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HomeMy WebLinkAbout2022-08-23 - AGENDA REPORTS - MUSEUM FEASIBILITY STUDY AND CONTRAgenda Item: 13 1. CITY OF SANTA CLARITA AGENDA REPORT CONSENT CALENDAR CITY MANAGER APPROVAL: DATE: August 23, 2022 SUBJECT: PREPARATION OF A MUSEUM AND CULTURAL CENTER FEASIBILITY STUDY CONTRACT DEPARTMENT: Economic Development PRESENTER: Phil Lantis RECOMMENDED ACTION City Council: Award a Professional Services Agreement in an amount not to exceed $89,744 to M. Goodwin Museum Planning, Inc., for the development of a feasibility study addressing a museum and cultural center in the City of Santa Clarita. 2. Authorize the City Manager, or designee, to execute all necessary documents, subject to the approval of the City Attorney. BACKGROUND In March 2016, the City Council adopted an Arts Master Plan (Plan) which has served as a long- term roadmap for cultural development throughout the community. One of the recommendations in the Plan, under the Old Town Newhall Arts and Entertainment District section, is as follows: • Recommendation 2.2 - Explore planning for a museum in Old Town Newhall. This recommendation was identified as a priority in the 2019 Arts Commission Work Plan, and incorporated as an action item in Santa Clarita 2025. The City of Santa Clarita (City) conducted a Request for Proposals (RFP) to solicit proposals from qualified consulting firms to develop a feasibility study. The RFP was distributed to 806 vendors on May 24, 2022. There were 52 vendors who downloaded the RFP package, with 1 submitting a proposal. The proposal was reviewed by City staff based upon the following criteria: Page 1 Packet Pg. 71 • Contractor qualifications, Plan of Study/Scope of Work, Program Management • Experience on similar projects • Thoroughness of proposal, approach to providing sound services, and ability to provide services to meet objectives and standards • Cost of materials and services provided, as well as discounts offered A panel of four City staff members evaluated and scored the responsive proposal based on the above criteria. The results are shown below: COMPANY LOCATION SCORE M. Goodwin Museum Planning, Inc. Los Angeles, CA 93.5 Based on the results of the RFP evaluation, it is recommended that M. Goodwin Museum Planning, Inc., be selected to develop the feasibility study. The study will take approximately eight months to complete. The City Council will be provided with an update once the feasibility study is completed. ALTERNATIVE ACTION Other actions as identified by the City Council. FISCAL IMPACT Funding for this project was approved through the budget process and made available in Expenditure Account F0006228-516101. ATTACHMENTS Museum and Cultural Ctr RFP (available in the City Clerk's Reading File) MGMP Response File (available in the City Clerk's Reading File) MGMP Cost File (available in the City Clerk's Reading File) Page 2 Packet Pg. 72 ,_m_ww"Ir . «. §■%{ .. � aE < MI ME ho Santa Clarita Museum a n d Cultural Center Feasibility Study PROPOSAL # REC 21 22- 2 TABLE OF CONTENTS PROPOSAL # REC-21-22-42 Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California SECTION A NOTICE INVITING PROPOSALS PROPOSAL INSTRUCTIONS DOCUMENT CHECKLIST SECTION B SCOPE OF WORK RESPONSE FORMAT AND SELECTION CRITERIA SECTION C NOTICE TO PROPOSERS REGARDING CONTRACTUAL REQUIREMENTS DESIGNATION OF SUBCONTRACTORS/SUBCONSULTANTS REFERENCES ACKNOWLEDGEMENT AND ACCEPTANCE OF SCOPE OF WORK SECTION D SAMPLE PROFESSIONAL SERVICES AGREEMENT PROFESSIONAL SERVICES AGREEMENT CONTRACT PROVISIONS SUBCONTRACTOR CLAUSES EXHIBIT A 2016 ARTS MASTER PLAN SECTION A RFP Information & Instructions CITY OF SANTA CLARITA NOTICE INVITING PROPOSALS Project Name: Santa Clarita Museum and Cultural Center Feasibility Study Proposal #: REC-21-22-42 Last Day for Questions: June 20, 2022 before 11:00 AM PDT Proposal Closing: June 28, 2022 before 11:00 AM PDT Estimated Contract $80,000 Value: Project Description: The City of Santa Clarita is seeking a qualified consultant to prepare a feasibility study to determine the best focus, size, and location for a combination museum and cultural center that will be used as a venue to celebrate the history and heritage of the Santa Clarita Valley. Prevailing Wage: No Bond Requirements: No Contact Information: Jonathan Cosh 1 (661)286-4187 1 jcosh@santa-clarita.com Prevailing Wage Monitoring: This Project is subject to prevailing wage compliance monitoring and enforcement by the Department of Industrial Relations. Required Contractor & Subcontractor Registration: Only bids submitted by bidders (along with all listed subcontractors) that are currently registered and qualified to perform public work pursuant to Labor Code Section 1725.5 will be accepted. 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: May 24, 2022 PROPOSAL INSTRUCTIONS PROPOSAL # REC-21-22-42 Santa Clarita Museum And Cultural Center Feasibility Study City of Santa Clarita, California 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. 3.5. Proposer shall honor proposal prices for One -Hundred and Twenty Days (120 days) or for the stated contract period, whichever is longer. 4. BRAND NAMES, ALTERNATIVES, OR EQUIVALENTS. 4.1. The use of the name of a manufacturer, or any specific brand or make, in describing any item contained in the solicitation document does not restrict vendors to the manufacturer or specific article, this means is being used simply to indicate a quality and utility of the article desired; but the goods on which bids/quotes/proposals are submitted must in all cases be equal in quality and utility to those referred to. This exception applies solely to the material items in question and does not supersede any other specifications or requirements cited. Materials differing from stated specifications may be considered, provided such differences are clearly noted and described, and provided further that such articles are considered by a City official to be in all essential respects in compliance with the specifications. 4.2. If you plan on bidding/quoting/submitting a proposal with an alternative or equivalent product please provide the cut sheet/spec sheet or detailed product description for the proposed product via the BidNet Q&A section. For each product proposed documentation provided must include a description reflecting the characteristics and level of quality that will satisfy the salient physical, functional, or performance characteristics of "equal" products specified in the solicitation. The proposal must also clearly identify the item by brand name (if any), and make/model number. In addition, the proposal may include descriptive literature such as illustrations, drawings, or a clear reference to previously furnished descriptive data or information available to the City, and clearly describe any modifications the offeror plans to make in a product to make it conform to the solicitation requirements. Staff will provide an answer via BidNet if the proposed product will be considered. 4.3. Any alternatives or equivalent product proposals must be made prior to the last day for questions. The City has the option of accepting or rejecting any alternative or equivalent product. Exception is made on those items wherein identical supply has been determined a necessity and the notation NO SUBSTITUTE has been used in the specification section. 5. 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 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. 6. 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. 7. INVOICES. Invoices will be forwarded to: City of Santa Clarita CD - Economic Development Attn: Phil Lantis 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. 8. DEPARTMENT OF INDUSTRIAL RELATIONS REQUIREMENTS. No proposer or subcontractor/subconsultant may be listed on a bid proposal for a public works project (submitted on or after March 1, 2015) unless registered with the Department of Industrial Relations pursuant to Labor Code Section 1725.5 [with limited exceptions from this requirement for proposal purposes only under Labor Code Section 1771.1(a)]. No proposer or subcontractor/subconsultant may be awarded a contract for public work on a public works project (awarded on or after April 1, 2015) unless registered with the Department of Industrial Relations pursuant to Labor Code Section 1725.5. This project is subject to compliance monitoring and enforcement by the Department of Industrial Relations. 9. PREPARATION. All proposals and required forms must be uploaded as laid out in the Bid Net General Attachments Section. 10. 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. 11. SUBCONTRACTORS. For all projects, the vendor 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. • If sub -contractor is participating as a Disadvantaged Business Enterprise (DBE), the following additional information is required on the "Designation of Subcontractors" form enclosed: ➢ Status as a DBE, age of the firm and the annual gross receipts. • Submit the "Designation of Subcontractors" form enclosed herewith. No Contract shall be considered unless such list is submitted as required. Copies of subcontracts will be provided to the City Engineer upon their request. 12. 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 # REC-21-22-42 Santa Clarita Museum And Cultural Center Feasibility Study City of Santa Clarita, California 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 proposers: Uploaded via BidNet (see Section C) ❑ Response File ❑ Cost File (to be submitted separately from Response File) ❑ Notice to Proposers 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: Phil Lantis ❑ Professional Services Agreement ❑ Insurance Required by Contract ❑ W-9 Form SECTION B Solicitation Information SCOPE OF WORK PROPOSAL # REC-21-22-42 Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California EVENT DATE Solicitation advertisement May 24, 2022 Last day for questions June 20, 2022 Return of proposals June 28, 2022 Evaluations of proposals June 29 - 15, 2022 Interviews (if necessary) July 14 - 21, 2022 Contract award August 23, 2022 Project Completion Date Spring 2023 *Dates are subject to change at the City's discretion* The City of Santa Clarita requests proposals for the following purpose according to the terms and conditions attached. In the preparation of this request for proposal the words "bidder", "contractor", and "consultant" are used interchangeably. 1. Purpose: The City of Santa Clarita is seeking a qualified consultant to prepare a feasibility study to determine the best focus, size, and location for a combination museum and cultural center that will be used as a venue to celebrate the history and heritage of the Santa Clarita Valley. The consultant will utilize community input to develop a plan that will serve as a guiding document for City Council, the Arts Commission, City staff, and the community. The plan should clearly state the strategies that will be used to manage the project as well as a plan of operation. 2. Introduction and Backeround: Throughout its history, the City of Santa Clarita has been committed to providing its residents with opportunities to learn about the history of the Santa Clarita Valley and to celebrate the numerous cultures that are currently and have been part of the heritage of the community. In the 2016 Arts Master Plan, the City emphasized an interest in exploring the development of a museum, potentially in the Old Town Newhall Arts and Entertainment District. This interest has expanded to include the desire to see the museum work in tandem with a cultural center, which will allow for the facility to not only offer displays of historic and heritage works, but to also serve as a hub for cultural events, presentations, and organizations. The addition of a museum and cultural center would fulfill the City's desire to showcase the community's rich history and cultural heritage and celebrate the diversity of the Santa Clarita Valley. 3. Work Statement: The City is looking for a consultant that will gather input from City Council, City leadership, the Arts Commission, and the public to identify potential locations, appearance, and focus of a museum and cultural center that will present displays of artistic and cultural works and host performances, presentations, meetings, and other public functions. The consultant will submit a planning process that will include details of the operation as well the management agenda. 4. Obiective(s)/Work Products: The final product will be a combination museum and cultural center to present displays and host performances, presentations, meetings, and other public functions. It is expected that the feasibility study will be completed nine months from the project start date. 5. Required Qualifications: The City of Santa Clarita is seeking a consultant who has previous experience in designing, managing, and contracting museums and cultural centers comparable to this desired facility. The City expects the consultant to prepare a comprehensive proposal with recommendations, actions, and procedures to accomplish the items set forth above. As this is a large project it is expected that the candidate has experience in all of the areas mentioned previously. 6. Time Schedule: The anticipated schedule for the amphitheater feasibility study development is as follows: August 2022- Consultant hired September 2022 - Initial meetings with consultant and staff to review documentation and expectations and finalized timeline. 7. Response Submittal Reauirements: (a) CONTENTS OF PROPOSAL Submitted proposals must follow the outline below and all requested information must be supplied. Failure to submit proposals in the required format may result in elimination from proposal evaluation. Proposal Format Each proposal must be submitted in two parts. A. PART I: RESPONSE FILE i. Cover letter- Include the name, address, and telephone number of the company, and be signed by the person or persons authorized to represent the firm. ii. Table of Contents- Clearly identify material contained in the proposal by section and page number. iii. Introduction — History of the contacting company as it applies to this project. iv. Work Proposal- Provide a detailed description of the approach that will be used to efficiently complete this project in the allotted time. Identify the resources necessary to complete the assignment, and make clear requests for assistance from City personnel and their respective departments. V. Statements of Qualifications- Provide a history of past work experience as it is directly applicable to this experience. vi. References- Include examples of similar projects and other agencies for which a project was completed. Provide a contact person for each agency and project of similar nature. vii. Assigned Personnel- Identify the staff exclusive to the contracting company who will be responsible for the planning and completion of this project. Detail each individual's experience as it relates to this project and a description of the projects in which they have previously assisted with. viii. City Resources- Identify the City services and staff resources needed to supplement contractor activities in order to achieve the identified objective. ix. Subcontractor(s) - If subcontractors are to be used it is expected that a complete history and list of their assigned staff is also submitted. The list should include staff, their qualifications, and relationship to management, schedule, costs, and hourly rates. X. Additional Data- Provide other essential information that may assist with the evaluation of this submission. B. PART II: COST PROPOSAL The cost proposal MUST be submitted separately than the Response File. It must be submitted in its own envelope in the following format: Name and Address- the Cost Proposal must list the name and the complete address of the bidder in the upper, left hand corner. Cost Proposal- The Cost/Price format for the proposal must be as follows: Total cost must be clearly indicated at the end of the Cost Proposal. Costs must include a breakdown by the following categories: Labor — List and hourly labor rate. List general administrative and overhead costs separately. ii. Supplies and/or Equipment- Provide an itemized list of supplies to be used. The City will NOT pay for any supplies unless adequately justified. In the event that the City pays for any equipment, it becomes the City's property. iii. Subcontractor Costs- Identify subcontractors by name, list their cost per hour or day, and the number of hours or days their services will be used. iv. Travel Costs- Identify estimated travel costs, including the number of trips required, destinations, and approximate cost of travel. Travel costs are reimbursed at prevailing rates for the contracting company OR City rates, whichever is lower unless otherwise negotiated. V. Miscellaneous Costs, if any- list all miscellaneous costs, which must be on a separate list from the items i-iv above. Charges for supplies, equipment, and subcontractors will be paid at cost. It is expected that general, overhead, and administrative costs are included in the hourly rate for labor. Bids submitted will be held to the total cost given in the response quote. It will be assumed that all contingencies and/or anticipated escalations are included. No additional funds will be paid above and beyond the original quote given by the selected bidder. 8. 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. 1.1. SCORING CRITERIA: 1.1.1.Contractor qualifications, Plan of Study/Scope of Work, Program Management 1.1.2.Experience on similar projects 1.1.3.Thoroughness of proposal, approach to providing sound services, and ability to provide services to meet objectives and standards 1.1.4.Cost of materials and services provided as well as discounts offered 1.2. During the selection process, the evaluation panel may wish to interview bidders 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. The City reserves the right to make a selection solely on the basis of the proposals without further contact. SECTION C Forms NOTICE TO PROPOSERS REGARDING CONTRACTUAL REQUIREMENTS PROPOSAL # REC-21-22-42 Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California 1. SUMMARY OF CONTRACTUAL REQUIRMENTS a. A contract is required for any service performed on behalf of the City of Santa Clarita (City). b. By submitting a proposal, you have reviewed the sample contract documents contained within this request for proposals and agree to be bound by the requirements set forth. c. Questions and requests for modification of these terms must be negotiated and approved prior to proposal submission and are at the full discretion of the City. 2. SUMMARY OF INDEMNITY AND INSURANCE REQUIREMENTS a. These are the Indemnity and Insurance Requirements for Contractors providing services or supplies to City of Santa Clarita (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. If any additional Contract documents are executed, the actual Indemnity 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. INDEMNIFICATION 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 expert consultants 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; (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. 4. INSURANCE 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 Limits Commercial general liability: $1,000,000 Professional liability $1,000,000 Business automobile liability $1,000,000 Workers compensation Statutory requirement b. Commercial general liability insurance will meet or exceed the requirements of ISO-CGL Form No. CG 00 011185 or 88. The amount of insurance set forth above will be a 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 1185 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:VII." 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 work performed by CONSULTANT for CITY. 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 TERMINATION section. In the alternative, should CONSULTANT fail to meet any of the insurance requirements under this Agreement, City may terminate this Agreement immediately with no penalty. g. 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. h. The CITY shall be entitled to any coverage in excess of the minimums required herein. 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 # REC-21-22-42 Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California The City of Santa Clarita has adopted a Disadvantaged Business Enterprise (DBE) Program to support federally funded procurements. The City strongly encourages the participation of small and Disadvantaged Business Enterprises in its federally funded projects and this site is intended to provide assistance to such businesses. Listed below are the names and locations of the places of business of each subcontractor, supplier, and vendor who will perform work or labor or render service in excess of % of 1 percent, or $10,000 (whichever is greater) of the prime contractor's total bid: DBE status, age of firm and annual gross receipts are required if sub -contractor is participating as a DBE. If no Subcontractors will be used fill out the form with NA. Please add additional sheets if needed. Subcontractor DIR Registration No. Dollar Value of Work Age of firm: DBE: Yes No Certifying Agency: Annual Gross Receipts: Location and Place of Business Bid Schedule Item No's: Description of Work License No. Exp. Date: / / Phone ( ) Subcontractor DIR Registration No. Dollar Value of Work Age of firm: DBE: Yes No Certifying Agency: Annual Gross Receipts: Location and Place of Business Bid Schedule Item No's: Description of Work License No, Exp. Date: / / Phone ( ) Subcontractor DIR Registration No. Dollar Value of Work Age of firm: DBE: Yes No Certifying Agency: Annual Gross Receipts: Location and Place of Business Bid Schedule Item No's: Description of Work License No. Exp. Date: / / Phone ( ) NOTE: A contractor or subcontractor shall not be qualified to propose on, be listed in a proposal, subject to the requirements of Section 4104 of the Public Contract Code, or engage in the performance of any contract for public work, as defined in this chapter, unless currently registered and qualified to perform public work pursuant to Section 1725.5 of the Labor Code. It is not a violation of this section for an unregistered contractor to submit a proposal that is authorized by Section 7029.1 of the Business and Professions Code or by Section 10164 or 20103.5 of the Public Contract Code, provided the contractor is registered to perform public work pursuant to Section 1725.5 of the Labor Code at the time the contract is awarded. REFERENCES PROPOSAL # REC-21-22-42 Santa Clarita Museum and Cultural Center Feasibility Study 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. Name and Address of Owner / Agency Name and Telephone Number of Person Familiar with Project Contract Amount Type of Work Date Completed 2. Name and Address of Owner / Agency Name and Telephone Number of Person Familiar with Project Contract Amount Type of Work Date Completed 3. 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 # REC-21-22-42 Santa Clarita Museum and Cultural Center Feasibility Study City of Santa Clarita, California By providing the three (3) required signatures below, the Contractor acknowledges full understanding, complete agreement to, and accepts in its entirety, all Scope of Work for the Santa Clarita Museum and Cultural Center Feasibility Study. The Contractor will be expected to perform maintenance practices and uphold the standards herein to the established Scope of Work throughout the length of the contract. *Supervisor's Signature: Date: *Estimator's Signature: Date: *Owner's Signature: Date: *All three signatures required SECTION D Sample Contract SAMPLE ONLY CON-6 Council Approval Date: Agenda Item: Contract Amount: PROFESSIONAL SERVICES AGREEMENT BETWEEN THE CITY OF SANTA CLARITA AND FOR This AGREEMENT by and between the CITY OF SANTA CLARITA, a municipal corporation and general law city ("CITY") and , a ("CONSULTANT"), and is dated 1. CONSIDERATION. (A) As partial consideration, CONSULTANT agrees to perform the Services listed in the SCOPE OF SERVICES, below; and (B) As additional consideration, CONSULTANT and CITY agree to abide by the terms and conditions contained in this Agreement; and (C) As additional consideration, CITY agrees to pay CONSULTANT a sum not to exceed dollars ($ ) for CONSULTANT's Services. CITY may modify this amount as set forth below. Unless otherwise specified by written amendment to this Agreement, CITY will pay this sum as specified in the attached Exhibit(s) " " which is/are incorporated by reference. 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, CONSULTANT 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 with 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 perform the Services. (E) CONSULTANT will not subcontract any portion of these Services without the CITY's prior written approval. (F) CITY's approval of any payment, or conducting of any inspection, reviews, approvals, or oral statements, or any governmental entity's certification, will in no way limit the CONSULTANT's obligations under this Agreement or CONSULTANT's complete responsibility for all Services hereunder. 4. PAYMENTS. (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: Completion of the Services specified in Exhibit(s) " or ii. 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 FOR PERFORMANCE. 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 care 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 extend the 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 accordance with written agreement between the parties. 12. ADDITIONAL SERVICES. A. The CITY may request CONSULTANT to provide Services in addition to Scope of Services, called "Additional Services". 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 forth in Exhibit(s) " " or as specified in the written authorization. B. If CONSULTANT believes Additional Services are needed to complete the Scope of Services, CONSULTANT will provide the CITY with written notification that contains a specific description of 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 http://www.dir.ca.gov/OPRL/DPreWageDetermination.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 acknowledges 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 accurate payroll records, showing the name, address, social security number, work classification, straight 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 prevailing wage compliance monitoring and enforcement by the Department of Industrial Relations. 16. WAIVER. CITY's review or acceptance of, or payment for, Services or product prepared by CONSULTANT under this Agreement will not be construed to operate 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. TERMINATION. (A) Termination for Convenience. CITY may terminate this Agreement at any time with or without cause by written notice to CONSULTANT. CONSULTANT will be entitled to recover its costs expended up to the termination plus reasonable profit thereon to the termination date not to exceed the total costs under Section l(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 deliver 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, data, studies, drawings, maps, models, photographs and reports prepared by CONSULTANT under this Agreement are CITY's property. CONSULTANT may retain copies of said documents and materials 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. All press 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 expert consultants 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 subconsultng 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 null and void. 22.INDEPENDENT CONTRACTOR. CONSULTANT shall at all times be deemed an independent contractor wholly responsible for the manner in which it performs the Services, and fully liable for the acts and omissions of its 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 party has liability for such tax under applicable law, and any deficiency, interest or penalty asserted with respect thereto. CONSULTANT 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 Limits $1,000,000 $1,000,000 $1,000,000 Statutory requirement (B) Commercial general liability insurance will meet or exceed the requirements of ISO-CGL Form No. CG 00 01 1185 or 88. The amount of insurance set forth above will be a 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 01 06 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:VII." (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 work performed by CONSULTANT for CITY. (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 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. (H) The CITY shall be entitled to any coverage in excess of the minimums required herein. (I) COVID-19. CONSULTANT shall ensure its insurance coverages cover claims and/or losses related to the COVID-19 pandemic to the extent such insurance coverage is available. If such insurance is unavailable, but becomes available during the life of the contract, CONSULTANT shall procure a policy and name the City as additionally insured. 25. INCIDENTAL TASKS. CONSULTANT 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. DISPUTE RESOLUTION. (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. The parties may agree to any other dispute resolution process. Nothing herein will limit CONSULTANT's obligation to timely submit to CITY a statutory Government Code Claim, in accordance with Government Code sections 910 et seq. 27. NOTICES. All communications to either parry by the other parry will be deemed made when received by such party at its respective name and address as follows: If to CONSULTANT: If to CITY: ATTN: City of Santa Clarita ATTN: Kenneth W. Striplin, City Manager 23920 Valencia Boulevard, Suite 300 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 accomplishing 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 CONSULTANT breach or violate this warranty, CITY may rescind this Agreement without liability. 30. THIRD PARTY BENEFICIARIES. CONSULTANT's subconsultants 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 similar 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 State of 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 bind and inure to the benefit of the parties to this Agreement and any subsequent successors and assigns. 33. RULES OF CONSTRUCTION. Each party had the opportunity to independently review this Agreement with legal counsel. 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 flood; 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 may elect whether to terminate this Agreement or extend the time for performance. 39. FORCE MAJEURE. Except for defaults of subcontractors at any tier, CONSULTANT shall not be liable for any excess costs if the failure to perform the Agreement arises from causes beyond the control and without the fault or negligence of CONSULTANT, including without limitation failure to reasonably mitigate any adverse impacts (Force Majeure). Force Majeure events include the following: Acts of God, fires, floods, earthquake, other natural disasters, epidemics and pandemics (other than COVID-19 or variants), abnormal weather conditions beyond the parameters otherwise set forth in this Article, nuclear accidents, strikes, lockouts, freight embargos, interruptions in service by a regulated utility, or governmental statutes or regulations enacted or imposed after the fact (together, "force majeure events"). 40. 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. 41. COVID-19. Prior to execution of the Agreement, the State of California declared a state of emergency and issued a stay at home order in connection with the COVID-19 pandemic, and the County of Los Angeles ("County") issued numerous orders relating to COVID-19, including without limitation an Order to Shelter in Place, originally dated March 17, 2020 (as subsequently extended and amended, including after the date of the Agreement, the "County Order"). In no event shall CONSULTANT be entitled to any additional compensation in connection with any delay or costs associated with the COVID 19 pandemic, the County Order, or any other governmental requirements or regulations in connection therewith, whether currently existing or hereinafter enacted. In the event of any conflict between the terms of this Section and any other provision of the Agreement, in all events, the terms of this Section shall control. CONSULTANT's safety and logistics plans prepared in connection with this Contract specifically takes into account the COVID-19 Pandemic, the County Order, and all other governmental requirements or regulations regarding COVID-19 as of the date of the Contract, including without limitation all safety measures required. 42. SAFETY OF PERSONS AND PROPERTY. CONSULTANT shall comply with, and give notices required by applicable laws, statutes, ordinances, codes, rules and regulations, and lawful orders of public authorities, bearing on safety of persons or property or their protection from damage, injury, or loss, including without limitation the County Order and all other governmental requirements or regulations regarding COVID-19, all as may be amended from time to time. 43. FACSIMILE OR ELECTRONIC TRANSMISSION 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. 44. 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.) [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 Manager Date: APPROVED AS TO FORM: JOSEPH M. MONTES, CITY ATTORNEY City Attorney Date: IF CORPORATION: Print Name & Title Date: EXHIBIT A 2016 Arts Master Plan Arts Master Plan February 2oi6 Five Year Update July 2021 Arts Master Plan City Council Bob Kellar, Mayor Dante Acosta, Mayor Pro Tem TimBen Boydston Marsha McLean 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 Community Services Darren Hernandez, Deputy City Manager and Director of Administrative Services Robert Newman, Director of Public Works Ingrid Hardy, Recreation and Community Services Manager Phil Lantis, Arts and Events Administrator Stakeholder Committee Kelly Beh le, 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 City Council Bill Miranda, Mayor Laurene Weste, Mayor Pro Tem Jason Gibbs Marsha McLean Cameron Smyth Arts Commission Dr. Michael Millar, Chair Susan Shapiro, Vice Chair Patti Rasmussen April Scott -Goss Vanessa Wilk City Staff Ken Striplin, City Manager Frank Oviedo, Assistant City Manager Tom Cole, Director of Community Development Janine Prado, Directorof Recreation and Community Services Jerrid McKenna, Interim Director of Neighborhood Services Carmen Magana, Director of Administrative Services Robert Newman, Director of Public Works Phil Lantis, Arts and Events Manager Jenni Thompson, Arts, Schools, and Volunteers Administrator Katherine Nestved, Arts Coordinator Stakeholder Committee Homayoun Daryani, Small Business Representative Ted Dayton, Santa Clarita Photographers Association Stephanie English, Los Angeles County Fifth Supervisorial District, Field Deputy Monica Fawcett, City of Santa Clarita, Economic Development Associate Dr. Tyrone Howard, University of California, Los Angeles Marlee Lauffer, Henry Mayo Hospital Foundation, President Pamela Lewis, College of the Canyons, Art Gallery Director Tom Lund, Newhall Family Theatre for the Performing Arts, Theatre Manager Sara McDaniels, Arts for Santa Clarita Dr. Michael Millar, Arts Commission Denise Nelson, California Institute of the Arts, Senior Director, Office of Communications Evelyn Serrano, Artist/Community Activist Susan Shapiro, Arts Commission Murray Siegel, Entertainment Industry Representative Jennifer Smolos, College of the Canyons, Dean of Fine and Performing Arts Sue Solomon, K-12 Education Representative, Council PTA President Shannon Vonnegut, Santa Clarita Public Library, City Librarian Original Planning Consultants The Cultural Planning Group (Jerry Allen, Partner; David Plettner-Saunders, Partner; Linda Flynn, Research Director) www.culturalplanning.com Arts Master Plan Arts Master Plan Update Table of Contents Executive Summary............................................................................. Community Description...................................................................... What Do We Mean by "Arts and Culture"? ........................................... Community Engagement Findings...................................................... Arts Funding in California Cities........................................................... The Community's Vision for Cultural Development ............................. Conclusions......................................................................................... The Plan: Recommendations............................................................... 1. Public Art............................................................................. Update................................................................................. 2. Old Town Newhall Arts and Entertainment District .............. Update................................................................................. 3. Arts Education..................................................................... Update................................................................................. 4. Governance of the Arts ........................................................ Update................................................................................. 5. Cultural Facilities, Venues and Spaces .................................. Update................................................................................. 6. Supporting Artists and Arts Organizations ........................... Update................................................................................. 7. Arts Funding......................................................................... Update................................................................................. 8. Creative Economy................................................................ Update................................................................................. 9. Marketing the Arts............................................................... Update................................................................................. 10. Celebrating Diversity............................................................ Update................................................................................. Table of All Recommendations............................................................ Table of All Update Recommendations............................................... Implementation.................................................................................. Planning Participants.......................................................................... ••• 5 .12 .19 .22 .28 .32 •34 ••37 .38 • 47 •49 .60 .61 .63 .64 .68 .69 ••73 •74 ••77 •79 .84 .85 .88 .89 .91 .92 .96 .96 105 110 113 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. 3 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 201.4 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 1.997 and 1.998, 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 1.994 and Concerts in the Park before that time. A next phase of municipal cultural development took place following adoption of the City's first cultural plan in 1.998. 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 and Events Office in 2003 and formed the Arts Commission in 2009. The budget of the Arts and 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 1,25o residents and workers. The community engagement process included: • Stakeholder Committee • Key person interviews • Focus groups • AMPED Arts Summit (Town Hall Meeting) 5 Arts Master Plan • Community survey The plan's Stakeholder Committee (page i) 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 out 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 Master Plan • 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 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. Arts Master Plan 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 city 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 forthe 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 and 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. Arts Master Plan The Plan The Santa Clarita Arts Master Plan is organized according to three overarching themes and accompanying focus areas. Theme i. 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 01 Arts Master Plan Executive Summary Update The City of Santa Clarita Arts Master Plan has served as the guiding document for the development of arts and culture in our community for the last five years. The ten focus areas and 0. recommendations have been reviewed annually by the Arts Commission and staff during the development of the Arts Commission Work Plans and have been the basis for what has been prioritized and focused on each year. The goal of this five-year update is to do an analysis of each of the ten focus areas and to provide additional recommendations to ensure that the plan remains a vital document to continue to guide the growth of the arts forthe next five years. This update was developed by a process that included multiple meetings of the Arts Commission and its committees, a meeting of the arts community, a meeting of the Stakeholder Committee that was formed during the original planning process, and input from City staff. This update is focused on the Recommendations section of the Arts Master Plan, so even though there have been changes to some of the earlier sections, such as Community Description, those sections are not being updated at this time. There has been a lot of growth in arts and culture in Santa Clarita during the last five years, and this can be attributed to the quality of this plan. This update is in no way intended to replace the plan; it is simply an update to ensure that it continues to be the guiding document it was intended to be for the next five years. [to] 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 1.987, 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 centers 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 nineteenth century, the valley was the site of cattle ranching, the discovery of gold in 1.842 in Placerita Canyon, and California's first oil well, in 1.876 in Mentyrville. This tiny oil town was home to the longest running oil rig, which was not capped until i99o.1.876 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 a heroic engineering feat of digging the San Fernando Tunnel, still used by Metrolink and Southern Pacific trains. In the early twentieth 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 1.92os 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 12 Arts Master Plan sound stages for ABC Studios at the Golden Oak 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 and 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 The Master's University, a nondenominational conservative Christian liberal arts school. 13 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 1.50,000 in 2000 to 21.3,00o in 201-5. 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 201.0. 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 201.0. 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 1.994 and Concerts in the Park before that time. A next phase of municipal cultural development took place following adoption of the City's first cultural plan in 1.998. 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 and 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 $i.8.3 million 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 ioo—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 14 Arts Master Plan to small-scale theaters in Old Newhall: the Canyon Theatre Guild with 28o 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 and 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 $60,00o 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 $75,00o per year underthe 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 Park. The public art program is currently voluntary and, underthis approach, the City allocates amounts from selected projects in its Capital Improvements Program for art projects. The Arts and Events Office has overseen 1.6 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 is the City's longest -running program. Held at Central Park, it has 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 201.3, a substantive document that included analysis and policy 15 Arts Master Plan 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 greaterthan $ioo,000. The City funded seven local arts organizations through its Arts Grants program in 201-3/1-4. 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 201-3/1-4 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. 16 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 SPOTLIGHTARTS SPURGEON ARCHIVE 17 SWADESHI SWEET ADELINES INTERNATIONAL THE SOCIETY FOR ANIMATION STUDIES THEATRE COMPANY OF SAUGUS INC VINTAGE WINGS WEST YOUNGVILLE HIGHWAY HISTORY ASSOCIATION INC Arts Master Plan ffi3 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) 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 ZEROi Biennial of digital creativity. In Santa Clarita, culture certainly encompasses history and the community's Western heritage. 20 Arts Master Plan Community Engagement Findings 21 Arts Master Plan Community Engagement Findings The Santa Clarita Arts Plan is based on extensive community engagement involving approximately 1,25o 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 i) 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. 22 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 3o% 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 23 Arts Master Plan offerings, these opinions underscore the opportunity to serve more of the community cultural interests with changes to the programs 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 & consensus that Old Town Newhall & 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 out 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.). 24 Arts Master Plan There & 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 & 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 1.994, 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. 25 Arts Master Plan It & 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, ortake 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 llfe. 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 26 Arts Master Plan Elementary School Auditorium, private investors creating arts -related businesses in Old Town Newhall and elsewhere, and culturally specific 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 U.S. cities and it is a challenge to overcome the "noise" of many competing marketing messages in people's lives. 27 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 re venues. 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 $ioo,000 to approximately $i million. This reflects a fundraising truth that donors are often motivated by a commitment to a cultural facility and its role in the community. W.* 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 forthe 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 forthe 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. 109 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 (http://arts.gov/grants-organizations/our- town/introduction) and Art Works program (http://arts._gov/grants- organ izations/art-works/local-arts-agencies); 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 (http://www.artplaceamerica.org); 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.gov/programs/ccc.php)- 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. Arts Master Plan The Community's Vision for Cultural Development 31 Arts Master Plan The Community's Vision for Cultural Development Several visioning exercises were conducted as part of the planning process forth e 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 32 Arts Master Plan 0 Conclusions 33 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 city 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 Kr Arts Master Plan cultural infrastructure for the community: the Arts Commission, a capable local arts agency (the Arts and 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. 35 Arts Master Plan The Plan: Recommendations 36 Arts Master Plan The Plan: Recommendations The Santa Clarita Arts Master Plan is organized according to three overarching themes and accompanying focus areas. Theme i. 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 37 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 i99o'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 1.959, 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 W* Arts Master Plan commercial, industrial and residential development. 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. 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 forthe 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.). Ell] Arts Master Plan • The annual work plan would be reviewed and approved by the City Council. • The Arts Commission Chair will create an Ad Hoc Artist Selection Committee (ASC) 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 Artist Selection Committee develops a Call for Artists (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 Ad Hoc 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 Ad Hoc Artist 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, the 41 Arts Master Plan 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 space. 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 these 42 Arts Master Plan 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 $i million. If the private project developer prefers not to place public art S] Arts Master Plan within the project, the developer should have an option to deposit with the City an amount equal to i.o%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 $io,000 - $1.5,000 annually, paying the artist $ioo/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 a rt. 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 Arts Master Plan 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 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 io to 1.5 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. 45 Arts Master Plan 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 $1.0,000 - $3.5,000 annually). 1.6. The City should create a program of temporary public art (estimated cost $40,000 - $50,000 annually). Arts Master Plan Public Art Update 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 each of Pasadena's seven Council Districts, around City Hall in the City of Culver City, and on medians and parks within the City of West Hollywood. Developing a public art program with a clear planning and selection process was one of the key motivations forthe development of the Arts Master Plan. Both the City Council and the Arts Commission expressed the need for a clear process to ensure that art projects were able to be created for the community and to allow for the public art program to grow in the future. As recommended in the Arts Master Plan, the City Council approved the Public Art Planning and Selection Process (Recommendation i.i) in fall 2oi6, which has offered a systematic approach for thoughtful planning to ensure meaningful community engagement. In March 2020, the Arts Commission Public Art Committee updated the Public Art Planning and Selection Process to incorporate refinements that had been through the process during the first three years of the public art program after the adoption of the Arts Master Plan. In fall 201.7, the City Council approved the Civic Art Policy (Recommendation 1.3), which enacts a percent -for -art requirement for new City Capital Improvement Projects that qualify underthe policy. Forthe 2020-21. fiscal year, three projects qualified to allocate i% of the eligible project costs for public art: the Canyon Country Community Center, the Santa Clarita Valley Sheriff's Station, and the Vista Canyon Multi Modal Center. In spring 2oi8, the City of Santa Clarita hired two public art consultants (Recommendation 1.5) to assist with the development of the public art projects for new capital improvement projects. In summer 2021., the City resolicited for a public art consultant for a one-year contract with three additional annual renewals. In the Arts Commission 2oi8 Work Plan, received by City Council in September 2017, the Commission prioritized the creation of a program of temporary public art 47 Arts Master Plan (Recommendation 1..6). The Arts Commission developed a Temporary Public Art Proposal and in summer 201.9, the City Council approved funding for a temporary public art program. Public art enhances our local community by making public spaces more inviting, promoting discussion of arts, and reflecting the history of Santa Clarita. Public Art Recommendations i.B.i The City should expand the temporary public art program to include a broader range of art forms, including assistance for temporary performance art. i.B.2 The City should update the language in the documents that are part of the public art planning and selection process to ensure that artists of all backgrounds are encouraged to participate in the program. This recommendation aligns with the Diversity and Inclusion Committee Statement. W. 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 1.876 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 1.5-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 University and historic William S. Hart Park. Newhall was originally platted in 1.889 into approximately 5o 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 201-4. 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 i- 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: 0 Making great public places Mo 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 neartransit. • William S. Hart Park: This facility, immediately adjacent to Old Town Newhall, contains 265 acres of which i6o 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 Arts Master Plan of the wilderness acreage, a picnic and camping area with an equestrian trail, a barnyard animal area including a 20-acre bison preserve, a i9io ranch house, a collection of i9th 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. i89o) is proposed to be relocated from Heritage Junction, to the northwest corner of Newhall Avenue and Pine Street. Priorto being moved to Heritage Junction, the building was initially used as a'Good Templars Hall' in i890 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, 201.2. • Veteran's Historical Plaza: Public plaza hosts annual special events. • Streetscape Improvements: Landscaping and hardscape improvement and pedestrian -friendly amenities provide great 51 Arts Master Plan opportunities for sidewalk dining, on -street parking for shoppers and a great backdrop for hosting special events. • Old Town Newhall Roundabout: Completed January 201.4 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 52 Arts Master Plan 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. 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 53 Arts Master Plan 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. 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 $zo million to more than $ioo million, and annual operating costs could range from approximately $i 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 54 Arts Master Plan 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., 1.5,000 square feet). An option would be to establish a fee (e.g., i% 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. 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 (http://www.artspace.org) and PLACE (http://welcometoplace.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, http://www.wavartists.com). Opened in 201.0, this mixed -use development in downtown Ventura's cultural district includes 69 units of affordable live/work space for artists, a small 55 Arts Master Plan 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 owners to locate in Old Town Newhall. One way this effort might bejump-startedwould 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 (28o seats), located on Main Street. • Repertory East Theatre (81. seats), located on Main Street. 56 Arts Master Plan • Newhall Elementary School Auditorium (not renovated yet, 583 seats), located on Walnut Street, between iit" and 1.2t" 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. The City should contract with a qualified programmerto 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, 57 Arts Master Plan 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 forthe City's cultural programs. 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 W Arts Master Plan 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). 59 Arts Master Plan Old Town Newhall Arts and Entertainment District Update The City of Santa Clarita has continued to invest in Old Town Newhall, including taking over the management and operations of a small arts venue on Main Street, The MAIN, as an arts center in early 201-7. This was not foreseen during the development of the Arts Master Plan, as the venue was being managed by the Repertory East Playhouse at the time. The Newhall Elementary School auditorium was reopened in 201.7 as the Newhall Family Theatre for the Performing Arts, after more than 40 years of being closed to the public. The refurbished 54o-seat venue is being managed by the Newhall School District for the benefit of the community. The City has entered into a multiple -year agreement to financially support the operations of the facility and to ensure that there is time for community groups to utilize the venue (Recommendation 2.1.). The City launched a new film festival, the Newhallywood Silent Film Festival, in 201.9 to celebrate Newhall's rich silent film heritage (Recommendation 2.6). The festival was produced in partnership with the Natural History Museum of Los Angeles County and the Los Angeles County Department of Parks. The Arts Commission is currently working on several of the other recommendations in this focus area, including exploring museums, placing public art in Newhall, and developing a creative live/work facility. Old Town Newhall Arts and Entertainment District Recommendations 2B.i. Explore the development of a program that offers pop-up and mobile museum experiences in Old Town Newhall. This recommendation aligns with the Diversity and Inclusion Committee Statement. 213.2 Create outside spaces that can serve as a hub for various arts and cultural opportunies for the community. role] 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 twenty-first 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-1.2 arts education and widely regarded as a national model. In addition the College of the Canyons sponsors a K-i2 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 The Master's University —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 Performing Arts Standards 61 Arts Master Plan 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-1.2 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, The Master's University, 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. 62 Arts Master Plan Arts Education Update An arts education collaborative was created in summer 201.9, which includes representatives from the City of Santa Clarita, the Los Angeles Department of Arts and Culture, the California Institute of the Arts, and the College of the Canyons (Recommendation 3.1.). The collaborative began to identify the needs for arts education across the community and realized that a strategic planning process that included representatives from all five local school districts, artists and arts organizations, and the business community would be an opportunity to enhance creative education in Santa Clarita. The strategic planning process was delayed due to the COVID-1.9 pandemic, but was able to launch at the end of the 2020-21. school year. The resulting strategic plan will contain recommendations and an implementation plan for the community. City staff had also started to discuss ways to expand the curriculum of arts classes offered through the Contract Classes program, which is shared in the quarterly Seasons magazine (Recommendation 3.3). This effort was also delayed due to the pandemic, but is anticipated to begin to be implemented in the coming year. Arts Education Recommendations 3B.i Begin implementing the Santa Clarita Arts Education Strategic Plan, once it has been developed in summer 2021. 313.2 Explore programs to offer arts education to all ages, particularly targeting seniors and underserved communities. This recommendation aligns with the Diversity and Inclusion Committee Statement. :3 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. 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. 09-1.3 41, 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 forthe 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: City 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 65 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. IBM" Arts Master Plan 4-4. Create a standing City Council subcommittee forth e arts, comprised of two council members, whose role is to provide an ongoing link between the City Counci and Arts Commission, and to reinforce implementation of the plan. 67 Arts Master Plan Governance of the Arts Update The recommendations in this focus area were priortized by the Arts Commission during the early years of the implementation of the Arts Master Plan. In 2oi6, shortly after the adoption of plan, the Arts Commission developed their first Arts Commission Work Plan (Recommendation 4.2), which identified five recommendations that would be prioritized that year. A Work Plan has been developed annually every year since. The Arts Commission held a joint study session with the City Council to share the first Arts Commission Work Plan (Recommendation 4.3). This meeting has been held most years since then and has become an annual tradition in September of each year. Three-tier approval processes have been implemented as part of the Public Art Planning and Selection Process and the annual Arts Grants program (Recommendation 4.1.). These processes include peer review panels that have representatives from the Santa Clarita community and arts experts. Governance of the Arts Recommendations 4B.i The City should develop a new Arts Master Plan for presentation to the City Council in 2026, as this plan's contents must be updated and enhanced to fit the changing needs of the community. 413.2 The Stakeholder Committee that was developed during the development of the original Arts Master Plan and was reformulated for this update should be consulted at a minimum of once yearly to be a voice of the community as the plan continues to be implemented. The membership of the committee should be representive of the diverse perspectives of the community. This recommendation aligns with the Diversity and Inclusion Committee Statement. .: 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 1.998 Cultural Arts Master Plan and the 201.4 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 forthis plan, cultural facilities are defined here in a broad mannerto include not onlytheaters 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 desire 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. C9%] 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 1.998 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. all 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 forthe 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. 71 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. 72 Arts Master Plan Cultural Facilities, Venues and Spaces Update The need for a community arts center was identified as one of the highest priorities by the Arts Commission in the first Arts Commission Work Plan (Recommendation 53). The effort to develop a center has been worked on since that time. In June 2021., the Cultural Planning Group, the consultants who developed the Arts Master Plan, were contracted to develop a needs asessment for an Arts, Culture, and Veterans Center at the site of the former SCV Senior Center in Old Town Newhall. This effort is a partnership between the City of Santa Clarita and the Los Angeles County Fifth District. The City also commissioned an amphitheater feasibility study, which was presented to the City Council in 2oi8 (Recommendation 5.1.). The study identified five potential sites at three locations. Two of the sites were determined to be suitable for an amphitheater with an approximately 6,00o attendee capacity. Both of the sites are not currently available for development, but could be reassessed when either site is able to move forward. The meeting held with the arts community for this update identifed facility needs that are reflected in the recommendations below. Cultural Facilities, Venues and Spaces Recommendations 5B.z Explore development of an outdoor theater venue with a 500 to 750 attendee capacity modeled on the concept in the Rivendale Park and Open Space Master Plan. 513.2 Identify a shared space to support the various needs of the arts community (e.g. rehearsal, storage of props, costumes, and administrative space). 513.3 Identify a location for performance teachers to present recitals and instruction. 73 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 and 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 (http://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 and 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 Institute and the 74 Arts Master Plan Executive Service Corps (http://www.escsc.org) 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 (http://www.cciarts.org), Arts for LA's Artists Opportunities listings (http://www.artsforla.org/forum/i.), and Side Street Projects (http://sidestreet.org). 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 $6o,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 forthe Arts 201.4). In Santa Clarita, total revenues of current grantees is approximately $i..6 million, and the total revenues of the nonprofit arts community in the valley is much greater. Nine percent of $i..6 million is $1.44,000. 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 75 Arts Master Plan approximately g% 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 sso,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 sso,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 sso,000 annually). 76 Arts Master Plan Supporting Artists and Arts Organizations U pdate The City Council increased the funding for the Arts Grants program from s6o,000 to s9o,000 in the first grant cycle after the adoption of the Arts Master Plan in 2o16 (Recommendation 6.1) and a new capacity building category was added to the program (Recommendation 6.2). Both of these actions have positively impacted the development of the arts in the community. The City offers business trainings for artists in the community through two different programs (Recommendation 6.3). The first, the New Heights Artist Development Series, is generally offered once a month and provides professional development for musicians, visual artists, and filmmakers. This program was moved to being offered virtually during the pandemic, which has resulted in more artists viewing the sessions than when they were being offered in -person. The second program is the annual Arts Symposium, which is presented in October of each year as part of the City's ARTober initiative. The Arts Symposium is a one -day gathering for artists where various professional development sessions are offered. This program was held virtually in 202o, but will return to in -person in 2021. The CREATIVE Connection program was produced in FY 2019-2o and again in FY 2020-21 to develop board members and match them with local nonprofit arts organizations (Recommendation 6.4). The program will be offered again in FY 2021-22. Supporting Artists and Arts Organizations Recommendations 6B.1 Explore an increase to the Arts Grants program (and the Community Services Grants program) of $1o,000 each, and expand the Arts Grants to be an Arts and Culture Grants program, which encourages community nonprofits that celebrate Santa Clarita's diversity to apply. This recommedation is aligned with the Diversity and Inclusion Committee Statement. 77 Arts Master Plan 613.2 Evolve the Arts Symposium program into a multiple -day arts conference that serves Southern California and encourages attendees to stay in local hotels. 613.3 Expand the CREATIVE Connection program to target participants that represent Santa Clarita's diverse population. This should result in expanded diversity of representation on local nonprofit arts organizations boards of directors. This recommendation is aligned with the Diversity and Inclusion Committee Statement. ff:3 Arts Master Plan 7. Arts Funding Currently, the City provides a budget of approximately $2.2 million for the Arts and Events Office. This budget supports both arts and non -arts programming. Staff estimates that 6o 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 and 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@a Newhall, Concerts in the Park and Fourth of July. The Arts and Events Office handles about Zoo 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. as] Arts Master Plan 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 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 EI11 Arts Master Plan 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 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 201.1/1.2 Arts Grants program shows the total of individual, corporate, and foundation giving was $1.52,573, 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. EMI Arts Master Plan 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 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 201.2, the room tax translated roughly to an additional $25 million generated from local hotel -room sales. And the tax on occupied hotel rooms produced io percent —or nearly $2.5 million —in tax revenue for Santa Clarita's general fund. In 201.2, 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 io%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 Arts Master Plan 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. Arts Master Plan Arts Funding Update The City of Santa Clarita has increased arts funding every year since the adoption of the Arts Master Plan, with the exception of the FY 2020-21. budget cycle, when the impact of the COVID-ig pandemic was not yet clear and no budget increases were authorized, except for those that were required by law or contract. The City Council has been extremely supportive of the arts by allocating funding for various arts programs, hiring consultants to develop plans, supporting the operations and management of The MAIN and the Newhall Family Theatre for the Performing Arts, and by allocating funding for a new position to focus on events that celebrate Santa Clarita's diversity in the FY 2021-22 budget. The Arts Commission has been working with Dr. Ravi Rajan, the President of the California Institute of the Arts, to form the Arts and Business Leadership Council (Council) (Recommendation 7.1.). This effort was somewhat delayed due to the pandemic, but the first meeting of the Council is anticipated to held before the end Of 2021. Arts Funding Recommendations 7B.i Research arts funding models and develop a report on potential mechanisms to expand financial support for the arts community in Santa Clarita. This effort should focus on ways to encourage arts and cultural organizations that celebrate the community's diversity. This recommendation aligns with the Diversity and Inclusion Committee Statement. 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 considerthis 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 201.3 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 EM Arts Master Plan Division, Santa Clarita Valley Economic Development Corporation, and College of the Canyons Economic Development Division. They collaborate 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 1.950s, 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 forthis 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, i• 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. Arts Master Plan Creative Economy Update Many of the recommendations in this area have been prioritized in the 2021 Arts Commission Work Plan, and are intended to be developed in a strategic approach. This includes the development of a creative industries directory (Recommendation 8.3), which is being developed by a Los Angeles County Arts Intern, during summer 2021. The development of the creative industries directory is anticipated to be followed by a convening in fall 2021 to share the directory with Santa Clartia business and arts leaders (Recommendation 8.1). In addition, current business development services programs are being assessed to determine how they can be more attractive to and beneficial for creative businesses (Recommendation 8.2). Creative Economy Recommendations 8B.1 Explore ways to expand business development services programs to ensure that participants represent Santa Clarita's diverse community. This recommendation aligns with the Diversity and Inclusion Committee Statement. :: 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 U.S. 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 (http://santaclaritaarts.com). Other arts calendars for the valley include: Visit Santa Clarita (http://visitsantaclarita.com/things/arts-culture/) Arts and Events Office Events Calendar (http://arts.santa-clarita.com/events/) Santa Clarita Guide (http://santaclaritaguide.com/CalendarOfEvents.php) 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 (http://www.artsopolisnetwork.com), the "Philly Fun Guide" (www.phillyfunguide.com), and the CNY Arts Calendar (http://_ oq tocnyarts.org). 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. %M 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 thethemed 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 overtime. 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, community -wide 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). •11 Arts Master Plan Marketing the Arts Update In October 2oi6, the City of Santa Clarita launched the SantaClaritaArts.com website with the goal to serve as the hub for arts and cultural information for the community. The City hired Lundmark Advertising + Design in 201.9 to develop a marketing plan tailored to the community to increase engagement, expand audience, and increase visibility (Recommendation 9.1.). The marketing plan includes the following sections: • Phase is Audience Analysis —analysis of community demographics, target audience, and socio-economic data, which is utilized in the development of the comprehensive marketing plan. • Phase 2: Media and Marketing Audit— review of current marketing efforts, exploration of additional local/regional marketing opportunities, and the review of SantaClaritaArts.com as well as other similar organizations' websites. Phase 3: Marketing Strategy — development of a comprehensive, strategic marketing plan that provides recommendations on new media outlet opportunities to expand visibility, identifies potential marketing partnerships, outlines recommended budget expenditures, and includes marketing milestones and measurement metrics. In March 2021., the City hired Lundmark Adverting + Design to focus on improving SantaClaritaArts.com. An audit was conducted on site speed and search engine optimization and a more comprehensive search engine optimization (SEO) audit was recommended to be conducted. The website has established a secure sockets layer (SSL) certificate, updated meta description to key pages, and improved page load time. Arts Marketing Recommendations 9B.i Increase the arts marketing budget and expand the regional marketing strategies (incremental increases, leading to the Arts Marketing Plan recommendation of $62,000). 913.2 Create an initiative that highlights events and programs that celebrate Santa Clarita's diversity on SantaClaritaArts.com. This recommendation aligns with the Diversity and Inclusion Committee Statement. 91 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 1.994, 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. Inclusion in this context refers to efforts to welcome and embrace diverse participants into a cultural activity. This can require changes to programming, 92 Arts Master Plan 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 tojoin 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 lo.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. 3.0.3. Increase culturally diverse programming produced or supported bythe 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. a3 Arts Master Plan Celebrating Diversity Update The first action taken by the Arts Commission after the adoption of the Arts Master Plan by the City Council in March 2oi.6 was to form a Diversity and Inclusion Subcommittee (Recommendation io.i). The subcommittee, now called a committee, focused on participating in regional efforts, such as hosting a meeting for the Los Angeles County Department of Arts and Culture as they developed their Cultural Equity and Inclusion Initiative, and assessing the resources, programs, events, and organizations that address diversity in Santa Clarita. The result was the creation of a statement by the committee to guide the Arts Commission in continuing to address this area: Diversity and Inclusion Committee Statement It is the Diversity and Inclusion Committee's belief that diversity, equity, accessibility and inclusion are integral to enriching our community through arts and culture. That the arts should play a significant role in supporting cultural representation and opening pathways to meaningful community engagement and understanding. The Committee would like to make a recommendation to the Arts Commission that as we address and follow up on each of the Arts Master Plan initiatives and recommendations, and in our committees and processes, we seek out opportunities, of all sorts, to support cultural equity and diverse participation. From the grants programs to public art, to the development of our non profits and the Old Town Newhall Arts and Entertainment District, in each area that we engage or advise, we would like to.• • Consistently strive to serve all the varied communities that make up the City of Santa Clarita • Invite the creation of artwork and events that are inclusive and that amplify our community's full and diverse range of cultural assets • Prioritize engagement and strive to widen our outreach to include groups and individuals who are not currently participating Arts Master Plan A crucial part of this process will be to identify community resources, leaders® and organizations to help us to widen our reach in all of our initiatives and by suggesting ways to make our arts communications and programs inviting and inclusive. This statement has been intregrated into all of the discussions by the Arts Commission committees as this update was being developed. The result is reflected in recommendations in all of the focus areas of the Arts Master Plan Update, as noted in the individual recommendations. Celebrating Diversity Recommendations i.oB.i Utilize the Diversity and Inclusion Committee Statement in developing future recommendations and when implementing the existing recommendations. ioB.2 Utilize the Diversity and Inclusion Committee Statement when developing future events or programs, or evolving existing events or programs, produced or supported by the City of Santa Clarita. 95 Arts Master Plan Table of All Recommendations Theme i. Enhancing Cultural Vitality in the Community 1. 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 1.6. The City should create a program of temporary public a rt. Arts Master Plan 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. 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 identifyjoint strategies, building on the College of the Canyon's K-12 Consortium. Participants can include 97 Arts Master Plan the City, school districts, College of the Canyons, COC's K-12 Consortium, CalArts, The Master's University, 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 - s10,00o 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 annua 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 0 Arts Master Plan 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. 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 regiona 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. 6. Supporting Artists and Arts Organizations Recommendations 6.1. Increase the total Arts Grants budget (incremental increases to a benchmark of $3.44,000 or 0 Arts Master Plan approximately g% of total annual arts organization revenues). 6.2. Create anew capacity building category of grants for arts and cultural organizations, including assistance for unincorporated and culturally specific groups (estimated cost sso,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 sso,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 sso,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 funding, such as the general fund and the recommended percent -for - art program. W Arts Master Plan 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 W Arts Master Plan 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 so.s. Create a Diversity and Inclusion Subcommittee of the Arts Commission to promote relevant programming, awareness and opportunities. 3.0.2. Explore projects that address diversity and inclusion through the City's Arts Grants and Community Services Grants. 3.0.3. Increase culturally diverse programming produced or supported by the City, such as community festivals celebrating cultural diversity and/or a citywide multicultural festival. 3.0.4. Make available technical assistance services to culturally specific organizations and support their organizational development. 102 Arts Master Plan Table of Arts Master Plan Update Recommendations Theme i. Enhancing Cultural Vitality in the Community 1. Public Art Recommendations 113.1 The City should expand the temporary public art program to include a broader range of art forms, including assistance for temporary performance art. 113.2 The City should update the language in the documents that are part of the public art planning and selection process to ensure that artists of all backgrounds are encouraged to participate in the program. This recommendation aligns with the Diversity and Inclusion Committee Statement. 2. Old Town Newhall Arts & Entertainment District Recommendations 2B.1 Explore the development of a program that offers pop-up and mobile museum experiences in Old Town Newhall. This recommendation aligns with the Diversity and Inclusion Committee Statement. 2B.2 Create outside spaces that can serve as a hub for various arts and cultural opportunities for the community. 3. Arts Education Recommendations 3B.1 Begin implementing the Santa Clarita Arts Education Strategic Plan, once it has been developed in the summer of 2021. 103 Arts Master Plan 313.2 Explore programs to offer arts education to all ages, particularly targeting seniors and underserved communities. This recommendation aligns with the Diversity and Inclusion Committee Statement. Theme 2. Strengthening Cultural Support Systems 4. Governance of the Arts Recommendations 4B.1 The City should develop anew Arts Master Plan for presentation to the City Council in 2026, as this plan's recommendations must be enhanced to fit the changing needs of the community. 413.2 The Stakeholder Committee that was developed during the development of the original Arts Master Plan and was reformulated for this update should be consulted at a minimum of once yearly to be a voice of the community as the plan continues to be implemented. The membership of the committee should be representative of the diverse perspectives of the community. This recommendation aligns with the Diversity and Inclusion Committee Statement. 5. Cultural Facilities, Venues and Spaces Recommendations 513.1 Explore development of an outdoor theater venue with 500 to 75o attendee capacity modeled on the concept in the Rivendale Park and Open Space Master Plan. 513.2 Identify a shared space to support the various needs of the arts community (e.g., rehearsal, storage of props, costumes, and administrative space). o Arts Master Plan 513.3 Identify a location for performance teachers to present recitals and instruction. 6. Supporting Artists and Arts Organizations Recommendations 6B.1 Explore an increase to the Arts Grants program (and the Community Services Grants program) of sso,000 each, and expand the Arts Grants to be an Arts and Culture Grants program, which encourages community nonprofits that celebrate Santa Clarita's diversity to apply. This recommendation is aligned with the Diversity and Inclusion Committee Statement. 613.2 Evolve the Arts Symposium program into a multiple - day arts conference that serves Southern California and encourages attendees to stay in local hotels. 613.3 Expand the CREATIVE Connection program to target participants that represent Santa Clarita's diverse population. This should result in expanded diversity of representation on local nonprofit arts organizations boards of directors. This recommendation is aligned with the Diversity and Inclusion Committee Statement. 7. Arts Funding Recommendations 7B.1 Research arts funding models and develop a report on potential mechanisms to expand financial support for the arts community in Santa Clarita. This effort should focus on ways to encourage arts and cultural organizations that celebrate the community's diversity. This recommendation aligns with the Diversity and Inclusion Committee Statement. 105 Arts Master Plan 8. Creative Economy Recommendations 8B.1 Explore ways to expand business development services programs to ensure that participants represent Santa Clarita's diverse community. This recommendation aligns with the Diversity and Inclusion Committee Statement. Theme 3. Fostering Greater Diversity and Inclusion 9. Arts Marketing Recommendations 913.1 Increase the arts marketing budget and expand the regional marketing strategies (incremental increases, leading to the Arts Marketing Plan recommendation of s62,000) 913.2 Create an initiative that highlights events and programs that celebrate Santa Clarita's diversity on SantaClaritaArts.com. This recommendation aligns with the Diversity and Inclusion Committee Statement. 10. Celebrating Diversity Recommendations soB.s Utilize the Diversity and Inclusion Committee Statement in developing future recommendations and when implementing the existing recommendations. 3.oB.2 Utilize the Diversity and Inclusion Committee Statement when developing future events or programs, or evolving existing events or programs, produced or supported by the City of Santa Clarita. W Arts Master Plan tion 107 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 forthe 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, in -kind 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 current arts priorities, and provide opportunities for community members to participate in WE Arts Master Plan 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. W119] 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 CouncilmemberTimBen 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 110 Arts Master Plan STAKEHOLDER COMMITTEE (See roster, Page i) 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 (CAST 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-1.2 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) 112 Arts Master Plan Arts Summit (Town Hall) Participants April 6, 2015 103 Total John Alexopoulos Phil Alhouse Li Ang Wallis Annenberg Yoonhee Aprahamian Mark Archuleta Glenna Avila Lisa Barr Noel Bermudoz Sue Bird Lisa Bloom TimBen Boydston Cheryl Cameron Margaret Cockerell Curtis Colver Rod Cusic Eileen Daniels Paul Daniels Hilary Darling Jeremiah Dockray Erik Dunton Karla Edwards Mark Elfont Laurie Finkelstein Sandy Fisher Dianne Foderaro John Fortman Hadassah Foster Lena France's Maureen Furniss Teresa Garcia Meryl Goudey Raymond Guiterrez Justin Hogan Douglas Holiday Dawn Hovhannisyan Jeanne Iler Alyssa Janney Joseph Jasik William Kelman Chandra Khan Janet Kubler Raymond Kutylo Erica Larsen Michele Lecrivain Michelle Lecrlvain Moire Lendering Sister of Moire Lendering Gloria Locke Bob Locke Tom Lund Sal Mannino Patrick Mannion Darryl Manzer Howard Marcovitch Cheri Marcovitch Caroline Martin Marilyn McDonale Bruce McFarland George Mcguinness Patte McKee Michael Millar Rosemary Moffat Aaron Morquecho Selena Narayanasamy Sarah Nelson Stephanie O'Connor Sara Owinwo Scott Parker Leighton Pierce Don Pittman Elizabeth Power Robison Jeannene Przyblyski Shirley Pundt Nadine Rambeau Rima Raulinaitis James Robinson Carol Rock Frank Rock CJ Sarachene Karen Schnurr Phillys Scorza Kristy Shadle Diana Shaw Chris Shoemaker Jacqueline Sofen David Stears Leslie Tamaribuchi Idelle Tyzbir Andrew Tyzbir Ann Unger Melissa Valencia Mr. Valencia David Veal Robert Wannamaker Norma Warden Rosalind Wayman Marlowe Weisman Brittney Westover Martha Wilcox Leon Worden Eileen Zeidner 113 v f . .1 i -s City of Santa Clarita Proposal for Museum & .. Cultural Center ' Feasibility Study i # REC-21-22-42 Y!� I � I June 24, 2022 5 Pogo - Pik � y _ II- y ANEW- _ June 24, 2022 Jonathan Cosh City of Santa Clarita, California Re: Response to PROPOSAL # REC-21-22-42 Santa Clarita Museum and Cultural Center Feasibility Study Dear Mr. Cosh, It is with great pleasure that we at M. Goodwin Museum Planning, Inc. (MGMP) are responding to the request for proposals from the City of Santa Clarita to develop a feasibility study for a new museum and cultural center. We hope to offer our extensive experience, our passion for museums and our proven track record to your project. We believe that our team is in a unique position to help guide the development of an exciting yet pragmatic vision for the institution's future —one that embodies your highest aspirations. We know museums and cultural centers. Our team members are well -versed in the essential considerations for developing successful heritage sites and museums. MGMP's team members are veteran cultural planners, having worked on over 150 museum planning projects nationwide, and internationally, including dozens of city, county, and state-owned or managed projects. Our team understands that planning a museum and cultural center is more than just addressing technical issues of a site and its buildings —our core work is about creating a framework for the institution and its identity to build a sense of community, and to create a meaningful and enduring destination. Because of our experience, we know that in a museum, everything is interconnected. Every one of the museum's components —programs, exhibitions, staffing, finances and facility —impacts every other aspect of the museum's operations, identity and potential for success. Navigating this challenging matrix of relationships within a holistic framework is a core asset of our team. Because we offer our clients a comprehensive range of planning services, from operational and business plans to building programs and feasibility studies, our planning process incorporates a unique understanding of the real-time implications of strategic, interpretive and programmatic choices on a museum's operations and impact. We know what it takes to make this project a success. We understand how each of a museum's program components —every building, interior space, landscape element and built structure —represents a series of requirements for diverse uses and audiences. As we work to define the museum and cultural center's core audiences and desired visitor experiences, we'll also identify the core messages and narratives that will support telling stories intrinsic to Santa Clarita. We'll also explore programming opportunitiesand approaches to bring those stories to life. Once we define the range of events and programs likely to be presented on site, we can develop visitation projections, a staffing and administrative model, and a building program that will form the basis of an economic study describing future operational costs, revenue production and regional market impacts. At every step of the way, we'll apply our experience to develop realistic yet creative solutions to issues and needs related to facility and site identity and access, circulation and safety for visitors and staff, while also considering the long-term impacts of our planning. From this information we will work to align the site, the visitor experience, and the institutional identity with the City's operational needs and expectations for performance. As you'll see throughout this proposal, our work products and process are tailored to offer you data and information that will help you to make informed, prudent, long-term decisions. Our comprehensive and incremental approach to planning —first addressing big -picture issues of mission, vision and identity, and then applying these anthems to interpretive content and physical spaces —provides a roadmap for every step of the project. Community engagement forms the core of our process. We know that securing buy -in from the City's residents and constituents is an essential part of the project's success. Each of our team members has directed and participated in dozens of community outreach programs, including online surveys, community planning workshops and Town Halls. We secure successful outcomes by working with the client team to shape presentations and guide dialogue to incorporate positive -outcome discussions of project -sensitive subjects or challenges. We love our work. We believe the planning process should be fun, engaging, creative and inspiring. We see our clients as team members, and we strive to develop lasting relationships. We appreciate your consideration of our proposal and relevant project experience and look forward to the opportunity to collaborate with you and your team to create a Feasibility Study for an institution that attains, and surpasses, your expectations. Best wishes, Marcy Goodwin, President M. Goodwin Museum Planning, Inc. 18645 Hatteras St. #190 Los Angeles, CA 91356 505-832-7114 mgoodwin@mgmp.us Cover photo credit: Western City Magazine Photo dated 511116 Courtesy of the City of Santa Clarita and League of California Cities Consultant: M. Goodwin Museum Planning, Inc. (MGMP) Marcy Goodwin President 18645 Hatteras St. #190 Los Angeles, CA 91356 Tel: 505 832 7114 mgoodwin@mgmp.us www.mgmp.us Client representative: Jonathan Cost City of Santa Clarita jcosh@santa-clarita.com Tel: 661 286 4187 Table of Contents 06 70 Introduction Assigned Personnel 12 78 Work Proposal City Resources 46 84 Statement of Subcontractors Qualifications 66 88 References Additional Data ......... F6 4. lik III M. Goodwin Museum Planning, Inc. is a national leader in planning for museums. In over 35 years we have provided more than 150 civic, private and university museums with facility, operational, organizational, strategic and business planning services. We specialize in helping our clients articulate and define their future via a holistic examination of the museum's goals, identity, audiences, programs, facility, governance, and finances. We offer a full range of operational planning services, 1!3u+44 integrating our clients'strategic, administrative, staffing and financial needs within every aspect of our work. Museum Feasibility Planning Studies Our projects represent museums all over the US and around Projects the world. Organizations of all sizes are represented in our work —large, medium and small. 85 73 The breadth of our experience demonstrates our full understanding of the needs and goals of museum Facility Operational Plans &Business professionals working today. Plans E:�►,IH►,IN MGMP works only with museums. Our practice is informed by contemporary space use and facility development models, as well as extensive, hands-on experience working in museum operations Advocacy Throughout all of our work, we act as our client's core advocate. We help our clients advance their interests through a forward -looking analysis of the impacts of and on capital projects. We offer you, our client, a each project -related decision. comprehensive understanding of what your peer organizations have done as they bring their institutional visions to life. Interconnectivity Our comprehensive analysis and planning approach allows our clients to confidently develop a coordinated operational vision, one that employs facility development, operational and business strategies and solutions tailored to the unique circumstances and conditions of their communities. Each project is unique We do not have a set of pre -determined answers. We employ a data and dialogue -based approach to determine our clients' specific needs and priorities, and apply our experience and industry knowledge to propose novel solutions rooted in the realities of operating a museum today. City of Santa Clarita Museum & Cultural Center Feasiblity Study 9 Our Project Team The MGMP team brings a sense of civic responsibility and financial stewardship to every project. We work frequently with public entities, and we understand the importance of both creating an environment of openness and collaboration with the community, while ensuring that a clear and workable plan is created as a roadmap for the future of the organization. To us, diversity, equity and inclusion aren'tjust buzzwords; they're who we are. We are a woman -owned business with core team members that are Native American and Caucasian, Boomer and Millennial. We've built a culture of collaboration and inclusion within our team, and we work to exemplify these values as we interact with our clients and their communities. This spirit of equity has empowered us to work with a broad range of cultural groups and constituencies, including planning for museums and heritage sites focused on the history and cultures of Latinx/Hispanic Americans, African Americans, Indigenous Americans, Jewish -Americans, and Asian Americans. Our proven track record of community consensus -building is grounded in high quality, long-term client relationships. With decades of experience managing large-scale community projects, our team is adept at encouraging and sharing the ideas and concerns of all project stakeholders. We achieve this through workshops and a variety of collaborative formats and techniques that are appropriate in our current world of social distancing. We work diligently to incorporate these ideas and concerns throughout each phase of our planning work. G[1=u[HulN Developing a feasibility study is not a one-sided undertaking —it's a conversation, one Our Approach that explores various options and sets out your shared priorities. We work with you as team members, to listen, to respond, to help you frame and define your programmatic, operational and financial goals. We apply our experience to help explain your options, and to help your team and stakeholders understand the resources needed to achieve each goal. Ourjob as your consultants is to provide the structure, the knowledge base and the working environment needed for you to shape an exciting, vibrant and sustainable vision for your institution. Because only by truly understanding the community's and City's desires and site -specific context can we collaborate on a solution that best supports your vision. This is what makes our process different. It's ourjob to solve problems within the given constraints and advise you on your options. It's all about collaboration. The best projects —the ones that are truly successful —happen because the client team, the stakeholders and the planning team are all dedicated to working together to create an inspiring, successful project. Our firm has a commitment to enhancing public and civic spaces, to helping communities to define themselves through their civic organizations and sites, and to collaborating with our clients to assist them to realize their core vision. Each of our projects represents civic pride, because our plans, studies, concepts and designs are unique to each client's specific community and place. We will work to make your place inviting, and appropriate for the community's long term use. City of Santa Clarita Museum & Cultural Center Feasiblity Study 11 Louisiana State History Museum Baton Rouge, LA — _•,._' :,s4 �-c tit KA Project Understanding The Feasibility Study proposed by MGMP will provide the City of Santa Clarita to determine the organizational start-up requirements, site and facility needs, financial viability and long-term sustainability of the City of Santa Clarita Museum and Cultural Center. To MGMP, this Feasibility Study is not merely an assessment of whether the proposed museum can succeed given a set of specific conditions. Our approach to this project is to work with the City leadership to create a road map for building a successful, dynamic and enduring organization. The development of a museum and cultural center's programmatic, operational, and design program is rooted in the specifics of place. In this case, the proposed institution presents an amazing opportunity to enrich people's lives —encouraging visitors to experience a deeper awareness of the remarkable individuals who built, developed and continue to sustain this unique place. This is an exciting time for Santa Clarita. As Southern California locals, our team is greatly impressed with the City's renewed and continued development and dynamic, inclusive initiatives. Our approach will be to develop a Feasibility Study for a museum and cultural center that not only enhances the connectivity of its interpretive content throughout its own physical site, but that also empowers the City to extend its connectivity to all audiences. We'll explore ways to extend the audience to encompass broader age levels served and geographies and cultures represented, and to offer active community outreach opportunities and a broad range of exhibit topics, programming subjects and engagement / interpretative formats. While our previous experience gives us a broad perspective from which to help our clients articulate a clear vision for the project, our approach incorporates a major priority: We always remain open to the insights, opportunities and cautions presented by our planning team members. We seek to listen, and to incorporate these insights into our finished product. ICluEel uIN Throughout our work process, MGMP employs a dialogue -based approach built through incremental decision -making. We first begin with a series of high-level investigations, and then proceed to targeted, operational, budget -related and impact -driven goals. We'll provide context and data via a suite of data and background information gathered through a multi -level analysis of comparable institutions and markets, as well as our own experience working with similar organizations. Together, these components will help paint a realistic picture of the expectations, professional practices, and performance standards for the museum, and will guide the planning team in developing an operational vision that meets the needs of the City's diverse communities. Analysis of this contextual information leads into a period of defining the City team's goals and priorities, and clarifying our planning mandates and terminology so we can plan together from the same assumptions. We approach our public and stakeholder planning process in a similar fashion, as we develop a more public agenda that can accurately and sympathetically explain the project framework and convey the importance of this very special place. Because securing buy -in from the museum's constituents, public stakeholders and supporters will be an essential aspect of the project's ultimate success, well-strategized community engagement forms the core of our process. Throughout the project we'll employ different methods of creating community exchange, offering a variety of formats for stakeholders to discover mutual understanding and share diverse ideas, desires and knowledge. Our visioning process for the museum continues with an exploration of big -picture dreams and aspirations, crafting preliminary mission and vision statements for the institution, and describing its audiences, exhibits, and program offerings. Telling the museum and cultural center's stories via a variety of interpretive formats is essential to engaging with the institution's audiences. While many Baby Boomers seek out print and simple signage, younger visitors often prioritize digital interactivity, augmented reality, new forms of graphic projections or imaging, physical or immersive experiences, and personal contacts. And, younger audiences have different priorities for exhibit and interpretive content. The desires and expectations of different audience segments will inform our process of identifying and prioritizing the museum's exhibit topics and programming types. City of Santa Clarita Museum & Cultural Center Feasiblity Study 15 Whether traditional methods of interpretation, QR codes, audio recordings, video projections, or any other format, our planning work will incorporate the consideration of every available medium which might encourage visitors of all ages, backgrounds and geographies to experience and actively engage the unique history and context that makes Santa Clarita a special, important and enduring part of the American story. We'll then use our market research and assessment data to outline a sustainable operating model, including the staffing, administrative structure, facility size and City support and coordination needed to bring the museum to life. As we work through the specifics of the future site and facility space program, we'll examine the multiple ways each individual space can reinforce the museum and cultural center's desired future identity and visitor experience. Finally, we'll compile all previously -developed deliverables into a single Feasibility Study document, which we will share with the Santa Clarita civic leadership and community in a series of public meetings. After receiving feedback from these meetings, we'll then make a series of revisions to the document, and issue final recommendations. II [-�u[elul9 Work Plan & Scope This proposed scope of work will provide the City of Santa Clarita with a Feasibility Study for a proposed new museum and cultural center. Our proposed 32-week planning process will include the following tasks and deliverables (please see page 20 for a detailed description of each project task and deliverable): • Project Start -Up • Site Assessments • Comparable Institutions & Markets Study • Community Needs Assessment • Project Visioning • Exhibit Resources, Topics & Core Messages • Programs & Activities Statement • Staffing, Administrative & Operational Concept • Building Program • Financial Analysis • Report Synthesis • Final Presentations City of Santa Clarita Museum & Cultural Center Feasiblity Study 17 Project timeline The timeline we have developed estimates a total of eight months, or 32 weeks, from the initiation of work to the delivery of Final Presentations of the Feasibility Study. Month 1 Month 2 Month 3 Month 4 Month 5 Month 6 Month 7 Month 8 Task 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 Project Start -Up 2 Site Assessments Comparable Institutions & 3 Markets Study 4 Community Needs Assessment 5 Project Visioning 6 Exhibit Resources, Topics & Core Messages 7 Programs &Activities Statement 8 Staffing, Administrative & Operational Concept 9 Building Program 10 Financial Analysis 11 Report Synthesis 12 Final Presentations Travel to Santa Clarita Project Management Zooms Careful discussion with the client's project coordinator will be necessary at the start of the planning process to confirm the overall project schedule. liE:�u[elu�� Planning workshops & travel to Santa Clarita In addition to the regularly -scheduled, bi-weekly project management meetings outlined in our work plan, our team has scheduled six (6) total trips to Santa Clarita for planning sessions, stakeholder engagement and presentations. In addition to reviewing and confirming all planning documents developed by MGMP to date, the planning sessions will focus on the following topics: • Project week 6: MGMP & Client team introductions, site(s) tour, priority stakeholder meetings, information -gathering and initial visioning discussions • Project week 12: Comparable institutions and markets research findings, project visioning, exhibit topics, programs & activities and stakeholder engagement • Project week 16: Confirmation of project visioning and direction, public Town Hall meeting, staffing & operational conceptualization • Project week 20: Building programming • Project week 24: Review of financial analysis, re -assessment and as -needed revision of planning documents for Report synthesis • Project week 28: Final presentation(s) While our preference is to have these work sessions occur in person, due to the challenges and uncertainty surrounding the ongoing Covid-19 pandemic, our team anticipates the need for some of our planning meetings with the client team and project stakeholders will occur remotely, via Zoom or a similar platform. This assumption is made in order to reduce the likelihood of Covid-related disruptions and delays to the work process, manage planning and client team availability, and ensure the safety of planning and client team members. However, our Los Angeles -based Project Manager is available to participate in in -person planning, client team and stakeholder meetings at the client team's request, including unscheduled, as -needed meetings with the client and stakeholders, throughout the project. City of Santa Clarita Museum & Cultural Center Feasiblity Study 19 Plan Deliverables 01 At the project outset, we will work with the client team to confirm the overall work process, Project Start -Up project timeline and project management protocols. We will also work with the client representative to confirm a core client Planning Team who will participate in our on -site planning sessions, and will review and approve all MGMP-G documents and deliverables as they are developed. Our team will review all client -provided relevant studies, development initiatives, existing reports, historical documents, City -generated materials, position papers, preliminary programs, data and information to identify the current planning and development environment within Santa Clarita. This review will form a means of establishing a baseline for recommendations and other components of the scope of work. Our team's efforts will include correspondence with members of the client team to identify previous and current priorities and considerations, as well as their "preferred direction" for the proposed museum moving forward. This communication will also include a discussion of the overall site's development plans, relationships, currently planned or desired site infrastructure projects, and the client team's recommendations for the project's potential "partners" within the area and surroundings. The "partners" may include local and regional K-12 and higher education institutions, civic entities, and any other groups the client team feels would be helpful to the planning project's success. Because the Community Needs Assessment is such an important component of the planning process, we'll also work with the client team to refine our approach to community engagement. At this preliminary stage, we'll begin to identify the key stakeholders, whether individuals or groups, that might provide useful insights that will facilitate the planning process. KIMMA[elulN Project management In our experience, a project's success is the product of regular communication and close coordination between MGMP and the client's project manager. Scheduled correspondence not only highlights specific areas of concern, but also helps to create working efficiencies and subject tracking that will ensure the satisfactory, on -time and on -budget delivery of project deliverables. This process begins in project month one with initial meetings with the client team's project manager and leadership to define the project's parameters, goals and schedule, to confirm the resources needed to complete all project tasks, and to confirm a reporting and review process for all deliverables. Throughout our work process, we will participate in regular, bi-weekly project management meetings (excluding weeks during which our team will participate in planning meetings) with the client project manager to flexibly address any challenges that may arise. Each month we'll also submit to the client project manager all relevant reporting and analysis from planning team and stakeholder meetings, workshops, correspondence and engagement sessions. This will ensure that both the entire project team is always operating from the same page, and working together to maintain and improve the overall structure of the project. Research & contextual memoranda Throughout the work process, the MGMP team will develop a series of as -needed memoranda and position papers for the planning team identifying and describing peer and museum - professional standards and best practices. These documents will support the decision -making process, empowering the client team to assess their choices within a realistic and achievable framework. Prior to each planning meeting, our team's agendas will be supported with documents and supplemental materials designed to efficiently focus conversations on priority topics, and provide additional context for discussion. City of Santa Clarita Museum & Cultural Center Feasiblity Study 21 02 During our first visit to Santa Clarita, our walkthrough of potential project sites will provide Site the basis for a review and assessment of the future institution's presence and identity, its Assessments connections to other notable City sites, the potential site access conditions for visitors and service vehicles, and the existing and potential future use of interior spaces Members of the client team will accompany MGMP on a tour of no more than three (3) City -identified properties and other impacted sites within the area. This visual assessment of existing conditions will help MGMP to understand the site, but also to understand the client team's point of view for the museum's future identity, programs and functions within the context of existing and future City development plans and initiatives. As we move through the sites, both MGMP and the client team can discuss the project's potential possibilities and challenges. Our site visits can help us to highlight and prioritize issues and opportunity areas that may become focus points during the planning process MGMP will then prepare a preliminary analysis of the proposed sites, with an eye toward the critical components that can support interpretive, operational and programmatic success. Expected areas of emphasis include site limitations with respect to areas for future growth, circulation, approach and accessibility, security, connectivity, functional relationships within the property, perimeter access control, parking, and placemaking opportunities. Our site visit will also include consideration of potential bus and ADA drop-off points, service and support truck access, fire and life safety vehicle access and even bicycle and pedestrian movement. r►a►�uIHuiN Sample site assessment w s--a ' {f` couaTtAaa V I 4 DOUBLE TREE HOTEL _ ` 6L PASO PK7SEUY �'. OF tiS5T09iY • �r �' SOUTHWEST U— UNIVERSMY PARK 4 v Franklin Avenue { • Z EL PASO r GHPLDREN'S MUSEUM EL PASO 7 - -----'"�.. PLAZA PASO CONVENTION - THMATER " AND PERFORMING A'.!I. _ _ EL PASO _ F ART CENTER +J" M'USPUM OF AqT SANJAOMM t I - - - PLAZA qw CHAVEI _ {BANNER ' PLAZA HOTEL HOTEL CAMINO REAL HOTEL A 4 City of Santa Clarita Museum & Cultural Center Feasiblity Study 23 03 Because this project represents a new or "start-up" museum, establishing benchmarks and Comparable performance metrics using data gathered from a study of comparable and regional institutions Institutions & will be critical to assessing the project's feasibility. Markets Study MGMP will study the operations of other museums within locations, especially regional locations, comparable to those of Santa Clarita. We will particularly focus on museums that may have similarities in terms of mission, subject matter, and programming. Data gathered from this study will include: • Facility square footage • Annual visitation • Hours of operation • Staffing levels • Annual budget • Earned and contributed income • Governmental support • Programming types 61 55 59 Sample comparable staffing data 59 fZZlulei ul9 Facility GSF M # Annual Visitors 261,277 Berkeley Hammer University Weisman Blanton, UT Henry Art Chazen, UW Georgia Spencer Utah AVERAGE Art Museum, of Michigan Art Austin Gallery, UW Madison Museum of Museum of Museum of Museum UCLA Museum of Museum, Seattle Art, Art, Fine Arts and Pacific Art Univ University University Film Minnesota of Georgia of Kansas Archive Additional research will be developed by studying the regional market, as well as markets comparable to Santa Clarita, especially those within Southern California. MGMP will analyze these data to identify sector -wide trends and develop benchmarks and metrics which can be applied to the museum's unique operations and programming. Application of these metrics will help us to develop initial projections and expectations for the museum's financial performance and economic impact to Santa Clarita, aid in right -sizing the facility to meet operational demands, and provide important context for the development of realistic expectations for visitation and program participation levels. City of Santa Clarita Museum & Cultural Center Feasiblity Study 25 04 Nearly every one of MGMP's museum feasibility studits incorporate a work process that Community Needs includes dialogue with a variety of stakeholders representing diverse demographic, educational, Assessment racial and ethnic backgrounds. When we work on projects such as the proposed museum that incorporate multiple community and cultural narratives, it is important to remember that each planning participant usually represents a specific constituency. They are often quite committed to and passionate about that constituency, and they're usually quite vocal about that commitment. Ourjob is to build bridges, to help form an organization that can move forward by sharing and incorporating diverse points of view. We work to produce public and semi-public conversations with our planning team members and the general community, with a goal of developing a sense of the perspectives each of these community members may represent, and how their own narratives may intersect with others. Many community members see opportunities for sharing cultural narratives —family, faith, holidays, seasonal observances, ways of speaking and acting, historic events, and even their priorities for sharing within the framework of the museum's mission. We are often asked to help community planning groups to understand that we are not creating a single political construct, we're weaving a narrative of the whole. Ourjob is to encourage dialogue and to encourage community members to speak, while at the same time, helping them to understand the work (s) the museum must perform or achieve in a broader context. The museum's roles and responsibilities are always much more extensive than a simple gallery sequence. We seek to create a planning framework, and to ask community members and planning group members to offer their thoughts as contributions to the overall narrative within that framework We usually find that if they are allowed to develop their ideas in a survey -based and dialogue - based context, they understand that their voices are being heard. They understand that ultimately the organization seeks to offer a broader framework for all of the stories it needs to tell. Our planning approach offers several different forms of community engagement: PZ�ulei uIN Specialized Online Surveys Our Community Needs Assessment process begins prior to our first in -person meetings with stakeholders. At the project outset, our team will develop and distribute a set of project -customized online surveys. There are usually multiple, custom -designed surveys. For example, there is a more extensive, in-depth survey for the City planning team, a simpler one for State and civic leadership, and a very simple one for the general public. The surveys will be distributed via a URL link, and can be completed online or on a mobile device. After the respondents have completed their surveys, we will compile and analyze the responses, which will then be used to develop targeted meeting agendas, discussion points, and our deliverables. What facility -related challenges and limitations do you experience today? accessbathrooms front large Staff doors Iota rtelevator WOrks groups classes room galleries challenge OfflG2 accommodatebasement Sample questionnaire response What are the greatest assets of your organization and facility today? dimensional entrance corner amenity attendance adjacent middle accessible community campus building . art oCation assets university tOWrlarge arts added ackl and accessing contemporary chapelceramics centrally The survey preparation, review, and analysis process is essential to our project deliverable development sequence, because it allows us to hear, on an individualized, confidential basis, the separate voices of each of the client team members and project stakeholders, - all before we begin work in our planning sessions. Through this process, we can better understand the issues unique to this project, the City, and the local and regional communities prior to any in - person engagement. City of Santa Clarita Museum & Cultural Center Feasiblity Study 27 04 Individual / Small Group Stakeholder Meetings Community Needs During our first visit to Santa Clarita, MGMP will participate in individual and small group Assessment meetings with parties prioritized by the client team. People that might participate in this priority meeting outreach process include regional educational leaders, senior leadership at other regional museums, civic leaders, and potential future institutional partners MGMP will use this opportunity to describe our work process and work scope, and also to solicit input related to their concepts related to their own priorities for the project, as well as to the future community stakeholders' dreams and priorities. The goal of these meetings is to secure input and support from the museum's future constituents and stakeholders, and to encourage their continued participation and engagement. Additional individual stakeholder meetings can also occur remotely. Town Hall Meetings During our subsequent visit to Santa Clarita, we will moderate a Town Hall meeting at a City - designated site for the general public and project supporters. The Town Hall will be developed using the framework of a PowerPoint-style presentation. This structured approach allows us to effectively moderate and guide discussions with large groups that may exceed 100 participants As we work, we're careful to not ask broad, open-ended questions that might encourage highly opinionated statements such as, "What about the ?" or "What should we do or say?" Town Hall meetings will be scheduled for the work period after we are able to evaluate the online survey responses, engage in several individual/small group meetings, complete our Site and Facility Assessment, and participate in initial Visioning sessions with the client team. By waiting until this preliminary work is complete, our planning team can then take advantage of a greater depth of knowledge about the project's potential goals and limitations. We can then present a more structured, subtle, and sequential framework of questions and discussions regarding the prospective overall narrative, issues of the center's future possible identity, and potential program offerings. r►A:MurHuiN We've found that this presentation framing sequence and structure allows us to develop a complex, nuanced approach, rather than assembling individualized, separate -interest statements, or presenting the mandates of a single individual or group. Our work process related to identifying topics for community presentation and discussion will represent a joint effort between MGMP and the client team. Working together, we'll set an overall agenda for each meeting, define the primary discussion points, and identify supportive materials, information and visual aids that will provide the most useful context for informed and congenial dialogue. Later on in the feasibility study work process, we'll moderate a second Town Hall meeting in which we will present our initial findings. After each Town Hall meeting, we'll develop a summary of the engagement session to share with the client team, including key takeaways and notable quotes that, moving forward, might impact the planning process. We'll then use the information gathered in this community engagement process to revise and refine the in -process deliverables,and to ensure that the community's desires and needs for the project are reflected within the Feasibility Study. City of Santa Clarita Museum & Cultural Center Feasiblity Study 29 05 Mission, Vision & Values Museum The visioning process is a concerted definition of the museum's future focus, mission, vision Visioning and values. As the organization's anthem, a successful mission statement should be able to carry it forward for the next 20 years or more, while a successful vision statement should present an ambitious, yet achievable, path forward for the institution as it continues its growth and development. Because much of our subsequent planning work will be based upon the museum's mission and goals, these statements serve as the essential connective fiber of all of our planning work Our team will guide a process of research and team dialogue among the client team to best articulate the mission, vision and priorities for the museum. These statements will take into consideration the institution's responsibilities to all of its audiences and users, and the needs and goals for each group. It will also incorporate an assessment of the object -based and human resources available to the City for use at the museum. While the museum's missions statement will determine the museum's core program offerings, the overall project presents many additional opportunities for interpretation, engagement and revenue production. Part of our work at this stage will involve the identification of key visitor amenities and programs that offer unique and place -specific visitor experiences, especially those that can generate revenue, and that reinforce the museum's mission and values. The planning options will be presented to the client team and then evaluated against the overall goals and objectives for the project. Interactive discussions as well as Pros and Cons of the scenarios will assist with understanding the various options, with "what -if' ideas will stimulate dialogue and feedback. Audiences Because of our need to identify the organization's mission, vision, strategies and priorities, a significant feature of our work for this project deliverable will be to define the museum's potential audiences, to outline the priorities for each core audience sector, and and to create a series of "achievables" that the museum should provide for each audience group. USMOVAIHuiN In addition to geographic audience groups there are several other audience segments that must be defined, which include age -based groups, tourists (which can include national and international, cultural, identity and heritage -interest, etc. ), specific -interest tour groups, local educators and school children, etc. As we begin to identify these core audiences, and the client group's prioritized visitor/audience groups, we can then concurrently begin the process of identifying the range of Exhibit Topics that will deliver the institution's mission to these audiences. Working with the client team, MGMP will discuss the interrelationships of the museum's mission, program planning, exhibits and public presentations, and the museum's future priorities and targets/goals for visitation and attendance on an annual and seasonal basis. We will then explore the impact these institutional priorities, targets and goals will have on visitation expectations, space planning, operations and fundraising. Other / Unpaid 20.9% Sample visitation segmentation data Adult 25.3% Senior 13.2% Student (5-17) 5.6% City of Santa Clarita Museum & Cultural Center Feasiblity Study 31 06 Concurrent with the Visioning process, we will work with the client team to identify the core, or Exhibit Resources, "take -away' messages for the museum's exhibits and program offerings. Topics & Core Messages We will achieve this by working from the input gathered during our stakeholder and public engagement meetings, as well as the input from our meetings and interactions with the client team. These core messages will be developed through a process of exploring the place, people and stories intrinsic to Santa Clarita. What makes this place special and memorable? What happened here? What does this place represent? And, in order to reinforce the City's broader narrative goals, these core messages will be developed in alignment with the range of messaging that has been developed and employed at other sites throughout the City. We will then develop a concept for the museum's overall narrative or "story" that will offer interpretive approaches to the museum's core messages that are space, age and culturally - appropriate After the core messages and narrative have been outlined, we'll work to create a list of exhibit topics that is supportive of the City's desired narrative for the museum. These exhibit topics will then be prioritized by assessing their desired impact to the overall narrative and by identifying the City resources that can be leveraged to support exhibit content and development. After identifying the exhibit topics, we can then outline the desired visitor experience and potential program offerings, as well as the interpretive, programming and experiential priorities for the exterior site areas. 6 Green Means Go! Energy and Power Center Biomass, biofuel, heating, recycling, race car and rocket fuel. 7 Try a leaf racer! The PaperTree Trees provide a source ofpaper, play with dozens of objects madefrom paper. Make your own paper! Sample thematic bubble diagrams 5 Construction Zone! Green products, certified forests, wood vs. substitute products, tryout the strength of engineered wood products! Glu-lam beam design. Experiment with balloon -frame 1-1 construction Open 8 Demonstration Experiences, People, Area and Career Opportunities Be part of a forestry SWAT team, cutting -edge technology, fire -fighting today.! Try out o 21st century logging machine, use a GIS system, explore geocaching, experience forestry's opportunities Orientation Theater What is sustainable forestry? 9 Temporary Exhibit Gallery Including changing art, technology, forestry and historyexhibits 4A The Science ofTrees Photosynthesis, nitrogen, 4 carbon, glucose, Nature's Chemistry Workshop cellulose / Learn about health products, pharmaceuticals, gunpowder rubber, turpentine 4C Forest Science Lab 46 Tree Food Court Edibles: Maple syrup, fruit chewing gum Wood is Everywhere! Objects made from trees. Wisconsin forests, global forests. Try the amazing and beoutifi computer design and milling exhibit! , - 3A Computer Design Lab 1 Z The World of Forests Woodland Canopy Viewing Tower (Forests as Systems) The environment climate change, soils, water, the natural world of trees & forests, native and \ invasive species. LOBBY discovery, (#Zone Gift Shop Restrooms play space City of Santa Clarita Museum & Cultural Center Feasiblity Study 33 07 Programs & Activities Statement Programs This deliverable will recommend the range and types of programs, educational opportunities & Activities and interactions the museum may prioritize, as well as the desired program mix, scope of Statement offerings, and the City's goals for the range of programs, services and activities the museum will offer. These might include: • Education programs (on -site, off -site or outreach) • Living history interactions and demonstrations • Site -based interpretation, including augmented reality programs • Online and social media -based programming • Affinity programs with local and regional organizations or partners • Regularly -scheduled, ongoing museum -generated public events • Museum -generated performances and festivals • Event rentals to third parties This work will also include discussion of potential special events and programs for membership, fundraising, and other programs, including staff -managed and generated lectures, parties, films, family days, festivals, etc. We will discuss and prioritize each program's potential for generating revenue, the potential audience size, etc. We will first identify potential synergies between the museum's mission, exhibit topics, desired visitor experience and local and regional tourism initiatives. This process will help us to identify a "menu" of on -site, remote and digital programs that can be prioritized and targeted to achieve the institution's larger strategic goals. A special point of emphasis will be programming that actively supports local and regional educational initiatives and scholarship. For each program type, we will describe: • Desired goals and outcomes, identifying the metrics for determining program success, and ensuring the museum's mission is being delivered via its many programs and initiatives • Program participation levels, assessing the impact of programs on targeted audience segments • Resources and support needed to deliver and administer programs [aiMuIHuiN For on -site programs, this deliverable will seek to regularly and continually activate the museum's program delivery spaces (interior and exterior), thus maximizing its capacities to offer mission -driven experiences and presentations, while also increasing membership and generating the earned income needed to sustain operations. For remote and digital programs, determining the scale of desired programming will ensure that museum has adequate staffing and technology resources to achieve meaningful and far- reaching impacts beyond the boundaries of its site. These online and social media programs can be integrated into the City's existing platform of digital initiatives. 2,189 1,973 2,346 2,628 Sample program participation projections 3,620 YR1 YR2 YR3 YR4 YR5 ® Film Events Drop -in art activities on Sat. Other fee -based classes Adult art / visiting artist workshops w. local art assoc. VTS training Museum Hack French Table / Food Event Book Club Senior Art Workshops Teen Club City of Santa Clarita Museum & Cultural Center Feasiblity Study 35 08 This deliverable will outline the type and number of staff needed, the potential overall staff Staffing, organization, and a brief description of each staff member's role and responsibilities. Administrative & Operational Concept Sample communications department staffing Non - FT PT Salary Director of Communications Communications Assistant Visitor Services Coordinator Digital Content Manager Business Coordinator Graphic Designer Content / Copy Editor _ Photographer / Videographer Publications Manager Priority 1 total 3 2 0 Priority 2 total 2 0 0 1�, j ,, Zzi 1 1 0 We will develop a recommended organizational chart outlining the City's preferred administrative structure for the museum. This chart will describe the staff reporting structure, and will be developed to encourage interdepartmental and inter -organizational collaboration and accountability. Once the overall staffing and administrative structure has been determined, MGMP will develop a hiring and contracting timeline, which will outline the City's onboarding goals for the museum during the ramp -up period prior to opening day. This timeline will show the needed "ramp -up" staffing sequence, which incorporates the staff that will need to be trained and in -place on the museum's opening, as well as the initial, top-level hires who will be needed to determine the museum's strategic initiatives. Our designations for future staff positions needed (full-time, part-time and contract) will be made to ensure the museum is adequately staffed to support and deliver every one of its core functions. [ai�uIHuiN Events Coordinator (Nights & Weekends) ■ Full time ■ Parttime L New University Academic Outreach Coordinator Sample organizational chart The staffing concept will also offer an insight into how the organization expects to develop and deliver the full range of programming and service features described in the Feasibility Study. The City may also wish to contract with outside vendors for select museum operational functions, including security, custodial and cafe/catering services. We will examine these options, and describe the pros and cons for each. In support of the Financial Analysis deliverable, we will also outline provisional salaries using staffing and salary data generated from position salary data from other regional museums, as well as data from other comparable museums across the US. Digital Marketing Coordinator City of Santa Clarita Museum & Cultural Center Feasiblity Study 37 09 Ina planning workshop with the client team, MGMP will develop a Space Needs Statement. Building Program This relational database document will represent a space -by space list of each future museum interior space. For each future space, the Space Needs Statement will outline: • Space name • Net and provisional gross square feet • Program area category (e.g. "Education," "Galleries," "Storage & Support," etc.) • Potential floor level stacking • Staffer(s) occupying Once the Space Needs Statment is complete, this deliverable will help MGMP and the client team to assess the existing building's ability to support the desired future levels of programming and exhibitions detailed in our previous planning documents. Sample in -process future space needs database MGMIP Space Description Floor Staff Revisions Latest Plans # Level Jan.6 Feb.10 Delta 01 Front Entry Areas 1 Entry Lobby E 1,500 1,577 2 Coat & Bag Check E 100 241 141 3 Museum Store Sales Area E 850 832 -18 4 Museum Store Manager Office E 150 177 27 5 Assistant Store Mgr Office E 6 Museum Store Inventory E 200 221 21 Storage 7 Cafe Dining Area E 10100 1,149 49 8 Cafe and Catering Kitchen E 400 400 0 9 Cafe Receiving and Support E 225 225 0 10 Cafe Chair and Table Storage E 225 122 -103 Front Entry Area Totals 4,750 4,944 194 Each visitor type has a different set of needs and goals for their museum "ride' or experience. General public visitors, K-12 students, and event attendees will each visit the museum for different reasons, and with different expectations. For each, the visitor's movement begins with how they arrive at the site, as well as what they're hoping to experience during their visit. MGMP will develop a series of visitor flow and circulation diagrams for the museum. These diagrams will not only show the preferred spatial relationships or adjacencies of each museum interior space, but also how each visitor type moves through the building, from their initial entry point, into reception and exhibit areas, through program and activity areas, and to amenity spaces. The diagrams will also track visitor movement between points of interest on the site that might be supported by additional interpretation, or that might provide places for respite and reflection. Throughout this process, we'll encourage the client team to see and make bigger connections between museum's site, facilities and program offerings with the experience of multiple visitor types, while understanding how their choices and priorities create intrinsic forms of movement. OPTION 1 FLOOR 1 Public Semi-public Private Vertical circulation Locked AV Stor. Galleries Changing Exhibitions Modern & Contemporary Black Box Sample adjacency diagram Loading Dock Exterior Multipurpose Event / Community Space Cafe/ Staff& Catering Special Visitor Receiving Entry Via Green Sally Port Room & Restroom Auditorium (Room ntation i' We 7 Security AV Cateri Tech Liquor Stora Booth Storage .Facility K-12 Mggr. Storage `-0Rice Sec. } Catering Office (Stairs to ,! Kitchen Floor 2 Museum Restrooms Passenger (M/W/F) " Store Elevator`s O utd oo r Inventory Cafe / Museum � 0 Front Entry Lobby �� Seating & Museum Store Coffee Bar Events Store Office Lactation O Ackland /Quiet Tomb Coats & Lockers Freight ,�> ISO. �`levator) Room Trash & Recycling Table & Chair Storage Loading Flat -Floor Dock Interior City of Santa Clarita Museum & Cultural Center Feasiblity Study 39 10 Financial stability and success are an essential foundation for the museum's sustainability. Financial Analysis Financial success is based upon establishing a complex balance of revenue sources such as ticket sales, membership sales, fundraising, grants, corporate support, social or special events, facility rentals, outreach programs, festivals, museum shop and online sales, food service and catering, etc. The Financial Analysis will outline the museum's priorities, in terms of the necessary revenue streams, programming, staffing needed and space requirements that will allow the future museum to succeed in achieving these revenue streams. Additional economic data supplied by the City will provide useful context for developing a market analysis and assessing the museum's impact on the region. Paired with this data will be our team's knowledge and experience with comparable operations and impacts gained from working on other comparable projects. Further analysis of the City's desired audiences and visitation goals will help to determine the resources, programs, goals, and the web of connections through which the museum will serve its communities. Retail Public Programs Sample earned revenue projections FY21 Year 5 Rentals Memberships HIMOVANILVAIN Using these audience identifications and priorities, and visitation data gathered from comparable and regional institutions, we can then develop realistic visitation projections. Overall visitation and participation will then be segmented by program and activity type to assess the impact of individual program initiatives. We'll use this assessment of the museum's programming impacts to develop a Pro Forma for the first year of operations. The Pro Forma will include projections for the Museum's earned revenue streams, including contribution to profit and overhead where applicable, for: • Ticketing and admissions • Memberships • Program revenue, including for fee -based classes, performances, etc. • Digital initiatives revenue • Museum retail • Food service: cafe/restaurant and catering, including suggested vendor relationships • Event rentals This deliverable will also include an outline for the preliminary development and fundraising targets from the following sources: • Governmental support • Individual & family giving • Corporate giving • Foundations & trusts • Fundraising events The Pro Forma will also outline projections for the operating costs associated with delivering the programs and activities the museum will generate, including: • Direct facility -related expenses (e.g. utilities) • Staffing expenses and vendor contracts • Program expenses • Departmental overhead • Marketing and public relations expenditures City of Santa Clarita Museum & Cultural Center Feasiblity Study 41 10 We will also identify program areas in which additional investment will be made to ensure the Financial Analysis museum is well -positioned to support continual changes in programming mix and needed human and technological resources. The Pro Forma will allow a side -by -side comparison of future operating expenses and revenue production, helping the client team to understand and reconcile the impacts of museum's program needs within an acceptable range of performance expectations. During this process, we'll work with the client team to identify areas in which additional staffing, fundraising / development, governmental support, or program -based resources are needed in order for the museum to operate with an annual budget -neutral or surplus -generating balance sheet. Eya.IHaN Sample 2-year profit and loss VR1 VR9 Exhibitions Expenses Revenues Expenses Revenues Travel -314 -376 Operating services -98 -118 Supplies -20, 785 -24,942 Other charges (shipping, rentals) -35,440 -42,528 Prof Services -16,846 -20,215 Capital -871 -1,045 Grants & Underwriting 75,000 75,000 SUBTOTAL -74,353 75,000 -89,223 75,000 Operations Store Sales -14,980 48,321 -17,097 55,152 Event Rentals -23,520 56,000 -23,520 56,000 Photo shoots -520 2,600 -520 2,600 Admissions -2,682 15,776 -2,816 16,565 Education & Events -1,422 12,929 -1,690 15,363 Future Events -1,524 13,850 -1,850 16,815 Cafe 0 0 Catering 7,790 7,790 Grants 240,000 240,000 Transfers from Foundation 360,000 378,000 Labor -605,307 -635,307 Fringe -208,950 -208,950 Marketing -161,232 0 -174,072 0 SUBTOTAL 1,020,136 757,266 1,065,822 788,284 FOUNDATION FUNDS - UNRESTRICTED Membership Memberships 27,485 29,400 Admin Fees -1,293 -1,379 SUBTOTAL -1,293 27,485 -1,379 29,400 Managemen Annual appeal/donation 10,000 10,000 Ticket sales 5,000 20,000 SUBTOTAL 15,000 30,000 Hilliard Society IEW- Memberships 55,000 65,000 FIR events -11,556 -11,556 Prof Services -12,427 -12,427 SUBTOTAL -23,983 55,000 -23,983 65,000 `Educati Sponsorships/grants/donations 20,000 22,000 City of Santa Clarita Museum & Cultural Center Feasiblity Study 43 11 Based on work products developed throughout the planning process, our team will produce a Report Synthesis single draft Feasibility Study document. All information collected and analyzed to date will form the foundation of this effort. Text, graphics, plans, and illustrations will be finalized. The technical memos and community engagement meeting summaries produced will all be compiled into the document. The draft Feasibility Study document will be designed as a visually illustrative, user-friendly document to effectively communicate the results of the plan to a broad spectrum of audiences including potential donors, with the goal of building support for following the recommendations of the plan. After a Final Presentation to the client team and designated parties for review and discussion, our team will incorporate recommended revisions as directed by the client team into a final Feasibility Study document. Sample Final Report Increased operational costs However, an increase in facility size and the parallel need for additional staff will result in an annual budget increase. The Museum's current budget of $3.69 M will grow in the initial year of operations at minimum to $4.06 M and at maximum to $5.85 M, with the upper range the most likely outcome. While reconciling expenses with revenues was not a stated goal of this exercise, we note that in each model (minimum, maximum and median), the Ackland is projected to generate a modest profit during the opening year of operations in a new facility. The Ackland's strategic goals and planning mandates all point to a desire for a greater level of public engagement. In quantitative terms, this equates to higher levels of annual visitation for all audience segments. Increased earned revenue While the Museum now achieves high levels of support via fundraising and from foundations and trusts, the Ackland today has very few methods for generating earned revenue due to higher visitation levels. Throughout the planning process, consideration was given to providing physical spaces capable of gener- ating additional earned income. New and larger public amenity spaces such as a cafe and retail store represent visitation inducements as wel I as opportunities for generating greater revenue. The result of these new and improved amenity and revenue producing spaces is a projected increase in earned revenue from approximately $180,000 to $627,000 in the median projection, a nearly 350% increase. 38 39 C!r!u[Hul� MGMP will also develop and deliver in person one final presentation of the draft Feasibility Study to the client team and designated parties. During this meeting we will solicit feedback to revise the Draft Feasibility Study to a Final Feasibility Study document. This deliverable will consist of a PowerPoint-style presentation highlighting key project deliverables, findings and insights, along with presentation boards and other materials needed to illustrate and communicate the Plan. 12 Final Presentations City of Santa Clarita Museum & Cultural Center Feasiblity Study 45 `y •, T L :� r a" �. • i ar , f � I * ' r a` •'ti p• 40. • i ? - a ` r� f y1- 4 J 'LE, _ ILL.; 7 t . - Walker Art Center & Minnesota Sculpture Garden I Minneapolis, MN Fr k �..' .� �... '.. .. '* d€ ¢ wag � "� - r, 3' • 3J4 k e o J?k 402 we d • .fir*y S ipm a 5�:��4�#r e �• • • Y Project Examples As you'll discover on the following pages, our team has tremendous experience working on other projects with components and contexts comparable to the proposed City of Santa Clarita Museum and Cultural Center's relevant issues and subjects. Throughout the project, we'll apply our experience to help you to contextualize your range of choices by highlighting the potential outcomes, opportunities, limitations and requirements the City may encounter. We'll guide a series of dialogues with your leadership team about each project - related subject, and assess the impact that planning decisions will have not only the proposed institution, but also the City's overall slate of public offerings, initiatives and responsibilities. And, we'll offer your team opportunities for community engagement, whether it's in person, via Town Hall -style community engagement sessions and individual stakeholder meetings, or online via a series of targeted questionnaires. Once the Feasibility Study process is complete, the City team will not only understand the how's and why's of their choices, they will feel confident in each of these decisions. All of our work will be performed to help you to develop a successful, long-term future for the City of Santa Clarita Museum and Cultural Center. G -MOVAI VAIN . 7--7 Ilk AA . , Li Oki 2 . _ i'f i, i1 ry Ontario Museum of History & Art Ontario, CA Location MGMP worked with the City of El Paso to develop the MACC as a "new" building comprising El Paso, Texas the renovation and adaptive reuse and expansion of an existing public library. The park adjoining the MACC and the El Paso Museum of History will be renovated to offer new, Services interpretive and interactive outdoor experiences and performances. Strategic Planning Operational & MGMP developed an organizational and staffing structure that aligned with and leveraged El Administrative Paso's Museums and Cultural Affairs Division existing resources, expertise and personnel. Planning MGMP also regularly presentied skateholder and public workshops to discuss MACC's future Program Planning mission, vision, audiences and programs, and to solicit feedback during the design process. Space Planning Public Outreach & MGMP then worked with MCAD to define the new Center's functional and operational needs, Engagement including a statement of space, technical and construction needs for each interior space, Facility Design Review functional adjacency diagrams, and detailed room descriptions and layouts for each primary program area. 6Y1=ulei ul9 LA Plaza de Cultura y Artes is a museum and cultural center focused on the Hispanic Location experience in the Los Angeles region. The museum addresses a variety of topics related to the Los Angeles, CA political and cultural history and achievements of Hispanics in Los Angeles, delivering narrative content via a variety of formats such as art, music, performance, and cuisine. Because the Museum did not exist as an operating entity during our planning work, MGMP was asked to project the range of program needs the future museum would require in order to meet its mission -related goals. We were tasked to define the museum's target audiences, and to outline the possible visitor experience. We also developed an operational and staffing concept, as well as revenue and expense projections. Our space planning for the building interiors had to carefully respect historic preservation needs while addressing the adaptive re -use program's future needs. Services Audience Studies Operational & Administrative Planning Program Planning Business Planning Space Planning Public Outreach & Engagement Space Planning Facility Design Review City of Santa Clarita Museum & Cultural Center Feasiblity Study 51 Location MGMP worked with the Tampa Museum of Art staff to develop a space analysis, Tampa, FL facilities master plan and possible expansion feasibility study. Services MGMP first examined the existing TMA facility to assess its current capacities and Space Analysis limitations, including an analysis of current space use and the development of up - Operational & to -date, actual use floor plans. In meetings with the museum's staff, we developed Administrative Planning statements of their future departmental staffing, programmatic and space needs. Business Planning We also analyzed of the museum's current finances, and identified the operating cost Facility Planning per square foot and the revenue produced per square foot for each of the museum's Site Planning spaces. Using our analysis and projections as a guide, we then developed two expansion concepts, which proposed to develop a new building and connector to the existing facility. The new expansion "pod" would house all of the museum spaces that did not require gallery or collection storage -quality climate control and air handling, including new a new entry lobby, museum store, food service, auditorium, large special events space, and staff offices. 6paulei uIN Meanwhile, the existing TMA facility would be repurposed for use as galleries and collection storage areas, as well as a brand-new education center Using the operating costs and revenues per square foot developed in the first phase of our work, we then assessed the proposed expansion plan's affect on the museum's finances. This work resulted in projections for possible future annual operating costs, annual revenues, and the annual budget. In October 2021, TMA announced their new, $65 M renovation and expansion project with Weiss/Manfredi architects. City of Santa Clarita Museum & Cultural Center Feasiblity Study 53 Location The Museum of New Mexico is a multi -venue museum organization that is State-owned and Santa Fe, NM operated. The Museum of New Mexico manages and operates over 20 museums and historic sites statewide. Size 262,285 gsf MGMP worked with SMWM Architects to develop a master plan for all of the Santa Fe on multiple sites Museums, including the newly -constructed New Mexico History Museum downtown, as well as the complete renovation of the Camino Lejo museum complex site (the suburban location of Services the Museum of Indian Arts & Culture, the Museum of Spanish Colonial Art, and the International Master Planning Folk Art Museum). The project included both sensitive historic renovation (the earliest building, Space Planning the Palace of the Governors, was built in 1610) and new construction. Site Planning Program Planning MGMP developed a detailed architectural building program plan for every one of the museum - Exhibit Concept related facilities owned by the State in Santa Fe. These 15 buildings included separate new, Development non-public support and administrative buildings for staff offices, collections, library and Fundraising Support archives, and exhibit planning and preparation. We developed a functional site use analysis for Community each existing and future site, as well as programming documents outlining the space needs Engagement and adjacencies for each facility. Our planning work included programming plans for several outdoor plaza and site -based event spaces, and for all conventional building interior spaces. We also prepared a conceptual exhibit plan for the new State history museum. This detailed planning work allowed the Museum of New Mexico to fulfill a longterm master plan for all new and existing facilities. 6Ylulei ul9 Another MGMP contribution to the project was the conceptualization and detailing of the new Camino Lejo performance plaza and parking. MGMP also developed the initial exhibit concept plan and the building program for the recently -completed New Mexico History Museum, now located behind the Palace of the Governors. MGMP worked for approximately 16 months on this project, with all work completed in advance of the architectural design phase. We led six Town Hall community meetings to discuss the project plan concepts with several different community interest groups. Our full report was used to initiate legislative support and to secure long-term funding for the very large-scale, multi -phase, multi -venue project. The Camino Lejo site, including the new Performance Plaza, was the first project to be completed. City of Santa Clarita Museum & Cultural Center Feasiblity Study 55 Location MGMP developed several planning studies to determine the ITC's long-term strategic, San Antonio, Tx organizational, academic, site and facility needs. Services MGMP first prepared a full strategic plan, including a new mission, vision and values. We Strategic Planning then developed an Audience Plan through series of audience studies, defining the current and Governance Planning future audiences anticipated, the desired future visitor experience, and the ITC's desired future Operational & image and identity. Administrative Planning A major part of our work was to develop an extensive series of meetings and discussion Business Planning forums with UTSA's leadership, academic departments, students and faculty to integrate Facility Planning their visions for the organization within our plan. We also held several Community Town Hall Site Planning Forums to hear the opinions of the ITC's members, volunteers, neighbors, researchers, City officials, and the general public. 6T-�ulei ul9 MGMP prepared a future operations concept, outlining the potential staffing needed, as well as future revenue and operating costs. A new Governance Statement evaluated the possible separation or re -distribution of the ITC's resources among the University's existing Academic units and Academic/Research services. Part of our mandate was to define the museum's long term space and organizational needs for an "undetermined" potential new site in San Antonio We then used the newly -created strategic and operational plans to develop a Future Space Needs Statement, Adjacency Diagrams, a Technical Needs Statement, and a Parking Needs Statement. We also reviewed several potential sites in various parts of the City, and prepared a project cost budget for both a full-scale relocation and replacement, as well as for a partial replacement project. We then prepared a full scope Potential Project Timeline, one that might take the museum from its current state forward, to a new location and a new identity. City of Santa Clarita Museum & Cultural Center Feasiblity Study 57 1i l r NaUiIIIIIIIIIIIIIII� Location The Houston Museum of African American Art and Culture (HMAAC) retained MGMP to provide Houston, Tx strategic planning, administration and governance reform. We also developed plans for future development and marketing initiatives. Services Strategic Planning MGMP assisted HMAAC's leadership in strategic goal setting, and revising the Museum's Governance Planning mission, which had not changed in the twelve years since the museum's original founding. Board Development Board Policy MGMP also led the process of Board expansion and reorganization, including the development Development of new bylaws, new Board policies for nominations, accountability, terms of service, reporting Operational & structure, giving requirements, attendance, and more. We managed larger negotiations and Administrative held Board retreats focused on the changeover between a long-term, founding board and a Planning new, governing board. Development Planning MGMP also created a new agenda and accountability program for the museum to achieve Marketing Planning its new initiatives, and to ultimately reach its next stage of development. We worked with the Facility Planning museum's marketing and fundraising consultants to outline a plan for growth, and created a plan for future staffing and management. 61:MuIHuiN From all of this work we also created a conceptual plan for future facility renovations and expansion. In the course of our work, we engaged many civic and cultural leaders in Houston, including City officials and City Council members, the Mayor, the City Public Library and the Director of the City's public African American library. We offered three major Town Hall meetings for members of the Houston region's African American community and for the Museum's current and future desired constituencies, before presenting the results of our work in several meetings to museum and City leadership, the local community, and prospective future donors. City of Santa Clarita Museum & Cultural Center Feasiblity Study 59 Location The Louisiana State History Museum is an all -new museum building located directly across Baton Rouge, LA from the Louisiana State Capitol. MGMP developed a full building program for the Museum's new 70,000 square foot building. Our detailed programming included statements for the Services Museum's space needs, technical requirements, adjacencies, program priorities, exterior space Facility Planning planning, and performance space planning. Exhibit Concept Development In addition to our building programming scope of work, MGMP also worked on the initial exhibit planning for this project. This work was required because this project was the first comprehensive official statement about the State's full history. Because the original Museum is located in New Orleans, and this new museum was in Baton Rouge, the new Museum had very different audiences, with very different visitor profiles. MGMP's additional task was to work with the museum staff to help define a preliminary concept for the panorama of exhibits that would effectively tell the story of the State's history, and to show how this could be accomplished within the new building design. The objects selected by museum staff to tell the story of the State's history varied greatly in terms of size and technical requirement needed. For instance, oil field derricks, vehicles, and civil rights artifacts were all part of the Museum's collection. The project leadership also wished to have a large amount of interactive exhibits. MGMP's preliminary planning incorporated all of these considerations. Because the Museum is located directly across from the State Capitol building, MGMP's facility planning incorporated a focus on creating special events areas for legislators. These special events areas regularly generate additional income that helps to support the Museum in its daily operations. Today, the Museum's large, sheltered portico entry, which elegantly frames the State Capitol building, is used as one of Baton Rouge's primary special events spaces. MGMP worked prior to the initiation of design, plus in the initial architectural design period. City of Santa Clarita Museum & Cultural Center Feasiblity Study 61 Feasibility Study Clients University of North Carolina, Chapel Hill Albuquerque Academy Albuquerque Museum of Art & History Audubon Nature Institute Baltimore Museum of Art Benjamin Harrison Presidential Site Pomona College Vulcan Park & Museum Buffalo Bill Center of the West Buffalo Soldiers National Museum California Museum of Art, Thousand Oaks City of Paso Robles, CA Clyfford Still Museum City of Golden, CO Los Angeles Community Redevelopment Agency Connecticut Historical Society Contemporary Jewish Museum Craft & Folk Art Museum El Paso Museum of Art University of New Mexico University of Louisiana, Lafayette City of Los Angeles, CA International Center of Photography City of Laredo, TX Los Angeles County Museum of Art Southern Methodist University Montalvo Arts Center Monterey Museum of Art Museum of Ventura County Nelson Atkins Museum of Art North Carolina Museum of Art City of Santa Barbara, CA City of Richmond, IN Rhode Island School of Design San Diego Art Center San Diego Children's Museum San Francisco Museum of Modern Art Seattle Art Museum Tampa Museum of Art Taylor University Utah Museum of Fine Arts Yale University Facility Planning Projects Acadiana Center for the Arts Ackland Art Museum Albuquerque Academy Andy Warhol Museum Autry Resource Center Baltimore Museum of Art Benton Museum of Art Berlinishe Galerie Blanton Art Museum Bruce Museum Buffalo Soldiers National Museum Cafesjian Center for the Arts Clyfford Still Museum Colorado Beer Museum Connecticut Historical Society Contemporary Jewish Museum Craft & Folk Art Museum Davis Museum, Wellesley College El Paso Mexican American Cultural Center El Paso Museum of Art Feldman -Horn Arts Center Gardena Community Arts Center Glenstone Go For Broke! National Education Center Harvard Art Museum Hilliard University Art Museum Hoover Dam Visitor Center Institute of Texan Cultures Inter -Arts Center, UC Riverside International Center of Photography LA Plaza de Cultura y Artes Laredo History Museum Latino Museum Leeum, Samsung Museum of Art Los Angeles County Museum of Art Louisiana State History Museum Louisiana State University Art Museum MassART Museum McNay Art Museum Meadows Museum Mexic-Arte Museum Millard Sheets Art Center Montalvo Arts Center Monterey Museum of Art Museum fur Angewandte Kunst Museum of Contemporary Art, Chicago Museum of Contemporary Art, Los Angeles Museum of History & Art, Ontario Museum of New Mexico Museum of the American Railroad Museum of Ventura County Napa Valley Art Foundation Nasher Museum of Art Nau Center for Texas Cultural Heritage Nelson Atkins Museum of Art Nevada State Museum North Carolina Museum of Art Perez Art Museum Miami Philbrook Museum & Gardens Pierre Claeeyssens Veterans Museum & Library Royal Textile Academy of Bhutan San Diego Art Center San Francisco Museum of Modern Art Santa Barbara Museum of Art Seattle Art Museum Sid Richardson Museum Snite Museum of Art South Bronx Academy of Art Southern Utah Museum of Art Southwest Museum Speed Art Museum Tampa Museum of Art Taylor University Art Gallery The Leonardo University of Iowa Museum of Art Virginia Museum of Fine Arts Walker Art Center Western Washington University College of Fine & Performing Arts Wheels Transportation Museum Williamson & Mullin Galleries, ArtCenter College of Design Wisconsin Forestry Exploration Center Yale University Art Gallery City of Santa Clarita Museum & Cultural Center Feasiblity Study 63 Financial & Operational Planning Projects Ackland Art Museum, UNC Chapel Hill Albuquerque Academy Albuquerque Museum of Art & History Baltimore Museum of Art Vulcan Park & Museum Bruce Museum Buffalo Bill Center of the West Buffalo Soldiers National Museum California Museum of Art, Thousand Oaks Clyfford Still Museum Colorado Beer Museum Connecticut Historical Society Contemporary Jewish Museum Craft & Folk Art Museum El Paso Mexican American Cultural Center Go For Broke! National Education Center GulfQuest Harvard Art Museums Hilliard University Art Museum Houston Museum of African American Culture Institute of Texan Cultures International African American Museum Junior Arts Center, Barnsdall Park LA Plaza de Cultura y Artes Laredo History Museum Mexic-Arte Museum Montalvo Arts Center Monterey Museum of Art Museum of Civil Rights Museum of Contemporary Art, Chicago Museum of Contemporary Art, Los Angeles Museum of History & Art, Ontario Museum of the American Railroad National Hot Rod Museum Nau Center for Texas Cultural Heritage Nauticus Nevada State Museum Northwest Museum of Art & Culture Perez Art Museum Miami Fierre Claeyssens Veterans Museum & Library Royal Textile Academy of Bhutan San Francisco Museum of Modern Art Sid Richardson Museum Tampa Museum of Art Tech Museum of Innovation Walker Art Center GZlulei uIN History & Cultural History Museum Projects Albuquerque Museum of Art and History Autry Resource Center Benjamin Harrison Presidential Site Berlinische Galerie Birmingham History Center / Vulcan Park & Museum Buffalo Soldiers National Museum City of Paso Robles Museums Colorado Beer Museum Connecticut Historical Society Contemporary Jewish Museum Craft & Folk Art Museum El Paso Mexican American Cultural Center Galles Cultural Center Gardena Community Arts Center Go For Broke! National Education Center History Museum of Los Angeles Hoover Dam Visitor Center Houston Museum of African American Culture Institute of Texan Cultures International African American Museum LA Plaza de Cultura y Artes Laredo History Museum Latino Museum Los Angeles Bicentennial Commission Louisiana State Museum Maxwell Museum of Anthropology Metropolitan Water District, Diamond Valley Lake Mexic-Arte Museum Museum fur Angewande Kunst Museum of History & Art, Ontario Museum of New Mexico Museum of the American Railroad Museum of Utah Art & History Museum of Ventura County National Hot Rod Museum Nau Center for Texas Cultural Heritage Nevada State Museum Northwest Museum of Art & Culture Ontario Museum of History & Art Pardisan History & Cultural Center & Park Pierre Claeyssens Veterans Museum & Library Richmond Museum Collaboration Project Royal Textile Academy of Bhutan Skirball Cultural Center Southwest Museum Tech Museum of Innovation The Leonardo Wisconsin Forestry Exploration Center City of Santa Clarita Museum & Cultural Center Feasiblity Study 65 -0 ,. �Esff Of . ........ _-lab— AW New Mexico Hisory Museum Santa Fe, NM r,{ Y. .1= - �' :'� ram': •° . IN k ro ys lj Client References LouAnne Greenwald Director Hilliard Art Museum University of Louisiana at Lafayette 337-482-1369 louanne.greenwald@louisiana.edu Matthew Snellgrove Vice President of Program Management Legends Project: International African American Museum 469-388-6360 matthew.sneIIgrove@legends.net Richard Benefield Executive Director George Rickey Foundation 415-519-9747 richardbenefield@gmail.com Daniela Quesada Chief Architect, City of Ell Paso Project: El Paso Mexican American Cultural Center 917-592-9263 sba11547@gmail.com Katie Ziglar Director Ackland Art Museum University of North Carolina, Chapel Hill 202-374-5146 katie.ziglar@unc.edu rf:MurHuiN 55 Rarely have I had the pleasure of working with a planning consultant who possesses both a depth of knowledge of the museum profession, as well as the ability to work with staff, the museum board and the general public. — Herman Mhire, former Director, Hilliard Art Museum 15 When one becomes a client of MGMP, they don't simply get a skill set. They get 30-years plus of experience planning and working on some of the most prestigious and high -profile museum projects around the country. — Brian J. Fair, Former Director of Development, Nauticus 55 Without MGMP's help, guidance, insights, and support, our organization would not have survived the turmoil. — Michael Ozawa, former Chair, Go For Broke National Education Center F1 Much of the success of our museum —a museum that will be far more integrated with and responsive to the needs and aspirations of our community —can be traced back to the foundational work of M. Goodwin Museum Planning, Inc.' VOL Montalvo Arts Center I Saratoga, CA IN No am -7 �p !�fj O ne. PP., WAII AV' h f+ r �• Assigned Personnel .6%'. ".6 The MGMP Project Team MGMP is a small firm. We're accessible. The senior members of the MGMP team, Marcy Goodwin and Cameron Boodram, work on every project we undertake. We're a custom workshop, not a factory production line. We don't job out key planning work to outsiders, and we don't use boilerplate solutions. This approach ensures that every one of our clients receive our staff's full attention, and allows the client team, and MGMP, to always remain up-to- date with recent project developments. We are museum professionals. Each of our core team members has also worked as a museum staffer, from entry-level positions up to senior administrative roles. We understand the working realities of museums. rpa•lei a9 M. Goodwin Museum Planning, Incas core team for this project will be comprised of our two senior staff members, plus administrative support: Marcy Goodwin Lead Museum Planner The senior member of the MGMP team, Marcy will coordinate and integrate all project team input into a cohesive approach to help establish a clear operational vision for the museum's transition period. She will be engaged in our planning meetings to ensure there is clear follow-through between the issues and desires of the museum leadership and staff, and ensure that project goals are realized. Cameron Boodram Project Manager As the project manager, Cameron will lead the development of all project deliverables and planning documents. He will establish and maintain the overall project schedule, ensuring that all parties are aware of milestones to keep the project on track. City of Santa Clarita Museum & Cultural Center Feasiblity Study 73 Marcy Goodwin President Marcy Goodwin's career as a museum planning consultant developed from her experience in four disciplines: museum administration, site selection and development programs, building project management, and exhibition design. Prior to opening her consulting practice, she served as a museum curator, administrator and educator. She curated the exhibitions for The Museum of Contemporary Art, Los Angeles, and the San Diego Art Center. Marcy was Assistant Director of the Junior Arts Center in Barnsdall Park, a very large municipal center for art education. Marcy developed strategic, operational, space and administrative programs for arts and cultural institutions throughout the United States in an independent consulting practice from 1978 to 1991. Under long-term contracts during this period, Ms. Goodwin directed the building programs for: The Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, San Francisco; The Museum of Contemporary Art, Chicago; the Andy Warhol Museum, Pittsburgh; and the Tech Museum of Innovation, San Jose. Ms. Goodwin is an authority on museum practice, museum facility design and art installations. She has lectured and directed seminars for the Association of Art Museum Directors, the American Alliance of Museums, the Western Museum Association, Lloyd's of London and the Ganminster Insurance Group, the Los Angeles Art Fair, Westweek (the Pacific Design Center), the Los Angeles Chapter of the AIA, the Chicago Arts Club, the Harvard University Art Museum, the University of Notre Dame, Wellesley College, the Speed Art Museum, the New York Chapter of the AIA and the New York Chapter of the AIGA. As of today, she has developed over 150 space program plans, feasibility studies, strategic plans, operating plans and other planning efforts for institutions in the United States, Asia and Europe. Marcy Goodwin holds a Bachelor of Fine Arts degree from Chouinard Art Institute (later the California Institute of the Arts, or CalArts), and graduated from the Claremont Graduate University with a Master of Fine Arts degree. rc=ulei uIN CITY OF EL PASO El Paso, TX Mexican American Cultural Center Building Program and 38,120 SF 1 $16.3 M Administrative Plan AUTRY RESOURCE CENTER Burbank, CA Building Programming 106,000 SF TAMPA MUSEUM OF ART Tampa, FL Space & Operational Analysis; Facility Master Plan 120,000 1 $75 M INSTITUTE OF TEXAN CULTURES & University of Texas at San HEMISPHERE PARK Antonio Strategic, Administrative and Business Planning 180,000 SF I Cost TBD Building and Site Programming BUFFALO SOLDIERS NATIONAL MUSEUM Houston, TX Governance, Strategic, Administrative & Business Planning; 23,000 SF 1 $4.1 M Building Programming VULCAN PARK & MUSEUM / BIRMINGHAM HISTORY CENTER Organizational Merger Feasibility Study & Analysis WALKER ART CENTER & MINNESOTA SCULPTURE GARDEN New Entry & Public Park Planning Expansion & Renovation Building Programming Strategic & Administrative Planning Birmingham, AL 30,000 SF + 10 Acre Park Minneapolis, MN 20,700 SF 1 $15 M 250,000 SF 1 $80 M City of Santa Clarita Museum & Cultural Center Feasiblity Study 75 Cameron Boodram Vice President Cameron has more than a decade of experience administering non-profit organizations and working with staff, researchers, artists and performers at esteemed civic, arts and education institutions in the U.S., Europe, and Asia. His background in the performing and visual arts provides him with the tools to empower museum clients to identify their unique assets, and to articulate them in new ways through a mutual process of discovery. Cameron's experience with non-profit and civic cultural organizations around the world also enables him to develop revenue and operating cost projections for the strategic and administrative structures MGMP helps our clients to develop. Prior to his work at MGMP, he coordinated the diverse interests of university -level academic institutions and cultural organizations. He developed education integration plans and implemented the work of the Institute for the Research and Coordination of Music and Acoustics (IRCAM) at the Centre Pompidou and the Internationales Musikintitut Darmstadt (IMD) within the academic communities of the University of Paris and the Technische Universitat Darmstadt. He also developed outreach programs for these two organizations with governmental agencies, community organizations and local businesses. In his nine years at MGMP, Cameron has developed over 40 facility, operating, community engagement and business plans for clients around the country, including the University of North Carolina at Chapel Hill, the Walker Art Center, the Clyfford Still Museum, the El Paso Mexican American Cultural Center and the deCordova Sculpture Park & Museum. Born and raised in Los Angeles, Cameron traces his ancestry to the Carib and Arawak tribes indigenous to the Caribbean. He has lived in Paris, Frankfurt, Darmstadt, San Sebastian and Boston, and has traveled extensively both in the United States and abroad. r1f.�.IHuiN ACKLAND ART MUSEUM, UNIVERSITY OF NORTH CAROLINA, CHAPEL HILL Operational Analysis & Future Space Plan CITY OF EL PASO Mexican American Cultural Center Building Program and Administrative Plan HILLIARD UNIVERSITY ART MUSEUM, UNIVERSITY OF LOUISIANA AT LAFAYETTE Preliminary Space Planning Feasibility Study 5-Year Business Plan PHILBROOK MUSEUM OF ART & GARDENS Master Plan CONNECTICUT HISTORICAL SOCIETY Space Assessment & Operational Planning Study MONTEREY MUSEUM OF ART Buildings, Site and Operations Study; Feasibility Study BRUCE MUSEUM Administrative & Business Plan; Renovation and Expansion Building and Landscape Program MEXIC-ARTE MUSEUM Building Program & Feasibility Study Chapel Hill, NC 40,000 SF I Cost TBD El Paso, TX 38,120 SF 1 $16.3 M Lafayette, LA 47,390 SF 1 $13 M Tulsa, OK 103,000 SF Hartford, CT 70,000 SF Monterey, CA 64,872 SF Greenwich, CT 70,000 SF 1 $45 M Austin, TX 51,000 1 $30 M City of Santa Clarita Museum & Cultural Center Feasiblity Study 77 e x • a �r e �. Ati i 1 ■• ' .1 'r 1 i d Ill, •1'A; �. e ap a. - -4 T" 1 _ 16 ®� c 'Ia �a.L. •�� _Z L . 04 1 1 �}• -. .l' a a '• �Y.0 �I.Lgi -. .r •... • d'1 1 ' - 1' -lie • . . a �s {� T Y '�.e,,�'q�J . 1 • . • 1-1k. II a e• . td' 7 d OL 1' Benton Museum of Art Pomona College ` 4' City Resources ja Resources Required Background materials Prior to initiating our work, MGM will require access to the following documents and materials, if available: • Site plans and any previously -developed preliminary facility plans or programs • City-wide planning documents (e.g. strategic plan, comprehensive plan, master plan, etc.) • City-wide public and education programming plans and schedules • Collections resource documentationprogram statements • City relevant departmental staff list and organizational chart • City marketing and social media strategy plans • Governance statements • Any existing operating and lease agreements with non -City / external entities • Other project -relevant documents, materials and/or planning studies identified by the client team Zoom Business account and access Due to the uncertainty around the ongoing COVID-19 pandemic, we anticipate that many of our planning sessions, workshops, interviews, focus groups and Town Hall meetings will occur virtually. Our preferred platform for virtual engagement is Zoom, because of our ability to create presentations that feature interactive elements, including real-time polling and surveys. While MGMP's Zoom plan is capable of supporting large group meetings, it will be helpful for the City to also carry a Zoom Business account to avoid any unforeseen technical issues that may arise. All planning participants should also have access to Zoom in order to actively participate in work and/or community engagement sessions. E:11MuIHuiN Conference room and media equipment MGMP anticipates several on -site visits to Santa Clarita throughout the planning process. During this visit, we will require access to a large conference room to meet with City planning team staff and other available stakeholders. Even thought the MGMP team is now fully vaccinated, we anticipate a continuing need to maintain social distancing with planning participants, thus a large conference room will be needed to appropriately distribute tables and chairs throughout the space. In this space we will also require two sticky -back flipcharts and easels, or alternatively a large whiteboard with dry erase markers. A digital projector (with HDMI-in port) is also required for presentations. Planning team and stakeholder engagement location, coordination and promotion At the outset of the project, MGMP will work with the museum's project coordinator and planning team to identify the stakeholder participants, engagement types and meeting schedule for feasibility study development process. For large-scale Town Hall -style meetings will occur a minimum of twice during the project. A suitable location for these meetings to be held should be provided by the City. Advertisement of public engagement meetings will be necessary in order to achieve high levels of participation. Support from the City's project coordinator and marketing team will be essential to scheduling and publicizing these meetings. City of Santa Clarita Museum & Cultural Center Feasiblity Study 81 Feasibility Study Web Page or Portal (optional) Some of our clients choose to develop a separate webpage within their website, or in some cases a dedicated new website, for the feasibility study process. This is espeically true for publicly -operated institutions with transparency and inclusion as part of their core values. This portal can serve many functions: • Notify the public that the City is engaging in a new feasibility study • Offer opportunities (e.g. surveys, questionnaires and message boards) for the public to have their voices heard during the planning process • Publicize upcoming Town Hall meetings • Provide progress updates during the study development process While the MGMP team will maintain responsibility to distributing in -process and up-to-date documents and materials to the planning team, some of our clients also choose to include a secure access point within the strategic planning website / page for planning team members to access these materials. The development of these web -based resources is left to our clients' discretion. E:y�urHuiN Process The task forces will focus on at least five areas: Overarching Hemisfair Mission Hemisfair and land use the institute's overarching mission and scope, and UTSA's engagement Community Engagement community engagement and how to sustain support Facility & Location K-12 Education M the museum's facility and K-i2 education, engagement and location learning City of Santa Clarita Museum & Cultural Center Feasiblity Study 83 ,96 � �+�- �, � - � `� o � Ili`';�,•. J� '- mwF'ryv ST iwt fy/ je v r _ -� , 4 San Francisco Museum of Modern Art Pi r it 7XI! - \/ Alm Subcontractors MGMP will not employ or utilize any subcontractors to complete the proposed scope of work. All work will be completed by MGMP staff. City of Santa Clarita Museum & Cultural Center Feasiblity Study 87 F Seattle Art Museum I Seattle, WA ..0000,1 a 00 Additional Data MGMP notes the following exceptions to items 4. ("INSURANCE") in the "NOTICE TO PROPOSERS REGARDING CONTRACTUAL REQUIREMENTS" section of the RFP document: • 4.b. The stipulated requirement for Business automobile liability is not applicable to this work scope, as no use of owned, non -owned or hired automobiles has been requested or is anticipated. • 4.c. MGM is not a professional architectural design or engineering firm. The work we provide as administrative planning consultants does not constitute design or engineering services as defined by the State of California. We are not eligible for professional licensing, and therefore are also not eligible for professional liability insurance. VISMOVAINVAIN s s _ ♦ - - -�; �, _ ' ti oft 07 }Sill., 41FJR' Connecticut 7storical Society Hartford, CT M. Goodwin Museum Planning, Inc. (MGMP) 18645 Hatteras St #190 Los Angeles, CA 91356 Tel: 505 832 7114 mgoodwin@mgmp.us Consultant: M. Goodwin Museum Planning, Inc. (MGMP) Marcy Goodwin President 8233 Yeager Drive NE Albuquerque, NM 87109 Tel: 505 832 7114 mgoodwin@mgmp.us www.mgmp.us MGMP Client representative: Jonathan Cost City of Santa Clarita jcosh@santa-clarita.com Tel: 661 286 4187 M. Goodwin Museum Planning, Inc. 18645 Hatteras St. #190 Los Angeles, CA 91356 Tel: 505-832-7114 Email: mgoodwin@mgmp.us This bid and the accompanying proposal document were developed by M. Goodwin Museum Planning, Inc. (MGMP,� in response to RFP # REC-21- 22-42 ("Santa Clarita Museum and Cultural Center Feasibility Study") issued by the City of Santa Clarita. MGMP are national leaders in planning for museums and cultural institutions. For over 35 years we have provided more than 140 civic, university and private museums with facility, operational, organizational, strategic and business planning services. M. Goodwin Museum Planning, Inc. was incorporated in the State of California as a subchapter "S" corporation in 2013. M. Goodwin Museum Planning, Inc. has offices in Los Angeles, CA; Albuquerque, NM; and San Antonio, TX. Our physical address, mailing address, principal place of busi- ness and primary point of contact is: Marcy Goodwin, President M. Goodwin Museum Planning, Inc. 18645 Hatteras St. #190 Los Angeles, CA 91356 Tel: 505-832-7114 Email: mgoodwin@mgmp.us 2 Project Deliverables This proposed scope of work will provide the City of Santa Clarita with a Feasibility Study for a proposed new museum and cultural center. Our proposed 32-week planning process will include the following tasks and deliverables: • Project Start -Up • Site Assessments • Comparable Institutions & Markets Study • Community Needs Assessment • Project Visioning • Exhibit Resources, Topics & Core Messages • Programs & Activities Statement • Staffing, Administrative & Operational Concept • Building Program • Financial Analysis • Report Synthesis • Final Presentations 3 Labor Two MGMP staffers will participate in this project, with the following hourly rates: • Marcy Goodwin, MGMP President $140/hr. • Cameron Boodram, MGMP Vice President $120/hr. To calculate our fees for services, we created hour allocations for each project deliverable, and multiplied this total by a blended hourly rate of $130 per work hour. To calculate our fees for services, we created hour allocations for each project deliverable, and multiplied the total of 612 work hours by a blended hourly rate of $130 per work hour. This results in a total core services fee of $79,560. Please see the following page for a breakdown of the work hours and fees for each deliverable outlined in this bid and accompanying proposal. 4 Proposed Project Timeline & Work Hours Month 1 Month 2 Month 3 Month 4 Month 5 Month 6 Month 7 Month 8 Work Fee Per Task 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 1 2 3 4 Hours Task 1 Project Start -Up 2 Site Assessments 3 Comparable Institutioi Markets Study 4 Community Needs Assessment 5 Project Visioning 6 Exhibit Resources, Tol Core Messages 7 Programs & Activities Statement 8 Staffing, AdministratN Operational Concept 9 Building Program 10 Financial Analysis 11 Report Synthesis 12 Final Presentations Traveo to Santa Clarit< Project Management Is & 40 40 40 $5,200 $5,200 $5,200 80 $10,400 80 $10,400 ics & 60 $7,800 40 $5,200 e & 40 $5,200 40 $5,200 40 $5,200 80 $10,400 32 $4,160 612 $79,560 dooms 5 Supplies and/or Equipment As stipulated in our response file, MGMP will require meeting supplies (e.g. notepads, markers, pens, sticky -back flip charts and easels) for planning meetings with the City project team, in City -provided meeting rooms in Santa Clarita. We do not anticipate the need for any additional supplies or equipment. Subcontractor Costs MGMP will not employ any subcontractors to complete the requested scope of work. Travel Costs Travel expenses will be incurred by MGMP in the process of completing our work. These costs are above and beyond the fee for services. As outlined in this proposal, MGMP anticipates six (6) trips to Santa Clarita during our work process. Each trip will be made by a minimum of one and no more than two MGMP staffers assigned to work on this project. Total travel -related reimbursable expenses are estimated not to exceed $10,184. Please see the following page for a calculation of travel -related expenses. Travel -Related Reimburable Expense Calculation Cost per unit Trip #1 Expense Quantity total Trip #2 Expense Quantity total Trip #3 Expense Quantity total Trip #4 Expense Quantity total Trip #5 Expense Quantity total Trip #6 Expense Quantity total Airport Transfer $50 1 $50 1 $50 1 $50 1 $50 1 $50 1 $50 Mileage per roundtrip $32 4 $128 4 $128 4 $128 2 $64 2 $64 2 $64 Meals & Incidentals per $74 6 $444 6 $444 6 $444 4 $296 4 $296 5 $370 day Hotels per night $182 3 $546 3 $546 3 $546 2 $1,092 2 $1,092 2 $1,092 Flight roundtrip $350 1 $350 1 $350 1 $350 1 $350 1 $350 1 $350 $1,518 $1,518 $1,518 $1,852 $1,852 $1,926 7 Bid Summary MGMP's total bid for this project is calculated by combining all service fees and projected reimbursables to determine a not -to -exceed project cost: Services Fees Travel Expenses $79,560 Not to exceed $10,184 The resulting total not -to -exceed project bid is $89,744. M. Goodwin Museum Planning, Inc. (MGMP) 18645 Hatteras St. #190 Los Angeles, CA 91356 Tel: 505 832 7114 mgoodwin@mgmp.us