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HomeMy WebLinkAbout1992-08-25 - AGENDA REPORTS - METROLINK ART PROGRAM (2)AGENDA REPORT NEW BUSINESS DATE: August 25, 1992 SUBJECT: METROLINK ART PROGRAM DEPARTMENT: Public Works BACKGROUND City Manager Approval Item to be presented b Jeff Kolin, Deoutv,City Manager 0 The Los Angeles County Transportation Commission's Art for Rail Transit or A.R.T. program was created in 1989 when the Commission adopted a policy which allocates one half of 1 % of construction costs for the creation of works of art for the rail system. The primary goal of the program is to work with communities adjacent to the stations to develop art which reflects the individuality of each area, developing a sense of place and contributing to neighborhood pride. For the Metrolink stations in Los Angeles County, A.R.T. is working to create partnerships with cities interested in developing a public art component for their station. Funds are being made available to cities wishing to participate in the program on a matching basis, to a maximum of approximately $30,000. Stations throughout the system may benefit from enhancements created by artists. Works may include traditional approaches such as ceramic tile murals and sculptures, or amenities such as benches, railings and fight fixtures. All artworks must meet LACTC's technical and safety requirements, must be resistant to vandalism and require minimum maintenance. Artists will create the theme images of the works in response to the locations, the neighborhood and the unique qualities of the particular community. The Los Angeles County Transportation Commission has developed an art program policy which outlines the process which is used to select the type of artwork to be commissioned. An art committee is formed which is comprised of two major and distinct subcommittees; the advisory group, a non voting body, and the art panel, a voting group. The Los Angeles County Transportation Commission Art for Rail Transit staff works closely with local city staff to develop the committee representatives. Allan Nakagawa, Project Manager for the Art for Rail Transit Program, will be present this evening and will show a brief slide presentation representative of some of the artworks commissioned for rail stations. APPROVEDdaltemAgen � Metrolink Art Program August 25, 1992 Page 2 The engineer's original budget estimate for the Rail Station construction and grading was higher than the low bid for the project which was awarded to Rasmussen, Inc. Upon completion of the construction for the Rail Station there may be a portion of the original budget available for enhancements to the project. Staff is proposing that $30,000 ibe identified from the project savings and used as matching funds for the Art for Rail Transit Program. This would provide a $60,000 total budget for the Commuter Rail Station Art Program. The Commuter Rail Station Art Program would be added on following the completion of construction of the Rail Station in October 1992. The Fast Track required for construction of the Rail Station would not make it possible to include the artwork in the original construction process. Mr. Nakagawa and LACTC have indicated that it would not pose a problem to incorporate the art project as an add on following the construction. $30,000 of which will come from Rail Station construction savings and will be used as matching funds. The Parks and Recreation Department staff would follow through with the implementation of the Art Program in cooperation with the Los Angeles County Transportation Commission staff. The Cultural Arts staff in the Department has experience working with artists and committees and has indicated their interest in developing the Public Art Program for the Rail Station. . RECOb1MENDATION Authorize the Mayor to execute the cost sharing agreement by and between the Los Angeles County Transportation Commission and the City of Santa Clarita provided there are adequate savings in the project budget following completion of construction and authorize staff to form the Rail Station Art Committee and selection panel. ATTACHMENT Art Program Policy Cost Sharing Agreement Sample Public Art Plan JK:gmm railart.agn LOS ANGELES COUNTY TRANSPORTATION COMMISSION ART P R O GRA M P O L I C Y The Los Angeles County Transportation Commission, in keeping with its mission to provide improved mobility for the people of Los Angeles County, has adopted a public art policy which will provide for the creation of works of art throughout the rail transit system. The Commission recognizes that the inclusion of art in the design of public spaces creates a more inviting environment, enlivening a functional world and contributing to a positive experience for the system's future riders. The Commission will allocate one half of one percent of construction costs for the creation of original art works. The costs of administering the art program will also be covered by this allocation. The stated goals of the program are the following: • to enhance the everyday act of commuting and expand the public experience of art through the commissioning of the highest quality art in -public spaces; • to enrich the rail transit system for both residents and visitors by creating a unique visual identity for each station through works of art that contribute to a sense of community identity and pride; • to heighten public awareness of the unique cultural and ethnic resources of the communities surrounding the stations; • to foster the creation of a wide variety of visual art,. conceived in any medium or material • to foster the creation of art that is integrated into the design of each site and to foster collaborations between artists and architects in the creation of stations; • to ensure the equitable distribution of commissions among artists of both genders, as well as among artists of diverse cultural heritage, and • to express a commitment to artists residing in California by by restricting the program to California artists, with the exception of a limited -number of international coma etitions. 1 G U I D E L.1 N E S -- PERMANENT COMMISSIONS A successful public art program entails the clear definition of roles, lines of authority and accountability, but also demands flexibility and a willingness to improvise. I. ARTIST SELECTION PROCEDURE The goal of the selection process is to choose artists who will create art works that are integrated with the architecture, specific to the site and accessible to the public. The selected art must: • be of high quality, • be site specific, • last at least 25 years, • require minimum maintenance, • be resistant to vandalism. Whenever possible, artists should be able to work on their proposals in the early stages of the station design process. Involvement of artists in the conceptual stage of a project fosters innovation and allows artists to play expanded creative roles. If possible, the artists' final design work should be completed before the construction phase begins. This allows time for dialogue between the artist and the architect during the design process and the inclusion of specifications for the artwork's site preparation in the final architectural plans. (These may include specifications for such items as wiring, lighting, structural supports, seating, plumbing and paving.) In keeping with procedures adopted by public art programs around the country, all art works will be selected through a committee review process. A. The. Art Committee Generally, stations will be grouped by location and an art committee will be created for each group. The art committee will consist of two distinct sub -committees: the advisory group (non-voting) and the art panel (voting). Members will be selected by the program administrator, in conjunction with local governments where appropriate, other agency staff members and with advice from area elected representatives and area residents. Care will be taken to ensure proper representation of the diverse ethnic populations present in the community as well as equal participation by both men and women. 2 The Advisory Committee: This group of approximately five committee members is composed of individuals with a vested interest in the stations, representing: • the -business community (local business associations, community redevelopment group, etc..) • the neighborhood (historical society, active civic groups, etc,) • the architectural firm or designer • the LACTC The function of the advisory committee is to develop a site profile (fact sheet) and advise the art panel on the social and physical dimensions of each station. Each member of the advisory committee relays relevant information from the viewpoint of the group he or she represents. For example: the station architect describes -the future station and the rationale for the design: the Commission's representative explains the Agency's technical and safety requirements, and provides information regarding such issues as pedestrian traffic flow, placement of required signage and seating, security, etc...; the residential and business representatives describe the composition, history and unique features of the community. This is the best method of empowering the community while ensuring that art of the highest standard is selected by qualified professionals. The advisory committee's site profile provides the art panel with information to help them make informed decisions and choose artists that have the capacity to work with the relevant information. The Art Panel There will be a different five member art panel for each group of stations. Panelists will be selected from a list established by the art program and approved by the Commission. A minimum of three arts professionals will be chosen to represent varying artistic points of view and should be informed about contemporary public art. Of the three, at least one must be an artist. In addition to the three art professionals there shall be at least one and no more than two voting representatives from the local community. These community representatives may be local elected officials, residents and or business people who are selected.by the advisory committee to serve on the art panel. The responsibility of the panel is to select specific artists to be commissioned. In making its recommendations the panel considers the facility, its architecture and function, the community it serves,'the quality of the art work and its appropriateness for the site, the potential for vandalism, the durability of materials and the artist's ability to execute.the commission. As in other'programs around the country, art panelists will be paid a small honorarium ($150) to help compensate them for their time. In order to avoid any potential conflicts of interest, it is important to note : • that the administering agency's representatives cannot be voting members of the art co.;,nittee • that commercial gallery owners or artists' agents are ineligible for membership on the art committee • that the art panel's decision cannot be reversed cn aesthetic grounds but only on technical grounds or on the basis of other non -aesthetic concerns expressed by the LACTC. B. Selection Processes Generally art for the stations will be selected by means of a limited competition, however the program administrator may decide, in conjunction with the Commission, to sponsor an open competition for certain sites. In a few cases the program administrator, in conjunction with the art committee, may decide that.direct commission is the best process for a specific project. C. Slide Registry The art program will develop a slide registry of artists interested in working with the program. This will serve as a resource for the selection committees and help ensure that the program reaches out to the largest number of artists possible. LACTC will provide public notice of the existence of the registry; in addition, a program outline and slide registry application will be mailed to numerous artist mailing lists ( for example: LACE, SMArts, The Japanese - American Cultural Center, etc...). Inclusion in the registry will be open to all professional artists. - 4 D. Art ConnitteP Meetinos The first meeting requires the attendance of all members, and will include the following: • introduction of the individual committee members • review of the program guidelines, the art criteria and the selection procedure, • a site visit The first or second meeting will also include: • a slide presentation of public art by the program administrator to familiarize the committee with the potential of public art; • a discussion among committee members of their expectations in relation to their roles; • the review and approval of the site profile. committee members will be sent minutes of the meetings. At the conclusion of the first or second meeting, advisory group members will be informed of the dates of the art panel meetings which they will be invited to observe, although their presence is not required: 1. Art Panel Meetinos a. Linited Cornetitions Generally at least three panel meetings will be necessary. At the first, the art panel will discuss ideas for the type of art which will best suit the station(s) and the best possible sites, keeping in mind the advisory committee members' recommendations and desires. At the second meeting, art program staff will provide a slide presentation of artists from the slide registry, as well as other sources, considered particularly appropriate for the site. Panelists, as well as all other advisory committee members, will be invited to present additional artists for consideration. Generally, the panel's task will be to select three artists to submit proposals for each available commission, as well as two alternates. However, the panel will have the option of inviting a lesser number of finalists to compete. In keeping with practices established by public art programs nationwide, the artists selected by the panel will be invited to develop a proposal for a fixed sum (le of the total commission, with a minimum of $500, and 5 a maximum of $1,000). The artist who is finally chosen will forfeit this honorarium (it will be deducted from his or her design fee). If an artist turns down the invitation, the next artist on the panel's list will be contacted. After agreeing to compete, the artist will be provided with:. a detailed explanation of the artist selection procedure; minutes of the art committee meetings, and a fact sheet about the neighborhood. This fact sheet will contain relevant historical, demographic, social -and economic information, and will have been developed and approved by the art committee in conjunction with the art program staff. Once the artist has reviewed this information, a meeting will be scheduled for the artist and the program administrator to discuss the artist's response to the site. The agenda will include a tour of the station and the surrounding neighborhood. Although the artist will have been made aware of the panel's site recommendations, he or she.will have the option of submitting.a proposal for the location of his or her choice. Next a proposal contract will be signed, specifying: • the tine frame for proposal development, • date of proposal presentation, • payment schedule (two thirds upon signing, remainder upon presentation) • ownership and copyright of the proposal (usually all proposal materials, including models and/cr drawings,.remain the property of the artist and the agency receives the right to exhibit or use the proposal for promotional purposes). On the specified date, the art committee will meet to. review the artists' presentations. Each artist will be given tine to present his or her proposal to the art committee and to answer questions. The presentation will include a rendering of the proposed art work (model or drawings), a written description and/or statement, a budget, and samples of the actual proposed materials. After the artists have concluded their presentations and left, discussion will begin with advisory group members offering their opinions and suggestions. During this discussion, the business community and neighborhood representatives can offer personal reactions to the proposals, as well as their opinions on how each individual artist responded to the information they provided. They will also be asked to comment on how businesses. and residents might respond to the proposed 2 works -'The agency representative will review each proposal in terms of such.technical concerns as compatibility with the function of the site, durability' and projected maintenance problems. After this discussion period the art panel will adjourn and meet semarately. The session will be chaired by the program administrator. Carefully considering the opinions of the advisory group, the panel will engage in an open and frank discussion of the proposals. When this discussion does not result in a unanimous decision, the final selection will be by majority rule vote. b. Open Competitions While open competitions entail a great deal of additional administrative work (developing a project announcement, responding to requests for information, handling hundreds of proposals and screening them for completeness, returning the materials,to the artists...) they also offer increased visibility for the program and are considered by many to be the only truly democratic way to select artists for public commissions. (However this method does not appeal to all artists. Many are unwilling to spend time developing proposals if they are unpaid and uncertain of obtaining a commission.) Weighing the pros and cons of the method, the program administrator, in conjunction with LACTC senior staff, may decide to hold an open competition for a specific site. In this case, an announcement will be prepared and distributed to all the artists in the registry, as well as to other mailing lists of artists, arts groups and the art press. This will simply inform people of the competition and specify that -artists interested in applying should obtain a complete information packet from the art program. (This would in a.sense take the place of the first art panel meeting). The art panel would review all the applications and a predetermined number of finalists would then'be.asked t� submit specific proposals (for which they would receive an honorarium). The.review procedure would then continue as in the limited competition. c. Direct Commission In a very limited number of cases, the art committee, may decide to request a proposal for a station from only one artist. This would be a rare occurrence and would require a unanimous decision on the part of the art committee. Usually, this would only happen in a situation where there is a particularly strong desire on 7 the'part of a large section of the community to work with a particular artist, and the art panel concurs as to the artist's professional ability and the appropriateness of his or her work for the site. Once that artist is selected, the process would then continue as in the limited competition. 2. Final Aooroval Whatever the initial process, the art panel has the final responsibility for the selection of artists and art works. However, the LACTC will reserve the right to reject a proposal on the basis of technical or safety related concerns. (The selection procedure is designed to address and resolve these problems prior to the proposal's final selection and therefore this should rarely be an issue.) II. DESIGN It will be the policy of the art program to select the artist(s) for each station as early as possible in the development of the station's design. There are multiple reasons for this approach, the primary one being that when artists are involved in a project relatively early in the design stage, the results of their collaboration with the architect are usually original and creative solutions to some of the problems.that plague the design of public spaces. In addition,, if an artist is involved with a project prior to the construction of said project, a great deal of money allocated for finishincs can be used to augment the art budget (ie: if x amount has been budgeted for steel railings and the steel railings become a sculpture project, the art budget can be increased by the amount originally allocated for the steel railings, and it is no longer necessary to include in the art budget the cost of preparing the site and installing the art work, as installing the steel railings was already part of the construction contract). For certain stations, the art program may decide to select artists (through an open or limited competition) to work with the architects designing the facility as part of a "design team". This approach would only be considered for stations which were at the preliminary design stage. Artists would be selected on the bans of their past work, as well as an expressed desire to work collaboratively. All finalists would also be interviewed. once selected, the artist(s) would be hired to work directly with the architect on the overall design concept, addressing both architectural and functional issues. For example.such items as the station canopy, furniture, light fixtures, signage, pathways and circulation patterns, as well as the overall layout of the facility, might benefit from the input of an artist experienced in A this approach to public art. The artist(s) might also contribute some form of specific "art object" to the final station design. Although this approach requires a larger amount of funds initially (cost of the open competition, expense of flying in finalists for interviews, daily fees for artists working with architects plus per Bien if they are from out of town, etc...) the cost is more than justified by the increased integration of the art and the station design, as well as by the savings generated by incorporating the art work into the station construction schedule. III. POST SELECTION• CONTRACTS FABRICATION AND INSTALLA'PION Upon confirmation by the Commission, the program administrator will write to the artist notifying him/her of panel's selection, describing the nature of the project and explaining the ccmmissicn process..The artist will be given thirty days to accept or reject the offer in writing. If the artist rejects the offer or simply does not respond, the commission will be offered to the panel's alternate choice. A. Contracts Once the artist has accepted the commission, a contract between the artist and the agency, (and/or other principal parties such adapted from conjunction from the NY Line program Association) as the architect or the contractor) will be T the standard form (to be developed in with the LACTC's legal advisor, based on samples C % for Art Program, the Cambridge Arts on the m and a model contract from the NYC Bar as necessary and appropriate. The artist contract will provide the following: • the schedule for construction and payments for the art work, • fabrication of the art work, • insurance, • transportation of the art work to the site, • installation of the art work, • storage of the art work should the schedule be delayed by a party other than the artist, • the artist's copyright.rights, a the agency's title to and ownership of the work, • maintenance procedures, • progress report schedule. The artist must prepare a budget that includes costs for fabrication, materials, labor, transportation, site preparation and installation, insurance, the artist fee and a contingency fund. When an art work is commissioned the artist will always receive a fee for his/her design even if the work is not executed/installed because of the agency's concerns. The artist will normally receive Is* upon signing the contract, with subsequent payments as per the negotiated agreement. Generally 15% will be kept until final acceptance by the commission that all services under this agreement have been completed. However, contracts and payment schedules must be designed to take into.account artists' cash flow problems and must clearly outline artists' and other parties responsibilities, specifically in regard to site preparation and installation of the art work. No provisions can be made at outside fundraising and the with the amount allocated. B. Fabrication this point for additional artist(s) must be able to work The art work will be fabricated by the artist or under his or her direct supervision. The contracted artist will not be subject to the terms of competitive bidding because each artist is considered the sole source of his or her art. HoweverIe when working with fabricators, foundries, sign painters etc:..it is highly recommended that the artist get several written bids. C. Installation Whenever possible, the installation of the art work will become part of the final station construction contract and will be executed by the contractor under the artist's. supervision. IV. PUBLIC INFORMATION AND COMMUNITY EDUCATION Public information and education activities will be supported to bring the public, the visual arts, and artists closer together. Working with local arts and community organizations, and with both print and broadcast media, we will seek to develop greater awareness of the rail transit system and its art program, its diversity and the unique assets it offers residents and visitors. The art program will initiate.and cooperate with activities designed to stimulate public understanding of the visual arts and awareness of art in the transit systems. Activities may include conferences, symposia, tours, informational brochures at stations, cooperative programs with educational institutions and arts organizations, special activities coinciding with the dedication of an art work and other community events. 10 { In addition, prior to Commission approval of the final proposal, each artist creating a permanent art work for one of the stations will be required to make a public presentation, explaining the. work and the ideas behind it at a community meeting arranged by the art program staff. Staff will facilitate the meeting and help the artist respond to any community concerns. V. CARE AND MAINTENANCE The art selected for the program will be specifically designed for the public transit environment, with durability of materials being one of the selection criteria. However, all public art is still subject to vandalism as well as being affected by environmental factors, and must therefore be properly maintained. The operating agency (RTD) will be responsible for the routine care and maintenance of all commissioned art work. A system providing for said maintenance will be developed by the art program to ensure that maintenance and necessary repairs are executed in accordance in the artist's specifications. The artist will be required to complete a thorough care/maintenance document prior to final payment on contract. VI. DOCUMENTATION The art program will carefully document the selection process used for each art work and will maintain complete and detailed records of each piece's fabrication and installation. In addition, the art program will produce a brochure which will enable people to take a self guided tour of the art on each line, as well as a film on the completed stations, (similar in concept to the film produced by Arts on the Line, or the one currently being finished on the Detroit transit art program). 11 G U I D E L I N E S -- TEMPORARY ART EVENTS In order to complement and expand the range of the art program,a small portion of the overall budget will be allocated for the sponsorship of temporary art events. These could range from providing space for temporary exhibitions (see NYC sample. program), to sponsoring a series of concerts at certain stations or even on the trains. Generally these events will be tailored to respond to specific interest on the part of a community or group of riders. It will also be the context in which the agency can respond to proposals by individual artists or local arts organizations. in addition, because it will not be possible for the art program to have completed permanent commissions for each station by the time the Los Angeles - Long Beach line is scheduled to open, temporary art events at some of the stations will be a way of reaching out to the riders and letting them know about both the transit system and our new art program. I. Selection Procedure Every year the art program will request and review proposals for temporary art projects, in any medium, which would take place in or around the stations (on our property). Both individual artists and arts organizations will be eligible to apply, the only requirement would be that they be located in the Los Angeles area A special selection panel, created specifically for the temporary art program, will review the proposals and select a predetermined number for sponsorship. II. Contracts Once the artists have been selected, they will be asked to sign a standard contract (a modified version of our art contract) covering the creation, installation and removal of their art project. The contract will include a payment schedule. Generally at least two thirds of the funds will.be advanced to the artist in order to realize the project. 12 Agreement No. (See Debra Kiraly) COST SHARING AGREEMENT BY AND BETWEEN LOS ANGELES COUNTY TRANSPORTATION COMMISSION AND CITY OF This Cost Sharing Agreement ("Agreement"), is made as of 199 , by and between Los Angeles County Transportation Commission ("LACTC"), and City of ("City"). RECITALS WHEREAS, LACTC has an Art for Rail Transit Program which provides for the funding of art work at transit stations. The purpose of the program is to enhance the environment of the transit stations; and WHEREAS, City will have a Metrolink transit station located at )address of metrolink transit stationl (the "Station"); and WHEREAS, City desires to participate in the Art for Rail Transit Program and LACTC desires to fund the art at the Station with funds allocated to the Art for Rail Transit Program; and WHEREAS, the City has received approval from its governing board to participate in the design and cost for the art work at the Station; and WHEREAS, City will enter into a contract (the "Artist Contract"), with (artist name) or Can artist to be selected by Cit (the "Artist"), who will provide the art work or the Station; and WHEREAS, the parties desire to equally share the cost of the Artist's Contract. However, LACTC's share of the costs is limited to the maximum amount of $30,000. NOW, THEREFORE, for valuable consideration and the receipt and sufficiency of which are hereby acknowledged, the parties hereby agree as follows: 1. Term. This Agreement shall commence on and expire on Notwithstanding the foregoing, this 1 rD12A-�-- k Agreement may terminate (i) if the Artist completes his/her. services as described in the Artist Contract before the expiration date, this Agreement shall terminate on such earlier date; or (ii) upon thirty (30) days written notice by either party. 2. Cost Sharing. LACTC and City agree to equally share the $ total cost of the Artist Contract; provided, however, in no event shall LACTC's share exceed $30,000. The cost of the Artist Contract shall be divided as follows: $ shall be paid by LACTC and $ shall be paid by City. Any work in addition to that 'described in the Artist Contract shall be paid solely by the party requesting said additional work, unless otherwise agreed to by the parties. 3. Guidelines. City shall abide by and follow the Guidelines (the "Guidelines"), adopted by the LACTC which govern the Art for Rail Transit Program for Metrolink stations. A list of the Guidelines are attached- hereto as Exhibit A and incorporated herein by reference. LACTC shall have the 'right to oversee the Artist's work and confirm City is in compliance with the Guidelines prior to issuing any payments to City. City must receive LACTC's final approval of the Artist Contract prior to City's execution of such contract. 4. Maintenance. Any work product generated by the Artist shall be owned by City. City shall be responsible for maintaining the art work at the Station at a level and quality acceptable to LACTC and in conformance with the Guidelines. 5. Billing. a. City shall submit to LACTC invoices, including backup documentation, for LACTC's share of the Artist Contract pursuant to the schedule attached hereto as Schedule 1 and incorporated herein by reference. b. Invoices shall be submitted to LACTC at the following address, or at such other address as specified by written notice: 818 West Seventh Street, 11th Floor, Los Angeles, California 90017, Attn: Contract Accounting. C. LACTC shall, within thirty (30) days of receipt of an invoice, remit to City the full billed amount at the following address, or at such other address as specified by written notice: 6. Indemnification. City shall indemnify and hold LACTC harmless against any claims, demands and suits at law or equity arising out of, or relating to actions of the City, the Artist or their agents or representatives in the performance of the work. OA 7. Retention of Records. City shall provide all information and reports as required by LACTC, and shall permit LACTC access to its record, accounts and other sources of information relating to the Artist Contract. LACTC shall have the right to perform an audit, at its sole cost and expense, to confirm City's compliance with this Agreement. a. Proiect Manager. Jessica Cusick shall be the project manager on behalf of LACTC. shall be the project manager on behalf of City. i== 9. Amendment. This Agreement constitutes the entire LIM agreement between LACTC and City. This Agreement may only be amended by mutual written agreement of the parties. 9< 10. Disputes. Any disputes as to the interpretation or rN application of this Agreement which is not settled by the -parties shall be determined by final and binding arbitration. 11. Governing Law. City shall comply with all applicable local, state, and federal laws and regulations relating to the Art for Rail Transit Program and the procurement of Artist services in connection with the art work at the Station. IN WITNESS WHEREOF, the -parties hereto have caused these presents to be executed on the date shown below, but effective on the date first hereinabove written. CITY OF [Name] [Title] Date: Approved as to form: City Attorney LOS ANGELES COUNTY TRANSPORTATION COMMISSION [Name] [Title] Date: Approved as to form: DeWitt W. Clinton County Counsel By: Attorney 1)[LAFI Schedule 1 Schedule of LACTC Payments 1. of LACTC share ($ ) upon execution of Cost Sharing greemen y an a ween LACTC an Ci y. 2. of. LACTC share ($ ) upon execution of Artist Contract. 3. % of LACTC share ($ ) upon approval by City and LACTC of the preliminary pub1T art plan. 4. % of LACTC share ($ ) upon submittal and approval by City and LACTC of final design, including, but not limited to, working drawings, prototype, material samples and proposed technical hardware necessary for installation. 5. % of LACTC share ($ ) upon mid -point completion of approved fabrication. 6. _$ of LACTC share ($ ) upon delivery of work to site. 7. of LACTC share ($ ) upon completed installation and acceptance of work by City and LACTC. L! Exhibit A GUIDELINES FOR THE ART FOR RAIL TRANSIT PROGRAM I. ART WORK tmm 1.1 The design of the art work will incorporate all requirements LLM mandated by federal, state,.and local governments. 1.2. The art may be in any medium or material; provided the art meets the following requirements: (i) high in quality; (ii) site specific; (iii) last a minimum of 25 years; (iv) require minimum f� maintenance and (v) resistant to vandalism. 1.3. The art selected will be specifically designed for the public transit environment. II. ARTIST 2.1. The Artist must be a California resident and not presently participating in the Art for Rail Transit Program for a Metrolink station. 2.2. The Artist mustbeselected by a -neighborhood -based committee review process, which involves both members of the community and art professionals. III. ARTIST CONTRACT 3.1. The Artist Contract must contain the following information: (a) the schedule for construction and payments for the art work; (b) fabrication of the art work; (c) insurance; (d) transportation of the art work to the site; (e) installation of the art work; (f) storage of the art work should the schedule be delayed by a party other than the artist; (g) the artist's copyright rights; (h) the agency's title to and ownership of the work; (i) maintenance procedures; (j) progress report schedule. W, IV. ARTIST RESPONSIBILITIES 4.1 The Artist must prepare a budget that includes costs for fabrication, materials, labor, transportation, site preparation and installation, insurance, the artist fee and a contingency fund. 4.2. The Artist must provide a preliminary plan for review and comment_ by the City and LACTC. The Artist must incorporate comments received from the preliminary review into the final design package if such comments are acceptable to the parties and are technically feasible. 4.3. The Artist must provide a final presentation which will be Lim accompanied by a cost breakdown and time line. Art work fabrication and -,installation will proceed following final approval from the City and LACTC. OkiLim- 4.4. The Artist is responsible for the design, fabrication and installation of the art work. 4.5. The Artist must complete a thorough care/maintenance document prior to final payment on the Artist Contract. V. 'CITY RESPONSIBILITIES 5.1. City is responsible for obtaining all appropriate permits and approvals. from the appropriate public agencies. 5.2 City is responsible for the routine care and maintenance of all commissioned art work. A system providing for said maintenance will be developed by the art program to ensure that maintenance and necessary repairs are executed in accordance with the Artist's specifications. r9 AUG- 4-92 TUE 11;30 SANTA CLARITA P AND R FAX N0. 8052551996 fi L R S'c �JL1�i" 3. S. °t'L BALDWIN PARK COMMUTER RAIL STATION PUBLIC ART PLAN MARCH 1992 I. INTRODUCTION IKIM One of the City's objectives in the design of the.rail• station project is to create an attractive project that the community will be proud of as opposed to allowing a- sterile, generic. looking site. Ensuring excellence in architectural design, providing spaces that accommodate the arts, and including public art works in public facilities and spaces are important to an overall aesthetic -cultural climate. The Los Angeles County Transpotation Commission (LACTC), in keeping with its mission to provide improved mobility for the people. of Los Angeles County, has adopted a public art policy which will provide for the creation of works of art throughout the rail •transit system. The Commission recognizes that the inclusion of public art in the design of public spaces creates a more inviting environment, enlivening a functional world and contributing to a positive experience for the systems future riders. This document outlines the City's goals, responsibilities and the selection process for the public art component of the commuter rail station project. II. COMMUNITY PROFILE Incorporated in 1956, the City consists of 6.8 square miles (4,365 acres) located approximately 20 miles east of the City of Los Angeles. The City is a predominantly residential bedroom community, although recent efforts on the part of the city place a greater emphasis on commercial, office and industrial land uses. 1 �2-'D RA f-�( General Plan land use distribution: LAND USE ACRES Residential 2,736 Commercial 393 Industrial 576 Open space 533 Freeways 127 Total _ 4,365 According to the 1990 Census, the City's population is approximately 69,330. A predominantly Hispanic working class community, the City has a experienced a recent rise in the Asian population. Also,. according to the 1990 Census, the City has. a' household size than the County average (4.33 persons per the City as compared to 2.91 for the County as a whole). Population: 69,330 White 271992 15.2% Hispanic 49,051 70.8& Black 11443 2.1$' Asian 7,910 11.4% American Indian 246. 0.4% Other 149 0.2% III. SITE DESCRIPTION larger average household for The property in question is found within the City -of Baldwin Park, itself located within the San Gabriel _Valley (Exhibit A). The subject site is located approximately one-half (1/2) mile north of the San Bernardino (I-10.) Freeway and approximately one .(1). mile west of the San Gabriel River (I-605) Freeway (Exhibit B). More specifically, the property in question is an approximately 120 foot wide swath of land situated between Bogart Avenue and Downing Avenue, and extending from Pacific Avenue to Ramona Boulevard an average distance of approximately 1200 feet (Exhibit C). City records indicate that the Southern Pacific Railroad. right-of-way encompasses the northwestern 40 feet of the site, a stretch of land running along Bogart Avenue. The remainder of the site is identified as 3875 Downing Avenue. In total, the site is approximately 3.29 acres (143,450 square feet). The site is largely exposed vacant land, with minimal vegetation. However, in addition to a pair of rail tracks running the length of the property, the following site improvements are existing: intermittent PA AUG- 4-92 TUE 11;32 SANTA CLARITA P AND R FAX N0. 8052551998 n RarF'T V planting of trees and shrubs (primarily,oleander and palms) along the Bogart Avenue frontage; a concrete loading platform; a small (approximately 12' by 151) storage shed in run-down condition; and a number of utility poles. A small.portion of the site (toward Ramona Blvd.) is paved with asphalt. Properties located directly north and northwest of the site are zoned C-1 (Neighborhood Commercial) and C-2 (General Commercial). Included in this immediate area are City Hall, a GTE facility,.and a variety of commercial retail operations. Across Ramona Blvd, at the northeastern corner of Ramona Blvd and Maine Avenue, is a recently constructed 180,000+ square foot shopping center. Properties located southeast of the site are zoned I (Industrial) and R-1 (Single Family Residential). The industrially zoned properties are improved with a number of speculative industrial and office buildings, while the residentially zoned parcels are improved with a mixture of single and multiple family dwelling units. The properties located approximately southwest of the site, and fronting on Pacific Avenue are zoned C-1, and are improved with a mixture of commercial .(market, office, etc.) and residential uses. An important consideration, is that the subject property is located within the the City's Central Business District Redevelopment Project Areal along the Project Area's southern edge. The Central Business District contains a diversity of retail and commercial uses, including the above mentioned shopping center. Revitalization efforts encourage conformance with a Spanish Mission style of architecture. IV. PROJECT DESCRIPTION The rail, station project includes.the construction of canopy shelter covering a raised 121 by 425' (plus or minus) boarding platform, a parking lot for.300 (plus or minus) cars, landscaping, and lighting. The construction of two traffic signals at the intersections of Ramona and Downing and Pacific and Downing, the undergrounding of existing overhead utility lines and -the incorporation of public art into the site. V. GOALS OF THE PUBLIC ART COMPONENT To create a pleasing atmosphere to commuters and Baldwin Park residents. To help bolster the City's image. To make the Baldwin Park rail memorable stop along the San commuter rail line. station a truly unique and Bernardino to Los Angeles HUG- 4-52 TUE 11;33 SHNTA OLARITR P AND K FHX NO. 6052551350 P 05 * To give the rail station site landmark status within the region. * To help contribute to a sense of community identity and pride, VI. PUBLIC ART OBJECTIVES * The public art should be integrated into the design of the site. * The art work should be of high quality * The art work should be capable of being easily viewed by the public from within the trains, from the boarding platform, the parking lot and the adjacent streets. * To the greatest extent•possible, the art work should be vandal resistant, durable (designed to last at least 25 years) and easy -to maintain. VII. PUBLIC ART ADVISORY COMMITTEE One of the duties of the advisory committee is to develop a site profile (included within this plan). It is also a function of the advisory committee to advise the Art Panel on the social and physical dimensions of the site. A major function of the advisory committee is to provide the art panel with enough information to help them make an informed decision and choose the most appropriate artist for the station. The advisory committee will be composed of the following individuals: 1. Bette Lowes, Mayor 2. Martin Gallegos, Councilman 3. Ed Huetinck, Planning Commissioner 4. Lawrence Onaga, City Planner 5. Ellen Volmert, Assistant to the City Manager 6. Lupe Gonzales, Resident 7. Ralph Nunez, Administrative Assistant 8. Katherine Diamond, Project Architect 9 • , LACTC VIII. PUBLIC ART PANEL The Art Panel consists of five voting members and two non-voting members who shall be responsible for the selection of the artist and art work. Three of the voting members are atrs professionals; the othertwo voting members are community representatives selected by the advisory committee. The art panel will be composed of the following individuals: 1. Bette Lowes, Resident, Baldwin Park Mayor 4. r- -c> Z -Ar Ir -T 2. Ed Hustinck, Resident, Planning Commissioner 3. Kirk Delman, Artist, Research Library at Scripps College '4. Barbara Goldstein, Los Angeles Cultural Affairs Department 5. Richard Wyatt, Artist 16. Katherine -Diamond, ProjectArchitect(ex officio) 7. Lawrence Onaga, Baldwin Park City Planner (ex officio) IX. ARTIST SELECTION PROCESS The Art Panel will create an initial list of qualified artists chosen from LACTC side registry. This initial, or long list shall include approximately 25 to 30 artists. From this long list, the Panel will meet to narrow down the list to between three to five finalists. These finalists will be invited to be interviewed by'the Panel. The artist selection will be based on the results of the interviews. X. COMMUNITY INVOLVEMENT Both the.City and LACTC consider community involvement a vital factor in a successful public art program. The following methods will be used to gain maximum opportunities for public involvement. Public Art Advisory Committee The committee will communicate relevant community concerns to the art panel and the artist. Public Hearings and Community Meetings Various community meetings and public hearings before the Planning Commission and City Council -will be scheduled to solicit community input. Baldwin Park Now (News.Article) Public information articles will news letter informing the.public, the community to participate. XI. SELECTION OF ART WORK be published in the. local community about upcomming meetings and inviting Once selected, the artist is expected to work in close collaboration with Project Architect, Landscape Architect and City's Rail Station Design Committee in creating an art work that will be compatible with the overall design of the station facility. In a process similar to the design work of the rail station architecture, the artist may be asked to prepare.twc or three' concept sketches as possible art.works. A recommendation for the final approval of the art work will made by the art panel, with the City Council having the authority over the final approval. XII. INSTALLATION XIII. BUDGET The preliminary budget .for the public art component is estimated to be between $60,000 and $_,000 as follows: $30,000 City Proposition A funds L30,000 LA.CTC matching Proposition A funds. $60,000 Total Prop A $',000 funding source $_-1000 Total The City will actively pursue other sources of funding to increase the budget for the public art component. XIV. COMMUNITY BENEFITS It is the belief of the City that the inclusion of public art into the rail station project is important for the following reasons: * Create an enriching experience and an overall improved quality of life. * Public art represents an essential public good. * It will enhance the everyday act of commuting and expand the public experience of art. * It will help to strenghten community identity and pride. The importance of arts to local government was summed up in the National League of Cities Municipal Policy Statement of 1977: The arts are a critical element in the survival of cities. If we are to achieve an improved quality of life for the nation's urban population, all levels of government must recognize the arts as an essential service. All men, women and children should have the 2 fiUG- opportunity to experience the arts in their daily lives. In addition, by creating. a more inviting facility, it is hoped that it will result in higher commuter rail ridership levels. Higher ridership results in air quality improvements and improvements in traffic congestion. Finally, it is hoped that the creation of an impressive facility will indirectly result in financial benefits to the City by stimulating private investment in the community and encouraging revitalization of the City's central Business District. Although difficult to quantify, it is anticipated that the increased level of investment into the community will more than recover the .original financial investment into the public art work for the rail station project. rJ HUU- 4 -`JG IUC 11;61 I' North 0_ 3 6 scale In miles Santa Monica Mountains S TA MONICA AHNIH ULMI IH Y HNU K YHA IVU. 0u3e00IUJD S N a. 3 H,Y 334 LOS ANGELES San Gabriel Mountains PASADENA —4WzWa11A I-210 Baldwin Park 1-10 WHITTIER I "' ! Fi BALDWIN EXHIBIT A Regional Vicinity Map nuu- 4-ce iuc a oo onion ULnAlln r nivu N rnA City Bounvary SOhere of Influence BALD1/VIN PARK .APPROXIMATE LOCATION SUBJECT PROPERTY EXHIBIT B City Boundaries and Sphere of Influence • t Y .nf �' S � Y E. 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The city council shall appoint a working group of six individuals to begin the committee's work, and may appoint additional members as the work Droaresses. The Transit Center Art Work Committee is charged as follows: Public rt Process and TJme1{ne Review, refine, and approve the tentative public art process and timeline developed by city staff (attached). Public Art Conceptual Plan Develop a "public art conceptual plan" for the Claremont Depot Transit Center project, including the identification of potential art work:locations, to serve as a guide for short and long-term art projects proposed -for the transit center. Artist Selection For First Art Work Project Compile a list of artists for the city to contact. Review and evaluate all responses received with the goal of establishing a "short list" of artists for further consideration. The estimated price of the completed art work, and its relationship to- the anticipated art work budget, shall be considered when selecting artists.to be placed on the "short list". Develop a public review process where the community -at -large .is invited to comment on artists' work under consideration. Evaluate merits of each proposed art work, taking into account comments received from the commun ity-at-large. and the Architectural Commission; and, recommend to the city council the artist to be selected for the transit center's first art work project. Fund Raising Provide assistance to the Claremont Community Foundation in developing a fundraising plan for this project. CITY OF CLAREMONT DEPOT PUBLIC ART COMMITTEE LON4 RANQE PLAN The Transit Center Art Committee was first charged.with selecting available sites for public art in the historic Depot area. These sites are as follows; A. The platform extending from College Avenue to slightly west of the historic Depot. This area includes the ticket kiosks in the south side of the Depot and parking garage, which is east of the Depot. B. The area immediately north of the Depot entrance. C. The green area north of the Depot. D. The southeast corner of First street and College Avenue. E. The drop-off area northeast of the Depot which is designed to be used as a drop-off point for commuters. F. Inside the Depot lobby is a suitable place for rotating public art displays. The committee has chosen item #A (the platform) as the site for the Cityjs first piece.of permanent public art. The reason for this unanimous choice was it is a large space which is separate and distinct from the historic Depot and it gives an artist creative latitude. This can be done -without detracting from the natural beauty of the -Depot. The committee felt an item of priority should be encouraging the use of rotating art exhibits within the Depot itself and would like to urge the City of Claremont to consider the hiring of a curator in order to coordinate the display of art in appropriate public buildings in Claremont on a periodically rotating basis. This.art would represent the wealth of local artist talent in this community and give local artists an opportunity to be displayed in public places and hopefully beautify the City buildings. This includes the historic Depot as well as City Council Chamber, Redevelopment Agency, Chamber of Commerce.offices or other interested merchants shops, as well as possible banks which show an interest in(this. The committee did not further prioritize the remaining four sites but feels in the future these sites can be developed as money and interest become available. tmm/Min Depotart.205 2-10-92 Claremont Depot Transportation Center Public Art Plan and Timeline March i Request out (brochures in mail and adds appear) to Los Angeles area artists (Los Angeles, San Bernardino, Riverside, and Orange Counties) to submit slides of Previous art work for consideration Preparation and submission of formal grant Proposal to Foundation dun March i April 4 Information meeting and workshop (optional attendance) May 15 Statements of qualifications due from interested artists Selection committee reviews responses June 10 Announcement of finalists (four or five) June 18 Town meeting and introduction of finalists Finalists prepare proposals Sept 1 Finalists, proposals due Selection committee reviews proposals; visits project sites as necessary; Architectural Commission reviews proposals October Selection committee selects one artist to recommend to the city council; and, notifies the artist Oct 27 Contract award by city council AUG- 4-92 TUh 11:4b SANTA ULAKI'I'A P HNU K kk NU. 6ftb bbMb r. lb M � Project Budget 1. EXPENDITURES Artist selection process $ 5,000 (printing, postage, and finalist proposal fees) Art work design, materials, construction, and installation __55,000 TOTAL 0 0 II. REVENUE Los Angeles County Transportation $30,000 Claremont Community Foundation 30.000 TOTAL S60.000