releases, web content, the final report document and other related materials. Materials will be reviewed and approved by the City and County before publishing. Sub -task 1-b. Facilitation of meetings (responds to section 3.4 of the scope of work). Throughout the assessment period, Keen Independent will facilitate meetings with City and County staff and other relevant stakeholders. We will allow time for monthly project -planning video conferences. At certain key junctures, meetings may be scheduled more often. Alex Keen will lead these sessions. We will develop meeting schedules, agendas and prepare materials, such as a PowerPoint presentation with project updates, for each meeting. The Keen Independent study team will hold similar internal team meetings every two weeks. Output of Task 1. The output of Task 1 will be a well -organized project with strong lines of communication between the Keen Independent study team and City and County staff, along with a detailed understanding of all project steps. Task 2. Data collection and analysis. Task 2 will include a detailed demographic analysis and benchmarking as described in the sub -tasks below. Sub -task 2-a. Demographic analysis (responds to section 3.2 of the scope of work). Keen Independent will analyze the demographics and growth trends of the Santa Clarita area population by age, race/ethnicity, educational attainment, annual household income and veteran status as provided by the U.S. Census Bureau. We understand that the City and County is proposing the former Senior Center as an available location for consideration as a future Arts, Culture and Veterans Center. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.3, PAGE 3 Keen Independent will work with the City and County to determine the market area for the potential future Center. We will use GIS mapping software to determine the primary, secondary and tertiary market areas. Within each market area, we will find demographic information for the population. See Figure 3-1 for an example market area map. Figure 3-1. Example market area map 111& Sub -task 2-b. Benchmarking (responds to section 3.7 of the scope of work). Keen Independent will analyze current available data regarding community offerings and conduct a _ benchmark study on similar communities in large metropolitan areas. For each benchmark community, we will review presence of and 0 ° mimes 0 ID -2B minutes IT support for veterans along with other 0 2�•3o mina es demographic characteristics, and develop an inventory of cultural assets, community offerings and other similar characteristics. If available, we will also study arts, culture and veteran centers in benchmark communities and interview representatives of organizations dedicated to veteran services within these communities. Output of Task 2. The demographic analysis, market area map and benchmarking will be written into the final report and used to help determine the need for an arts, culture and veteran center in Santa Clarita. Task 3. Stakeholder engagement. Task 3 includes stakeholder interviews, focus groups, community meetings and maintaining an open line of communication for stakeholders to provide input at their convenience and at all times during the study. Sub -task 3-a. Stakeholder interviews (responds to section 3.5 and section 3.6 of the scope of work). The Keen Independent study team will conduct in-depth interviews with stakeholders who are especially knowledgeable about the arts and cultural landscape of the Santa Clarita area marketplace, particularly as it pertains to veterans. Examples of stakeholder groups could include members or representatives of - City Council; ■ 5th District Office; ■ Santa Clarita Arts Commission; ■ Los Angeles County Arts Commission; ■ Parks, Recreation and Community Services Commission; ■ Independent artistic stakeholders; ■ California Institute of the Arts (Cal Arts); ■ County Veterans Affairs representatives; KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.3, PAGE 4 ■ College of the Canyons Veterans Services; ■ Los Angeles County 5th District Veterans Affairs Deputy; ■ Local veterans' groups such as American Legion, Veterans of Foreign Wars and the Santa Clarita Veteran Services Collaborative; and ■ Other community stakeholders. These interviews will be conducted using an interview guide prepared by Keen Independent with City and County input. We will work to understand interviewee visions, values, current practices and operations, perceived deficiencies in existing offerings and ambitions for new and expanded arts, culture and veteran programming - Sub -task 3-b. Focus groups (responds to section 3.10 of the scope of work). The study team will conduct focus groups with a diverse group of stakeholders. We plan an iterative approach to the focus groups where what is learned from one group is applied to another. We are careful to encourage participation from each focus group participant by establishing a safe, accessible and non- judgmental environment. We encourage the City to provide a participation incentive, if appropriate (for example, the City might provide gift cards, cultural merchandise or vouchers). We plan to: ■ Recruit focus group participants from available City and County communications lists with the goal of eight to 14 diverse participants per focus group; ■ Prepare for City and County review and approval a discussion guide and other materials that will assess perceptions of arts, culture and veteran programming in Santa Clarita; ■ Develop group exercises that may include visuals, written materials or other card -sorting exercises for participant response, when appropriate; ■ Audio record each focus group for Keen Independent analysis; and ■ Analyze participant input including verbal and non-verbal communication. Each focus group will be about ninety minutes and will be held either virtually or (depending on restrictions related to COVID-19) in a non-traditional venue such as a centrally -located community meeting room, public sport/recreation facility, public library or other venue. Keen Independent has had success carefully arranging similar venues as they offer a comfortable, non -threatening environment for discussing sensitive issues. We plan on participation from arts and culture organization representatives, veteran service organization representatives, community members, visitors and other key stakeholders. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.3, PAGE 5 Sub -task 3-c. Community -based approach (responds to section 3.9 and section 3.10 of the scope of work). Keen Independent's community -based approached for gathering additional stakeholder input include public meetings, an innovative virtual workshop and maintaining open lines of communication. ■ Public community meetings. Keen Independent will facilitate two public meetings at key junctures of the study. Study team facilitators will share preliminary findings and introduce discussion topics in a brief PowerPoint presentation or by other means to initiate productive discussions and follow-through. To accommodate potential COVID-19 restrictions, we can conduct these meetings virtually or in -person with proper safety measures social distancing protocol. The study team may include a primary and secondary facilitator, as well as additional staff support. The Keen Independent study team is skilled at gleaning insights from all participants to guide free -flowing exchange of viewpoints (whether parallel, neutral or contrasting). We often use prompts or sorting exercises that result in deeper discussions and quantifiable findings. Additionally, we allow flexibility for written and visual input, making special accommodations when possible. These meetings could also benefit from several "mini"' discussion groups for small -group brainstorming. ■ Virtual workshop. Keen Independent has been particularly successful with receiving input from community members and other stakeholders through virtual workshops. This virtual workshop will ask open-ended questions and will be delivered electronically to hard -to -reach individuals. Each participant can provide input and engage in broader dialog at their convenience. We will reach virtual workshop participants through various means such as electronic mailing lists, press releases and direct invitations. City and County staff will review virtual workshop questions prior to publishing. The virtual workshop portal will remain open for participants to complete at their convenience. We recommend keeping this virtual workshop open for input for at least two weeks. Keen Independent will keep all responses and personal information secure and confidential. ■ Other lines of communication. To ensure a constant "open door" for public participation, Keen Independent will host a designated study telephone hotline (with a Santa Clarita area code) and email address that we will monitor through the duration of the study. These means of communication will ensure stakeholders always have a direct KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.3, PAGE 6 line to the Keen Independent team for input through the duration of the project. We will also develop a study webpage to keep the public up to date on study progress. Keen Independent uses a similar webpage for nearly every arts and culture study. An example of one of our study websites can be found here: https://www.keenindependent.com/sanmarcosartsmasterplan2O2l /. Output of Task 3. Multiple stakeholder interviews, public meetings and focus groups as well as a study website, email and hotline are the key outputs of Task 3. Keen Independent will also provide a written analysis of all stakeholder communications as supporting report appendices. To encourage honest input, Keen Independent will report findings anonymously. To best present findings in a way that is easy to follow and compare, we will also aggregate all input and categorize it by topic. Task 4. Programming and required space analysis. Keen Independent will utilize GIS mapping software and findings from Task 2 and Task 3 to help guide the programming and required space analysis as detailed below. Sub -task 4-a. Programming analysis (responds to section 3.8 of the scope of work). Keen Independent will use stakeholder input from Task 3 to gauge the perception of current programmatic offerings and assess the programmatic needs of an arts/cultural and veterans center to provide sufficient services. We will also use benchmarking and demographic analysis findings from Task 2 to explore potential additional programmatic offerings and ideas. Sub -task 4-b. Required space analysis (responds to section 3.8 of the scope or work). While conducting Sub -task 4-b, Keen Independent will consider current work with the Los Angeles Department of Arts and Culture needs assessment of County investments in arts and culture. We will develop and analyze an inventory of spaces used for activities related to arts, culture and veterans in the Santa Clarita area, and map out the location of these spaces to identify areas of saturation and potential "cultural deserts." KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.3, PAGE 7 In Figure 3-2, we have developed a preliminary inventory of arts, cultural and veteran assets in the Santa Clarita area. We will use this list as a starting point for stakeholder engagement. We will expand upon this list throughout the study. Figure 3-2. Preliminary inventory of arts, cultural and veteran assets in the Santa Clarita area American Legion Art Space @ Valencia Town Center ARTree Community Arts Center California Institute of the Arts Canyon Country Community Center Canyon Theatre Guild City of Santa Clarita Activities Center College of the Canyons Veterans Services E.S.C.A.P.E.Theater Golden Bear Theatre Mission: Renaissance Fine Art Classes Odd Art Fabrications Picasso's Playmates Creative Center Pioneer Oil Refinery Republic of Harristan Santa Clarita Artist's Association Santa Clarita Performing Arts Center Santa Clarita School of Performing Arts Santa Clarita Valley Historical Society Santa Clarita Veteran Services Collaborative Spotlight Arts Center Star Dance Center The Canyon Santa Clarita Veterans of Foreign Wars Vibe Performing Arts William S Hart Museum In Figure 3-3, we provide an example inventory map that the study team has used on a previous project. Keen Independent will customize the Santa Clarita i.,v—lv�y map to the City's and County's preferences. Figure 3-3. Example inventory map r � tii • WacSIP • 5 •� • Beverly Hills i Wood#ay 1 � . Dance studio Event venue Museum 9 Robinson Park Hewitt , Theater Output of Task 4. Through the programming and required space analyses, Keen Independent will develop an understanding of the needs of the Santa Clarita area regarding an arts, culture and veterans center. We will provide the inventory, inventory map and findings from Task 4 into the final report. KEEN INDEPENDENT RESEARCH — CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.3, PAGE 8 SECTION 1.1.4. Schedule Keen Independent proposes an nine -month timeline to complete the Needs Assessment. Figure 4-1 below illustrates the estimated timeline for each task/sub-task. Keen Independent can adjust this schedule to best fit the needs of the City and County. We expect to meet with the City and County at least one per month, sometimes more during key junctures of the study. We will provide a draft Needs Assessment report at least two weeks prior to contract completion for edits, feedback and suggested changes. We will then apply all feedback and provide the final report prior to contract completion. Figure 4-1 Proposed study timeline by task/sub-task Study tasks 2021 June July Aug Sept Oct 2022 Nov Dec Jan Feb Task 1. Project management 1-a Coordination of plans, processes and schedules 1-b Facilitation of meetings Task 2. Data collection and analysis 2-a Demographic analysis 2-b Benchmarking Task 3. Stakeholder engagement 3-a Stakeholder interviews 3-b Focus groups 3-c Community -based approach Task 4. Programming and required space analysis 4-a Programming analysis 4-b Required space analysis KEEN INDEPENDENT RESEARCH — CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.4, PAGE 1 SECTION 1.1.5. Program Management Keen Independent has a dedicated project coordinator who tracks all tasks using Asan, a project management software. Upon notice of intent to award, our project coordinator creates a task board based on all tasks identified in the proposal workscope to ensure we remain within scope and meet deadlines throughout the contract. Figure 5-1 below is a screenshot of a draft project board. Within each task includes additional sub -tasks to accommodate tasks with multiple steps. For quality assurance/quality control, we also schedule multiple review processes within each task. Figure 5-1. Screenshot of a draft project board for the Santa Clarita Needs Assessment City of Santa Clarita Needs Assessment Draft O {3 o set status Q f Search O Overview List Board Timeline Calendar Dashboard Messages Files Q Comment only d All tasks = Filter tr Sort Task name Y Assignee Due date Status Priority Task Number Task 1. project management / Task 1-a. Coordination of plans, processes and schedules 6 tj Jun 1, 2021 - Feb 28, 2022 Task 1-b. Facilitation of meetings Jun 1, 2021 - Feb 28, 2022 Task 2. Data collection and analysis Task 2-a. Demographic analysis lun 1 -ful 15 0 Task 2-b. Benchmarking Jul 15-Oc[B 0 Task 3. Stakeholder engagement Task 3-a. Stakeholder interviews Jun 15-Oct 8 Task 3-b. Focus groups Jul 15 - Oct 15 . Task 3-c. Community -based approach Jul, 15, 2021 - Feb 28, 2022 Task 3-x1. Public community meetings Task 3-x2,. Virtual workshop Task 3-x3. Other lines of communication Task 4. Programminq and required space analysis Task 4-a. Programming analysis Nev 15, 2021 - Jan 15, 2022 Task 4-b. Required space analysis Jun 21 -Jul 23 i KEEN INDEPENDENT RESEARCH — CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.5, PAGE 1 In Figure 5-2, we provide the proposed project schedule on a timeline chart that was generated by Asana based on the dates shown in Figure 5-1. We can also view this timeline in calendar format. We can make adjustments to the timeline, add tasks and edit elements of the project board within minutes. Figure 5-2. Proposed project schedule on a timeline generated by Asana 9 City of Santa Clarita Needs Assessment Draft " O A o set status a, 311— List Board Timeline calendar oashboard Messages Files 21 Today OO All tuks @Years June July August Sepkember October N—ber December January February M Untitled section Task 1, Pr jest mans... Task 2, Data collectio... Task 3. Stakehalder . Tas1,4. Programmin . KEEN INDEPENDENT RESEARCH — CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.5, PAGE 2 SECTION 1.1.6. Personnel, Equipment and Facilities Section 1.1.6 identifies the designated Project Manager as well as key project personnel, including their relationships to the proposed activities for the City of Santa Clarita Needs Assessment. Resumes are also provided for each individual listed. Designated Project Manager and Lead Personnel Alex Keen, Keen Independent Senior Consultant and Chief Operating Officer will serve as the project manager for this assignment. Alex will be the primary contact person and will be directly involved with all phases of the project. He is supported by a staff of 23 professionals all with related experience. Alex has worked with public and private arts and cultural entities across the country. He supervised the renovation, opening and management of a campus -based performing arts center, as well as led Keen Independent's Denver Performing Arts Complex Venue Market Analysis and Feasibility Study for the City and County of Denver. Alex Keen has served as a board member of an Arizona performing arts organization and currently serves on several committees of the International Association of Venue Managers. He has worked with Orlando Shakes as well as the Ogunquit Theatre in Maine. Annette Humm Keen and David Keen, Principals, have nearly 40 years of experience conducting needs assessment studies for arts and cultural facilities, including market analysis, development and implementation of strategic plans and community engagement. David will assist with survey design and recommendations and Annette will oversee community outreach as well as direct quality assurance/quality control (QA/QC). Jennifer Tuchband, Consultant, has strong arts entrepreneurship and management experience as well as well as data management and interview expertise. She will provide overall project support and conduct data and information collection and analysis as part of the Needs Assessment assignment. Ellen Meiser, Consultant, brings many years of experience conducting in-depth interviews and expertise in quantitative methods to the research team. She is based in Los Angeles and will assist with conducting in-depth interviews with key stakeholders. Tyler Cullen, Program and Research Coordinator, has a vast background in community outreach. Her unique insights regarding retirees and military families through her extensive professional and volunteer work within the military community are a strong asset to the study team. For this assignment, she will conduct in-depth interviews with representatives from local veterans' groups as well as anecdotal analysis with a focus on veteran needs. Key Project Personnel Resumes Keen Independent provides the resumes of key team members on the following pages. For more information about Keen Independent, visit www.keen'mdependent.com. KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.6, PAGE 1 ALEX KEEN, KEEN INDEPENDENT COO AND SENIOR CONSULTANT Alex Keen, Keen Independent COO and Senior Consultant leads the firm's arts and culture practice and has wide-ranging expertise in arts planning, market research, public engagement, feasibility studies, risk management, safety and security, event planning, production management and technical production. Relevant Project Experience ■ Strategic planning and market research. Alex Keen is currently managing several concurrent strategic planning projects for the City of Waco, Texas, the City of San Marcos, Texas, Staenburg-Loup Jewish Community Center in Denver and Ent Center for the Arts in Colorado Springs. Alex served as project manager for the Venue Market Analysis and Feasibility Study, the largest study of its kind, for Denver Arts & Venues. He also recently completed a comprehensive arts market study for the Town of Plainfield, Indiana that considered the impact of COVID-19 on the arts market. Alex Keen helped lead an economic development study for the City of Glendale, Arizona, which won a top award for excellence from the Arizona Chapter of the American Planning Association. At Arizona State University, he also served on the Prism Theatre advisory board as a director of marketing and led the rebranding mission and strategic planning process. ■ Public outreach and engagement. At Keen Independent, Alex participates in many market research and public outreach studies for a variety of clients. He facilitates internal working groups, town hall meetings, public meetings and public relations for local government agencies and cultural organizations across the country. ■ Arts management. Alex Keen has extensive experience in arts management, as well as safety analysis and training, risk management, security management, facility management and project management. At Mesa Community College, he led venue operations, security procedures and project management for a new $18.5 million Performing Arts Center. Alex Keen currently serves as Adjunct Faculty for the University of Denver instructing students on venue operations and arts management and has taught similar courses in the Maricopa Community College District. He has completed the International Association of Venue Managers (IAVM) Venue Management School and the IAVM Academy for Venue Safety and Security. He has comprehensive training in leadership management, risk assessment tools, project management, translating vision into strategy, and legal issues in the public sector. Education M.S. Security Management, Concentration Organizational Management, University of Denver, Denver Colorado Bachelor of Interdisciplinary Studies, Concentration Theatre/Urban Planning (summa cum laude), Arizona State University, Phoenix, Arizona KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.6, PAGE 2 DAVID KEEN, KEEN INDEPENDENT PRINCIPAL David Keen is a Principal with Keen Independent. He co- founded the firm in 2011 after serving as Managing Director of BBC Research & Consulting. He is a board member of the Desert Caballeros Western Museum, serves on a National Endowment for the Arts research panel, has served on the Finance Committee for a performing arts center and was an economic expert on the Denver Regional Council of Governments demographic forecasting panel. David has also taught market research as an adjunct faculty member of the University of Denver. Relevant Project Experience ■ Arts and culture market research. David has local and nationwide expertise in market research techniques. His clients have included the Underground Railroad Freedom Center, Pueblo Community Health Center, Colorado Symphony, Denver Center for the Performing Arts, Colorado Ballet, Opera Colorado, Arvada Center, Denver Art Museum, Denver Museum of Nature & Science, Denver Botanic Gardens, Durango Powerhouse Science Center, History Colorado, Philadelphia Museum of Art, Museum of Science in Boston, Del E. Webb Center for the Performing Arts, NEA, Longwood Gardens and Smithsonian National Zoo. His work has won a series of American Marketing Association and Public Relations Society awards for research. ■ Strategic and business planning. David Keen has developed economic and demographic projections as part of planning studies for state and local institutions nationwide. He has conducted feasibility studies related to new public investments for federal state and local governments. Past clients include public agencies in Oklahoma, Louisiana and Texas, including the cities of Baton Rouge, New Orleans, Ft. Worth, Austin and Waco, the San Antonio Water System and the DFW Airport Authority, among others. David has conducted economic studies for cities including San Antonio, Kansas City, Atlanta, San Jose, Denver, Las Vegas, Minneapolis, Phoenix and Portland. He has testified on multiple occasions as an expert witness regarding economic research issues in federal district court. Education M.C.R.P., City and Regional Planning, Harvard University, Cambridge, Massachusetts B.S., Business Administration, University of Arizona, Tucson, Arizona KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.6, PAGE 3 ANNETTE HUMM KEEN, KEEN INDEPENDENT PRINCIPAL Annette Humm Keen is a founder and Principal with Keen Independent Research LLC. She has a national practice that spans board and community relations, strategic planning and program implementation. Formerly, she served as a Senior Consultant leading BBC's qualitative research team performing many studies supporting arts and cultural organizations nationwide. She has impacted strategic planning and market research for Higher Education Resource Services, and policy, budgets and programs for cities in Colorado, Minnesota, Oregon, Wisconsin, California, Arizona and Wyoming. Relevant Project Experience ■ Cultural arts and entertainment research. Annette Humm Keen has worked with cities, counties and states across the United States assessing qualitative input from diverse audiences/customer groups. She conducted research for the Museum of Science Boston the result was a $300,000 increase in membership revenue. She analyzed benefits, and ways to improve visitor experience for the Smithsonian National Zoo. For History Colorado and Philadelphia Museum of Art, she conducted focus groups and other research on communications, visitor experience and cultural arts programs. ■ Needs analysis. Annette Humm Keen assesses user needs for entities ranging from the City of San Jose, California to the Philadelphia Museum of Art. Assignments are focused on evaluating public perceptions, need and demand for services, opportunities for public -private partnerships, and implementing specific initiatives. ■ Strategic planning and visioning. Annette served as a two -term president of an Arizona performing arts center where responsibilities included oversight of a $1.6 million expansion, strategic planning, fund development, annual financial audits and renewed bylaws. She developed policy, budgets, programs and strategic recommendations for cities in Colorado, California, Arizona and Wyoming. Annette conducted related research for the City and County of Denver's Parks Department and the Department of Environmental Health, the Denver Foundation and the Museum of Nature & Science. Annette has developed and applied innovative community outreach strategies including gathering feedback through performance art, virtual workshops, ethnographic observation and other audience -tailored means. She has presented research results at Mayor Landrieu's discussion with 300+ community members in the City of New Orleans; to city councils and to arts leadership and boards nationwide. Education M.L.A., Landscape Architecture, Harvard University B.A., Anthropology, summa cum laude, St. John's University KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.6, PAGE 4 JENNIFER TUCHBAND, KEEN INDEPENDENT CONSULTANT Jennifer Tuchband joined Keen Independent as a Consultant after working in production for Phoenix Convention Center and Venues. She has been involved in arts and culture management and audience development for many years. Jennifer brings practical experience in arts management to Keen Independent's arts and culture practice area, as well as data management and interview expertise. Relevant Project Experience ■ Arts and venue market research and feasibility studies. Jennifer Tuchband has done projects with Keen Independent on studies for Staenberg-Loup Jewish Community Center in Denver, Ent Center for the Arts in Colorado Springs, the City of Waco, Texas, the City of San Marcos, Texas and the Town of Plainfield, Indiana. She recently completed work on several culture studies including feasibility studies and management assessments for Denver Arts & Venues, Wheeler Opera House and May Bonfils Stanton Theater. Her work in Keen Independent's arts and culture practice area includes qualitative and quantitative analysis, review of ticketing programs, geographic market research, and competitive inventory scans and pro -forma budget creation. Jennifer Tuchband also aided a feasibility study for a Latino cultural center in Phoenix that involved extensive outreach to the Latinx/Hispanic American communities in Phoenix. She also focused on membership, fund development, box office management and marketing at Scottsdale Arts. ■ Arts and venue management. Jennifer Tuchband is a 2020 recipient of the International Association of Venue Managers (IAVM) 30 Under 30 Award which is presented to emerging leaders of the venue and performing arts management industry. Her involvement with IAVM includes serving as a board member of the IAVM Arizona Chapter where she has helped facilitate professional development for venue managers throughout Arizona. She also serves on the IAVM research committee helping to create industry specific reports including research related to the effects of COVID-19 on the industry. For Conundrum Theatre Company in Burbank, California, Ms. Tuchband is advising on strategic and long-range planning. She also serves as board treasurer for the Arizona -based ITCH Theatre. Education M.F.A. Arts Entrepreneurship & Management, Arizona State University, Tempe, Arizona Grad. Certificate, Nonprofit Leadership & Management, Arizona State University, Tempe, Arizona B.A. Theater Design & Production, Business Minor, Arizona State University, Tempe, Arizona KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.6, PAGE 5 ELLEN WISER, KEEN INDEPENDENT CONSULTANT M Ellen Meiser is a Consultant at Keen Independent with many f •.r� years of experience conducting in-depth interviews, ethnographic research, participant -observation and expertise in quantitative methods, including content analysis. Prior to joining Keen Independent, Ellen investigated perceptions of success, averageness and failure among individuals employed in creative industries while working at the University of Hawai'i at Manoa Social Science Research Institute. Ellen recently earned her Doctor of Philosophy in Sociology. She is based in the Los Angeles area and is fluent in Mandarin. Relevant Project Experience ■ Qualitative and quantitative research. Ms. Meiser has expertise with recruiting participants, public engagement and conducting qualitative and quantitative research for cultural and industry -related projects. Since joining Keen Independent, she had participated in the firm's studies in these capacities for the City of Tacoma, City of Baton Rouge, State of Colorado, State of Maryland, Maryland -National Park and Planning Commission, the Oregon Department of Aviation and the Transportation Research Board. She also has years of experience conducting research regarding public safety and recidivism. ■ Program evaluation. Ellen served as the Lead Evaluator of the Honolulu County Offender Reentry Project (HCORP), a SAMHSA-funded evaluation study conducted out of the University of Hawai'iIs Social Science Research Institute. As part of this study, Ms. Meiser collected data via interviews, assisted with case management, conducted program evaluation and collaborated with officials from the Honolulu City and County Parole and Probation Department regarding policy. ■ Media involvement. Ellen Meiser is passionate about sharing knowledge through audio production. She has organized workshops at academic conferences to promote the integration of alternative media into higher education. In addition, Ms. Meiser is a co -creator of the sociology podcast The Social Breakdown, a contributing host on The Annex Sociology Podcast and a research affiliate at the Queens Podcast Lab at the City University of New York (CUNY) Queens College. Education Doctor of Philosophy, Sociology, University of Hawai'i at Mmoa, Honolulu, Hawai'i M.A., Asian Studies, University of Hawai'i at Mmoa, Honolulu, Hawai'i B.A., Hospitality Business Management, University of Alaska Anchorage, Anchorage, Alaska KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.6, PAGE 6 TYLER CULLEN, KEEN INDEPENDENT PROGRAM AND RESEARCH Tyler Cullen joined Keen Independent as a Program and Research Coordinator with a vast professional background in qualitative research, program development, supportive services and community outreach. Tyler's responsibilities at Keen Independent include coordinating and facilitating workflow management as part of quality assurance/quality control measures (QA/QC), performing qualitative research, and other project and administrative support. In this role, Tyler has assisted firm leadership with the design and implementation of an innovative project tracking system. Relevant Project Experience ■ Strategic planning. Tyler has extensive expertise analyzing in-depth interviews, focus groups and public meetings. She has conducted this analysis as well as related tasks as part of Keen Independent assignments for clients, such as Denver Arts and Venues, for example. She has also contributed to Keen Independent projects for local and state agencies in Arizona, Missouri and Louisiana. ■ Small business initiatives. Prior to Keen Independent, Tyler led a woman -owned, small business contracting to the Department of Defense (DOD). As part of her contract with the DOD, Tyler served as Chairperson of a multi -agency committee dedicated to assisting families with special needs. Her efforts combined program enhancement and development with implementation of new initiatives. Tyler has been recognized by top government officials for this work and service to the community. ■ Military/veteran involvement. Tyler has spent more than 250 hours volunteering within the military community and assisted thousands of active -duty Airmen, retirees and military families in navigating the military lifecycle. Tyler was also selected for numerous high impact "think tanks" with top officials working to improve military family life and is an award recipient for her dedication and service to military families. Her commitment to public service continues as she currently volunteers in the military community. Education M.S., Industrial and Organizational Psychology (with honors), Grand Canyon University, Phoenix, Arizona B.A., Psychology (summa cum laude), Ashford University, San Diego, California KEEN INDEPENDENT RESEARCH - CITY OF SANTA CLARITA RFP # NS-20-21-29 SECTION 1.1.6, PAGE 7 SECTION 1.1.7. Subconsultants Keen Independent does not propose to include subconsultants as part of the Needs Assessment assignment for the proposed Arts/Culture Veterans Center. 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Keen Independent provides the following supporting appendices: A. Market Analysis; B. Benchmark Venues; C. Virtual Workshop Analysis; D. Business Plan; and E. Pro Forma Scenarios. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDICES APPENDIX A. Market Analysis Using data provided by the U.S. Census Bureau 2019 American Community Survey (ACS), STATS Indiana, Environmental Systems Research Institute (ES" and the National Endowment for the Arts (NEA) 2017 Survey of Public Participation in the Arts (SPPA), Keen Independent analyzed the Plainfield market. This market analysis has four parts: ■ Market areas; ■ Venue 1.ri :uty; ■ Pre-COVID-19 demand; and ■ Demand _ "�, Market Areas Keen Independent developed three market areas based on dAvc 1i.e to Downtown Plainfield: ■ Primary market area (witl _,( ily 15 of drive time); ■ Secondary market area (within approximately 30 minutes of drive time); and ■ Tertiary market area (within approximately 45 minutes of drive time). Figure A-1 illustrates these market areas. Figure A-1. Map of Plainfield market areas N 4A • Plainfield Performing and Fine Arts Center Drive time to Arts Center, Less than 15 minutes J 15 to 30 minutes 30 to 45 mlrtutes l Source: ESRI, HERE, Garmin, FAO, NOAA, USGS, OpenStreetMap, GIs User Community, Keen Independent Research. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 1 Market area demographics. Keen Independent analyzed demographic information for the established market areas and compared those characteristics with the nation. Data are from the 2019 ACS and 2020 ESRI. The demographic analysis includes: ■ Age; ■ Race and ethnicity; ■ Education; and ■ Annual household income. Age and race/ethnicity. Figure A-2 examines the age, race and ethnicity profile of people living in the Plainfield market areas and the United States. The primary market has an even split of young and old population, with 26 percent age 19 or younger and 27 percent age 55 or older. The population breakdown remains fairly consistent from the primary to the secondary and tertiary markets. When compared to the age breakdown nationwide, all Plainfield market areas have a slightly higher portion of residents age 19 and younger and a lower portion of residents age 55 and older. With the exception of the primary market area, Plainfield market areas have a higher proportion of African Americans than in the U.S. All market areas have relatively fewer Asian Americans, Native Americans, Pacific Islanders and Hispanic Americans when compared to their portion of the U.S. population. The tertiary market area is the most diverse market area. Figure A-2. Plainfield market areas and United States population by age and race/ethnic group, 2019 and 2020 Primary Secondary Tertiary United States Total population 95,284 514,128 1,319,997 324,697,795 Age 0-19 25.8 % 26.6 % 26.3 % 25.2 20-54 46.9 48.2 47.1 46.3 55+ 27.3 25.3 26.6 28.5 Total 100.0 % 100.0 % 100.0 % 100.0 % Race/ethnicity White 83.0 % 72.5 % 68.0 % 72.5 % African American 8.6 14.9 20.3 12.7 Native American 0.2 0.3 0.3 0.8 Asian American 3.7 3.3 3.7 5.5 Pacific Islander 0.0 0.1 0.1 0.2 Other 1.7 5.8 4.6 4.9 Two or more races 2.6 3.1 3.1 3.3 Total 100.0 % 100.0 % 100.0 % 100.0 % Hispanic (of any race) 4.9 % 10.5 % 8.6 % 18.0 % Note: Plainfield market area figures are based on 2020 ESRI data and U.S. figures are based on 2019 ACS 5-Year Estimates. Source: 2020 ESRI Data and 2019 American Community Survey, Keen Independent Research. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 2 Education. As shown in Figure A-3, the primary market area has the lowest portion of individuals with a high school diploma or less. As a result, individuals in the primary market have slightly more formal education, on average, than the United States as a whole. However, on average the secondary and tertiary market areas have less formal education than the population nationwide. Figure A-3. Plainfield market areas and United States population by age 25+ by educational attainment, 2019 and 2020 Primary Secondary Tertiary United States Less than high school 7 % 13 % 12 % 12 High school diploma or GED 29 30 29 27 Some college 20 20 19 20 Associate degree 10 9 8 9 Bachelor's degree 23 19 21 20 Graduate degree 11 10 11 12 Total 100 % 100 % 100 % 100 (Vote: Plalnnelo marKet area tlgures are naseo on LULU tSKI data ano US tlgures are bases on LUly AUS S-Year tstlmates. Source: 2020 ESRI Data and 2019 American Community Survey, Keen Independent Research. Annual household income. Figure A-4 examines household income for households in Plainfield market areas and the United States. On average, Plainfield market area households have about the same annual income as households nationwide. In general, the primary market area has the highest household incomes. Figure A-4. Plainfield market areas and United States households by annual household income, ')019 and 2020 Primary Secondary Tertiary United States Number of households 34,284 195,722 513,175 120,756,048 Annual household income Less than $15,000 4 % 10 % 11 % 10 $15,000-$24,999 5 9 10 9 $25,000-$34,999 7 10 10 9 $35,000-$49,999 11 14 14 12 $50,000-$74,999 20 19 19 17 $75,000-$99,999 18 14 13 13 $100,000-$149,999 22 15 14 15 $150,000-$199,999 7 5 5 7 $200,000+ 6 4 4 8 Total 100 % 100 % 100 % 100 Vote: Plainfield market area figures are based on 2020 ESRI data and US figures are based on 2019 ACS 5-Year Estimates. Source: 2020 ESRI Data and 2019 American Community Survey, Keen Independent Research. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 3 Venue Inventory Figure A-5 provides a visual reference of the saturation and spread of cultural assets in the Plainfield area. The immediate surrounding area of the ri l: 3 Plainfield Performing and Fine Arts Center is relatively unsaturated with performaLice vc«aes. The nearest venues to the pwYosed Arts Center are on the outer edges of the primary market area (See Figure A-1). Figure A-5. Map of Plainfield area cultural assets Bq+ahan wrs.nnsrra �n.I iz. za rsr.rrs s4ariwr,ron raaodra ro.r �' arrn sna Creek. Petk Wt- Eagle n1PnrY �a Pnfahalo (� co a Gaye Nee[ Brawnmrap L 0 _ r n . �w _ © 1111001, �] r, rr W— Tildan ii Clarmonc �� � warren PaiA Its wASr .�r . Indranepdis ,.. Int-6110nal ¢,gip i16" ,. AwNrt 5xas5s ru�wa vsu. I+er. su Paint! 0 V Baxlr rrava U Cy6i//fi�rr 1y Cerrersbuiy� P eld �� nr.ra-uP LaaCE5rl.lE C=na PKk5AVa9 Clayton nwr'i i( 67'I d. a 0- Plainfield Performing and Fine Arts Center O C Snwavr�la � Pnriras. � Theater Ci car �u�l.y /y Arena/stadium H1 a. and MW— i 1 yauhg `� d,an O Museum v Gasburg .. sane un�o�. erowncarnar �55anorra Academic arts facility Lnr•a Paint Amphitheater r+a6 Bnarnrood nnrriLlvn Faeld4 Note: To view an interactive version of this map, go to https://www.google.com/maps/d/edit? m id=1m kPtHZw4pA DW 6 R3 by2dcCbueo7 EhZGT&usp=sharing Source: Google Maps, Keen Independent Research. A detailed list of venues included in Figure A-5 is provided in Figure A-6 on the following two pages. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 4 Figure A-6. List of Plainfield area cultural assets Venue name Venue type Capacity Beef & Boards Dinner Theatre Performance venue 450 Black Box Theatre Company Performance venue Center for the Performing Arts: Palladium Performance venue 1,600 Booth Tarkington Civic Theatre Performance venue 500 Studio Theatre Performance venue 200 CSz Indianapolis - Home of Comedysportz Performance venue 80 Epilogue Players Theatre Performance venue Fonseca Theatre Performance venue 70 Footlite Musicals Performance venue 170 HI-FI at the Murphy Art Center Performance venue 400 Hilbert Circle Theatre Performance venue 1,660 Hoosier Dome Theatre Performance venue Indiana Repertory Theatre Performance venue 3,200 Indianapolis Art Center Performance venue 224 Indy Eleven Performance venue 70 Khaos Company Theater Black box mainstage Performance venue 75 Elevated mini stage Performance venue 50 Cabaret Stage Performance venue 30 Longstreet Playhouse Performance venue 80 Mooresville Arts Partnership Performance venue Old National Centre Murat Theatre Performance venue 2,500 Egyptian Room Performance venue 900 Corinthian Annex Performance venue 100 Corinthian Meeting Room Performance venue 200 Phoenix Theatre Russell Theatre Performance venue 144 Basile Stage Performance venue 90 Storefront Theatre of Indianapolis Performance venue 50 The Blockhouse Indianapolis Performance venue The Cabaret Performance venue 186 The Cat Performance venue 150 The Depot Theatre Performance venue 136 The District Theatre Christel Dehaan Main Stage Performance venue 120 Cabaret space Performance venue 60 The Refuge Performance venue Theater at the Fort Performance venue 200 Young Actors Theatre Performance venue Source: Keen Independent Research. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 5 Figure A-6. (continued) List of Plainfield area cultural assets Venue name Asante Children's Theatre Avon Middle School South Butler Arts & Events Center Clowes Memorial Hall Schrott Center for the Arts Shelton Auditorium Eidson-Duckwall Recital Hall Lilly Hall Studio Theatre Children's Ballet Danville Community High School Green Center for the Performing Arts Kresge Auditorium Moore Theatre Thompson Recital Hall Marian University Theatre McDuffee Music Studio, LLC Roots' School of Theatre The Biz Academy of Musical Theatre Celebration Plaza Amphitheater Danville Music Palace Hummel Park MacAllister Amphitheater Bankers Life Fieldhouse Indiana Farmers Coliseum Lucas Oil stadium The Pavilion at Pan Am Academy Building Museum Col. Eli Lilly Civil War Museum Eiteljorg Museum Freetown Village Inc Hendricks County Museum Historic Hollaway House Indiana Medical History Museum Indiana State Museum Indianapolis Motor Speedway Museum Kurt Vonnegut Museum and Library Museum of 20th Century Warfare Newfields Rhythm! Discovery Center Ropkey Armor Museum The Children's Museum of Indianapolis Source: Keen Independent Research. Venue type Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Academic arts facility Amphitheater Amphitheater Amphitheater Amphitheater Arena Arena Arena Arena Museum Museum Museum Museum Museum Museum Museum Museum Museum Museum Museum Museum Museum Museum Museum Capacity 2,096 451 400 138 100 1,400 400 220 490 1,000 1,500 500+ 20,000 6,500 63,000 1,000 KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 6 Pre-COVID-19 Demand Using NEA data, Keen Independent analyzed demand trends before the COVID-19 pandemic by examining attendance frequency by age and education. Figure A-7 provides the national average annual number of events attended per capita (pre-COVID-19) by genre, age and education. Although older individuals and highly educated individuals tend to have higher rates of arts participation, some genres have high rates of attendance for other groups. Figure A-7. National average annual number of events attended per capita by genre, age and education, 2017 Some < 9th grade high school High school Some college College graduate Advanced degree Jazz music 0-17 0.05 0.05 0.12 18-24 0.00 0.02 0.13 0.36 0.46 1.00 25-34 0.00 0.03 0.13 0.13 0.37 0.56 35-44 0.00 0.05 0.11 0.17 0.35 0.51 45-54 0.13 0.10 0.09 0.10 0.39 0.51 55-64 0.04 0.13 0.14 0.30 0.34 0.73 65-74 0.11 0.00 0.13 0.15 0.32 0.53 75+ 0.06 0.01 0.12 0.26 0.32 0.48 Latin, Spanish or salsa music 0-17 0.22 0.16 0.07 18-24 0.00 0.11 0.13 0.14 0.21 0.00 25-34 0.24 0.18 0.11 0.09 0.15 0.29 35-44 0.53 0.39 0.10 0.15 0.13 0.17 45-54 0.35 0.18 0.06 0.05 0.11 0.16 55-64 0.25 0.15 0.06 0.08 0.07 0.15 65-74 0.17 0.01 0.04 0.06 0.14 0.11 75+ 0.00 0.06 0.03 0.11 0.07 0.05 Classical music 0-17 0.20 0.20 0.20 18-24 0.00 0.00 0.10 0.16 0.37 0.50 25-34 0.00 0.00 0.03 0.10 0.24 0.29 35-44 0.00 0.08 0.03 0.07 0.21 0.43 45-54 0.00 0.03 0.08 0.12 0.30 0.79 55-64 0.00 0.05 0.06 0.11 0.29 0.70 65-74 0.00 0.00 0.07 0.15 0.50 1.25 75+ 0.00 0.00 0.12 0.37 0.63 1.30 Opera 0-17 0.01 0.01 0.01 18-24 0.00 0.00 0.00 0.06 0.03 0.00 25-34 0.00 0.00 0.01 0.02 0.03 0.05 35-44 0.00 0.00 0.01 0.03 0.04 0.08 45-54 0.00 0.00 0.01 0.01 0.04 0.11 55-64 0.00 0.00 0.01 0.01 0.05 0.10 65-74 0.00 0.00 0.01 0.02 0.09 0.20 75+ 0.00 0.00 0.00 0.01 0.21 0.27 Musical plays 0-17 0.20 0.20 0.20 18-24 0.00 0.21 0.28 0.32 0.60 0.75 25-34 0.00 0.00 0.14 0.27 0.42 0.51 35-44 0.00 0.05 0.13 0.27 0.49 0.84 45-54 0.11 0.04 0.09 0.25 0.49 0.98 55-64 0.00 0.03 0.16 0.39 0.50 0.73 65-74 0.02 0.01 0.21 0.42 0.65 1.05 75+ 0.09 0.03 0.22 0.34 0.66 0.72 Source: 2017 NEA Survey of Public Participation in the Arts, Keen Independent Research. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 7 Figure A-7. (continued) National average annual number of events attended per capita by genre, age and education, 2017 < 9th grade Some high school High school Some college College graduate Advanced degree Non-musical plays 0-17 0.05 0.05 0.05 18-24 0.00 0.13 0.14 0.20 0.37 0.25 25-34 0.00 0.00 0.05 0.10 0.25 0.29 35-44 0.03 0.03 0.05 0.22 0.29 0.52 45-54 0.21 0.09 0.04 0.09 0.28 0.66 55-64 0.00 0.01 0.08 0.21 0.33 0.57 65-74 0.04 0.00 0.13 0.23 0.43 0.85 75+ 0.04 0.03 0.10 0.12 0.43 1.01 Ballet 0-17 0.07 0.07 0.07 18-24 0.00 0.02 0.00 0.04 0.01 0.00 25-34 0.00 0.00 0.05 0.03 0.08 0.12 35-44 0.00 0.01 0.01 0.04 0.10 0.15 45-54 0.00 0.00 0.01 0.04 0.09 0.16 55-64 0.00 0.00 0.03 0.05 0.03 0.10 65-74 0.00 0.00 0.01 0.02 0.07 0.20 75+ 0.00 0.01 0.01 0.04 0.16 0.05 Dance performances other than ballet 0-17 0.07 0.07 0.09 18-24 0.00 0.21 0.14 0.20 0.21 0.00 25-34 0.00 0.03 0.07 0.09 0.14 0.14 35-44 0.00 0.05 0.07 0.22 0.17 0.24 45-54 0.30 0.11 0.12 0.08 0.24 0.27 55-64 0.18 0.02 0.07 0.11 0.13 0.29 65-74 0.00 0.00 0.06 0.12 0.15 0.23 75+ 0.00 0.04 0.06 0.15 0.24 0.13 Movies 0-17 3.90 3.90 3.90 18-24 0.00 6.94 8.91 10.33 9.97 6.20 25-34 4.50 5.68 5.70 7.01 8.32 7.65 35-44 4.57 5.00 4.55 6.13 7.05 9.03 45-54 2.83 4.45 3.83 5.06 7.51 7.26 55-64 1.00 0.82 2.78 3.38 5.36 5.65 65-74 0.27 2.21 3.70 6.03 5.28 7.47 75+ 1.45 1.08 2.18 3.85 3.81 6.77 Art museums and galleries 0-17 0.71 0.71 0.71 18-24 0.00 0.40 0.21 0.71 1.52 8.00 25-34 0.00 0.05 0.28 0.49 1.01 2.18 35-44 0.09 0.19 0.15 0.52 1.27 2.24 45-54 0.11 0.14 0.18 0.36 1.21 1.72 55-64 0.00 0.08 0.29 0.55 0.84 2.08 65-74 0.09 0.00 0.13 0.73 1.22 2.41 75+ 0.09 0.00 0.14 0.38 0.75 1.74 Source: 2017 NEA SPPA, Keen Independent Research. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 8 Demand Projections Arts attendance is projected to grow as the Hendricks County population grows. Keen Independent developed demand projections based on the Henricks County population. COVID-19 pandemic demand impact. It is important to note that the COVID-19 pandemic has temporarily depressed supply and demand for artistic and cultural offerings nationwide as of February 2021. Plainfield community members and stakeholders were interviewed about when they think demand will return. While some shared concerns about a lasting impact, the consensus from interviewees is that demand is currently "pent up" and will come back quickly once patrons are vaccinated and gathering in public is safe. Furthermore, in a nationwide survey of theater goers conducted by AudienceView at the end of 2020, "... nearly 70 percent of respondents shared that they will feel comfortable attending indoor theater performances by June 2021, with the remainder selecting 2022 (29.1%) and 2023 or beyond (1.5%)." Due to the public sentiment uncovered during interviews with Plainfield community members as well as national survey data, there is little evidence to indicate that there will be a negative long-term impact on arts attendance after the pandemic is mitigated. Projections. Keen Independent projects that unconstrained demand for Hendricks County arts events will increase by about 33 to 56 percent (depending on the type of event) between 2019 and 2050. The demand is "unconstrained" as it does not include any reductions or limitations due to venue size. Figure A-8 summarizes projected percentage increase in unconstrained demand. Figure A-8. projected change in demand for the arts in Hendricks County by genre 2019 2030 2040 2050 Jazz 0 % 16 % 28 % 39 % Salsa 0 15 24 33 Classical 0 22 38 53 Opera 0 23 41 56 Musical 0 18 31 43 Play 0 19 33 45 Ballet 0 19 31 41 Dance 0 16 28 40 Film 0 16 27 37 Art museums and galleries 0 15 25 35 Source: Keen Independent Research, 2017 NEA Survey of Public Participation in the Arts, STATS Indiana. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 9 Factors influencing demand. In addition to the expected increase in demand as venues begin to reopen, Hendricks County demand for performing arts will likely continue to grow for many years. According to data from STATS Indiana, the region's population is increasing and, based on the age distribution, the population is aging. Both factors tend to increase ticket demand. Total population. STATS Indiana forecasts Hendricks County's population to grow from 170,000 in 2020 to 240,000 by 2050. Figure A-9 illustrates this growth. Figure A-9. Hendricks County population projections 300,000 250,000 - 2001000 150,000 100,000 50,000 2020 2025 2030 2035 2040 2045 2050 Source: STATS Indiana, U.S. Census Bureau 2019 American Community Survey, Keen Independent Research. Population by age. Another factor influencing demand for performing arts is the age distribution for those in the area. Figure A-10 on the following page presents the age distribution for Hendricks County in 2020. The graph shows the population according to widely recognized generations, spanning from the Silent Generation and older (born before 1946) to Gen Z (1996 to 2010) and the Alpha Generation (born from 2011 to 2030). KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 10 Figure A-10. Hendricks County population by age, 2020 18,000 - 16,000 14,000 12,000 10,000 8,000 6,000 4,000 2,000 - 0 Age Source: STATS Indiana, Keen Independent Research. Alpha Gen (2011-2030) Gen 2 (1996-e010) Millennial (1981-1995) Gen X (196G-1980) Baby Baamer (1945-1965) Silent Generation and alder(befare 1946) Figure A-11 presents the projected age distribution for Hendricks County in 2050 based on the STATS Indiana forecast for the region. Note that Keen Independent shows a 20-year age cohort of people who will be born between 2031 and 2050 as "Beta Gen" (name invented to follow the "Alpha Gen" generation now being born). The Beta and Gen Z generations are projected to represent the largest portion of the population in 2050. The number of individuals age 55 and older is expected to increase. Figure A-11. Hendricks County population by age, 2050 18,000 - 16,000 - 14,000 - 12,000 - 10,000 - 8,000 - 6,000 - 4,000 - 2,000 - Age Source: STATS Indiana, Keen Independent Research. Beta Gen (2431-205O) Alpha Gen (2011-2030) Gen Z 1;1996-2010j Millennial i;1991-1995j Gen (196Fr19130) Baby Baarrrer (1941x1965) KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX A, PAGE 11 APPENDIX B. Benchmark Venues Keen Independent presents benchmark profiles of art centers throughout the country that are instructive to the proposed Plainfield Performing and Fine Arts Center. Benchmark venues were selected based on most or all of the following considerations: ■ Seating capacity of performance spaces; ■ Ownership and operational structure; ■ Metro area population; ■ Suburban location; and ■ Availability of interviewees. Keen Independent developed benchmark profiles for the following organizations and interviewed representatives from each venue:' ■ Actors Theatre of Louisville in Louisville, Kentucky; ■ Bloomington Center for the Performing Arts in Bloomington, Illinois; ■ Des Moines Community Playhouse in Des Moines, Iowa; ■ Lone Tree Arts Center in Lone Tree, Colorado; and ■ Tempe Center for the Arts in Tempe, Arizona. The benchmark profile includes the following for each venue: ■ Ownership structure; ■ Spaces; ■ Programming, ■ Community benefits; ■ Financial information; ■ Community profile; ■ Staffing; and ■ How COVID-19 has impacted the organization. ' Note that Keen Independent interviewed a representative from Lone Tree Arts Center prior to the commencement of this study. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX B, PAGE 1 Actors Theatre of Louisville Located in Louisville, Kentucky, Actors Theatre of Louisville has been in operation for nearly 57 years. Its mission is to unlock potential, build humanity and enrich lives through theater. Actors Theatre strives to be civically engaged and a facilitator of common good.z Source: Theatre Projects. Ownership structure. Actors Theater is a 501(c)(3) organization that owns and operates the facility. Spaces. Performance spaces within Actors Theatre of Louisville include: ■ Pamela Brown Auditorium: 633-seat proscenium theater; ■ Bingham Theatre: 318-seat theater -in -the -round; and ■ Victor Jory Theatre: 159-seat three quarters thrust -style theater. Programming. Actors Theatre produces classic and new works, most notably the Humana Festival of New American Plays. Community benefits. The theater has partnered with organizations including Black Lives Matter, Louisville Grocery, La Casita, Community Kitchen (food insecurity in West Louisville) and the Roots 101 Museum. The theater also has established partnerships with local schools. The theater is described as a "cultural bridge." Financial information. According to its IRS form 990, Actors Theatre's annual spending is about $10 million. Actors Theatre's earned to contributed income ratio is about 60:40. Community profile. The community of Louisville is described as "segregated" with a "history of plantation capitalism." The Louisville region was described as part of the "Kentuckyana region." Staffing. At its peak, Actors Theatre had more than 100 employees. Rental program. At Actors Theatre a combination of public and private groups holds events such as weddings, theatrical presentations and additional events, including some annually recurring events. How COVID-19 has impacted the organization. Live event gathering at Actors Theatre has been halted since March 12, 2020. However, the theater has 25 upcoming projects on digital platforms. Prior to the COVID-19 pandemic, the Actors Theatre audience was largely "affluent." However, since the pandemic began, accessibility has been "blown wide open" and digital content "[has] allowed barriers to access to be torn down." Today, during the COVID-19 pandemic, the theater employs about 25 people at a significant pay cut to align with the theater's conservative budget. 2 About Us, Retrieved February 25, 2021, from www.actorstheatre.org/about-us/. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX B, PAGE 2 Bloomington Center for the Performing Arts (BCPA) Located in Bloomington, Illinois, BCPA's mission is to create an environment where all forms of artistic expression are appreciated, encouraged and seen as a contribution to the quality of life.3 The BCPA building is 120 years old. It was originally owned by the Freemasons until the City of Bloomington purchased it in 2002. Source: Bloomington Center for the Performing Arts. Ownership structure. The BCPA facility is owned and operated by the City. For fundraising, the City utilizes a non-profit called "The Friends of the BCPA." Spaces. Event spaces within BCPA include: ■ Auditorium: 1,200-seat proscenium theater; and ■ Ballroom: 11,000 square foot multipurpose event space. Programming. BCPA holds about 400 events per year with about 57,000 total attendees. In addition to various performances, BCPA events include weddings, fundraisers, social events, arts workshops and community meetings. Community benefits. BCPA is recognized as a cornerstone of the Downtown cultural district. BCPA hosts a free summer musical, an intergenerational community theater program and theater workshops. The Angel Ticket Program provides underprivileged residents with free tickets to events. BCPA is also involved in education programs in connection with the Community Educators Group of McLean County. Financial information. BCPA has a $3.7 million budget. Funding for BCPA programs and operations is provided, in part, by a portion of the 0.25 percent Home Rule Sales Tax. Community profile. The City utilizes BCPA to satisfy cultural arts needs in the community within a 30-mile radius. The area does not have a particularly notable tourism market. Staffing. BCPA has about 10 full-time staff, many part-time staff and over 100 volunteers. The stage crew is made up of union labor. How COVID-19 has impacted the organization. Since the impact of COVID-19, BCPA has retained all of its full-time staff, but are currently struggling to book shows. For an upcoming show in October, BCPA staff do not expect a full -capacity venue. 3 Our Story, Retrieved February 25, 2021, from www.artsblooming.org/about/history. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX B, PAGE 3 Des Moines Community Playhouse (The Playhouse) Located in Des Moines, Iowa, the Playhouse was founded in 1919 and ruled a 501(c) (3) in 1946. Its mission is to change lives by entertaining, enriching and engaging the people of the community through producing high -quality theatrical presentations, avocational experiences, and life-long educational opportunities.4 Source: Des Moines Community Playhouse. Ownership structure. The Playhouse owns and operates the facility. Spaces. The Playhouse has the following performance spaces: ■ John Viars Theatre: 413-seat proscenium theater; and ■ Kate Goldman Children's Theatre: 233-seat black box theater. The Playhouse also has two lobbies with small stages and two classrooms/rehearsal studios. Programming. The Playhouse produces events throughout the year including significant educational programming. Community benefits. The educational program is said to have "touched many lives" and is "one of the best." Playhouse staff call the local school on the day of a show to offer open seats. The Playhouse also has an internship program. Financial information. According to its IRS form 990, the Playhouse had a $2.5 million budget before the pandemic. The Playhouse's earned to contributed income ratio is about 65:35. Community profile. Des Moines is described as having middle- to upper-class communities. Various insurance companies are headquartered in Des Moines. During summertime, the City is the home of the Iowa state fair. Staffing. The Playhouse currently has nine full-time staff. Artists, designers, cleaning services and maintenance services are contracted. All performers are volunteers. How COVID-19 has impacted the organization. Since the onset of the pandemic, The Playhouse has incorporated streaming into a permanent part of its operations. These streaming services are monetized. Before the pandemic, it staffed about 15 positions. The Playhouse has also seen an increase in donors since the COVID-19 pandemic. 4 About The Playhouse, Retrieved February 25, 2021, from www.dmplayhouse.com/explore/about-us/. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX B, PAGE 4 Lone Tree Arts Center (LTAC) Located in Lone Tree, Colorado, LTAC opened in 2011 after community members authorized its construction by vote in 2008. LTAC has become a prime location in the Denver area for intimate performances with phenomenal acoustics., Ownership structure. LTAC is owned and operated by the City of Lone Tree. Source: Keen Independent Research. Spaces. LTAC has the following performance spaces: ■ Main Stage Theater: 484-seat proscenium theater; ■ Event Hall: 150-225-seat flexible space; and ■ Terrace Theater: 300-350-seat amphitheater. Programming. LTAC produces its own theatrical shows and presents both national and international touring artists. LTAC also collaborates with local performing arts companies in Colorado. Before the pandemic, a representative of LTAC reported that the main stage would generally have about 350 to 400 attendees for single -night performances and about 250 to 300 attendees for theatrical performances. LTAC has historically had a "robust" rental program that included business rentals, civic meetings and government gatherings. Community benefits. LTAC has community impact programs that include student matinees, school field trips, daytime programming for seniors, sensory -friendly programs for people with intellectual or developmental disabilities and art engagement experiences for people with early memory loss issues such as Alzheimer's. Financial information. An LTAC representative reported before COVID-19 that the Arts Center had about a $3.5 million operating budget, including $400,000 for off -site events. According to Lone Tree's 2020 budget, LTAC had annual expenditures of about $2.7 million. LTAC's earned to contributed income ratio is about 65:35. Community profile. Lone Tree is located in the southern end of the Denver Metropolitan Area. The city's demographics is about 80 percent white and 10 percent Asian American. Staffing. LTAC has a staff of about 20 people. How COVID-19 has impacted the organization. LTAC cancelled all performances and offers livestreams while its doors remain closed. They currently plan to return to in -person events starting March 2021. , Lone Tree Arts Center, Retrieved February 25, 2021, from www.lonetreeartscenter.org/about. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX B, PAGE 5 Tempe Center for the Arts (TCA) Located in Tempe, Arizona, TCA provides performance opportunities to the community's emerging local artists. TCA's vision is to present and produce compelling, provocative and inspiring programs to promote meaningful engagement with the most relevant performance arts being made today. Ownership structure. TCA is owned and operated by the City of Tempe, Arizona. Spaces. TCA includes the following performance spaces: ■ Theater: a 600-seat proscenium theater; ■ Studio: a 200-seat proscenium -style studio; and ■ Lakeside: a 3,200 square foot ballroom. Source: Keen Independent Research. Programming. TCA has presented about 10 ticketed events ever year as well as weekly free happy hour events featuring local artists and weekly open-mic nights. Most other programming occurred through rental events from local arts organizations and other private rentals such as fundraising events and weddings. Community benefits. TCA is described as a vessel for local arts and emerging artists as well as a space for marginalized and disenfranchised voices. Financial information. TCA currently has a $5 million operating budget. About $1 million was made from facility rentals and $200,000 were made from contributions. TCA is subsidized 100 percent by city sales tax. Community profile. Tempe, Arizona is an urban city in the Phoenix metro area. Home to Arizona State University, the City includes many university assets and affiliations. TCA has reportedly experienced a lack of patron support from the Tempe community, but support might improve after TCA's recent change in leadership. Staffing. TCA has between 11 and 15 full-time staff. How COVID-19 has impacted the organization. COVID-19 has made it difficult to promote the arts and help artists continue their work. TCA expects to hold a season opening in November as well as additional events in August or September. 6 Mission and Vision I Tempe Center for the Arts, Retrieved February 25, 2021, from www.tempecenterforthearts.com/about/mission-and-vision. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX B, PAGE 6 APPENDIX C. Virtual Workshop Analysis Keen Independent conducted a virtual workshop to collect additional community feedback about the proposed Plainfield Performing and Fine Arts Center. This appendix summarizes the virtual workshop analysis conducted by Keen Independent. It includes: ■ Questions included in the virtual workshop; ■ Demographics of workshop participants; ■ Trends in current venue use; ■ Interest in a new local venue; ■ Favorite touring artists; ■ Comfort attending a full capacity venue; ■ Recommendations for supporting local art groups; ■ Venue feasibility; and ■ Other input. Questions Included in the Virtual Workshop Workshop participants were asked to provide contact information, organization and position title (if applicable) and basic demographic information, including age, race/ethnicity and gender. The virtual workshop asked participants to provide an estimate of how many times per year they attend the following events: ■ Indoor performing arts; ■ Outdoor performing arts; ■ Visual arts; ■ Craft fairs or visual arts festivals; and ■ Movies/films. Workshop participants were also asked what venues they prefer to visit to attend events, and if they (or other arts and non-profit organizations that they know o� are interested in using a new 600-seat performing and fine arts center in Downtown Plainfield. Participants were asked to list one of their favorite touring artists. They were then asked to provide an estimate of how much they would be willing to pay per ticket if their favorite touring artist came through Plainfield in a new performance/event space. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 1 Finally, the virtual workshop included the following questions: ■ When do you foresee being comfortable attending a full -capacity 600-seat venue with your close friends (perhaps as a group of 4-6 people) and why? ■ What can be done to assist local arts groups to better prepare them for the Plainfield Performing and Fine Arts Center in 2023? ■ Do you have any other input to provide to inform the study? The virtual workshop was available for three weeks, from January 1 to January 22, 2021. Keen Independent received input from 722 participants. Demographics of Workshop Participants Keen Independent examined virtual workshop participants' demographic characteristics, including age, race/ethnicity and gender and location. Age of participants. More than 80 percent of respondents were in the age range from 25 to 64 years old, with respondents spread relatively evenly between each 10-year age group. In addition, some respondents were in the age range from 65 to 74 (11.0%), and a small percentage of participants were either 75 years or older (4.1%) or under 25 years old (3.3%). Figure C-1 presents these results. Figure C-1. Ages of virtual workshop participants 75 years old or older Under 25 years old (4.1%) \ \ (3.3%) 65 to 74 (11. 55 to 64 years old (18.2%) 45 w -)•+ Yedr�, Ulu (22.6%) Source: Keen Independent Research from 2021 virtual workshop. 34 years old :17.8%) 35 to 44 years old (22.9%) KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 2 Race/ethnicity and gender of workshop participants. Figure C-2 presents participants' race/ethnicity and gender. Most respondents identified themselves as white (89.41/o), and about 6 percent preferred not to report their race/ethnicity. The remaining participants reported being a member of a minority group, e.g., African American (0.4%) or Hispanic American (0.6%) or were two or more races/ethnicities (2.1%). Figure C-2. Race/ethnicity of virtual workshop participants Percent of respondents Race/ethnicity White 89.44 % Asian American 0.69 Hispanic American 0.56 African American 0.42 Native American 0.14 Other minority 0.56 Two or more races 2.08 Preferred not to say 6.11 Total 100.00 % Gender Female 61.77 % Male 36.43 Preferred not to say 1.80 Total 100.00 % Source: Keen Independent Research from 2021 virtual workshop. Location of participants. Nearly 81 percent of workshop participants reported living in the Town of Plainfield, in ZIP code 46168, and the remaining 19 percent were located in other nearby ZIP codes. Figure C-3 on the following page presents these results. Many of the remaining participants reported living in surrounding areas, such as Danville and Avon. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 3 Figure C-3. ZIP codes of virtual workshop participants Not in ZIP coaP a(;1 FR (19.4 In ZIP code 46168 (80.6%) Source: Keen Independent Research from 2021 virtual workshop. Figure C-4 illustrates virtual workshop respondents' self -identified ZIP codes. Please note that only 713 are listed because some respondents included incomplete ZIP codes or ZIP codes with letters. Figure CA ZIP codes of virtual workshop participants ZIP code Number of participants 46168 575 80.6 % 46123 39 5.5 46122 21 2.9 46112 18 2.5 46158 10 1.4 46118 8 1.1 46231 6 0.8 46167 6 0.8 46234 5 0.7 46113 3 0.4 46121 2 0.3 46135 2 0.3 46157 2 0.3 46268 2 0.3 46241 1 0.1 46228 1 0.1 46224 1 0.1 46221 1 0.1 46205 1 0.1 46180 1 0.1 46165 1 0.1 46151 1 0.1 46143 1 0.1 46103 1 0.1 46074 1 0.1 46060 1 0.1 37122 1 0.1 24121 1 0.1 Total 713 100.0 % source: Keen Independent Research from 2021 virtual workshop. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 4 Affiliation of participants. Figure C-5 below illustrates virtual workshop respondents' self -identified affiliations with organizations. "Other affiliation" types include local businesses, religious organizations, retirement communities and professional/commercial associations. Figure C-5. Virtual workshop respondents' self -reported affiliations Arts and culture organization affiliated 31 4.3 % Government and other non -governmental organization affiliated 22 3.0 Other affiliation 39 5.4 No affiliation provided 630 87.3 Total 722 100.0 % .source: Keen Independent Research from 2021 virtual workshop. Trends in Current Venue Use Keen Independent also examined workshop participants' reported attendance in various art and entertainment event settings. Participants were asked to provide an estimate of how many times per year they attend different types of events. These results are presented in Figure C-6. The most common response for each event type is highlighted in yellow. Figure C-6. Annual frequency of event attendance by type Less than once 1 to 2 times 3 to 5 times More than 5 per year per year per year times per year Performing arts (indoors) 23.24 % 38.31 % 23.80 % 14.65 % Performing arts (outdoors) 24.93 40.85 24.51 9.72 Visual arts (i.e. museums, galleries) 27.23 44.68 19.43 8.65 Craft fairs or visual arts festivals 20.82 38.96 30.94 9.28 Movies/films 11.66 30.20 26.54 31.60 Source: Keen Independent Research from 2021 virtual workshop. Virtual workshop participants were also asked what venues they currently visit to see performances and attend events. Participants noted a total of 68 venues. Names that refer to the same venue (e.g., the Ruoff Music Center, the Verizon Wireless Music Center and Klipsch Music Center) were combined into a single category. Because participants could list multiple venues in their response, the 68 venues were mentioned a total of 1,375 times. Venues that were mentioned 50 times or more are presented in Figure C-7 on the following page. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 5 Figure C-7. Popular existing event venues Number of mentions Old National Centre 146 Ruoff Music Center 78 Bankers Life Fieldhouse 68 Clowes Memorial Hall/Schrott Center 68 Carmel Center for Performing Arts 54 Newfields 50 jource: Keen Independent Research from 2021 virtual workshop. Interest in a New Local Venue Workshop participants were also asked if they or an organization they know of would be interested in using the proposed 600-seat Center. Over half of participants answered, "yes" (51.2%), while a little less than 40 percent answered, "no." Additionally, some participants did not know (6.6%) or responded, "maybe" (2.7%). These results are presented in Figure C-8. Figure C-8. Personal or organizational interest in using a new 600-seat performing fine arts center in Downtown Plainfield Maybe (2.7%) r)nn't Irnr)w (6.60/) Yes (51.2%) No (39.8%) Source: Keen Independent Research from 2021 virtual workshop. Virtual workshop participants stated that local schools, local theater companies, visual arts organizations across Indiana and other groups in the region could use the venue. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 6 Noted organizations that may be interested in using a new 600-seat center include: ■ 317 Performing Arts; ■ The Biz Academy of Musical Theatre; ■ The Children's Ballet in Danville; ■ Churches; ■ Competitive dance teams/dance companies (such as Infinity Dance Academy); ■ Footlite Musicals; ■ Guilford Township; ■ Hendricks Civic Theater; ■ Hendricks County Alliance for Diversity; ■ Hendricks County Arts Council; ■ Hendricks Symphony; ■ Homeschool co-op groups; ■ Porcelain Art School of Indiana; ■ Indianapolis Children's Choir; ■ Indianapolis Symphony Orchestra; ■ Main Street Plainfield; ■ Percussive Soundscapes Music Academy; ■ Plainfield Creatives; ■ Plainfield High School; ■ Plainfield Public Library; and ■ The Launch Pad Music School. Some respondents listed events that could take place at the venue. These include: ■ Dance performances; ■ Business meetings/trainings; ■ Concerts; ■ Live podcast shows; ■ Live theater productions, including musicals and plays; ■ Professional events; ■ Public hearings; ■ Small-scale or emerging art events; ■ Speakers; ■ TED talks; and ■ Youth performances or youth events. Respondents also noted that events at the venue could be promoted by Visit Hendricks County. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 7 Variety of offerings. Many virtual workshop participants that they would like to see various events presented at the Center: ■ "Try to book a variety of different types of entertainment." ■ 'Please don't build something that caters [only] to a specific audience." ■ "Design this center to accommodate other interests beyond performing arts, for example STEM activities, community clubs, book clubs, etc." ■ "[Bring] in a variety of [events] that will appeal to all ages. Variety is the key, I think." Virtual workshop participants provided additional feedback and discussed other concerns in response to this question. These comments are presented later in this appendix. Favorite Touring Artists Workshop participants were asked to list one of their favorite touring artists. Keen Independent caLugo,1/6cd each response by type of Figure C-9 presents these results. Figure C-9. Favorite touring artists by performance type Percent of respondents Non -classical music 60.18 % Musicals 14.91 Comedy 11.09 Classical music 5.64 Plays 3.45 Dance 2.55 Other 2.18 Total 100.00 % Source: Keen Independent Research from 2 1 virtual workshop. Participants were then asked, "If your favorite touring artist came through Plainfield in a new performance/events space, how much would you be willing to pay per ticket?" Figure C-10 shows these results. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 8 Figure C-10. Amount willing to pay for ticket to see favorite touring artist 300 250 250 230 200 150 100 90 64 50 - 0 Less than $20 $20 to $50 $50 to $100 More than $100 Source: Keen Independent Research from 2021 virtual workshop. Comfort Attending a Full -Capacity Venue Workshop participants were asked when they would foresee being comfortable attending a full -capacity 600-seat venue with their close friends. Figure C-11 shows the earliest responses for those that provided a specific year or time frame. Figure C-11. Earliest year workshop participants anticipated being comfortable attending a full -capacity 600-seat venue 350 - 300 289 250 200 150 - 100 L 90 50 ` 13 3 16 0 2021 2022 2023 2024 Never Source: Keen Independent Research from 2021 virtual workshop. Participants were asked why they responded the way they did. Concerns included: ■ Trends in COVID-19 cases; ■ Virus mutations; ■ Vaccine availability; KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 9 ■ Safety protocols at the venue (including mask requirements, capacity limitations, social distancing, sufficient air flow and frequently disinfecting surfaces); and ■ Political unrest. A few respondents worried about restrictive safety protocols at the venue (e.g., "I won't attend if I have to wear a mask.' Some reported being excited to return to "normal life." Some workshop participants did not provide a time frame, citing uncertainty, but instead said they would feel comfortable attending a full -capacity 600-seat venue after some benchmark was reached. People reported they would be comfortable attending after: ■ Being vaccinated; ■ Friends and/or family are vaccinated; ■ Certain populations (such as children or at -risk individuals) are vaccinated; ■ A large portion of the community, the State of Indiana, the U.S. or the world is vaccinated;' ■ Herd immunity is achieved; ■ COVID-19 cases stop rising and/or remain low for several months; ■ Social distancing or building capacity limitations are lifted; ■ Trusted health officials (such as experts at the CDC or the WHO) deem it safe; and ■ The COVID-19 pandemic is over. Recommendations for Supporting Local Art Groups As mentioned above, virtual workshop participants were asked, "What can be done to assist local arts groups to better prepare them for the Plainfield Performing and Fine Arts Center in 2023?" Participants provided many recommendations for how the community could help organizations as they prepare for the new Center. Marketing. Many workshop participants suggested that local art groups would benefit from marketing and advertising for the individual groups and for the Center in general. Build overall awareness. Participants suggested that the Town could help local organizations by building overall awareness and "hype" for the Center before it is completed. ■ "Market now!' suggested one participant. ■ 'Market to and communicate with all of Hendricks County before the center opens. Market to Central Indiana after the center opens." ■ "Build awareness of the Center in Hendricks and neighboring counties." ■ 'Announce the upcoming schedule as soon as possible ...." ■ "Marketing campaigns that target community interests." ' Some referenced a specific percent of the population, such as 50, 70 or 80 percent; others indicated that they would not be comfortable until everyone is vaccinated. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 10 ■ "Promote that you are building [the Center]." ■ "Make it seem exciting to the community." Help local groups with marketing. Workshop participants also recommended the Town provide marketing assistance for local groups' performances. ■ "Offer free and more frequent stage time for local art groups at the Hummel Amphitheater and other local venues to start piquing community interest [before the Center is open]." ■ "Promote their visibility online and in person [where] appropriate." ■ 'Let [local arts groups] know how [they] can help with advertisement, marketing, and building a loyal audience for the arts in the local community." Specific marketing methods. Several participants suggested marketing methods for the Town and local arts groups to employ in advance of the Center opening. ■ 'Marketing through social media ... maybe even tv, radio, or podcast ads." ■ "Make sure there is good signage out front for upcoming events. Take advantage of the location with signage." ■""... publish a list in and around Indianapolis of who will be coming in 2023 ..." ■ "Create flyers listing types of performances that would be ideal at [the] venue. [Venue representatives] should attend Chamber [of Commerce meetings], networking [meetings], [and] churches to find interest." ■ "Promote theater and orchestra in the local schools." Showcase local artists. Many participants recommended providing opportunities for local visual and performing arts groups to showcase their work during construction and after the Center is built. ■ "During Market Day, invite [local arts groups] to perform so that the traffic on Main Street can see them." ■ "Perhaps showcase [local groups] at Hummel Parkin a concert series!" ■ 'Encourage them to participate in a grand opening [art] show!" ■ "Maybe hold a competition for a `house band' who will perform regularly throughout the year." ■ "[Host] Music/Art festivals in Plainfield during the lead up to construction to form some name recognition." Build with local groups in mind. Multiple workshop participants suggested that the facility be built specifically with local groups in mind as primary users. ■ "Build and design [the venue] so the local groups can use it. The current design does not even come close to it." ■ "Give them enough space with a black box theater so they can do not only their large shows but the small ones there also." KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 11 ■ "The more flexible space, the better/more usable it will be for different types of arts organizations." ■ "Allow arts groups to provide input in design, acoustics and usability." Rehearsal time and space. Some participants suggested that it would be beneficial to local art groups if the Town could provide or recommend rehearsal space before the Center is built so they can prepare for the Center's opening. ■ "Give them some place to practice now." ■ 'Use outdoor venues to practice their art while [COVID-19] is an issue." ■ 'Allow [local arts groups] ample time to practice in the new space." ■ "'Have rooms [in the Center] for band, choirs to practice." ■ "Free rehearsal spaces" Education. Multiple participants remarked that local arts organizations could benefit from advance education on how to schedule and effectively use the Center, as the process for the Center might differ from venues they have used in the past. ■ "If they aren't used to performing in a setting that holds [a 600-person] audience, make sure they understand how to perform in that type of space." ■ "Give local art groups [and] patrons tours of the new place [such as] open house ... events." ■ "Class on auditorium etiquette and expectations from the venue, and how to organize performances and fairs to best use the resources provided." ■ "Education on scheduling and parameters for use." Financial assistance and incentives. Many participants suggested that funding and other financial assistance would be helpful to local groups prior to the Center opening. Participants provided varied recommendations. ■ "Many fine arts groups have had to close. Provide direct funding to groups ..." ■ 'Grant program to assist with initial performances/shows." ■ ... offer them incentives for using the [new] building." ■ "... provide benefits for [organizations] that host annual performances there [such as] a [five] year contract?... [and] other perks for [first-time organizations] hosting events there." KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 12 Affordable rental fees. A number of participants remarked that local groups should be charged little or nothing to use Center spaces. ■ "Offer opportunities for [arts groups] to rent out the center at a lower rate if they are local to promote Hendricks County artists." ■ "Provide them the opportunity to use the facility free or with only a nominal fee." ■ 'Ensure the spaces meet their budget requirements (overhead costs vs. potential ticket sales)." Grants. Other participants indicated that grants might be helpful to prepare local art groups for using the Center. ■ "Provide grants to help local arts groups either form, grow, or maintain existence." ■ '[Take] advantage of available grants through the National Endowment for the Arts." Communication. Workshop participants emphasized the need for direct communication with and involvement of arts organization that would (or could) use the facility. ■ "Early communication ... discuss their needs, what rates they can afford, anticipated programming, etc...." ■ "Keep [local arts groups] involved in the process from start to finish, [and] allow them to feel like this is a partnership. Allow them to be the first to tour the facility." ■ "Obtain information from members of each group (rather than lumping them together) to hear their needs for what would make the Center work for them." ■ "... [organize] group discussions to generate collaborative ideas." Availability and costs. Some participants suggested that facility schedules and cost should be published well in advance so organizations can plan ahead. ■ "Plan the theater schedule way ahead of time." ■ 'Social media updates as well as [information about] who to contact once it's open to reserve ... the space." ■ "[Communication about] costs of space use for budget purposes." ■ ""Make rental rates available. Begin a tentative booking calendar." Project information and timeline. Participants recommended that the Town provide information on how the Center could be used as well as a project timeline. ■ "Put together a document with what to expect and what ... the performing and fine arts center will be able to do for them." ■ "Publish a realistic plan and schedule and stick to it." ■ "If you will have fine art space available for galleries, it would be nice to let local artists know about available space." KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 13 ■ "Have more information available [such as] a website that's kept up to date. I don't use Facebook/Twitter." ■ "[Communication about] completion date [and] layout of performance space." Information on administrative details. Several participants mentioned that arts groups would benefit from advance information on booking, rules and regulations. ■ "You would need to supply them with all the rules/[regulations] of the Center." ■ "Talk about the backstage facilities, dressing areas, cost of contract, how to schedule, ticketing services, if any." ■ "Don't make the process to utilize facilities difficult." Venue Feasibility Many respondents provided comments regarding the feasibility of the project, including ideas about Plainfield's overall development direction, the location of the project and demand for the facility. Demand and regional attraction. Workshop participants expressed varied views on the demand for a 600-seat Center in Plainfield. High demand. Many participants expressed that there is demand in Hendricks County for this type of facility. In addition, workshop participants indicated that the Center could attract audiences and performing groups from elsewhere in the region. Comments included the following ■ "I normally have to drive to Indianapolis. I would attend events [here] more often." ■ "... [The] auditorium at [a local high school] ... constantly has more renters than it can handle ...." ■ "We need something like that — a flexible arts space for multiple groups to use —'in Hendricks County!" ■ "I think this is a great project that will bring people here and help the economy of Plainfield. I love the idea of Plainfield being a destination." ■ "I hope Plainfield has the fortitude to move forward with this facility as it will attract visitors and help retain/attract talent in Hendricks County." ■ "I'm 100% sure that this is desperately needed in Plainfield; it is a cultural desert in some respects. Plainfield needs new venues of this nature." ■ "The visual arts are vastly underserved on the west side [of Indianapolis]. [I'm] hoping to see that change." Low demand. Several workshop participants remarked that demand for the proposed Center is not high enough (partially due to other nearby venues) and that the facility will not bring people to Plainfield. ■ "I don't believe [there is enough interest in this community to] support/sustain a 600-seat ... center." ■ "The people of Plainfield do not want it and will not go to it." KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 14 ■ "I don't think Plainfield is ready for this." ■ "[It] sounds like a waste of money because I don't think you'll be able to attract the people you need to pay for it." ■ "Among Indy's artist community, Plainfield has a reputation of being ... unwelcoming ...." ■ "I appreciate what the Town is doing, but I'm not sure Plainfield is perceived as a destination for culture and art." ■ "... I think it would be hard to find enough groups to sustain an annual full calendar of events." ■ "I am not aware of any interest and worry about attraction. We have [many other venues] within [a] 30-minute [drive]." ■ "I question that Plainfield is really ready for such a facility, as we are too close to other competing venues." ■ "My only concern is the abundance of other performance centers ... big competition could lead to smaller audiences and difficulty attracting desirable acts." Cost. Many virtual workshop participants expressed reservations about the anticipated cost of building and operating the proposed Center. As one respondent remarked, "I feel $35 million is too much to spend for a performing arts center." Other respondents commented that they would prefer to see taxpayer funds used differently. Comments are as follows. ■ "I believe that the idea is fiscally irresponsible." ■ 'Don't waste the money! Spend it on a family community center." ■ "I feel that this is a waste of taxpayer dollars." ■ "I believe the money may be better spent on outdoor amenities or outdoor recreation." ■ "What other services would better serve the community; low-income housing, food bank, lowering city debt?" ■ "Many more people can be reached by the [Town of Plainfield] providing direct grants to artists." ■ "This is a waste of time and taxpayer money. Use that money to upgrade ... parks, public utilities [and] roads." ■ "You need to realize this will never be profitable." Town development. Some participants commented on Center feasibility in the context of the Town's current capabilities and future development. Respondents considered infrastructure, Plainfield's overall identity, the proposed location in Downtown Plainfield and whether the Town has enough dining options. Parking and traffic. A number of participants expressed concerns about parking and traffic. ■ "You are going to need more free parking." ■ "Parking will definitely be needed if this is a 600-seat venue." KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 15 ■ "There is only one road in and out of Plainfield and it's already clogged up with traffic as is. ■ "I do think parking for that many people could be tricky..." ■ "[I'm] not sure if Main Street would be the best location due to parking and traffic issues. Dining. Several participants questioned whether the Town has enough dining options to provide for a 600-person audience to "do a show and a meal," as one participant put it. Comments are as follows: ■" " "My concern [with the venue] would be lack of restaurants." ■ "[I'm] hoping restaurants would be available close by so you could `make an evening of it.", ■ "Adding more restaurants... to the Downtown area will attract more people and bring people closer to the [venue]." ■ "There needs to be nice dining to go to either before or after the events. Not just fast food or chain restaurants." ■ "... [the Center] is a waste of taxpayer dollars until more unique restaurants and bars are built in the area. There are no attractions [nearby]." Prefer a different location. Multiple participants remarked that the Downtown Plainfield area might not be optimal for the proposed Center. Comments follow. ■ "I very much would like to have more [arts in Plainfield] but not in this area of town." ■ 'The downtown area is not financially or logistically feasible long term for a taxpayer subsidized PAC. Put it by the Mall [which has] more parking, [access to highway 701 ... [and] hotels." ■ "Would a less cramped space west of [Downtown] be better for this venue? Maybe add ... outdoor performance areas as well as indoor [options]?" ■ "If you're going to build this, put it on the outskirts [of Plainfield]." ■ If stop destroying [Downtown] Plainfield." Maintaining Town identity. Some workshop participants commented that the Center might impact the Town's identity in an undesirable way. ■ "[The Center] isn't part of the [Town of Plainfield] identity." ■ 'Stop trying to change Plainfield to be more like Carmel." ■ ... I grew up here. I don't want to lose the face of the Plainfield I remember." ■ "Please don't build this. Our beautiful town is being ruined by these projects." ■ "[This Center is] a waste of money to seem like Carmel. No thanks." KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 16 Growth and revitalization. Some participants reported that the Center could encourage further development in Plainfield. ■ "I think this project is a major part of what downtown Plainfield can become. I'm so glad the Town has decided to put money into revitalization!" ■ "I'm very interested in seeing Downtown Plainfield transform into an entertainment area for everyone, of all ages, to enjoy!' ■ "With the addition of such a facility to the Town's arsenal, Plainfield is poised to become the premier suburb for this side of [Indianapolis]." ■ "I think other businesses will benefit as well, restaurants especially. People will come from miles away to view entertainment here." Other Input Respondents provided additional thoughts and suggestions regarding the Center project. Tickets. Workshop participants provided thoughts on affordability as well as the possibility of a Center season ticket subscription. ■ "Make [the] arts accessible and enjoyable for the WHOLE community, not just the `elite' insiders of Plainfield." ■ "... offer [family] discounts ..." ■ "Have regular users have their season fully planned out so that people can buy season tickets." ■ "As a citizen of Plainfield, I would be thrilled to support local productions at such a venue! I would ask for reasonably priced tickets (< $40)." ■ "... offer a promotion on season tickets ..." Staff needs and operating model. Several virtual workshop participants provided suggestions regarding Center staffing and operations. Participant comments follow. ■ "[The Center] needs an experienced outside organization to mange this facility and handle booking the entertainment." ■ "Provide a professional sound and lighting person and manager for rehearsals and shows." ■ "[Hire] a director who can curate a full season of performances by advertising early to invite artists ..." ■ "[A project like this] needs deep experience." ■ "[The Center needs] ... an [overall] coordinator/scheduler to keep things moving." ■ "Hire good management and marketing." KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 17 COVID-19 pandemic. Many participants described either concerns or enthusiasm about the Center due to COVID-19. Remarks varied widely. ■ "This is such a hard time for the arts. I ... do not want our performing arts to be forever lost due to this virus." ■ "... [After] the last pandemic the arts exploded in the 1920s. The same could happen now [and] ... Plainfield should help make that happen." ■ "[The] pandemic pretty much dictates everything. People don't have the extra money to attend a lot of things like this." ■ "Coming out of [the] pandemic, I am concerned that residents will be able to afford to attend theater/music events. Perhaps [the Town] should wait [for] economic recovery." ■ "During [this] time of economic stress, it's a poor time to use tax dollars for this expense when many can't meet basic needs; [we should] wait for economic recovery." ■ "I don't think it is prudent to move forward with this project. Due to [COVID-19], many will not have the expendable income to attend performances." ■ "Unfortunately, this is a bad time to try to start this venue with a pandemic upon us, but I hope it does work out." ■ "This venue needs to be built. There was a need before [COVID-19] and there will be a need after. Especially by 2023." KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX C, PAGE 18 APPENDIX D. Business Plan Keen Independent developed recommendations to update the business plan that was created in 2019 before the impact of the COVID-19 pandemic (referred to as the original business plan) for the proposed Plainfield Performing and Fine Arts Center (see Annex A). The updated business plan considers information gathered throughout this study as well as industry standards for the COVID-19 pandemic. We will also present considerations for lean, moderate and heavy pro forma scenarios (See Appendix E for more detail on what these scenarios entail). Keen Independent divides business plan recommendations into four parts: ■ Operating model considerations; ■ Governance; ■ Staffing, and ■ Revenue sources. Operating Model Considerations Town of Plainfield leadership have indicated that the Town plans to retain ownership of the Center as a facility and explore several operating models. These operating models include a Town -operated Center, a for -profit venue management company -operated Center, and a non -profit -operated Center. Town -operated Center. In a Town -operated Center, the Town of Plainfield would assume all responsibility for management. This would include hiring full-time Town staff to run the Center. Advantages. Many towns across the country take on management of their cultural and performing arts assets. The key advantages of this model are steady financial support, access to Town resources and operational control. A town -operated arts center typically relies less heavily on earned income. Instead, primary funding sources often include targeted local tax subsidy or allocations from general funds. Having access to Town resources such as the marketing and communications department, human resources, facility management and motor pool offer town -operated arts centers the ability to operate with smaller teams. In the case of Plainfield, its capital investment in the Center creates an environment where future operational success will reflect back on the Town regardless of who is in charge. Some towns also choose to run their own arts centers so that they are able to maintain control and oversee operations. Disadvantages. The three main disadvantages of a Town -operated Center are cost, capacity and expertise. Town employees may be more expensive per person when accounting for benefits packages than their equivalent for -profit or non-profit counterparts. Town employees also have to go through a more rigorous hiring and firing process that minimizes the ability for an arts center to be nimble in the face of change. In smaller towns, capacity may be an issue as town management may already be stretched thin supervising existing town operations. Limited expertise is also a concern in some towns as running a performing arts center requires specialized skills and experience that may be KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX D, PAGE 1 lacking in the town ranks. Town of Plainfield leadership have indicated that all three of these issues are important when considering the Center's future operations. Non -profit -operated Center. In a non -profit -operated Center, the Town of Plainfield would assign the Center's management responsibilities to an existing or newly created non-profit organization. Advantages. Many towns across the country do not take on management of their cultural and performing arts assets and instead assign a non-profit manager. The key advantages of this model are having lower costs, a mission -based approach, an ability to solicit donations and sponsorships, and buy -in from the local community. Non -profits typically can lower staffing costs by not having the types of benefits packages that government organizations provide. They can also be nimble in their hiring and firing process with quick decisions being possible. Having a mission -based approach allows non -profits to focus on purpose rather than financial success. A non-profit may intentionally choose a less profitable and more impactful event or partner if it means staying true to its mission. Being able to easily solicit donations and sponsorships is vital to a non -profit's success. Donors may be more likely to give to charitable non-profit organizations rather than government or for -profit entities. A final advantage of a non -profit -operated Center is community buy -in. With a non-profit, a board can be developed with local arts community stakeholders, business leaders and Town leadership as representatives. The board could help create dialog and consensus among different Center constituents. In this model, the Town can maintain some oversight of the non-profit while remaining at "arm's length." Disadvantages. The two main disadvantages of a non -profit -operated Center are long-term financial solvency and expertise. Non -profits can and do fail often. They are financially difficult to operate as they rely heavily on charitable giving and sponsorships. If charitable giving or sponsorships dry up, such deficiencies can lead to organizational collapse unless earned income is very high. Expertise can also be an issue as board members and arts center leadership may not understand proper operations and management. It is not uncommon to find a non-profit arts center operator that is struggling due to one or both of these issues. For -profit -operated Center. In a for -profit -operated Center, the Town of Plainfield would assign the Center's management responsibilities to an existing for -profit organization. Advantages. Some towns across the country do not take on management of their cultural and performing arts assets and instead assign a for -profit manager. The key advantages of this model are having lower costs and economically driven management. For -profit organizations typically can lower staffing costs by not having the types of benefits packages that government organizations provide. They can also be nimble in their hiring and firing process with quick decisions being possible. Having a profit -driven approach allows for -profits to focus on financial success. Disadvantages. The two main disadvantages of a for -profit -operated Center are cost to the Town and lack of community buy -in. For -profit operators have to make money. In larger arts centers, profitability may be achieved by presenting large and profitable events. With the current 600-seat capacity of the Center, a for -profit operator is unlikely to be able to maintain margins that guarantee strong net income. This would mean that a for -profit operator would have to charge high rents for local arts organizations and potentially ask the Town to subsidize their financial losses. It is unlikely that a for -profit operator would agree to manage the Center without a financial guarantee from the KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX D, PAGE 2 Town to ensure profitability. In the case of Plainfield, a for -profit operator is also not likely to build strong community buy -in. With profitability as a driving factor, it will be difficult for a for -profit operator to have capacity to invest in working with local arts groups and community members unlikely to positively benefit the bottom line. Recommendation. After carefully considering each operating model, and discussing advantages and disadvantages with stakeholders, Keen Independent recommends that the Town of Plainfield pursue a non-profit model to operate the Center. Keen Independent has developed pro forma scenarios that reflect this ownership and operational model in Appendix E. Governance The proposed Center could benefit from having the Town has the owner of the facility and a non-profit as the operator. For the Town Council to maintain oversight of the non-profit, at least one or two seats on the non -profit's board of directors could be reserved for Town Council members or other Town leadership. In Figure D-1, Keen Independent identifies core responsibilities of the Town as the facility owner, the non-profit as the facility operator and the non-profit board of directors as the governing body responsible for oversight of the non-profit. Figure D-1. Core responsibilities of the Town and proposed non-profit facility operator Town of Plainfield (facility owner) Non-profit facility operator Non-profit Board of Directors Capital investment Facility management Oversight of non-profit: Building maintenance Event programming ■ Executive Director; (to be negotiated) ■ Mission; and Operations management 0 Financials. Equipment maintenance (to be negotiated) Rental program management Policy formation and oversight Equipment upgrades Stakeholder engagement Fundraising (to be negotiated) Box office and ticketing _ Short- and long-term planning Community consensus building and messaging Marketing and branding Fundraising Program evaluation KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX D, PAGE 3 Staffing The Center's original business plan that predates Keen Independent's work identifies the need for at least five full-time staff: ■ Director; ■ Box Office Manager; ■ House Manager; and ■ Two Backstage personnel. The plan also identifies volunteer ushers, security officers and crews to load in and out events. In Figure D-2, Keen Independent provides an organizational chart that reflects the original staffing plan. Figure D-2. Organizational chart based on the original business plan. Directors Director House Manager Manager ushers Security officers personnel -oft Source: Keen Independent based on Cultural Arts Center Initial Findings, February 2019. Staffing recommendation. Keen Independent recommends including additional staff such as event managers, operations staff, marketing staff and others. Figure D-3 on the following page illustrates a recommended organizational chart based on a moderate operational scenario. Costs associated with this and other staffing plans can be found in Appendix E. Note that the moderate staffing plan and heavy staffing plan have the same full-time equivalent (FTE) staff, with the heavy staffing plan adding financial resources for additional contract staff. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX D, PAGE 4 Figure D-3. Organizational chart based a moderate operational scenario. Admin Assistant Director of Director of Development Operations &Events Services &Marketing House Manager Event Manager Production Sales Manager Box Office Supervisor Manager Part-time & Part-time & Asst. Production Contract FOH Contract Event Supervisor Manager Labor Labor Part-time & Part-timL Contract Tech Contract Labor Office La Source: Keen Independent Research. Revenue Sources As a non-profit, the Center can make earned revenue as well as contributed revenue. We provide examples of both types of revenue sources. Earned revenue. In addition to the typical earned revenue of ticket sales, a combination of any of the following earned revenue models can be implemented by the Center to provide facility users with various options. Depending on the type of event, these models can be used in both the auditorium, community room and lobby (when appropriate). See Appendix E for more information on how Keen Independent projects the use of each of these models. ■ Cost sharing. The Center could use a cost sharing model for professional acts. In a cost sharing model, both the Center and an organization or promoter can split the costs associated with holding the event, as well as share the revenue earned from ticket sales and concessions. ■ Resident companies. Hendricks Civic Theatre, Hendricks Symphony and Children's Ballet were identified as resident companies for the potential Center. Other community -focused organizations that produce multiple events each year may be identified as resident companies in the future. It will be important to set specific requirements for becoming a resident organization as the designation comes with strong financial benefits. ■ Facility rentals. For additional revenue outside of the professional acts and resident company events, the Center could utilize a facility rental program model for other organizations, businesses and individuals to rent the theater or community room for performances and other events such as community meetings, galas, conferences, religious services and weddings. Rates to rent out the spaces can be hourly or daily and vary based on day of the week and time of the year. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX D, PAGE 5 ■ Service agreement. Another means of encouraging venue utilization is through a service agreement, where the renter receives reduced rent in exchange for measurable services or public benefits. For example, an organization could donate a number of volunteer hours to the Center in exchange for a percentage off the rental fees or free load -in days. Contributed revenue. Contributed revenue is made up of various forms of gifts, grants and donations. The Center could be funded by the following contributed revenue sources: ■ Individual donors. Individuals can make tax-deductible donations to the Center. The Center could provide their high-level donors with various forms of recognition such as building naming rights and mentions in the season program. ■ Membership program. Membership programs provide an added level of engagement and benefits to individuals interested in a deeper relationship with the Center. Various membership levels are defined by donation amounts and each level can include progressively more benefits and engagement. Some examples of membership benefits could include ticket discounts, free tickets, priority seating options, early ticket buying opportunities, invitations to members -only events, recognition in the program or on a donor wall and more. ■ Corporate sponsorships. In a corporate sponsorship program, businesses can make donations for specific purposes and be recognized by the non-profit in a variety of ways. For example, a business can make a donation that covers the cost of a number of tickets per show giving the non-profit opportunity to offer free tickets to students, teachers and/or veterans. This could be a "win -win" as the non-profit could recognize the corporate sponsor when advertising free tickets for targeted groups. ■ Grants. Grants can include government grants as well as grants from foundations that support the arts. Grant applications could take many hours with little or no guarantee of receiving the award, but awards can make a significant difference as part of an organization's revenue. ■ Endowment. An endowment is a donation of money or property that uses the resulting investment income to further fund a non-profit. Generally, the principal value would remain constant while the investment income could fund Center operations. ■ Town subsidy. The Town could cover the difference between expenses and revenue to ensure the continued success of the Center. This subsidy could be funded by the general fund or through a specific type of tax. Additional recommendations. Keen Independent recommends that the Center, if operated by a non-profit entity, rely on a diverse mixture of earned and contributed income. In all pro -forma scenarios, earned income will be primarily generated from ticket sales, fees and rentals with contributed income primarily generated from sponsorships, donations and Town subsidy. See Appendix E for more pro forma information. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX D, PAGE 6 Town subsidy options. The Town may consider direct subsidy to a future non-profit operator by granting it between $500,000 and $700,000 annually to help cover costs (possibly more for Year 1 and 2). Some of these funds would be used by the operator to help local arts organizations utilize the Center at a highly reduced fee schedule. The town may also consider less direct subsidy and instead take on higher levels of subsidy in capital maintenance, equipment maintenance and replacement, security, custodial and utilities. Since the future Town Center and the Plainfield Performing and Fine Arts Center share one building shell, some of this subsidy is particularly easy to justify and could create cost efficiencies such as shared security and custodial services. Formation of a non-profit operating entity. There does not appear to be a current non-profit entity in Hendricks County that is ready and willing to take on the Center's operations. There are local non -profits and councils that may be able to support the formation of a new non-profit organization. If Town leadership decide to move forward with the Center's construction, a non-profit would need to be created quickly so that it has time to grow into its future role and begin staffing up, creating partnerships, soliciting donations and sponsorships and developing a presenting series. Urgent need to hire an Executive Director. With 2023looming quickly, it is apparent that if Town leadership decide to move forward with the Center, there is an urgent need to hire an Executive Director (ED) to lead current and future Center operations. This hire might need to be completed well before the future non-profit is created. In the pre -opening phase of a new arts center, an ED will focus on board development, creation of non-profit bylaws, organizational and facility policy management, community relationship building, courting of donors and sponsors, booking of future presenting series acts, managing the rental calendar, and staffing up the organization. Potential rebranding effort. Keen Independent found in several conversations that many community members and stakeholders do not fully understand the utility of an "arts center." Performing arts centers are public gathering spaces that promote shared experiences. It will be important to educate the community (especially for future rentals and partnerships) that the Center is able to do more than just put on a theatrical production. This could require a rebranding effort. Tremendous opportunity exists to use the mainstage and community room for all types of events. Diverse cultural events, in particular, are important to help draw in community members that may not otherwise attend typical offerings. Everyone in Plainfield needs to feel like the Center belongs to them and that they feel welcome. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX D, PAGE 7 APPENDIX E. Pro Forma Scenarios Keen Independent developed three pro forma scenarios for the potential future Plainfield Performing and Fine Arts Center. These scenarios consider three possibilities for Year 7 of the Center's operation. ■ Lean Scenario. The professional arts events (presenting series) are cancelled, and the Center is used only as a rental house. Rentals are relatively low. ■ Moderate Scenario. The Center continues its series, and spaces within the auditorium and community room are rented to resident companies, public entities, other local organizations and private renters. ■ Heavy Scenario. Both spaces in the Center are well -utilized throughout the year. Note that a "very lean" scenario is also possible, where the Center is staffed just enough to "unlock the doors" but provide almost no further support to renters. Although this model requires less subsidy from the Town, the Town subsidy would be a high proportion of the Center's expenses and Significantly lack the economic impact, community support and cultural vibrancy compared to the above models. Comparison to Year 2. In some of the figures below, Keen Independent presents pro forma numbers for Year 2 to provide a comparison to how the Center's finances would change from Year 2 to Year 7 in each scenario. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 1 Event Load Keen Independent estimated various event loads for each scenario and event space. Figure E-1 illustrates the breakdown of each renter and rental type. Figure E-1. Overview of expected event loads for each scenario Type of event Mainstage Presenting series and special event days Resident company performance days Resident company rehearsal days For -profit rentals performance days For -profit rehearsal days Non-profit performance days Non-profit rehearsal days Total days Community Room Resident company performance days Resident company rehearsal days For -profit rental days Non-profit rental days Free rental days (community and govt meetings) Total days Source: Keen Independent Research Employee Expenses Lean Moderate Heavy Notes 15 20 Arts Center presented series and special events 20 20 25 Hendricks County theatre, symphony and ballet 46 46 50 Hendricks County theatre, symphony and ballet 23 25 30 For -profit renters (including "The Biz") 20 20 25 For -profit renters (including "The Biz") 10 10 15 Non-profit renters (including church groups) 20 20 30 Non-profit renters (including church groups) 139 156 195 5 5 7 Hendricks County theatre, symphony and ballet 30 30 30 Hendricks County theatre, symphony and ballet 25 30 50 Weddings, company meetings, conferences etc. 5 10 10 Non-profit galas and performances Rotary club, public meetings, small lectures etc. 75 100 100 (pay for equipment and labor only) 140 175 197 Figure E-2 shows how employee expenses vary by scenario alongside Year 2 projected staffing expenses. Figure E-2. Year 7 employee expenses for each scenario compared to Year 2 projection Lean Moderate Heavy Year 2 Executive & admin $ 105,000 $ 140,000 $ 140,000 $ 105,000 Development 60,000 65,000 65,000 60,000 Sales 55,000 55,000 55,000 55,000 Marketing - 65,000 65,000 32,500 Ticketing 67,500 90,000 90,000 67,500 Operations management* 55,000 55,000 55,000 55,000 House/volunteer management 65,000 105,000 105,000 62,500 Event management 45,000 60,000 60,000 45,000 Production 125,000 160,000 180,000 120,000 Food & beverage - - - - Benefits, taxes & WC 173,250 238,500 244,500 180,750 Total $ 750,750 $ 1,033,500 $ 1,059,500 $ 783,250 Note: * Position that could be subsidized by the Town Source: Keen Independent Research. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 2 Variable Expenses Figure E-3 presents variable expenses for each scenario alongside Year 2 variable expense projections. Note that food and beverage would be outsourced. Figure E-3. Variable expenses for each scenario compared to Year 2 projection Lean Moderate Heavy Year 2 I Artist guarantees $ - $ 105,000 $ 150,000 $ 70,000 Credit card fees 26,700 44,520 52,500 27,300 Food & beverage - - - - Custodial* 49,000 52,500 52,500 49,000 Security* 15,000 30,000 35,000 15,000 Equipment repair 7,500 10,000 10,000 7,500 Equipment rental 2,500 5,000 5,000 2,500 Supplies 10,000 12,500 12,500 10,000 Grants 35,000 40,000 45,000 35,000 Professional development 10,000 15,000 15,000 10,000 Marketing 25,000 50,000 50,000 25,000 Utilities* 64,750 70,000 70,000 64,750 Total $ 245,450 $ 434,520 $ 497,500 $ 316,050 Note: *Indicates expenses that could be subsidized by the Town. Source: Keen Independent Research. Fixed Expenses Figure E-4 illustrates fixed expenses for each scenario alongside Year 2 fixed expense projections. Note that this figure shows capital projects and maintenance expenses. This is a recommended set -aside amount to prepare for future upgrades but is not needed to keep the building operating. However, note that in time the Center will need updating. Figure E-4. Fixed expenses for each scenario compared to Year 2 projection Lean Moderate Heavy Year 2 Capital projects/maintenance* $ 200,000 $ 200,000 Insurance 25,000 25,000 IT 35,000 35,000 Total $ 260,000 $ 260,000 Note: * Indicates expense that could be subsidized by the Town. Source: Keen Independent Research. $ 200,000 $ 200,000 25,000 25,000 35,000 35,000 $ 260,000 $ 260,000 KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 3 Earned Income Figure E-5 shows earned income for each scenario alongside Year 2 earned income projections. Figure E-5. Earned income for each scenario compared to Year 2 projection Lean Moderate Heavy Year Mainstage presenting series & special events $ - $ 220,500 $ 378,000 $ 126,000 Rentals 117,975 135,075 202,400 87,595 Concessions and catering 2,500 3,000 5,000 1,000 Ticket fees (all in, CC fees, cap fees, BO fees) 93,450 155,820 183,750 95,550 Labor & equipment 77,490 79,950 98,400 75,030 Total $ 291,415 $ 594,345 $ 867,550 $ 385,175 Source: Keen Independent Research. Contributed Income Figure E-6 presents contributed income for each scenario alongside Year 2 contributed income projections. Figure E-6. Contributed income for each scenario compared to Year 2 projection Lean Moderate Heavy Year 2 Charitable contributions $ 200,000 $ 225,000 $ 250,000 $ 125,000 Gala 55,000 65,000 75,000 50,000 Sponsorships 75,000 150,000 175,000 75,000 Town subsidy 600,000 665,000 420,000 700,000 Other grants 35,000 35,000 35,000 35,000 Total $ 965,000 $ 1,140,000 $ 955,000 $ 985,000 source: Keen Independent Research. Income and Expenses Combined Figure E-7 on the following page illustrates all income and expenses from the above figures in a combined table for comparison. Figure E-7 also shows total income, total expenses and net income for each scenario alongside Year 2 numbers. For notes regarding how these numbers were calculated, see Figures E-8 to E-13. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 4 Figure E-7. Income and expenses for each scenario compared to Year 2 projection Lean Moderate Heavy Year Mainstage days 139 156 195 129 Community room days 140 175 197 125 Earned income Mainstage presenting series & special events $ - $ 220,500 $ 378,000 $ 126,000 Rentals 117,975 135,075 202,400 87,595 Concessions and catering 2,500 3,000 5,000 1,000 Ticket fees (all in, CC fees, cap fees, BO fees) 93,450 155,820 183,750 95,550 Labor & equipment 77,490 79,950 98,400 75,030 Total earned income $ 291,415 $ 594,345 $ 867,550 $ 385,175 Contributed income Charitable contributions $ 200,000 $ 225,000 $ 250,000 $ 125,000 Gala 55,000 65,000 75,000 50,000 Sponsorships 75,000 150,000 175,000 75,000 Town subsidy 600,000 665,000 420,000 700,000 Other grants 35,000 35,000 35,000 35,000 Total contributed income $ 965,000 $ 1,140,000 $ 955,000 $ 985,000 Gross income $ 1,256,415 $ 1,734,345 $ 1,822,550 $ 1,370,175 Employee expenses Exec & admin $ 105,000 $ 140,000 $ 140,000 $ 105,000 Development 60,000 65,000 65,000 60,000 Sales 55,000 55,000 55,000 55,000 Marketing - 65,000 65,000 32,500 Ticketing 67,500 90,000 90,000 67,500 Operations management* 55,000 55,000 55,000 55,000 House/volunteer management 65,000 105,000 105,000 62,500 Event management 45,000 60,000 60,000 45,000 Production 125,000 160,000 180,000 120,000 Food & beverage - - - - Benefits, taxes & WC 173,250 238,500 244,500 180,750 Total employee expenses $ 750,750 $ 1,033,500 $ 1,059,500 $ 783,250 Variable expenses Artist guarantees $ - $ 105,000 $ 150,000 $ 70,000 Credit card fees 26,700 44,520 52,500 27,300 Food & beverage - - - - Custodial* 49,000 52,500 52,500 49,000 Security* 15,000 30,000 35,000 15,000 Equipment repair 7,500 10,000 10,000 7,500 Equipment rental 2,500 5,000 5,000 2,500 Supplies 10,000 12,500 12,500 10,000 Grants 35,000 40,000 45,000 35,000 Professional development 10,000 15,000 15,000 10,000 Marketing 25,000 50,000 50,000 25,000 Utilities* 64,750 70,000 70,000 64,750 Total variable expenses $ 245,450 $ 434,520 $ 497,500 $ 316,050 Fixed expenses Capital projects/maintenance* $ 200,000 $ 200,000 $ 200,000 $ 200,000 Insurance 25,000 25,000 25,000 25,000 IT 35,000 35,000 35,000 35,000 Total fixed expenses $ 260,000 $ 260,000 $ 260,000 $ 260,000 Total expenses $ 1,256,200 $ 1,728,020 $ 1,817,000 $ 1,359,300 Net income $ 215 $ 6,325 $ 5,550 $ 10,875 Note: * Indicates expenses that could be subsidized by the Town. Source: Keen Independent Research. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 5 Lean Scenario Figures E-8 and E-9 provide detailed notes that support the numbers behind most line items for the lean scenario. Figure E-8. Lean scenario income for Year 7 Mainstage presenting series & special events $ Resident company mainstage performance 9,000 Resident company mainstage rehearsal rentals 4,600 Mainstage for -profit performance rentals 25,875 Mainstage for -profit rehearsal rentals 15,000 Mainstage non-profit performance rentals 10,000 Mainstage non-profit rehearsal rentals 10,000 Community room resident company 750 Community room resident company rehearsals 1,500 Community room for -profit rentals 37,500 Community room non-profit rentals 3,750 Community room free rentals - Concessions and catering 2,500 Ticket fees 93,450 Labor & equipment 77,490 Total earned income $ 291,415 Contributed income Charitable contributions $ 200,000 Gala 55,000 Sponsorships 75,000 Town subsidy 600,000 Other grants 35,000 Total contributed income $ 965,000 Gross income $ 1,256,415 Source: Keen Independent Research 20 days @ 50%, $15 ticket average, 10% fee 46 rehearsal days @ $100 per day 15 days @ $1,250 avg per day 15 days @ $750 avg per day 10 days @ $1,000 avg per day 15 days @ $500 avg per day 5 days @ $150 per day 30 days @ $50 per day 25 for -profit rental days @ $1,500 per day 5 non-profit rental days @ $750 per day 50 days @ $0 per day Vendor recoups cost, catering pays fee $1.75 ticketing fee, CC fee, cap fee Some naming rights sold KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 6 Figure E-9. Lean scenario expenses for Year 7 Notes Employee expenses Exec & admin $ 105,000 1.5 FTE Development 60,000 1 FTE Sales 55,000 1 FTE Marketing - Merged with sales Ticketing 67,500 1.5 FTE Operations management* 55,000 1 FTE House/volunteer management 65,000 1FTE/Contract/Volunteer Event management 45,000 1 FTE Production 125,000 1.5 FTE/Contract Food & beverage - Outsourced Benefits, taxes & WC 173,250 Total employee expenses $ 750,750 Variable expenses Artist guarantees $ - Cancelled Credit card fees 26,700 Food & beverage - Recommend vendor Custodial* 49,000 $1.4 per sf per year X 35,000 sf Security* 15,000 As needed Equipment repair 7,500 Equipment rental 2,500 Supplies 10,000 Grants 35,000 Flexible grants for ED/board to award to local arts orgs Professional development 10,000 Marketing 25,000 Utilities* 64,750 $1.85 per sf per year x 35,000 sf Total variable expenses $ 245,450 Fixed expenses Capital projects/maintenance* $ 200,000 Calculated as 0.5% peryearx cost offacility Insurance 25,000 IT 35,000 Total fixed expenses $ 260,000 Total expenses $ 1,256,200 Net income $ 215 Note: * Indicates expenses that could be subsidized by the Town. Source: Keen Independent Research. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 7 Moderate Scenario Figures E-10 and E-11 include detailed notes about the calculation of most line items for the moderate scenario. Figure E-10. Moderate scenario income for Year 7 Earned income Mainstage presenting series & special events Resident company mainstage performance Resident company mainstage rehearsal rentals Mainstage for -profit performance rentals Mainstage for -profit rehearsal rentals Mainstage non-profit performance rentals Mainstage non-profit rehearsal rentals Community room resident company Community room resident company rehearsals Community room for -profit rentals Community room non-profit rentals Community room free rentals Concessions and catering Ticket fees Labor & equipment Total earned income Contributed income Charitable contributions Gala Sponsorships Town subsidy Other grants Total contributed income Gross income Source: Keen Independent Research. $ 220,500 15 shows @ 70%, $35 ticket average 12,600 20 days @ 70%, $15 ticket average, 10%fee 4,600 46 rehearsal days @ $100 per day 28,125 15 days @ $1,250 avg per day 15,000 15 days @ $750 avg per day 10,000 10 days @ $1,000 avg per day 10,000 15 days @ $500 avg per day 750 5 days @ $150 per day 1,500 30 days @ $50 per day 45,000 25 for -profit rental days @ $1,500 per day 7,500 10 non-profit rental days @ $750 per day - 50 days @ $0 per day 3,000 Vendor recoups cost, catering pays fee 155,820 $1.75 ticketing fee, CC fee, cap fee 79,950 $ 594,345 $ 225,000 65,000 150,000 Most naming rights sold 665,000 35,000 $ 1,140,000 $ 1,734,345 KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 8 Figure E-11. Moderate scenario expenses for Year 7 Notes Employee expenses Exec & admin $ 140,000 2 FTE Development 65,000 1 FTE Sales 55,000 1 FTE Marketing 65,000 1 FTE Ticketing 90,000 2.5 FTE Operations management* 55,000 1 FTE House/volunteer management 105,000 1FTE/Contract/Volunteer Event management 60,000 1 FTE/Contract Production 160,000 2 FTE/Contract Food & beverage - Outsourced Benefits, taxes & WC 238,500 Total employee expenses $ 1,033,500 Variable expenses Artist guarantees $ 105,000 $7,000 avg per show Credit card fees 44,520 Food & beverage - Recommend vendor Custodial* 52,500 $1.5 per sf per year X 35,000 sf Security* 30,000 As needed Equipment repair 10,000 Equipment rental 5,000 Supplies 12,500 Grants 40,000 Flexible grants for ED/board to award to local arts orgs Professional development 15,000 Marketing 50,000 Utilities* 70,000 $2 per sf per year x 35,000 sf Total variable expenses $ 434,520 Fixed expenses Capital projects/maintenance* $ 200,000 Calculated as 0.5% peryearx cost offacility Insurance 25,000 IT 35,000 Total fixed expenses $ 260,000 Total expenses $ 1,728,020 Net income $ 6,325 Note: * Indicates expenses that could be subsidized by the Town. Source: Keen Independent Research. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 9 Heavy Scenario Figures E-12 and E-13 provide details for most line items in the heavy scenario. Figure E-12. Heavy scenario income for Year 7 Earned income Mainstage presenting series & special events Resident company mainstage performance Resident company mainstage rehearsal rentals Mainstage for -profit performance rentals Mainstage for -profit rehearsal rentals Mainstage non-profit performance rentals Mainstage non-profit rehearsal rentals Community room resident company Community room resident company rehearsals Community room for -profit rentals Community room non-profit rentals Community room free rentals Concessions and catering Ticket fees Labor & equipment Total earned income Contributed income Charitable contributions Gala Sponsorships Town subsidy Other grants Total contributed income Gross income Source: Keen Independent Research. Notes $ 378,000 20 shows @ 70%, $45 ticket average 26,250 25 days @ 70%, $20 ticket average, 12.5%fee 7,500 50 days @ $150 per day 33,750 30 days @ $1,250 avg per day 18,750 25 days @ $750 avg per day 15,000 15 days @ $1,000 avg per day 15,000 30 days @ $500 avg per day 1,400 7 days @ $200 per day 2,250 30 days @ $75 per day 75,000 50 days @ $1,500 per day 7,500 10 days @ $750 per day - 100 days @ $0 per day 5,000 Vendor recoups cost, catering pays fee 183,750 $1.75 ticketing fee, CC fee, cap fee 98,400 $ 867,550 $ 250,000 75,000 175,000 All naming rights sold 420,000 35,000 $ 955,000 $ 1,822,550 KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 10 Figure E-13. Heavy scenario expenses for Year 7 Notes Employee expenses Exec & admin $ 140,000 2 FTE Development 65,000 1 FTE Sales 55,000 1 FTE Marketing 65,000 1 FTE Ticketing 90,000 2.5 FTE Operations management* 55,000 1 FTE House/volunteer management 105,000 1FTE/Contract/Volunteer Event management 60,000 1 FTE/Contract Production 180,000 2 FTE/Contract Food & beverage - Outsourced Benefits, taxes & WC 244,500 Total employee expenses $ 1,059,500 Variable expenses Artist guarantees $ 150,000 $7,500 avg per show Credit card fees 52,500 Food & beverage - Recommend vendor Custodial* 52,500 $1.5 per sf per year X 35,000 sf Security* 35,000 As needed Equipment repair 10,000 Equipment rental 5,000 Supplies 12,500 Grants 45,000 Flexible grants for ED/board to award to local arts orgs Professional development 15,000 Marketing 50,000 Utilities* 70,000 $2 per sf per year x 35,000 sf Total variable expenses $ 497,500 Fixed expenses Capital projects/maintenance* $ 200,000 Calculated as 0.5% peryearx cost offacility Insurance 25,000 IT 35,000 Total fixed expenses $ 260,000 Total expenses $ 1,817,000 Net income $ 5,550 Note: * Indicates expenses that could be subsidized by the Town. Source: Keen Independent Research. KEEN INDEPENDENT RESEARCH — PLAINFIELD ARTS MARKET STUDY APPENDIX E, PAGE 11 ANNEXES. Keen Independent provides the following supporting annexes: A. Cultural Arts Center Initial Findings (2019); B. Cultural Arts Center Plainfield Downtown Redevelopment; and C. City of Lone Tree 2020 Budget. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY ANNEXES ANNEX A. Cultural Arts Center Initial Findings (2019) Keen Independent provides the 2019 feasibility study documents for the Plainfield Performing and Fine Arts Center. Keen Independent's report updates findings and conclusions from this report. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY ANNEX A Cultural Arts Center Initial Findings 2/8/2019 Prepared By: Aaron Cohen & David Lahey Executive Summary The discussions between the Town and the Arts Groups that occurrbd prior to August 13, 2018 were productive and resulted in a Memorandum of Understanding, agreed to by the Town Council on that date, concerning cooperation on P'lainfield's possible Cultural Arts Center (herein referred to as CAC). The CAC being proposed is a proscenium auditorium tth approximately 600 seats. There are many venues for the performing arts throughout Indiana,, 4 of which are of the noted size: Schrott Center in Indianapolis, Buskirk-Chumley Theater in Bloomington., Hatfield Hall in Terre Haute, and The Tarkington in Carmel. The first 3 noted venues; are associated with colleges. While change appears to be an inherent part of the story of performing arts venues, we suggest that a reasonable near -term goal for the CAC is for it to host on the order of 120 days of performances each year. Performance days are generally limited to Thursday, Friday, and Saturday excluding the summer months (mid -May to mid -August). The Arts Groups in lude 3 local performing arts organizations that reasonably could utilize 30 of the noted 120 days! Other local performing arts organizations might utilize the venue on some of the other days. The Town will likely attract 30 or so professional acts annually to the CAC Use of the CAC by local organizations might be on the basis of discounted Rental plus House Costs. Use of the CAC by a professional act is likely going to be on the basis of local promotion of ticket sales with the proceeds of such sales being divided ona typical industry model of negotiable Artist's Fee, Show Costs, House Costs, and Back -End (8� percent or more of the Back - End also goes to the Artist). It is our understanding that even at 60d seats, the CAC might have a difficult time breaking even on a typical professional act deal, but the use of the venue by professional acts appears key to achieving a vibrant and active downtown. We conclude that the CAC should be a full proscenium auditorium having a minimum of 600 seats. Strong consideration should be given toward: an orchestra pit with automated floor height adjustability (enables bigger stage in front of the proscenium for certain theatrical performances, actual orchestra pit for some shows, and rake level seating for most It to yield a few additional rows of premium seating), including very good acoustics with som ability to vary reverberation frequency (cover wide range of acts and performances), an automated fly house (a significant safety consideration), and having very good state of the art sound equipment (people leave shows humming or singing the tunes). With regard to the back of house large green room(s), artist's green room, office space for artist's manager, laundry room with lommercial washer and dryer, service elevator, loading dock or lift, and good proximity of load #g dock, service elevator, and stage appear to be critical success drivers. With regard to the fro ` of house, a very good lobby space is what presents the "wow factor", provides space for exhibition of the Visual Arts, can be used for catered events (such as a wedding in the auditorium and a reception in the lobby), and enables more successful refreshment sales before, during, and during intermissions of the shows. Background The Town and the Arts Groups have bad discussions for more than a occurred prior to August 13, 2018 resulted in a Memorandum of' collaboration and cooperation on a Plainfield CAC. All indications u, been that the CAC should be based upon a proscenium auditorium hav The similarly size venues noted below appear to confirm that strong c+ to ensuring that the auditorium has at least 600 seats. We have been u and their consultants, one of which is the Executive Director of the l 626 seat proscenium auditorium). We have also had discussions wi the Schrott Center for the Arts (a 500 seat proscenium auditorium) 2,096 seat proscenium auditorium). No doubt the Town has benefitti of these Executive Directors to share their knowledge and experience While it may go without saying, change is inherent and has been a pa The Buskirk-Chumley Theater began as the Indiana Theatre in 192 changes including a major 1933 fire, desegregation in 1948, a 197 being closed as a commercial movie house in 1995, and a re -birth , 2001. Clowes Memorial Hall has been in operation since 1963 and l migration of the Indiana Symphony Orchestra to the Circle Theater i Schrott Center for the Arts in 2013. It is notable that the Schrott Cent cost of S 15 million, of which $6.5 million was donated by Howard c former Emmis Communication Executive who went on to own an( $987 million in 2006. Clowes Hall received a $2 million makeov seats and carpeting for its 50 year anniversary. A parking facility Hall at a cost of $22 million in 2015 for the benefit of Hinkle Field H Center, and nearby neighborhoods, which included 1,035 parking;, of commercial space. -ar. Those discussions that nderstanding as to formal to that time and since have :g approximately 600 seats_ isideration should be given rking with the Arts Groups iskirk-Chumley Theater (a t the Executive Director of Clowes Memorial Hall (a l greatly by the willingness of the story of most venues. and experienced numerous sale to Kerasotes Theatres, a performing arts venue in Ls successfully navigated the 1984 and the addition of the r for the Arts had an apparent .hrott, a Butler Graduate and sell Liberty Corporation for r in 2013 that included new ias constructed near Clowes use, Clowes Hall, the Schrott paces and 15,000 square feet It is also noteworthy to document other key Indiana venues: the Center for the Performing Arts in Carmel, which includes the Palladium (a 1,600 seat concert hail) the Tarkington (a 500 seat proscenium auditorium, which has been the home for the Booth Tark' gton Civic Theatre (founded in 1915) since 2011), and the Studio Theater (a 200 seat black box theater). Footlight Theater located in downtown Indianapolis was the original home of the Booth Tarkington Civic Theatre and lives on as a community theater with about 200 seats. The Phoenix Theater that includes a 144 seat proscenium auditorium and a 80 seat black box theater. The Old National Centre (formerly the Murat Centre) includes a 2,600 seat performing arts the tre, a 1,800 seat concert hall, a 600 seat multi -purpose room, and the Grand Lobby. The Hilbert Circle Theatre (a 1,781 seat auditorium for performance of up to a 87-member orchestra ensemble and has been the owned and operated by the Indianapolis Symphony Orchestra since 1984). Terre Haute has two venues being the Tilson Auditorium (a 1800 seat auditorium at Indiana State) and the Hatfield Hall (a 602 seat proscenium auditorium that was completed in 2002 using a $14 ' 'Ilion contribution by Mike Hatfield in honor of his parents Larry and Pat Hatfield and replacd a 76-year performing arts structure called Moench Hall). With regard to attracting professional acts to the Plainfield CAC, it is important to recognize that each venue has a radius clause that prohibits an act from playing in such radius for perhaps several months before and at least one month after playing such venue. Considerations Based upon inputs that we have received, we suggest that a reasonable goal for the CAC is for it to host on the order of 120 days of performances each year. The calendar days for performances are generally limited to Thursday, Friday, and Saturday and the summer months (mid -May to mid - August) are generally written off for an indoor venue in Central Indiana as ticket sales have proven to be extremely difficult during the summer months. The Arts Groups include 3 local performing arts organizations that reasonably could utilize 30 of the noted 120 days. Other local performing arts organizations might be able to utilize the venue on some of the other days as up to 40 local organizations typically utilize the Buskirk-Chumley Theater on an annual basis. The Town may be able to attract 30 or so professional acts annually to the CAC. Use of the CAC by local organizations might be on the basis of discounted Rental plus House Costs. Use of the CAC by a professional act is likely going to be on the basis of local promotion of ticket sales with the proceeds of such sales being divided on a typical industry model of negotiable Artist's pee, Show Costs, House Costs, and Back -End (85 percent or more of the Back, End also goes to the Artist). It is our understanding that even at 600 seats, the CAC will have a Z;cult time breaking even on a professional act deal, but the use of the venue by professional acts is key to achieving a vibrant and active downtown. Upon consensus on seating capacity for the CAC and the need for Poth good sized lobbies and spaces for VIP experiences, one area that may require further consideration is the back of house. The Buskirk-Chumley Theater, the Schrott Center, the Tarkingtori and the Hatfield Hall are similarly sized venues and provide some insight on the back of house as the venues do not include spaces for production such as set/costume production nor care or stor�ge, yet have been successful without being Production Houses. Regardless the CAC should iinclude green rooms and a commercial grade washer and dryer. Venues that do not provide production space are called Road Houses or Touring Houses. The current programmi_ng/conceptual design phase has been on the basis of the CAC perhaps being a Production House and includes production spaces that may be able to be reduced or eliminated prior to proceeding to schematic design phase. To reinforce the importance of deciding between being a Production House and a Towing House, a common theme for performing arts venues is that you cannot have enough event apace (budget and site space constraints may dictate a rebalancing of spaces for some complementary retail (chocolate/coffee), for more event space, and less production space). Given its age, proximity, and features, we recommend that the Building Committee and Ratio visit the Schrott Center at the earliest possible convenience. The Exec itive Director of the Schrott Center and his staff have offered to host us and assist us in any way possible. The architecture for the Schrott Center was intended to be similar to Clowes Hall and o have an exterior color and stone veneer hightlights that would complement the buildings on thecampus of Butler University. While Clowes Hall is of cast -in place concrete construction (with many columns, beams, and interior walls having neat concrete as the finish), it also includes a cast stone exterior veneer between its columns that was intended to be lighter in color than it turned out. The Schrott Center is of pre -cast concrete construction that was etched/bleached to achieve the desired. results. The auditorium floor is exposed concrete which has yielded both construction and operational costs savings. Humidity control is a significant issue and should be addressed in the design and start- up of the Plainfield CAC. Management The most likely model for management of the CAC would be a not -for -profit organization with good and ongoing oversight from the Town Council as it may be mut4ally beneficial for the Town to have an "arms -length" as to artistic content, alcohol sales, etc. Al full time staff of 5 or more people should be expected; (1) Director oversees security and all �spects of sales, operations, promotions and marketing (basically gets the deals done), (2) Box Office Manager responsible for ticket sales (the Box Office Manager should not be in charge of promLing and marketing as there typically is a conflict between promotion and sales), (3) House Maaager in charge of front -of - house and general operation of the building, including HVAC, AN, Acoustics, Lighting, Security, maintenance, and back stage issues (mostly oversees subcontract work as to major systems preventative maintenance and repair), and (4) & (5) two full time e�}ployees for Back Stage that do not necessarily work at the same time, it depends on the event. Load In/Load Out may be a significant operational issue to overcome (union versus non- n). Ushers are typically volunteers. Security Officers may be an issue depending on the tof act and the patrons they attract. Metal detectors and policy associated with such is something'for the Town to explore that could vary based upon many variables and may vary over time. Pre & Post Event traffic control should be evaluated as well. We continue to work on the pro -forma. Arts Center Pro -Forma Narrative Summary Hendricks County Arts Council (Arts Council) has been a partner with the Town of Plainfield (Town) for several years as the Town has been considering a new 600-seat full proscenium auditorium along with various other amenities including a multi -purpose room for rehearsals and for performances in front of smaller audiences. The Arts Council has 3 affiliated organizations that perform in front of live audiences; Children's Ballet (Ballet), Hendricks Civic Theatre (Civic), and the Hendricks Symphonic Society (Symphony). In addition. the Arts Council has been promoting the Visual Arts with 2 shows per year. Collectively these 4 entities are referred to as the Arts Groups. Prior to 2020, the affiliated organizations each had annual revenue and expenses of about $100,000 and were successfully and sustainably operating. Obviously, the 2020 Pandemic will continue to adversely impact each of these organizations. It remains unknown how and when these organizations will resume normal operations and be restored to their prior financial health. There are and will be other groups in and around Hendricks County that may mutually benefit themselves and the Arts Center in future years. The Town's 600-seat auditorium will attract a fair number of touring (professional) acts. Unfortunately, the auditorium cannot be utilized each of 365 calendar days per year. In Indiana, successful theatres, of the approximate size being considered by the Town, typically have about 220 event days per year. The most significant days of the week for performances are Friday and Saturday, with Wednesday, Thursday, and Sunday having potential as well, which is how 220 event days becomes the target. Upon making the decision to proceed, it will take about 2.5 - 3 years for the venue to become operational, and such time needs to be utilized to plan for the first year of operations and beyond. The Arts Council and its affiliated organizations should be able to initially provide upwards of 30 event days per year. It may be possible to secure upwards of 30 professional acts each year. Rental of the auditorium to a local church could be mutually beneficial, which could represent 52 uses on Sunday mornings when the venue would not be otherwise used anyway. Similar, a smaller church/group could rent the multi -purpose room. The two most important questions are: 1) What is reasonable for the early years of the venue? Just considering shows of the Arts Groups (Ballet, Civic, Symphony, Visual Arts) and some professional acts the second -year goal would be 45 event days for the auditorium. A strategic growth plan should achieve 90 event days for the auditorium in about 7 years (that is, about 10-years from the decision to proceed), 2) Is the venue able to break-even with regard to its direct revenue and expense? The Schrott Center at Butler University and the Buskirk-Chumley in Bloomington have both demonstrated the ability to attain financial stability at about 220 to 240 event days per year. For a 600-seat auditorium hosting 220 events, direct revenue and expense is expected to be $1,000,000. There are various building systems that have minimum operational expenses, and there are numerous secondary financial benefits to the Town such as property values and associated property tax receipts trending upwards, and food and beverage tax receipts trending upwards (referred to as "beyond the ticket" benefits). For example, studies show local spending "beyond the ticket" represents $8 per person participating in rehearsals and $22 per person attending a live performance, which translates into upwards of $1,000,000 in new local economic activity (See Appendix A). Quality of Life enhancement is the reason to build the venue. Tax receipts from new local economic activity offsets some building operational expenses. The direct revenue from rentals versus the expense for dedicated staff, technology, and support is the primary analysis for this proforma. Appendix A Beyond the Ticket Analysis Economic Impart of the Nomprofit Arts & Culturr Industry Economic Impact of Event -Related Andicnce Spending ,Rttv.�o rm• roam � E.mt Rudan fxperod-r : $31.47 'kh2r "W Sim IMIkOM2t;I&M 31663 e CW h.+A�i1I�$029 G T�EiYeL4 ERpllditrIR: a ■11d HaaRRbeEQ 0205 00. $16.82 Omaniq=* S4,2i94+$102-5a $4343I,+S46.64Ra l+.atsrs.Aohr hokwhMpla Re'hd+rrsvAs .rLL.. 54.46r4. GN �r I+'�SS(C�rt. IELll71 YN110N � 4x e'ewl+tim s>�EpwMeau Sa36 r row! E,;,d t- ta416a.ae�eRe NerEM Full -One rquirakal Jobs S4.a3 S11MFX+SI5MK 23w_+2.3'mm Gilts 15wreo-vss ■aAAWRAW— 111b1bW ftd0WM*M .ae..,,E,,— 1 °° Results Vary across Region *.1..j Rl — W C.*m oqb.>v ad TWrA. $ .- SW— li to Ea_tt.p rlRq�. s.rr4�nr [...=.r<y,rr � Ta l bupmJif :I rls and ir.,41111WI Frenl.irlendrrs ,,>,:�c�r aroAt.soavv an, shell allAwrage OrS22.aui ner`50n{erdad Vike rml ofadmiukYO e.osrs.A rt�t L C—A.SMia�ae. ,�71�Len „�. TWA- SU.- AAItA» sWjft Arts & Economic Prosperity 5 Kew.jk,Am.,. Cod— Alollm..TKMSMOWN ,qdMftSoo, a..o.a.WMI . City of Noblesville S15.41 . City of Fishers S13.46 a [pity of C .11-11lel 9'_6.39 r:�is�xrs� xrx v ems Ijamil[oil C0111111, S18. .wv�EesldvC tsaLibbte SSLa fARl1 L11C 3 b.I Reve#day E.:xsfr� ussu�� sii.:A_ss uaswl� a city or Indianapolis 930.67 .4.p,,& AMAid CWIml AbmdMSPWd..Am.00lfaf2 fn Fetes Fa*f9+fe�.f.�:t.l N Arts & Economic Prosperity 4 a�wv,c.lr , ssts slsr, 4in:e s city 01, Indianapolis S28.38 • Cih' of B100111i11Zoll 820. i2 n�u�. sta z�*e 1sc a.:E2+aa�aoRsy re..,. ssxaL sail sac j For example, for the Year 7 of Operations: $8 per person for set, rehearsal, and show participants multiplied by 26,000 per year: $208,000 $22 per person attending performances multiplied by 36,000 attendees per year: $792,000 Total estimated annual local spending "Beyond the Ticket" = $1,000,000 Revenue Assumptions A preliminary analysis of Revenue has been prepared for 2 scenarios (or test years): "Year 2" of Operations and Year 7" of Operations. The test years provide a roadmap for projecting and subsequently monitoring the success of the venue and are intended to be correlated to 5 and 10 years from date of the decision to proceed with the project. Estimates from the "Year 2" and Year 7' scenarios were used to further guide an estimate for the number of Event Days and amount of various other uses to demonstrate the venue "Operating @ Capacity" with regard to its direct revenue and expense. Primary Use Year 2: 45 Event Days on the Main Stage and 12 Event Days on Second Stage Year 7: 90 Event Days on the Main Stage and 18 Event Days on Second Stage Capacity: 220 Event Days on the Main Stage and 24 Event Days on Second Stage Secondary Use Lease of the Multi -Purpose Room, Civic Storage Room, Civic Circulation Room, and Symphony Storage Room by the Arts Croups. Rental of the Mutti-Purpose Room with Roof Terrace, the Auditorium, and the Main Street Lobby for use by various groups on an event basis, inclusive of local churches using the Multi -Purpose Room and Auditorium for regular Sunday morning services. Commercial Use Lease of the Cafe/Restaurant Space Plainfield Parking Event Based Contribution The parking structure could charge a flat fee for event based parking and a portion of the revenue generated from the flat fees collected should be contributed to the venue. Expense Assumptions Payroll Budget General Manager manages all venue, scheduling, budget/event settlement, and 3 full time staff members. The General Manager would have an estimated annual salary of $80,000 and should be brought on as a fulk-time employee at least one-year prior to opening night. The other 3 full time staff members can be brought on closer to opening night. Production Manager would have an estimated annual salary of $55,000 and has primary responsibilities for management of back of house needs as to technology and staging. Box Office Manager would have an estimated annual salary of $45,000 and has primary responsibilities for management ticket sales and promotion. Event Manager would have an estimated annual salary of 545,000 and has primary responsibilities for management of front of house needs and event logistics. Each of the above full-time positions would also have a vacation and benefits package represented by a 1.6 multiple of salary ($225,000 times 1.6 multiple equals $360,000) Security, Ushers, and Stagehands (SUS) are part-time positions that correlate with the increasing number of Event Days at an estimated average amount of $750 per Event Day on Main Stage. Venue Operating Budget Estimated to be about $115,000 per year for various computer, technology, training, communication, tools, system maintenance, janitorial, and fees. Capital Expense Budget Estimated to be about $25,000 per year for various replacements of Furniture, Fixtures and Equipment. Summaries Pro Forma Year 2 Summary 5111pon Weighted Average Annual Annual Uf& SFIfACH RentjSF Gross Income Operating Expenses Annual NO[ Core and Shell E S (17,700) $ (17,700) Restaurant 2A00 $ 35.00 S 3DAW S - $ 30,000 Arts Center Payroll, Operations & Capital Replacements $ (SW,000) $ (500.000) Main StagelAud}torium Public Faring Perfamame 30.00 5 1,750.00 5 SY.500 5 {21,500) S 30,000 Main StagelAuddo6um Touring moo 5 10,000-00 $ 150A00 5 (135,600) S 15,000 Main Stage/Auditorium Church & Private Event 52.00 S SCO.00 S 26A M $ - $ 26,000 Multl-Purpose Room Pubric Facing Performance 12.00 $ 400.00 5 4,11100 5 (Y,4W) 5 2,400 MultiPurposeRoom Church & Private Event 52,00 5 100.00 5 5,200 S - $ 5,200 Multi -Purpose Room Rehearsals 80.W $ 100.00 S 8AOO S - $ ®000 Main Street Lobby 12.00 5 100.00 S 1.200 S - S 1 200 Drinks&Refreshments 45.00 $ 1,500.00 S 67,5G0 5 (33,750) $ 33,750 Arts Groups Storage Rooms & Clrculatfon Lease Lo0 $ IZOOD.00 S 12,W0 5 S 12,000 Event Parking Contribution 45.00 5 240.00 5 10&00 $ . $ 10,8W TOTAL 2,000 S 388A00 5 (711,3501 S (343,350) Pro Forma Year 7 Summary snl/Yez0 ►�� A-011 Annual UrrRs 9/EACH ]teeR/SF Grass Income Operating Expenses Annual NOI Core and Shell $ , (17,700) 5 {37,7p0J Restaurant 2p00 5 15.110 $ 30AW $ - $ 30,000 Arts Center Payroll, Operations & Capital Replacements $ (500,000) 5 M0X% Matn Stage/Audhorium Public Facing Perin- BMW S 1.Y5RD0 S 105,000 S (45,000) 5 60,000 Main Stage/Auditorium Touring 3RW $ 10 ODMO0 $ 300,000 5 (270,O001 S 30,000 _ Main Stage/Auditorium Church & Private Event S.LGO S_ SM-00 $ 26,000 $ - 5 26,000 Muhl -Purpose Room Public Facing Performance 1100 5 400.00 5 7,200 5 (3,600) S 3,600 Multi -Purpose Room Church & Private Event 52-M 5 100,00 $ 5,200 $ - $ 5,200 Multipurpose Room Rehearsals 100.00 $ 1W.00 $ 10,000 5 - 5 10,Dm Main Street Lobby 1&00 S 100,00 5 1,SW $ - $ 1,800 Drinks & Reirestsrnents 90-DO 5 1,500.00 $ 135,000 $ (67,Sff0) 5 67,500 Arts Groups Storage Roams & Ci a lation Lease LOU $ 12,000-00 $ 12,000 S - $ 12,000 Event Parking Contribution 90,00 5 240.00 5 21,600 $ 5 21,600 TOE 2A00 S 653.8130 S (903,800) $ (250,000) Pro Forma Operating @ Capacity Summary 5/11/2020 Weighted Average Annual Annual Units SF/EACH Rent/SF Gross inmrtw Operating Expenses Annual NOi Core and Shall 2,OW 5 (17,7001 5 (17,700) Restaurant Lease 2A00 $ 15.00 $ MOOD $ - $ 30,000 Arts Lenten Payro4, Operations & Capital R,pLuements $ ISM.ow) S (500,000) Main Stage/Auditorium Public Facing Perfomanre 120.00 $ 1,750.00 S 210,000 $ (90,000) $ 120,000 Main Stage/Auditorium Touring 30.00 $ 10,000.00 $ 300,000 S (270,000) S 30,000 Main Stage/Auditorium Church & Private Event 98.00 5 5DD.OD $ 49,000 S - 5 49,000 Muhl -Purpose Room Public Facing Performance 24.00 $ 400,00 $ 9,600 5 (4,8W) 5 4,8W Mu111-Purpose Room Church & Private Event 9&an S MOM S , S . 5 9,000 Multt-Purpose Room Reh.-Ls 120.00 $ 10D.00 $ 12,000 $ - $ 12,000 Main Street LobLV 24.130 5 100.00 S 2,400 5 - $ 2,400 Drinks &Refreshments 150.00 S L;S00.00 5 225,000 $ (112,500) S 112,SW Arts Groups Storage Rooms 8$ Clrculatlon Room Lean 1.00 5 12,000.Do $ 12,DW S $ 12,000 Event Parking Contribution 150.00 $ 240.60 $ 35,000 $ - 5 36,OW TOTAL 2,000 5 895,600 5 (995,000) 5 I99,400) The Pubpc Facing Performance (120), Touring (30), & Private Event (46) In the Auditorium plus the Wn Street Lobby Private Event (241 Equals The 220 Event Days "Operating Capacity". The above summaries show that the venue would likely require a subsidy in the 50%© range in the early years to as little as 1 ©%a when operating at capacity. It is probable that a creative manager would be able to achieve "break-even" through a combination of negotiated/structured lease/rental arrangements, donations, and sponsorships. r .4 4t IAEL' SV77 Adl I Wf RATIO- �r -- _ "�F r r € � s.� � r •r t /L '�• �♦ y a !ti. R AT I O o r WRATIO ' l .. fs - . * . I dip ar r • - s • i. • f i e i - ,�� b � �•� � �i,;1�` Alt � �t PLAINFIELD GOVERNMENT CENTER & PERFORMING AND FINE ARTS- CENTER NARRAT VE Updated 9116iZtlQtl Hagerman Inc. with support from GM Development intends to construct a new Government Center and -%jbuKpw* to oonstruct a new Performing Arts Center to downtown Plainfield. The new facility will be beaded on the comer of Center Street and Main Street replacing the curret Plainfield Municipal Building. Fokmft tine Construction of the Government Center, Hagerman Inc. will demolish the existing Town Hall and then proceed with the Performing and Fine Arts Center upon further direction of the Town. The project wi also indude site improvements and improvements to adjacent portions of Mill Street, Park Drive, and Cantor Stree. The ire of the building can be described as contextual post-moder[i; complimentary to the material and scale of downtown Plainfield. Commission Hearing. The Zone Map Change will be for current Town Center (TC) zoned lands between Center Street and Mill Street as well as current Medium Density Residential District (R4) zoned lands of 121 N. Mill Street, 131 N. Mill Street, 126 N. Center, and the south 10 feet of 145 N. Mill. The Municipal Use Master Plan will establish: The Minimum Front Yard setback to be 0 feet, the project has three sides with Front Yards for much of its perimeter, and there will be cornice projections on the south elevation that �xtend into the right-of-way of Main Street. The Minimum Side Yard and Rear Yard setback to be 10 feet. The Maximum Building Height to be 75 feet for the Arts Center and 50 fee#;for the Government Center as measured from the proposed grade to top of roof slab; that is, not inclusive of architectural features screening roof mounted HVAC equipment, parapets, and cornices. It is our understanding that the 250 parking spaces within the Plainfield Parking Structure will be coupled with the proposed 32 parking spaces depicted on the Site Plan to determine compliance with the parking space requirements for office gross square footage, being 3.5 spaces peg 1,000 square feet for 40,000 square feet of the overall building area (140 spaces) and for Arts Center Main Auditorium, Community Room, and Council Chambers, being 1 space per 4 seats for the overall seating capacity of 840 seats (210 spaces). We would also suggest that the determination be made against the larger of the two calculations and not the cumulative total because the two uses are not intended to operate simultaneously, the bulk of project area is currently zoned Town Center (which has a lesser parking requirement), and there is an intent for expanding on -street parking as part of downtown redevelopment. The Construction Documents provided with this submittal generally contains, but is not limited to, the following scope elements: DEMOLITION 1. Removal of existing power and communications poles 2. Abandonment of existing sanitary sewers 3. Removal of existing water mains 4. Removal of existing gas lines 5. Removal of existing fiber optic lines PROPOSED UTILITIES 6. Trash and Generator Dumpster Enclosure including fabricated steel gates (leaf(s), supports, and hardware) 7. Conduit and Conductor between Emergency Generator and ATS(I ) 8. Installation of 3 electrical line connections to northwest face 9. Installation of 3 gas meters and gas connections on the northwest face 10. Installation of 3 storm sewer connections to the building on northwest face 11, Installation of storm sewer connection on northeast face 12. Installation of storm sewer connection on southwest face 13. Installation of inlets, storm manholes, and stormwater quality unit n parking lot 14. Installation of 2 sanitary sewer connections to the building on nortbwest face 15. Installation of water service and FDC connection on southwest face 16. Free standing FDC connection and fire hydrant along Mill Street 17. New water main along Center Street, Mill Street and Park Drive 18. Installation of fiber optic connection on southeast face 19. Installation of temporary fiber optic connection to existing Town Hall 20. Temporary storm and sanitary connections related to construction phasing PROPOSED SITE PLAN 21. Improvements to Mill Street 22. New sidewalk along Main Street in between the recently installed sidewalk ramps 23. Drop off and island along Mill Street 24. Street Parking along Mill Street 25. Improvements to Center Street 26. Reconstruction of Park Drive 27. Parking Lot 28. Various sidewalk improvements along all faces of building 29. Landscaping 30. Sidewalks, pedestrian paths and other hardscapes 3 PLAINFIELD GOVERNMENT CENTER & PERFORMING AND FINE ARTS CENTER NARRATIVE. Updated 9116/2020 Hagerman Inc. with support from GM Development intends to construct a new Government Center and subsequently to construct a new Performing Arts Center to downtown Plainfield. The new facility will be located on the corner of Center Street and Main Street replacing the current Plainfield Municipal Building. Following the construction of the Government Center, Hagerman Inc. will demolish the existing Town Hall and then proceed with the Performing and Fine Arts Center upon further direction of the Town. The project will also include site improvements and improvements to adjacent portions of Mill Street, Park Drive, and Center Street. The architecture of the building can be described as contextual post-modern; complimentary to the material and scale of downtown Plainfield. The project will be filed so that a Zone Map Change to MUN, Municipal Use Master Plan Approval, and Development Plan Approval can be considered consecutively as soon as the October 5, 2020 Plan Commission Hearing. The Zone Map Change will be for current Town Center (TC) zoned lands between Center Street and Mill Street as well as current 'Medium Density Residential District (R4) zoned lands of 121 N. Mill Street, 131 N. Mill Street, 126 N. Center, and the south 10 feet of 145 N. Mill. The Municipal Use Master Plan will establish: The Minimum Front Yard setback to be 0 feet, the project has three sides with Front Yards for much of its perimeter, and there will be cornice projections on the south elevation that extend into the right-of-way of Main Street. The Minimum Side Yard and Rear Yard setback to be 10 feet. The Maximum Building Height to be 75 feet for the Arts Center and 50 feet for the Government Center as measured from the proposed grade to top of roof slab; that is, not inclusive of architectural features screening roof mounted HVAC equipment, parapets, and cornices. It is our understanding that the 250 parking spaces within the Plainfield Parking Structure will be coupled with the proposed 32 parking spaces depicted on the Site Plan to determine compliance with the parking space requirements for office gross square footage, being 3.5 spaces per 1,000 square feet for 40,000 square feet of the overall building area (140 spaces) and for Arts Center Main Auditorium, Community Room, and Council Chambers, being 1 space per 4 seats for the overall seating capacity of 840 seats (210 spaces). We would also suggest that the determination be made against the larger of the two calculations and not the cumulative total because the two uses are not intended to operate simultaneously, the bulk of project area is currently zoned Town Center (which has a lesser parking requirement), and there is an intent for expanding on -street parking as part of downtown redevelopment. The Construction Documents provided with this submittal generally contains, but is not limited to, the following scope elements: DEMOLITION 1. Removal of existing power and communications poles 2. Abandonment of existing sanitary sewers 3. Removal of existing water mains 4. Removal of existing gas lines 5. Removal of existing fiber optic lines PROPOSED UTILITIES 6. Trash and Generator Dumpster Enclosure including fabricated steel gates (ieaf(s), supports, and hardware) 7. Conduit and Conductor between Emergency Generator and ATS(s) 8. Installation of 3 electrical line connections to northwest face 9. Installation of 3 gas meters and gas connections on the northwest face 10. Installation of 3 storm sewer connections to the building on northwest face 11. Installation of storm sewer connection on northeast face 12, Installation of storm sewer connection on southwest face 13. Installation of inlets, storm manholes, and stormwater quality unit in parking lot 14. Installation of 2 sanitary sewer connections to the building on northwest face 15. Installation of water service and FDC connection on southwest face 16. Free standing FDC connection and fire hydrant along Mill Street 17. New water main along Center Street, Mill Street and Park Drive 18. Installation of fiber optic connection on southeast face 19. Installation of temporary fiber optic connection to existing Town Hall 20. Temporary storm and sanitary connections related to construction phasing PROPOSED SITE PLAN 21. Improvements to Mill Street 22. New sidewalk along Main Street in between the recently installed sidewalk ramps 23. Drop off and island along Mill Street 24. Street Parking along Mill Street 2 25. Improvements to Center Street 26. Reconstruction of Park Drive 27, Parking Lot 28. Various sidewalk improvements along all faces of building 29. Landscaping 30. Sidewalks, pedestrian paths and other hardscapes 3 ANNEX B. Cultural Arts Center — Plainfield Downtown Redevelopment Keen Independent provides the Cultural Arts Center report commissioned for the Hendricks County Arts Council as Annex B. This report provides initial findings regarding a potential new cultural arts center in Downtown Plainfield. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY ANNEX B Cultural Arts Center Laying a Foundation for Success Prepared by Sara A. Peterson & Danielle McClelland for the Hendricks County Arts Council Core Value & Values Constructing a Season & Confirming Assumptions Sustainable Operation Arts Partner Capacity Come see our work! Value to Plainfield & Values of the Arts Center Vision for Plainfield Redevelopment Through our many meetings with representatives of Town Council, Administration, and nonprofit arts groups, we clearly hear a shared vision. Together, the Town of Plainfield and the arts organizations of Hendricks County want to • Be proactive with development • Diversify investment and opportunities • Encourage downtown renewal • Create an identity for Plainfield Excerpted from Executive Summary, CONCEPTUAL DOWNTOWN REDEVELOPMENT PLAN, TOWN OF PLAINFIELD INDIANA (February 27, 2018) Conceptual Downtown Redevelopment Plan Created "the Feedback r)e've received From the public input sessions indicated that residents mould like to have some kind of entertainment component as an additional attraction For the dor)ntor)n. In addition to pursuing possible restoration of the Former Prer)itt Theater, the Torn is considering an expansion to Torn Hall and putting in some type of Performing arts center." Tim Belcher, the Town's Executive Director, of Development Services, NEWS FROM PLAINFIELD, JANUARY 2018 2015 National Study Economic Impact of the Nonprofit Arts & Culture Industry "Arts and cultural organizations are valued members of the business community. They employ people locally, purchase goods and services from within the community, are members of their Chambers of Commerce, and promote their regions." City of Bloomington Results Direct Economic Activity Total Industry Expenditures $166.3 BILLION Total Direct Expenditures $63.8 OIL + $102.5 BIL $27.54 BILLION Total Government Revenue $11.86 OIL+ $15.68 Ba $96.07 BILLION Resident Household Incomes $49.43 ea + $46.64 OIL 4.6 MILLION Full-time Equivalent lobs 2.3 MIL + 2.3 MIL ■ Organization ■ Audiences ■ Total Economic Impact of Event -Related Audience Spending Average Per Person Per Event Audience Expenditures: $31.47 $1.92 Clothing / Accessories Looat vs, ly $0.29 1Djtl�nar � Other $ 1 1 6.82 1°cat Audience SPending // Aenee Meals / Snacks / 4antl8' Refreshments $4.48 Nonlocat Aorhen Overnight ce SPend'ng p$41 57 Lodging $3.09 Local Ground Transportation $0.38 Child Care $4.49 Gifts/Souvenirs *The average audience expenditure does, ad include cost of admission National Highlights (2015): httim8www americansforthearts ore/hv-oroeram/reports-and-data/research-studies-ould cat ions/arts-ernnnmir.-nrnsnerfiv-5/learn/national-findings Arts and Culture + Arts and Culture 'Total Industry Organizations Audienc Expenditures $52,3011,406 S19,976,316 S72,276,722 Spending by Arts and Culture Organizations Rod Their Audiences Supports Jobs and Generates Government Revenue Total EeonomiclmpactofEapenditums Economic Impact of + Economic Impact of _ Total (Direct & Indirect Impacts Combined) Oreaairmims, Audteoces Economic Impact Fuu-Time Equivalent (FTE) lobs Supported 2,779 651 3,430 Household Income Paid to Residents $49,313,000 $14,280,000 $63,593,000 Revenue Generated to Local Government 11,736,000 $905,000 $2,641,000 Revenue Generated to State Gove .( $2,313,000 $1,334,000 $3,647,000 Event -Related Spending by Arts and Culture Audiences Totaled $20 learn Lcluding the cost of admission) Attendance to Am and emmre Events, ReallocateNon-Reddente + Attendees Attendees _ Ali - Cultural Audiences Total Attendance to Arts and Culture Events 674,295 294,873 959,168 Percentage of Total Attendance 70.3% 29.7% 100% Average Evem-Related Spending Per Person $12.68 S4011 $20,82 Total Event -Related Expenditures $8,550,061 $11,426.255 $19,976,316 Results Vary across Region NonprofitArts and Cultural Event Attendees Spend an Average of $__.00 / person (excluding the cost ofadmission) Arts & Economic Prosperity 5 • City of Noblesville • City of Fishers • City of Carmel • Hamilton County • City of Indianapolis Nonprofit Arts and Culture Event Attendees Spend an Average of $20.82 Per Person (excluding the cost of admission) Resident* Non -Resident• All Arts & Economic Prosperity 4 Category of Event- Related Eaponditore Attendees Attendees Calto nd Audiences Meals and Refreshments $8.58 $15.87 $10.74 • City of Indianapolis �•y Souvenns and GlOs $1.84 $3.76 $2.41 • City of Bloomington Ground Transportation Overnight Lodging(ore night only) $0.74 $0.04 $3.29 $13.90 $1.50 $4.15 Other/bliscellars- $1.48 $3.29 $2.02 Average Event -Related Spending Per Penton $12.68 $40.11 520.82 $15.41 $13.46 $26,39 $18,43 $30.67 $28,38 $20.82 5 Al www americansforthearts oreAv-oroeram/renorts-and-data/research-studies-nuhlications/arts-economic-nrose erity-iv/local-regional-findings (2010) Al www americansforthearts oreAv-oroeram/renorts-and-data/research-studies-nub lications/arts-economic-nrosneritv-5/use/man-of-studv-partners 12015) 6 Hendricks County Arts Council Collective Mission We believe all people are enriched by an appreciation of and exposure to the arts. We engage our community through awareness of and participation in the arts taking place in Hendricks County, Indiana The Cultural Arts Hendricks Civic Theatre Center creates a Open to everyone interested in community theatre. Our purpose is to [provide quality, live theatre performance and education opportunities for and by the residents of Hendricks County and surrounding area. Create an environment for young people, families, and veteran actors to destination for collaborate and create productions that contribute to and enhance our community's artistic celebrating cultural landscape events and Hendricks Symphonic Society Provide an educational, cultural, and recreational outlet for talented area performers to share and invests in a quality of promote the arts of choral and orchestral music, perform on a regular basis, and produce quality life that Deeps music for the community to enjoy. Provide abroad range of excellent classical music experiences for the community that INSPIRE, CHALLENGE, and EDUCATE our AUDIENCE, MUSICIANS, and STUDENTS Plainfield strong and vibrant. The Children's Ballet Provide high -quality dance instruction while instilling in students self-discipline, dedication, positive self-esteem, and an appreciation for the art of dance. We value and nurture each student's unique gifts of talent and creativity in a safe studio environment in order to educate, enrich, and inspire. Inspire our community through accessible dance education and engagingperformances. From Mission Statement in Executive Summary, CONCEPTUAL DOWNTOWN REDEVELOPMENT PLAN, TOWN OF PLAINFIELD INDIANA (February 27, 2018) New economic activity in downtown Visits Generated from Nonprofit Arts Partner Activity Audience Rehearsals ,500 T99150F x$10.00 Spending per visit (using 2010 Bloomington resident meal rate in 2019 dollars) E Total Center Audience = up to $1.15 million in activity x $24.00 _ $95,000 = $276,000 Spending beyond the ticket (using 2010 Bloomington rate adjusted to 2019 dollars) up to$370, 0 0 0 est. up to $1.25 M includin rehearsal otential Constructing a Season Season Goals for the Cultural Arts Center Days of Use for the Center • 52 weeks minus 4 48 available weeks (Nero Year's, Christmas, Fourth of y'uly & Thanksgiving weeks) • 24o activity days 48 x 5 days/wk (W-Su) • 120 performance days 5o% of activity days (i.e., public events = 2.9 days/wk) Performance Days by Stage • Main Stage 12o days 48,000 attendance —400 ave. capacity (W o of 600 seats) • 2nd Stage 4o days 33% to allow for substantial use as rehearsal and private event space 3,200 attendance — 8o ave. capacity (67 o of >2o seats) • Gallery io days i in 4 available reeks for exhibit openings without Main Stage conflicts 3,000 attendance —3oo ave. capacity (Soo of 600 current max.) Gallery = Entry, Interior CAC Corridor Space Property Line • — • — • — I I Parking I I .I Parking Drop-off I I Loading ti I I m I ; I ; I � I I Plaza I Drop-off Main St. RATIO Re -use footprint, Oecember 2018 10 Programming the MAIN STAGE Season ATTRACT Crown of Touring (18 0 —2o day goal) Curate & market events to `fans" & tourists within key radius e.g., Theater, Music, Comedy, Magic CREATE Middle that is Self -Produced (Wo =4o day goal) Build capacity for & market events to generate new interest e.g., film series, festivals LAUNCH Foundation of Local & Regional Activity (50 o = 6o day goal) + (3o 2' Stage days & additional Gallery openings) + Private Events • Lectures, Trainings & Corporate Events • Parties, Weddings & Fundraisers Nonprofit Arts Partners (;o days) Arts Businesses + Other (;o days) Tried, true & ready to go Existing such as Potential to develop Committed followers + Family & friends, + Casual attendees The Biz Launch Pad, Arthur Murray Nonprofit Arts Partners — Current Activity & Audience Main Stage Fills 25% of day + 16% of audience goals of Arts Center 30 performance days • Theater = 12-18 days • Symphony/Chorus = 12 days • Ballet = 2-4 days Supported by approx. 95 activity days • 7o rehearsals without tech • 25 rehearsals with tech With a current audience of • Theater = 2,800 • Symphony/Chorus = 3,500 • Ballet =1,200 And potential up to (adding2 days) • Theater = 4,800 • Symphony/Chorus = 3,600 • Ballet =2,400 2°d Stage Fills 75% of day + 67% of audience goals 30 performance days • Theater = 24-36 days • Symphony/Chorus = 6 days Supported by approx.195 activity days • 17o rehearsals without tech • 25 rehearsals with tech With a current audience of 7,500 • Theater = 1,700 • Symphony/Chorus = 5oo And potential up to (without adding days) 10,800 . Theater =2,400 • Symphony/Chorus = 600 2,200 3,000 Gallery Fills 20% of day + 33% of audience goals 2 exhibits • 2 opening events • With 6o exhibit days Supported by io activity days • 8 days to mount 2 exhibits • 2 days to remove 2 exhibits With current attendance of i,000 And potential up to io exhibits 11 12 Typical Production Cycles Mounting a Play or Musical • T-3 mo Auditions (re -do for each shot)) • T-8/6 wk Rehearsals start • T-z wk Rehearsals using full sets • T-1 wk "Tech week" Rehearsals • z Performance weekends Friday Saturday Sunday 10 11 12 1 13 Y Le , 17 18 18 21 22 — Rehaerael a...0 Rehearsal 24 25 28 2] s■ 21 e■ Rehxrea 31 1 2 3 4 ■ a Rehxrsal Rehxrsel Rehearsal 7 8 e 30 18 ri Rehxreal Rehxrsal Rehxrsal 1�5 IB 117 is aYO Rehearsal Rehxrael 21 -23 24 ■ se n Rehearsal Rehxrsal Rehxrsal 28 1 2 a 4 ■ 6 onstage ReM1+TecM1 ReM1+Tech ReM1+TeeM1 Noon ebge xben ebge ReM1♦ieeb ] aR. 8 9 i. 11 3Y L8 Reh+Tech ReM1+Tech ReM1+TecM1 ReM1=TecM1 Ntfa¢reanx Nafatxanx M¢lemenx ±4 n a 15 " a on a17 U i! 20 eb stage is on stage et3 ab¢e an NaFemxw N¢temenx Oearaareaex 21 22 se 23 24 s� 2■ 21 21 clearin¢sta¢e This example uses 8 reeks of rehearsal The Arc of a Season • Prior Jul - Start Selecting & Planning • May - Announce Season • Sep - The Season Starts Mix comedy and drama, play and musical, familiar and stretch; youth and multi -generational — 6 shores, each with 6-8 performances (total36-40) Proposed Annual Process Calendar Year Q3 July August September Q4 October Pre -Planning Meeting (ful — Aug) November • All parties reflect on what worked December • Discuss planned changes from base 2 Q1 January February • Agree on assumptions and goals March Q2 April Initial Planning (Aug — Dec) May June • Individual Arts Partners plan seasons Q3 July • Arts Group proposal by Dec 31 August September • Building Manager confer & confirm Q4 October November Confirm/Meet & Confer (Xan — Feb) 3 Q1 December January • List of items for discussion by Jan 31 February • Meet/resolve via agreed -upon criteria March • Final calendar by end of Feb 02 Me Yit June Complete the Season (Feb — Apr) Q3 July • Building -sponsored programming August • Marketing materials in April Q4 September October • Season announced and ticket sales November begin at the start of each May December 4 Q1 January Ongoing Scheduling (May — Apr) February March * APs = Nonor Preparing a Single Concert • T-2-3 mo Introduce difficult items for later in the year • T-8/6 wk Rehearsals for THIS concert • T-1 wk Dress Rehearsals • 1 Performance weekend 20 21 122 23 Friday Saturday Sunday . Y4 25 YB Rehearsal 27 28 Rehearsal 28 30 1 Y 8 Rehaeael Rehxrsal 4 5 fi 7■ 8 10 Rehaerxl 11 12 Rehxrsal 13 14 ■nxrebb L 1■ 1] Rehaeael Rehxrsel 18 18 20 21 22 28 24 Rehaasal 25 26 27 28 29 80 81 Rehaasal Rehxrsel ReM1+TecM1 Nrfamanx ebga rereabe xt Nafexanx The example here use 6 reeks of rehearsal The Arc of a Season • Prior Jul - Start Selecting & Planning • May - Announce Season • Jul - Audition to create the ensemble • Sep - The Season Starts = 6 concerts, each r)ith,2 performances (total1,2) + 6 or more small ensemble or recital performances 13 Fiscal Year Planning Cycle J Pre -planning meeting A APs* and building manager begin to plan individually M Year 1 Year 1-2 S -!'E r, i-� ip prove ' hud,, s z D z 0- N APs resolve any scheduling conflicts for single proposal z ei D PROPOSAL DUE TO BUILDING MANAGER DECEMBER 31 p J Building manager confirms proposal and fills schedule gaps F 171 In �^ Year 2 rn A Schedule is "final" and marketing materials are prepared z M SEASON ANNOUNCED & TICKETS GO ON SALE N w • J Schedule continues to fill in throughout the year Year2-3 Repeat 6/30 FYE Children's Ballet z Hendricks CA M o Year 3 Civic 12/31 FYE Theater • Town of Hendricks Plainfield Symphonic Society Hendricks County Arts Repeat Council at 3-4 . 0 0 z Arts Partners (Children's Ballet Hendricks County Arts Council, Hendricks Civic Theater, and Hendricks Symphonic Society) 14 Conflrmi*ngAssumpti*ons Public -Facing Days Dairy Arts Center was founded in 1992 (Boulder, CO). It has transformed a former milk -processing facility to a thriving multi -disciplinary arts hub for Boulder and beyond is a nationally recognized example of constructive urban development and renewal. The Dairy's 42,000 square foot facility houses disciplines ranging from visual arts, theater, and film to dance and music. A professional environment complete with art galleries, performance venues, teaching studios, offices, rehearsal spaces, dance studios, and a 6o-seat art -house cinema, it is Boulder's largest multi -disciplinary arts center. It has 12 arts partners, 7 of which "live" in the Center The calendar here is a typical month for the Center (multiple stages) Mon/The are largely "dark" days; Wed/Thu/Sun are partially scheduled; and Fri/Sat are fully scheduled, which is considered typical for this kind of facility Confirming a 2.5 day/week approach to scheduling " wv 4% 9%02E SUNDAY MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY 2pm FrpueM Fly- Tpm The %y Inside TdfOpm SETC TM ]pm Viva T!, f : Tha 11. & 3pm Made the Aerial Denoe: UpUh Curiaur M1ade .f lM Odd :dvh, hmale Maker Megidi . Dog in the Night -Time version 2pm Viva Thwter: The 2pm BETC Tha Curlem Inddent of the Deg m 7:30pm BETC: The Odd Couple Ti the Night -me Curiaus h.ddent M the Dog in d,d Nig­ 2pm Sp —I Rdl.d PBerformanw]:30pm ]pm TM1e Sky Inside ETC: The C.,O Maidd. a the Dag in the Night -lime 2pm Viva Thd_e The Odd Couple -femMe ]pm The Sky Inside 7:30pm SP-1 Re d Ped 1—c. BETC : The 3:30pm BETC: The Curious Inoidenf of the Apm Fmguenl FIT— edal Dmw Yd.dh Sludenl 2pm FFAD.PMer Pm version Curious Inide of the Dog in the Nightt-Time Company: Peter Pon 2pm Viva Theater: The 2pm BETC: The Curlaus Deg In the Night-T.. ]pm Vlva Theater. The Odd Couple Insidant of the Dog in Odd C.up­female 2pm&7:30pm The tM1e NigM1biime veron Curiaus lmident of [he Dag In the Night ­ pm Rocky Mountain 7:30pm BETC: The Curious Iroid—of The Dog in 6. 7:30pm FFAO: Emergenw Rinpem: Reaemnw Nigh Time 2pm BETC: Th. C.H... 7:3Upm Culerado 7:30pm REX: The 7:30p1 BETC: The 2am&]:30pm Indd.. of Me Deg In the Nigh -Time Mahl dd Chamber Music C.nwrt Cudom lnddem of the Dug m the NigM�Time Curiaus lnddam of the Dog in the Nighb ' oulde, pellet: Cinderella 2p,n & g;30pm BETC: The 3:30M&6pm Gi::ga: 7:30pm Namo- .. 7:30pm The Upstart Curious 1n.id. ofth. pug In Me Nigh ­ Americana id-. Breeil Pri—IR1! Crow Th—COmpany: ]:30 U Craw: qrl The Upstart Crow Pygmdion pygmallon Theatre Company: Pygmalion ]:30pm"'U"" BsIIBU 8:30pm Dairy Comedy Cinderella Inthe Bea 2pm B.Wdar W,hd ]:30pm M—Your- 7:30pm The Upstart 2pm8]:30pm Pwk fo Ci:MenlW Priw Nigh The Upstart Cmw Thwlw Company: Peak Pleyera: Ramee aM 2pm BETC: The Curium Crow Theelre Company: Pygmaion Pygmalion Julie! lnaident of the DoR h, Mop The Upstart the Night -Time Craw Theatm Company: 2pm The Up-rt Cmw Theatre Company. Pygmalion 2pm TM1e Upstart Crow ]:30pm Peek to Peak 7:30pm peek fo Peak 2pm & 7:30pm Pmk to Theatre Company: Pygmalion Pbyers: Romeo end luliM wayern Rome. m:d Julia! peak Players: Rome. eM Juliet 7:30pm Out Boulder 2pm Peak to Pod County. Cns Barbare Players: Romeo and Juliet Teresa THE REUNION TOUR httos://theda irv.ord 'Alm r 16 Allocating Performance Days Now a well -established venue in a town with active arts organizations, nonprofit partners, City and University events, the Buskirk-Chumley's experience aligns with the breakdown Plainfield is considering for programming the main stage. • Local Foundation = 60% a NonprofitArts = 40 o Other Nonprofits = 6o o University —30 o Arts Businesses —29 Self -Produced Middle = 30% o Movies —30 o Government-5 o Private — yo • Crown of Touring =10% o Touring = 20 • The Buskirk-Chumley's 2018 season included 246 activity days as listed below and approximated here. ..................................................................... I ........... stUnitedMethodist Ch.,rk,Open Door Service BUSKIRK-CHUMLEY :DAYS OF USE 'BCTPresent=Series THEATER by presenter, continued CardinolStage Company DAYS OF USE CryHBloom�tan Center far $ustoina6leUvin NeoSoulEnterta�nm--,Inc. - IU African American Arts Institute b 3 Limestone Comedy F..tmal 1 Man —County Community kitchen One Pulse Entertainment/Joe, Darnell INN Y presenter MosonAtsLLC Donny Dash Andre Entertainment Purdue University ;..... Private Event. Another Round DeCado Animation Sti d 6er Comedy Rub Arthur Murray Dance Center Emporium Presents immyCon LL &i.9Bbommgton Bloomington Y thTheatre Face FonvardEntertainment Sycamore Land T st R Film Series Dan- Net vark All—ce Corp. Habitat far P—rity Tk. Pacts Agency yder IU Outdoors Heartland Beef Incorporated Timothy Bagvell W Ilrthe Talk Speaker Series Loch- First Hip Hop ConnXion TED,BIoam ngton Plus, Inc. Middle Way P.— Idea. United LLC United Way of Monroe County U Ballet Department Ne U ice.Ope a Indiana Department of Child Service. W unded Galaxies One Step Abo a Dance Studio Indiarb Forest Alliance Bloomington Expressive Arts Taining The Dance Center IndianoUniversity African Studies Program Lotus Education & Arts Foundation InMotion Dance Company Bloomington Symphony Orc6e.tra Alpha Phi AIP6a IU Art. & Hamanitie. Caaoail U Jacob. School of Music Amethyst House IU College of Arts & Humanities Institute Bloomington PRIDE Be Golden IU The Helene G. Simon Hillel Center Beck Media & Marketing IUJa:Studies • • Blarld_v..Matter Bloomington ILILasn.CultumlCenter ©© , Car for IninSouth Dance Marathon Lightning Club of South Cent al lnd ana Canon for Indiana Lghtn�ng Production. 17 How many U.S. adults attended _ in 2011? The 2017 Survey of Public Participation in the Arts), NFA Whatdo weknow about Art Museums/ 26.5% 22.7% 21.0% 23.7% Galleries arts audiences? 57.5M 2002 2008 2012 2017 Musical Hendricks Counties nonprofit arts institutions have Theater 17.1% 16.7% 15.2% 16.5% confirmed a committed foundational audience 40.2M ` 0 • Theater 4,500 - growing Non -Musical Small Shows = 300-600+ / run Theater 12.3% 9.4% 8.3% 9.4% Musical = 2,000-2,500 / run 22.9M • Symphony/Chorus 4,000 - steady 200-400 / concert 12 = 3,500 Jazz 10.8% 7_8% 8.1% 8.6% 8o-ioo / ensemble x 6 = 500 21.1M —. About % are friends/family; 75% 50+ • Ballet 1,200 — growing Classical MUSIC 11.6% 9.3% 8.8% 8.6% • Gallery i,000 - steady • Total Today 10,500+ Ballet 3.9% 2.9% 2.8% 3.1% Potential in 5-io years 16,000+ 7.6M _ 0 18 Potential Arts Center Audience If we use a 11.3 mile radius around Plainfield (approximately the same total square miles as Hendricks County) to estimate total population, we end up around 325,000. If the Center is able to draw from that base, these attendance estimates would go up. Touring Expectations 45 to 90-mile radius, for 45 to 90 days, before/after the concert A radius clause is a form of non -compete clause used in the live music industry, in which a tour promoter stipulates that a performer, for a certain length of time prior to or following an appearance at a concert or festival, must not hold concerts at other locations within a certain radius of the city where they are to perform." In practice, this may look like: Toad the Wet Sprocket 2019 Tue, JUN 4 Belly Up, Solana Beach, CA Wed, JUN 5 Belly Up, Solana Beach, CA Fri, JUN 7 The Depot, Salt Lake City, UT Sat, JUN 8 Red Rocks Amphitheatre, Morrison, CO Sun, JUN 9 Tower Theatre, Oklahoma City, OK Wed, JUN 12 Rose Music Center at The Heights, Huber Heights, OH Thu, JUN 13 The Capitol Theatre, Flint, MI Fri, JUN 14 Promenade Park, Toledo, OH Sat, JUN 15 Garfield Park, Indianapolis, IN Rings = Sun, JUN 16 MGM Northfield Park, Northfield, OH 10 miles Wed, JUN 19 Louisville Palace Theatre, Louisville, KY 25 miles Thu, JUN 20 Frederik Meijer Gardens, Grand Rapids, MI Fri, JUN 21 Weesner Family Amphitheater, Apple Valley, MN 50 miles Sat, JUN 22 Arvest Bank Theatre At the Midland, Kansas City, MO 75 miles Sun, JUN 23 Cain's Ballroom, Tulsa, OK 2017 2050 Total Hendricks County Population 163,685 239,515 Adult Hendricks County Population (18+) 122,076 111,951 % of adults likely to attend nationally: below CaJan county estimates and county estimates above • Movies 59% = 72,025=104,991 • Live Music, Theater, or Dance Performances 36% 43,825 63,884 (Indiana -specific percentage is higher than the 32% national) • Art museums/galleries 24% 29,298 42,708 • Festivals 24% 29,298 42,708 • Musicals 16% 19,532 28,472 • Other 15% 18,311 26,693 • Jazz 9% 10,987 16,016 • Classical 9% 10,981 16,016 • Non-musical theater 9% 10,987 16,016 • Latin+ music 6% 1,325 10,611 • Other dance 6% 7,325 10,611 • Ballet 3% 3,662 5,339 • Opera 2% 2,442 3,559 US Census Bureau population estimates, and percents from NEA: State -Level Estimates of Arts Participation Patterns (2012-2015) and Survey of Public Participation in the Arts (2017) Typical exclusions in our market encircle 60-80 miles/days Fort Wayne 0 69 Kokomo Lafayette o I ICI D I JA mel I ' na lis O o Terre Lite Bloomington ° C01u LJ� Lima O Spr Dayton 0 Hamilton O Cincinnati O•_ 0 Florence Louisville n - Definition: nttns:i/en wikioedia ore/wiki/Radius clause 19 20 Sustainable Operation 0 Envisioning the Town Hall + Cultural Arts Center Town of Plainfield Vision elements described by the building committee in November An inviting building that exhibits transparency A building that communicates and exhibits quality and longevity; cornerstone for community A building that improves the work, the efficiency, and the collaboration of the Town and its employees A building that connects with the Plainfield's culture and small-town values A building that is a good steward of the environment and taxpayers' dollars A buildingthat speaks to future generations and helps attract them to public service A buildingthat is contextually responsive to historic downtown; character, scale and materiality Together Nonprofit Arts Partners Create a Overall, they hope that the building: destination for . Elevates arts in the county — the riches of Hendricks County in one place celebrating . Is a gathering place that is easy to find, access, and is safe for all cultural events and invests in a 0 Inspires young artists quality of life that (imagine walking past gallery windows with local art on display) keeps Plainfield • Is a boon to downtown Plainfield and its businesses strong and • Provides opportunities to see shows and movies as part of an evening or vibrant day out that doesn't mean going to Indianapolis 22 Typical Budget Components REVENUES Sales • Self -Produced Program Ticket Sales (e.g., presenting series, movies, etc.) • Concessions, Merchandise & Gift Shop Sales • Advertisements & Sponsor Contributions Rent, Fees & Service Charges • Lease Agreements (here-NonprofitArts Partners +Retail Shop) • Facility Rentals o Use of Facility: Performance or rehearsal, type of user (nonprofit, business, government), type and duration of event, o Add -on fees & service charges technical labor, custodial, usher piano orprojector rental, tables, linens catering/kitchen access, stage extension after hours additions for security Box Office • Service (or Facility) Fee / ticket sold • Additional services (e.g., ticket printing) Fundraising & Other • Contributions: Cash Donations, Bequests, Stock or Property Gifts • Grants: Foundation, Corporate & Government • Net Special Event Income & In -Kind Donations • Interest on current accounts + distributions from endowment or reserves • Ongoing Government Support Lessons from others EXPENSE Programming • Touring Fees, Music Licensing, Royalties • Public Relations & Marketing • Ticketing System & Box Office Supplies • Sales Tax & Cost of Goods Sold • Alcohol Permits The Building • Utilities - Electricity, Gas, Water/Sewer, Trash Removal • General Repairs and Maintenance, Custodial Service & Supplies • Landscaping & Snow Removal • Stage Tech Supplies & Maintenance • HVAC Service • Equipment & Furnishings • Capital Improvements - separate budget People & Administration • Payroll, Taxes & Benefits, Professional Development • Services - Legal; Accounting, bookkeeping, payroll; IT • Insurance - Directors & Officers, General, Workers' Compensation • Telephone & Internet Service • Office Supplies, Printing, Postage, Shipping, & Handling • Computer Hardware, Software, Subscriptions, & Supplies • Bank Charges and Credit Card Fees • Meetings, Travel, Dues & Subscriptions Fundraising • Cultivation & Event costs • Database, CRM software, Subscriptions & Mailings From Hopkins Center for the Arts Executive Director in late 2018 (Hopkins, MN) The Center staff manages a concert series, summer outdoor concert series, avisual arts program that includes approximately24 exhibitions yearly, an artist talk series, a public art sculpture rotating exhibit called ArtStreet, a membership program, annualgivingprogram, facility rental and management. The Center has two maior tenants — Stages Theatre Company and Hopkins School District, that have ten year leases. We also rent space to individuals, arts and nonprofit organizations, and corporations for other events. We have about 2Ko.000 annual visitors. Our annual revenue bud:et is about S1 million including leases, rent, concert revenue, grants, fundraising, art sales, membership and governmental subsidies. Current Staffing • Executive Director - FT • Director of Development - FT • Building Maintenance Supervisor - FT • Visual Arts Manager - PT What have we learned over the years.... Concert Coordinator - PT • Rental Coordinator - PT • It is great having two major tenants in the building as far as guaranteed monthly revenue Admin. Assistant- PT • Evening/Weekend Building staff - Mult. PT • We gave away a strong revenue generating component — the box office • It is very important to understand that it may not be self-sustaining and will need continued financial subsidy from the city/taxpayers. However, the positive economic impact that arts organisations bring far exceeds cost. • It has been incredibly beneficial to have specialists in the programming areas (i.e. — a musician managing the concert programming, an artist managing the visual arts programs, and a dedicated Fundraiser.) And, last year, I hired a contracted marketing person to help with collateral pieces and move our advertising away from print and into social media. Due to this we have seen a major uptick in attendance. 23 24 Arts Partner Capacity Assumptions The success of the The Town of Plainfield will benefit from having core presenting partners for the Cultural Arts Center is Cultural Arts Center; providing a base of programming and audience. directly tied to the success of its Nonprofit If this core programming remains in other locations, the Cultural Arts Center will not Arts Partners. engage the community's primary arts supporters, and risks alienating them. The Cultural Arts Cultural Arts Center Partners -Arts Council, Civic Theater, Symphonic Society, and Center succeeds only if Children's Ballet - will need time to expand the audience, ticket revenue, and fund its Nonprofit Arts development necessary to sustain market rate rental Partners are growing The Cultural Arts Center and its Nonprofit Arts Partners must share equally in both and developing intandem. the responsibility for attaining this growth and benefiting from it when it arrives. 26 Model 1: Profit Sharing - Standard Industry Expectations Approach where venues and performing artists share the both the risk and the reward of the "door" Venue Goal Venue << Total Ticket Revenue Split >> Contract negotiation takes place between these the ends of 50/50 25/75 Artist Goal Applying that Standard to Lease Expectations Hendricks Civic Theater Hendricks Symphonic Society The Children's Ballet Hendricks County Arts Council Total Current Ticket SalesNear $71,400 $35,200 $9,000 n/a Industry Venue Goal x 50% $35,700 x 50% $17,600 x 50% $4,500 Industry Artist Goal x 25% $17,85o x 25% $8,800 x 25% $2,250 $115,600 $57,800 $28,900 Expected Negotiating Range using Sales Model 27 28 Partner Capacity by the Numbers Hendricks Civic Theater (6/3oFYE) 2012 2013 2014 2015 Revenue $99,734 $79,579 $77,578 $74,230 Contnb, Grant 5% 9% 16% 11% Program, Other 95% 91% 84% 89% Expense $72,970 $60,784 $73,517 $68,627 People 0% 0% 0% 0% Places 14% 27% 18% 34% Everything Else 86% 73% 82% 66% Gain/Loss $26,764 $18,795 $4,061 $5,603 Assets $141,093 $157,645 $158,121 $158,267 Liabilities $64,169 $61,926 $58,347 $52,884 2016 2017 2018 $79,586 $80,581 $77,912 5% 11% 15% 95% 89% 85% $81,901 $74,709 $77,066 0% 0% 0% 24% 23% 23% 76% 7751, 77% ($2,315) $5,872 $846 $152,457 $154,521 $151,503 $49,388 $45,581 $41,715 Office Own buildings near Danville (+mortgage, utilities, etc. - app. $a,000/mo) Rehearsal Own buildings +Avon MS (inc. below) + Free Cornerstone Church, Avon Performance Own buildings (p of 6 runs) + Avon MS ( of 6, $3,000/yr total rent) Equipment Own or use school's (subsidized by HC7) Storage Own buildings + Rent+ volunteer homes The Children's Ballet (,,2/3i FYE changed to 6/3o mid calendar,2or8) I2016 2017 2018 Revenue TheChildren's Ballet is primarily a dance $84,919 $81,817 $104,312 school. As such only, performances only Contrib, Grant account for approximately$9,000/year. 15% 3% n% Program, other This will increase with the addition of seats and 85% 97% 89% i performances of The Nutcracker r. $74,636 People 33% Places 21% Everything Else 46% Gain/Loss $10,283 Assets $20,283 Liabilities Office Lease building in Danville, contract to own Rehearsal Lease building, contract to own Performance Danville High School Equipment Own+ supplement with school's Storage Lease building, contract to own $81,623 $100,224 40% 37% 32% 36% 28% 28% $900 $4,088 $14,482 $28,217 $9,091 $7175 Hendri Is Symphonic Society (6/3oFYE) 2012 2013 2014 2015 2016 2017 2018 Revenue 1 $56,268 $79,449 $58,845 $63,839 $82,297 $90,140 $70,267 Contrib, Grant 69% 64% 76% 68% 75% 58% Program, Other 39% 36% 24% 32% 25% 42% Expense $58,687 $71,400 $68,117 $68,156 $77,922 $84,317 $81,002 People 89% 76% 84% 76% 76% 7751, 77% Places 0% 2% 0% 4% 1% 2% 2% Everything Else 11% 22% 16% 20% 23% 21% 21% Gain/Loss ($2,419) $8,049 ($9,272) ($4,317) $4,375 $5,823 ($10,735) Assets $375 $8,424 $1,207 $2,390 $7,621 $13,453 $18,919 Liabilities -- $5,500 Office Free -Bartlett Chapel, Aron Critical Note Rehearsal Free -Avon MS+Harmony Church, Avon Not only does HSS Performance Free -Aron MS+4 Churches operate rent-free, Avon It $9, BBB/yr to Equipment Free - use school's grants perform within town nits. Storage Free -volunteer homes 25 Hendricks County Arts Council (,,I,,FYE) 2012 2013 2014 2015 2016 2017 2018 Revenue I Following change in leadership, the Council << Under $25,000 / year $29,930 Is rebuilding Its fundralsing base with efforts Contrib, Grant such as the Black& White Ball. 100% 100% Program, other Note $25,000 of 2018 revenue is a 0% 0% Expense dedicated, project -specific grant. << Under $25,000 / year $4,458 People 0% 0% Places 0% 0% Everything Else 100% 100% Gain/Loss $25,473 Assets I $10,336 $35,809 Liabilities $833 Office none Rehearsal n/a Exhibit FREE- Plainfield Public Library+ Bread&Roses Church in Aron Equipment none Storage I none 30 Model 2: Per Use Facility Rentals + Fees A "retail" approach similar to paying an attorney per hour v. paying a flat fee for a product (e.g., a will) Main Stage Example from the Buskirk-Chumley in Bloomington Rental fees are waived for BCT Movie Partner Program participants. Current fees are listed below. Those signing contracts for events in 2020 and beyond will see a slight increase in fees. 629 seats Jan -May, Sept -Dec Sunday` -Thursday Friday & Saturday Prep/Rehearsal Day $925 46%of total $925 revenue = 400 tickets at Event Day $1,475 $10/each $1,845 June August Sunday* -Thursday Friday & Saturday Prep/Rehearsal Day $475 $475 Event Day $735 $925 *Building access only available after 1 pm on Sundays. Comparing Models 1 & 2 2°d Stage Example from the Ivy Tech John Waldron Arts Center (one block from the Buskirk-Chumley in Bloomington) Rental Structure 175 Seats 75 Seats Auditorium Firebay Weekend $615,00 $390,00 Thursday & Sunday $520.00 $315.00 Monday, Tuesday, Wednesday $420.00 $255.00 Weekly Rate $2,070.00 $970.00 Holiday Rate* $900.00 $585.00 Nat -for -profit Auditorium Firebay Weekend $565.00 $360.00 Thursday & Sunday $480.00 $290.00 Monday, Tuesday, Wednesday $390.00 $235.00 Weekly Rate $1900.00 $890.00 Holiday Rate* $855.00 $540.00 'The holiday rate is charged for dates the College is closed for a holiday. Weekly rates are not available for dates that include a College holiday. Gallery/Classroom Event Rental Rates Rosemary P. Miller Gallery $190.00 Treasurer's Gallery $160,00 Education Gallery $180.00 Classroom $254u 31 Model 1 Model 2 Current Sales/Year I Venue Goal Artist Goal Rates used in estimates Main 2nd Hendricks Civic Theater $71,400 Business Be, 80/�o Nonprofit Performance S1,000 S350 S850 S285 ve.,e Hendricks Symphonic Society $35,200 W... Rehearsal WlTHtech 99/1 Rehearsal,Notech] S425 S142 S213 S71 The Children s Ballet $9,000 Piano orprojector/use �0/30 Box office/performance S100 Hendricks County Arts Council nia 50150 2515 Tech/hour S35 Total $115,600 $57,800 $28,900 $99,000 = 85/15 Expected Industry Negotiating Range Exceeds Industry Range 32 Model 3: "Resident Company" A "wholesale" approach similar to renting an apartment v. staying in a hotel The parties negotiate a comprehensive, cumulative package of access and use for each year in a multi -year agreement. Standard agreements include provisions outlining access and use in areas such as, but not limited to, those outlined here. The fee is charged as a flat monthly rent based on agreed -upon formula. Model 4: Service Agreement Here, use of the building by the partner and resulting content is treated as a service to the municipality. Examples of each of the following formulations can be readily found in practice today: • Exclusive use spaces (e.g., office, scene shop) and shared use spaces • Guaranteed use times such as: o Preliminary rehearsals (or non -tech) o Final rehearsals (with tech) o Performances o Meetingand multi -purpose rooms • Flexible use times / spaces such as: Up to x hours per year included For fee, per scheduling provisions • Specific processes such as: o Scheduling and conflicts process spelled out o Release of spaces by tenant with revenue sharing and/or credit • Service and utility costs What is provided as part of rent v. what flows through Often some of these are simply provided by the municipality as the owner 33 Revenue: In accordance with the Municipal Fee Schedule and in exchange for providing pro- bono facility usage, the companies shall remit to the City a surcharge in the amount of $2.00 for each ticket sold. [his fee is effectively passed down to patrons and is applied to all subscription, group, individual, promotional, and other tickets sold. Complimentary tickets are excluded, and the sum of the surcharge revenue for each production is due to the City within 30 calendar days after the closing of the production. In fiscal year 2016, the City received $57,530 from TheatreWorks (28,765 tickets sold), $19,816 from Palo Alto Players (9,908 tickets sold), and $8,092 from West Bay Opera (4,046 tickets sold) from this ticket surcharge. Among other functions, the proposed agreement acts as a revenue contract which governs the application, collection, and accounting of associated revenue. C. Rent/Public Benefit. — • Seattle Center prefers proposals with terms that include full payment of rent, but will consider proposals that include payment of reduced rent in exchange for the provision of measurable public benefits. • Proposers demonstrating measurable public benefit may propose rental terms which take into consideration and itemize an appropriate value for the public benefits provided. • No rent to the partner in exchange for a ticket surcharge • Reduced rent "in exchange for measurable public benefit" • Payment "not -to -exceed" set amount offset by ticket sales, guaranteeing minimum ticket revenue to the partner • Simple payment to the partner instead of rent Project Schedule Contract for specific performances with fee not -to -exceed The complete production and administration of three (3) annual indoor theatrical performances in both proscenium and flexible stage venues. Fall (October) and spring (April) productions will be performed for two weekends at the Firehouse Arts Center — flexible stage, 227 seating. A third production can be performed at the Firehouse or Amador Theater. Productions are intended to be professionally produced. It is critical that production values be high, and that all production staff has extensive experience and expertise in the production and performance of theatre. Tri-Valley Repertory Theatre (Possibly White Chnstm ) Fal1, 2018; Firehouse Arts Center (Posalbly Smoky Jce's CarA) Spring, 2019, Firehouse Arts Center Fee Schedule (Possibly White Christmas) (Posslbly Smoky Joe's Car€) Total Fee: Not to exceed $130,000 34 CnMV cPP n» r _XnTnriz Thank you to all for a wonderful 2018-19 season. xo Watch for a 2019-20 announcement soon. F_ N-Y"'t r,. r: t 6:30r r 2 May 24 & May 25 the childrer's ballet FREE Under 4 Performances at Danville Lendrickscivictheatre L A Y A R O L E .lanr 1u41f�u'� SPIM" sensibiliIN, 1 ,fil�il,lr�d d@HENDRICKS COUNTY da ARTS COUNCIL II Wi Gallery of Bol,1510 E. County Road 100 North in Avon, Bread of Life Church June 7, 8, 9 (Fri -Sun) and 13, 14, 15 (Th-Sat), 2019 Thu/Fri/Sat 7:30 pm Sun 2:30 pm (first weekend only) Longstreet Playhouse $16 Adults (18+) $14 Youth & Seniors (62+) FREE Ages 3 & Under August 2, 3, 4 and 9, 10, 11, 2019 Fri & Sat 7:30 pm, Sun 2:30 pm 36 ANNEX C. City of Lone Tree 2020 Budget Keen Independent provides the City of Lone Tree, Colorado 2020 budget as Annex C. This budget contains income and expenses for the Lone Tree Arts Center, which we used as a benchmark for developing the pro forma scenarios in Appendix E. KEEN INDEPENDENT RESEARCH - PLAINFIELD ARTS MARKET STUDY ANNEX C lq v v CITY OF LONE TREE W UDGET N .............. _ J� . Rip .. LA 1 a i Table of Contents ii-iii Using the Budget Document 1 INTRODUCTION & OVERVIEW 1 City Manager's Budget Highlights 3 List of Officials 4 GFOA Distinguished Budget Presentation Award 5 Lone Tree Facts 9 Budget Summary 2 FINANCIAL STRUCTURE, POLICY & PROCESS 13 Departmental Structure 14 Budget Fund Structure 15 Department/Fund Relationship 16 Accounting, Budgeting & Financial Policies 3 FINANCIAL SUMMARIES 21 Summary -All Funds 23 Significant Changes in Anticipated Fund Balance 24 General Fund 32 Special Revenue Fund - Cultural & Community Services 34 Debt Service Fund - Arts & Cultural Facilities 35 Debt Service Fund - Park & Recreation Improvements 36 Budget Message 4 CAPITAL & DEBT 59 Capital Expenditures 72 Debt & Debt Service Schedules 5 DEPARTMENTAL INFORMATION 75 Strategic Plan 78 Statistics - Employees by Function/Program 80 Administrative Services 82 City Manager's Office 84 Community Development 86 Cultural And Community Services 88 Finance 89 Police Department 91 Public Works 93 City Clerk/Municipal Court 6 APPENDIX 95 Glossary 99 Working Reserve Policy 100 Capital Reserve Policy 101 Debt Management Policy 104 Investments Policy 107 Brick Fence Replacement Reserve Policy 108 Cultural & Community Services Fund - Fund Balance Reserve Policv FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED ADOPTED Beginning Fund Balances $23,262,006 $20,096,559 $27,984,508 Revenue Taxes 28,784,423 28,853,684 28,592,477 Franchise Fees 1,071,791 1,092,450 1,092,450 Intergovernmental 10,572,636 22,982,134 10,695,378 Licenses, Fees and Charges 1,350,836 1,422,200 1,024,000 Fines and Forfeitures 565,302 679,000 691,000 Arts Center 1,922,1 12 21072,509 1,900,343 Other 1,103,306 822,600 862,700 Total Revenue I $45,370,407 $57,924,577 $44,858,348 Other Financing Sources General Fund 697,445 617,800 502,000 Special Revenue Fund -Arts Center 1,035,653 11152,1 24 1,345,120 Total Transfers In I 1,733,098 1,769,924 1,847,120 Total Funds Available I $70,365,51 1 $79,791,059 $74,689,975 Expenditures General Government 4,540,392 41609,260 5,135,302 Municipal Court 302,995 327,088 349,267 Community Development 1,002,489 1,055,521 1,246,135 Police Department 7,523,558 8,393,223 9,073,400 Public Works 5,929,843 6,064,900 6,490,832 Arts and Cultural 3,214,649 3,416,332 3,736,171 Parks and Recreation 443,150 483,450 234,000 Capital Outlay 22,965,727 23,013,453 23,473,857 Debt Service 2,613,051 2,673,400 2,715,700 Total Expenditures I $48,535,854 $50,036,627 52,454,665 Other Financing Uses General Fund 1,035,653 1,152,124 1,345,120 Debt Service Fund -Park and Recreation 553,239 237,300 - Debt Service Fund -Arts and Cultural Facilities 144,206 380,500 502,000 Total Transfers Out I 1,733,098 11769,924 1,847,120 Total Appropriation I 50,268,952 51,806,551 54,301,785 Ending Fund Balances I $20,096,559 $27,984,508 $20,388,190 21 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED Funds Reserved For: Emergency Reserves (TABOR) 1,029,551 1,030,000 1,009,000 Prepaid Items 248,979 250,000 250,000 Emergency Disaster Management 143,262 153,584 163,272 Park Fee In Lieu of Land 53,230 53,230 53,230 Conservation Trust Fund 212,858 293,458 246,658 Brick Fence Replacement Reserve 986,200 1,486,200 1,986,200 Lone Tree Link Shuttle 262,877 - - County Line Road Improvements 403,176 155,686 RidgeGate Parkway Extension - 3,698,508 - Arts and Cultural - 118,800 130,091 Debt Service -Arts and Cultural Facilities 1,484,582 1,597,084 1,584,129 Debt Service -Park and Recreation Improvements 1,698,526 1,831,724 2,178,686 Funds Designated For: Working Reserve 4,694,422 5,165,000 5,620,000 Capital Reserve -Capital Projects 8,701,328 12,100,000 7,160,000 Subsequent Year's Expenditures 131,292 - Undesignated and Unreserved Funds 46,277 51,234 6,924 TOTALS $20,096,559 $27,984,508 $20,388,190 22 The following analysis focuses on available fund balances of the City's major funds anticipated to increase or decrease by 10% or more. Assigned for Working Reserve $ 5,165,000 Assigned for Capital Reserve $ 12,100,000 Undesignated $ 51,234 DISCUSSION: The above table represents information for the General Fund only. The City's Special Revenue Fund and Debt Service Funds do not have unreserved fund balances. The City's unreserved fund balance consists of the working reserve, the capital reserve and undesignated funds. It is the City's policy to maintain a working reserve of at least 16.7% of the current year's budgeted operating expenditures with the goal of moving towards 30%. The 2019 estimated and 2020 projected budgets include 25% in addition to the 3% TABOR reserve which is restricted. Additionally, the City's capital reserve policy states that the City needs to maintain adequate cash fund balances to help offset costs of future capital expenditures. The City believes that establishing and maintaining such reserves will assist the City to take greater advantage of the pay-as-you-go philosophy versus relying entirely or primarily on debt financing, which would require voter approval as the City currently does not have any bonding authority. The minimal amount remaining is the undesignated funds. $ 5,620,000 $ 455,000 8.8% $ 7,160,000 $(4,940,000) (40.8%) 6,924 $ (44,310) (86.4%) The decrease in the capital reserve is primarily a result of capital project timing in 2019. Certain budgeted projects in 2019, including RidgeGate Parkway widening, Crooked Stick Traffic Signal and adaptive traffic signals, have carried over into 2020, so funds related to those projects are reflected in the capital reserve balance at the end of 2019 but will be expensed in 2020, resulting in the reserve decrease. Additionally, the City's Capital Reserve Policy states that the funds in the capital reserve can only be used for capital projects. The minimal amount that comprises the undesignated balance (separate from the working reserve and capital reserve), is purposely kept at a low balance, so the City's total unreserved fund balance is maximized in either the working reserve or capital reserve account. 23 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED REVENUE DETAIL 2018ACTUAL 2019 ESTIMATED 2020 ADOPTED Beginning Fund Balance $20,208,231 $16,913,451 $24,436,900 REVENUE faxes Sales Tax 21,626,329 21,558,384 21,607,870 Use Tax -Retail 749,429 695,000 708,900 Use Tax -Building Materials 826,056 1,025,000 597,000 Lodging Tax 1,823,741 1,770,000 1,863,000 Admissions Tax 375,613 324,700 324,700 Total Taxes $25,401,169 $25,373,084 $25,101,470 Franchise Fees Electric and Gas 824,085 855,000 855,000 Cable TV 247,706 237,450 237,450 Total Franchise Fees $1,071,791 $1,092,450 $1,092,450 Intergovernmental Highway Users Tax (HUTF) 449,243 443,000 365,000 Conservation Trust Fund (Lottery) 69,060 80,600 78,200 Cigarette Tax 169,197 159,300 159,300 County Road and Bridge Shareback 1,568,344 1,661,877 1,766,703 Douglas County Shareback-Transportation 2,355,094 21343,068 2,255,080 Motor Vehicle Registration Fees 45,529 43,900 43,900 Regional Improvements Contribution-RRMDS 207,661 216,770 235,919 Reimbursable Costs 5,690,090 17,990,619 5,769,276 Grants 18,418 43,000 22,000 Total Intergovernmental $10,572,636 $22,982,134 $10,695,378 24 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED REVENUE DETAIL (Continued) 20S8 AwwAL 2019jESTIffiATEDsz0yz0 ADzOPTEt Licenses, Fees and Charges Sales and Use Tax and Business License Fees 11,040 38,000 13,000 Liquor License Fees 18,255 25,000 15,000 Building Permit Fees 1,068,589 1,069,000 729,000 Planning and Zoning Fees 30,555 26,700 28,000 Engineering Fees 138,432 170,000 140,000 Other 83,965 93,500 99,000 Total Licenses, Fees and Charges $1,350,836 $1,422,200 $1,024,000 Fines and Forfeiturei. Court Fees 69,439 56,000 58,000 Vehicle and Other Code Violation Fines 464,453 587,000 596,000 Victims Assistance Surcharge 31,411 36,000 37,000 Total Fines and Forfeitures $565,302 $679,000 $691,000 Other Net Investment Income 343,559 340,000 340,000 Miscellaneous 314,268 94,500 95,500 Police Department Fees and Other Charges 138,387 101,800 166,500 Tenant Rental Income 250,519 230,000 200,000 Total Other $1,046,732 $766,300 $802,000 Total Revenue $40,008,466 $52,315,168 $39,406,298 Debt Service Fund -Park and Recreation 144,206 237,300 - Debt Service Fund -Arts and Cultural Facilities 553,239 380,500 502,000 Total Transfers In I $697,445 $617,800 $502,000 Total Funds Available I $60,914,142 I $69,846,419 I $64,345,198 25 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED EXPENDITURE DETAIL 2018ACTUAL 2019 ESTIMATED 2020 ADOPTE-1 General Government City Council Expenditures 37,374 37,000 50,000 City Council Stipend 67,108 66,632 69,365 Administrative Services -Salaries and Benefits 556,193 565,286 583,315 City Clerk -Salaries and Benefits 208,788 256,413 269,442 City Clerk 31,280 19,250 51,000 Human Resources 134,284 1 1 1,800 147,150 Information Technology 610,455 549,152 559,480 Insurance 414,307 415,000 445,750 Finance -Salaries and Benefits 484,601 471,051 626,552 Finance 39,012 46,690 46,690 Audit 41,110 41,500 41,500 City Manager's Office -Salaries and Benefits 959,249 1,073,535 1,1 18,099 Dues and Memberships 103,226 121,926 125,659 Legal -General 450,135 354,000 371,700 Legal -Special 67,155 30,000 100,000 Consulting 34,653 57,500 121,000 Community Support 23,262 28,800 31,800 Youth Initiatives 19,800 19,800 19,800 Housing Partnership 35,000 35,000 35,000 Living and Aging Well 1,263 900 1,500 Communications 114,048 122,524 153,000 Economic Development 104,140 155,500 157,500 Miscellaneous 3,946 30,000 10,000 Total General Government $4,540,392 $4,609,260 $5,135,302 26 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED EXPENDITURE DETAIL (Continued) • ' Municipal Court Municipal Judge 26,522 30,000 30,000 Legal 36,000 36,000 36,000 Administration 238,083 259,088 281,267 Office Supplies and Software 2,391 2,000 2,000 Total Municipal Court $302,995 $327,088 $349,267 Community Development Salaries and Benefits 820,646 867,426 1,025,380 Contract Services - - 500 Field Supplies 1,178 2,030 1,700 Planning Commission 1,998 2,000 2,000 Plan review and Other Inspections 57,580 60,000 90,000 Elevator Inspections 88,875 93,385 98,725 City Forestry Program - - 1,500 South Metro Partnership 22,239 20,000 20,000 Miscellaneous 9,973 10,680 6,330 Total Community Development $1,002,489 $1,055,521 $1,246,135 Police Department Salaries and Benefits 6,126,350 61744,911 7,295,175 Office and Administration 110,259 105,000 110,500 Uniforms and Equipment 42,220 65,600 59,000 Vehicles and Equipment 449,589 527,300 627,800 General Equipment 34,099 20,000 20,000 Intergovernmental Agreements 689,414 812,827 846,300 Training 56,005 90,850 86,500 Community Outreach and Miscellaneous 15,621 26,735 28,125 Total Police Department $7,523,558 $8,393,223 $9,073,400 27 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED EXPENDITURE DETAIL (Continued) 2018ACTUAL 2019 ESTIMATED 2020 ADOPTE' Public Works Salaries and Benefits 589,922 1,001,050 1,188,382 Public Works Department -Contracted 403,519 - - Street Lighting 350,821 400,000 400,000 Street Maintenance 657,758 690,000 730,000 Drainage Maintenance 115,065 10,000 110,000 Street and Sidewalk Sweeping 54,000 55,000 60,000 Traffic Signal Energy Cost and Maintenance 101,152 125,000 175,000 Signal Timing - 65,000 20,000 Snow Removal 719,789 11200,000 1,200,000 Landscaping Maintenance 21,040 - - Trash and Recycling Service 542,633 580,000 597,400 Household Hazardous Waste Program 6,779 8,000 8,000 Engineering -Contracted 369,309 - - Fence Maintenance - 75,000 Geographic Information System (GIS)-Contracted 147,300 - - Materials and Equipment 16,155 10,000 12,000 EPA Phase 2 Drainage 70,835 2,300 2,300 Noxious Weeds Control 7,416 18,500 18,500 Signage and Striping 96,515 120,000 150,000 Accident Repairs 13,300 5,000 5,000 Public Works Facility Operations and Equipment 48,096 55,000 55,000 Software and Support 23,884 30,000 70,000 Mutt Mitts Contract 10,951 13,000 15,000 Miscellaneous 936 3,000 3,000 Public Works Vehicle Maintenance and Gas 6,565 20,000 20,000 Bridge Maintenance 8,657 50,000 65,000 Lone Tree Link 628,574 520,000 400,000 PW Transition Start -Up Costs - 17,000 - Consulting and Surveying - 80,000 80,000 Facilities 918,871 987,050 1,031,250 Total Public Works $5,929,843 $6,064,900 $6,490,832 28 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED EXPENDITURE DETAIL (Continued) 2018ACTUAL 2019 ESTIMATED 2020 ADOPTE Arts and Cultural Arts Center Repairs and Maintenance 9,784 202,500 175,000 Arts Center Capital Improvements 247,100 108,000 327,000 Total Arts and Cultural $256,884 $310,500 $502,000 Parks and Recreation Joint Recreational Projects with South Suburban 368,150 274,600 125,000 Park and Recreation Capital Improvements 75,000 200,000 100,000 Rec Activities and Support - 8,850 9,000 Total Parks and Recreation $443,150 $483,450 $234,000 Capital Outlay Website Redesign - 50,000 - Overlay/Reconstruction Projects 1,797,411 1,350,000 2,150,000 Traffic Signalization 366,298 95,000 955,000 Crooked Stick Traffic Signal and Road Improvements - 40,000 755,000 City Identification and Wayfinding Sign Program 85,650 - - City Office Building 28,775 131,000 35,000 Civic Center Capital Improvements 13,452 - 50,000 Concrete Panel Replacement 483,611 415,000 - Park Meadows Dr. Regional Pond Upgrade 4,488 50,000 923,500 Trunarc Narcotics Analyzer 29,250 - - License Plate Reader 20,572 - Storm Sewer Improvements 165,616 442,000 Light Rail Extension 8,405,333 - Lincoln Pedestrian Bridge 326,303 - County Line Improvements 2,892,658 1,500,000 - Vehicles 28,000 73,000 65,000 Schweiger Ranch Preservation 10,000 10,000 10,000 West Cook Creek Tributary Improvements 200,000 - - 29 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED EXPENDITURE DETAIL (Continued) 2018ACTUAL 2019 ESTIMATED 2020 ADOPTE Capital Outlay (Continued) RidgeGate Parkway Widening - 11,000,000 9,500,000 Surrey Ridge Tunnel Drainage 28,009 - - City -Wide Pavement Assessment - - 50,000 Master Transportation Plan 24,623 20,377 100,000 Yosemite Medians (North of Park Meadows Drive) 21,268 - - Adaptive Traffic Signals 23,880 40,000 1,032,000 LTAC Monument Sign 58,109 - - Electric Vehicle Charging Stations - 78,751 20,000 Willow Creek Trail Signage Program 26,056 - - Street Bench Replacement Program 7,907 Trash Can Replacement Program 26,998 Mall Entry Traffic Improvements 30,000 - Meeting Management Application - 6,000 Taos Back Road Demolition 17,000 - RidgeGate Pedestrian Improvements 645,000 310,000 Lincoln -Peoria Signal Upgrade - 90,000 Traffic Coating 65,947 - Security Enhancements - 95,000 20,000 Landscaping Enhancements 82,096 - - Capital Contingency 76,500 - Zoning Code Update - 150,000 City -Wide Pedestrian Improvements 60,000 Happy Creek Canyon 50,000 IT Storage Infrastructure - - 300,000 Retail Retention Agreement 75,000 75,000 75,000 Retail Shareback 370,368 291,000 291,000 RRMD Revenue Shareback-West Side 1,588,261 942,688 848,447 Reimbursement of Sales Taxes to PMBID 5,420,242 5,331,780 5,375,044 Reimbursement Property Taxes-PMBID for PMMD 248,994 248,910 258,866 Total Capital Outlay $22,965,727 $23,013,453 $23,473,857 Total Expenditures $42,965,038 $44,257,395 $46,504,793 30 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED TRANSFERS OUT Special Revenue Fund -Arts Center 1,035,653 Total Transfers Out $ 1,035,653 Total Appropriation $44,000,691 ENDING FUND BALANCE $16,913,451 t- 7 � Rla GEGATE STATION 1115 2,1 24 $ 1,152,124 $ 45,409, 519 $24,436,900 1,345,120 $ 1,345,120 $ 47, 849,914 $16,495,284 31 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED ADOPTED Beginning Fund Balance $ - $ - $118,800 REVENUE Lone tree Arts Center OPERATING Ticket Sales 805,258 982,243 787,483 Ticket Handling Fees 1 1 1,988 127,884 124,560 Rental Fees 121,666 109,792 121,000 Concessions and Catering 1 1 1,065 93,725 88,900 Labor Charge Backs 74,477 63,364 69,200 Miscellaneous 15,250 14,500 15,500 NON -OPERATING Individual, Corporate and Foundation 329,991 333,750 365,850 Contributions Government Grants 331,776 329,250 309,350 Total Lone Tree Arts Center $1,901,470 $2,054,509 $1,881,843 Other Annual Events 13,626 11,500 12,000 Arts and Cultural Events 7,016 6,500 6,500 Total Other $ 20,642 $ 18,000 $ 18,500 Total Revenue $1,922,112 $2,072,509 $1,900,343 TRANSFERS IN General Fund -Lone Tree Arts Center 756,744 794,850 836,181 General Fund -Annual Events 238,073 266,752 317,420 General Fund -Arts and Cultural Events 32,265 53,122 141,519 General Fund -Park and Recreation 8,571 - - General Fund -Economic Development - 37,400 50,000 Total Transfers In I $1,035,653 $1,152,124 $1,345,120 TOTAL FUNDS AVAILABLE I $2,957,765 $3,224,632 $3,364,263 32 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED EXPENDITURES Lone Tree Arts Center Administration 159,522 141,525 153,699 Programming 1,81 2,229 1,887,560 1,767,031 Marketing 454,283 454,044 461,092 Facilities 5,705 7,000 8,900 Development 226,476 240,429 276,010 Contingency - - 40,000 Total Lone Tree Arts Center $2,658,215 $2,730,558 $2,706,732 Other Annual Events 251,699 278,252 329,420 Arts and Cultural Events 39,281 59,622 148,019 Economic Development - 37,400 50,000 Recreational Activities and Support 8,571 - - Total Other $299,551 $375,274 $527,439 Total Expenditures $2,957,765 $3,105,832 $3,234,171 TRANSFERS OUT Total Transfers Out $ — $ — $ - Total Appropriation $2,957,765 $3,105,832 $3,234,171 ENDING FUND BALANCE $ - $118,800 $130,091 33 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED ADOPTED leginning Fund Balance $1,549,690 $1,484,582 $1,597,084 REVENUE Sales Tax 1,903,285 1,959,202 1,961,845 Use Tax -Retail 60,723 54,000 55,000 Use Tax -Building Materials 65,919 74,000 76,000 Net Investment Income 28,804 27,200 29,300 Total Revenue $2,058,730 $2,114,402 $2,122,145 TRANSFERS IN Transfer In - General Fund Total Transfers In $ - $ - $ - Total Funds Available $3,608,420 $3,598,984 $3,719,229 EXPENDITURES Bond Interest 345,000 296,000 243,000 Bond Principal 1,225,000 1,325,000 1,385,000 Paying Agent Fees 600 400 600 Contingency - - 4,500 Total Expenditures $1,570,600 $1,621,400 $1,633,100 TRANSFERS OUT Transfer Out -General Fund 553,239 380,500 502,000 Total Transfers Out $553,239 $380,500 $502,000 Total Appropriation $2,123,839 $2,001,900 $2,135,100 ENDING FUND BALANCE $1,484,582 $1,597,084 $1,584,129 34 FORECASTED 2020 BUDGET AS ADOPTED WITH 2O18 ACTUALS AND 2019 ESTIMATED ADOPTED Beginning Fund Balance $1,504,085 $1,698,526 $1,831,724 REVENUE Sales Tax 1,268,857 1,307,398 1,309,162 Use Tax -Retail 40,482 37,000 38,000 Use Tax -Building Materials 43,988 49,000 51,000 Net Investment Income 27,770 29,100 31,400 Total Revenue $1,381,097 $1,422,498 $1,429,562 TRANSFERS IN Transfer In -General Fund Total Transfers In $ - $ - $ - TotalFundsAvailable $2,885,182 $3,121,024 $3,261,286 EXPENDITURES Bond Interest 236,850 196,600 179,500 Bond Principal 805,000 855,000 900,000 Paying Agent Fees 600 400 600 Contingency - - 2,500 Total Expenditures $1,042,450 $1,052,000 $1,082,600 TRANSFERS OUT Transfer Out -General Fund 144,206 237,300 Total Transfers Out $144,206 $237,300 $ - Total Appropriation $1,186,656 $1,289,300 $1,082,600 ENDING FUND BALANCE $1,698,526 $1,831,724 $2,178,686 35