HomeMy WebLinkAbout2014-09-23 - AGENDA REPORTS - ARTS MSTR PLN CONSULTANT CONTR (6)CONSENT CALENDAR
DATE:
SUBJECT:
DEPARTMENT:
Agenda Item: 6
CITY OF SANTA CLARITA
AGENDA REPORT
City Manager Approval:
Item to be presented by:
September 23, 2014
i/ .K"4Ingrid Hardy
AWARD CONTRACT FOR BID NUMBER PR 14-15-08 FOR
ARTS MASTER PLAN CONSULTANT
Parks, Recreation, and Community Services
RECOMMENDED ACTION
1. City Council award the contract for professional consulting services to Cultural Planning
Group for the Arts Master Plan, in the amount of $75,000.
Authorize the City Manager, or designee, to execute all documents, subject to City Attorney
approval.
BACKGROUND
At a Joint Study Session between the City Council and the Arts Commission, held on Tuesday,
May 6, 2014, the City Council recommended adding funding to the Fiscal Year 2014-15 budget
to hire a consultant to develop an Arts Master Plan. This item was approved as part of the Fiscal
Year 2014-15 budget.
A Request for Proposals was developed inviting qualified consultants to submit proposals to the
City to develop an Arts Master Plan that will address public art, arts funding (including, the
development of an arts foundation concept), the Newhall Arts District, arts facilities, and the
creative economy. The Arts Master Plan will build on a two -phased Cultural Arts Master Plan
adopted in 1997 and 1998, as well as other documents created under the guidance of the City of
Santa Clarita Arts Commission since their founding in December 2009. The consultant will
utilize stakeholder and community input to develop a plan that will serve as a guiding document
for the City Council, the Arts Commission, staff, and the arts community.
The anticipated time schedule for the Arts Master Plan is as follows:
• October and November 2014 — Initial meetings between consultant, staff, and key
stakeholders will be held. Moreover, key documents and materials will be shared with
the consultant for review.
• December 2014 to February 2015 — Community and stakeholder meetings will be held,
surveys will also be developed and processed.
• April 2015 — The Draft Arts Master Plan will be shared with City staff for review and
comments.
• June 2015 — The Revised Arts Master Plan will be presented to Arts Commission for
recommendation of approval to the City Council.
• July 2015 — The Arts Master Plan will be presented to the City Council for adoption.
A Request for Qualifications was released in August and six proposals were received. A Review
Committee comprised of two Arts Commissioners and three City staff members rated the
proposals and are recommending Cultural Planning Group to be hired to lead the planning
process.
Staff is currently working with the proposed consultant to design the planning process to work
within the approved budget.
ALTERNATIVE ACTIONS
Other action as determined by the City Council.
FISCAL IMPACT
The $75,000 budget for this project is currently available in Arts and Events Expenditure
Account 15400-5161.002.
ATTACHMENTS
Arts Master Plan Proposal
Proposal to Develop an
Arts Master Plan for the
City of Santa Clarita
Technical Proposal
PR -14-15-08
September 8, 2014
The Cultural Planning Group
www.cuituralplanning.com
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Cover Letter
September 5, 2014
David Plettner-Saunders, Managing Partner
The Cultural Planning Group
4769 Kensington Drive
San Diego, CA 92116
Dear Sir/Ms.:
On behalf of The Cultural Planning Group, I am pleased to submit our proposal to develop Santa Clarita's
Arts Master Plan. We developed the City's Cultural Arts Master Plan (Phases 1 & 2) in 1997 and 1998
and have remained in touch with staff and commissioners in the intervening years. We also have more
successful experience than any other firm in preparing cultural plans. We bring you a unique perspective
and toolkit to the challenges and possibilities in Santa Clarita. We have a strong track record of plans that
are actually implemented, in part because we utilize the planning process to create the consensus and
political will necessary for implementation. We also have a mindset and capacity for innovation, forging
new solutions that fit the unique circumstances of the community. We believe we are well prepared to
assist City Council, the Arts Commission, staff, the arts community and the community at large to take
this next step in cultural development.
We understand that the City and its arts ecosystem have changed substantially since the adoption of the
first Cultural Arts Master Plan, and that it is an opportune time for communitywide planning. In particular,
this project represents an opportunity for Santa Clarita to address specific issues identified as important in
the RFP: public art, arts funding, the Newhall Arts District, arts facilities and the creative economy. Each
of these issues is an area of specialty for our fine; for example, our partner Jerry Allen is one of the
nation's foremost public art experts. Our team holds more than the requisite qualifications to facilitate a
process that will develop a plan embodying the community's aspirations, bringing together City leadership
around common goals, and aligning the City's arts functions within that framework.
Our team includes three members of The Cultural Planning Group, individuals with backgrounds that will
greatly benefit this project: local arts agency management, community engagement, cultural districts and
facilities, arts funding, public art, and economic development for the creative economy. We are seasoned
practitioners, able to successfully navigate the inevitable surprises and challenges that arise in any
complex planning project.
We also have substantial familiarity with the Los Angeles region. In addition to Santa Clarita, we have
prepared cultural plans for the cities of Los Angeles, Santa Monica, Pasadena, Thousand Oaks and
Ventura and numerous other types of projects in the area. We have also developed plans for other
suburban cities, like Santa Clarita, which are adjacent to major cultural centers: Pleasanton, Menlo Park,
Livermore in the Bay Area, and elsewhere in the nation.
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We are excited at the prospect of discovering Santa Clarita's community vision for its own cultural
development, and assisting the City to forge an effective roadmap. Please let us know if we may provide
you with any additional information.
Best regards,
�f
David Plettner-Saunders, Managing Partner
The Cultural Planning Group
California, Philadelphia and Hawaii
www.culturalplannin,q.com
David Plettner-Saunders, Co-founder
4769 Kensington Drive
San Diego, CA 92116
P: 213-500-6692
F: 213-455-3105
david@culturalplanning.com
The CALM Planning Group
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Table of Contents
1.
Introduction............................................................................................................................................
4
Executive Summary of the Proposal....................................................................................................
4
2.
Work Proposal.......................................................................................................................................
5
ProjectUnderstanding.........................................................................................................................
5
Our Philosophy of Cultural Planning....................................................................................................
6
Overall Approach to the Arts Master Plan.. .................................. ......................................................
7
PlanningProcess Graphic...................................................................................................................
8
WorkPlan with Deliverables................................................................................................................
9
Phase One: Community Engagement and Research........................................................................................
9
Phase Two: Arts Master Plan Development....................................................................................................
13
Phase Three: Arts Master Plan Presentation and Approvals..........................................................................
14
OptionalServices.............................................................................................................................................
15
ProjectTimeline.................................................................................................................................
16
3.
Statement of Qualifications.................................................................................................................
17
The Cultural Planning Group Overview.............................................................................................
17
OurServices....................................................................................................................................................
17
CulturalPlanning Experience ..........................................................................................................................
17
OurClients.........................................................................................................................................
18
4.
Capability and References..................................................................................................................
19
RelevantProjects...............................................................................................................................
19
References........................................................................................................................................
24
5.
Assigned Personnel............................................................................................................................
25
TheConsulting Team........................................................................................................................
25
ConsultantBios..................................................................................................................................
26
David Plettner-Saunders, Co -Founder and Managing Partner........................................................................
26
JerryAllen. Partner..........................................................................................................................................
26
Linda Flynn, Ph.D., Research Director............................................................................................................
27
6.
City Resources....................................................................................................................................
28
7.
Subcontractors....................................................................................................................................29
8.
Conflict of Interest...............................................................................................................................
29
9.
Additional Data....................................................................................................................................29
13.
Alternative Proposals..........................................................................................................................
29
14.
Acceptance of City's Terms and Conditions........................................................................................
30
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1. introduction
Executive Summary of the Proposal
This proposal is for a team of three principal consultants with The Cultural Planning Group to develop the
Santa Clarita Arts Master Plan.
The Cultural Planning Group is perhaps uniquely well-qualified for this project: we prepared Santa
Clarita's first Cultural Arts Master Plan in 1997 and 1998 and are the nation's most experienced cultural
planning firm. We have remained in touch with Santa Clarita's arts staff and commissioners and we have
a current understanding of the Los Angeles region, having conducted a broad range of other cultural
plans here (and throughout the US). We are also specialists in each of the five specific areas identified in
the RFP.
Our approach is based on a comprehensive assessment and community engagement process, designed
to elicit not only a portrait of Santa Clarita's arts ecosystem, but also the community's aspirations for
cultural development. The process will articulate a vision of the future of arts and culture for Santa Clarita
and make it both specific and achievable. We have an excellent track record of creative and effective
community engagement that yields information, consensus and momentum for implementation of the
plan. Because of this approach, nearly all of our plans have been implemented, or are in process.
Our proposed scope of work includes services and tools that our experience suggests will be effective for
Santa Clarita. They represent both tried-and-true methods of community planning, as well as new
approaches that we have developed, adapting state-of-the-art planning techniques in fields such as urban
design and architecture. These can be customized, in consultation with you, to form the most appropriate,
imaginative and useful scope of work. We have also included optional services that could add value to the
plan.
We will also address the five specific issues identified as important to this plan. We have included specific
services to illuminate these issues and arrive at workable, optional recommendations for consideration by
City Council, the Arts Commission and senior staff. Much of this work will focus on aligning Arts Master
Plan recommendations with current City plans and strategies, to better assure realistic outcomes that
meet established community needs.
Our final planning document will be unusually thorough. To assure clarity and better implementation, each
recommendation will identify a lead agency, partner agencies, costs and resources needed, potential
funding sources, a starting year, initial steps and other detail. Draft recommendations that do not have a
viable lead agency or are otherwise deemed infeasible will be modified or removed from the final plan.
This avoids "setting up the community for failure' and better assures support for adoption. The plan will
include an implementation chapter, budget pro formas, and other components as needed to assure
successful review, adoption and transition to implementation.
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2. Work Proposal
Project Understanding
We understand that the City of Santa Clarita seeks to develop an Arts Master Plan—a roadmap for arts
and cultural development over the next ten years and a plan that addresses specific issues. The five
identified issues for consideration are public art, arts funding, the Newhall Arts District, arts facilities and
the creative economy. This plan is also intended to be a guiding document for City Council, the Arts
Commission, staff and the arts community, based on stakeholder and community input.
This plan is to include thorough community engagement, so that the plan represents a communitywide
consensus on a vision and goals for cultural development. This means consulting with arts stakeholders
as well as going outside that circle to learn the opinions and ideas of citizens and workers in Santa
Clarita. It is also important to build a consensus among City leaders—Council members, Arts
Commissioners and senior staff—so that there is an agreed -on framework for decision-making on current
and future issues involving the arts, and greater clarity on roles.
The City and community have changed substantially since the City's first cultural arts plan in 1997 and
1998. Many elements of that plan have been implemented, including completion of three arts facility
projects, consolidation of City arts staff and programs within the Arts and Events Office, and
establishment of the Arts Commission, which is appointed by and advisory to City Council. In 2012, the
Arts Commission completed and adopted its Arts Blueprint Phase I, which serves as a plan for the Arts
Commission and staff. The Arts Blueprint Phase I is an unusually ambitious and substantial study, based
on stakeholder input, a community survey and best practices research. This work provides an important
description of community needs and recommendations for areas to be covered in the Arts Master Plan.
While it will be important to reconfirm some of its results, the Arts Blueprint does not need to be
duplicated and can help focus the current planning process on the most salient issues.
Since adoption of the Cultural Arts Master Plan in 1997/98, the City has initiated a public art program and
installed a number of projects. However, City Council has experienced difficulties with other projects,
highlighting the need for a more effective decision-making process, one that addresses issues such as
quality, suitability and potential controversy in an efficient manner.
Arts funding is an issue in most communities, and Santa Clarita faces a particular challenge in securing
an appropriate level of private arts support. The Arts Commission has undertaken research into the
possibility of a private arts foundation that could supplement public arts funding. Many cities combine
public and private funding sources to fulfill community cultural needs. The question of the most
appropriate level and sources for city arts funding in Santa Clarita remains open for investigation and
choice -making.
In 2012, following a period of litigation, the State of California eliminated redevelopment agencies, which
has impacted development of Old Town Newhall and the Newhall Arts & Entertainment District, among
other city plans. The City has created and updated an Old Town Newhall Specific Plan, which focuses on
transit -oriented development and the historic character of the area. The City has also successfully
invested in two theaters in the district and produces a series of events (Thursdays@Newhall). Identifying
next steps for appropriate use of the arts, including potentially creative business enterprises, within the
district are to be considered as part of this plan. The Arts Master Plan is also to consider other potential
cultural districts, and arts uses in other areas of the city.
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The 1997/98 Cultural Arts Master Plan emphasized development of cultural facilities. While the current
Arts Master Plan project is broader in scope, it is also to revisit the community's long-term needs for
cultural facilities and ways in which the City can participate in fulfilling those needs. Since 1998, the Feld
of cultural facilities development has shifted substantially. It is no longer focused primarily on building
performing arts centers and museums. Rather, many communities have needs that can be satisfied
through smaller, informal and even temporary spaces and venues. This plan should address this more full
spectrum of needs and solutions.
The creative economy is the fifth specific issue to be addressed in the Arts Master Plan. The Arts
Commission participated in the national Arts & Economic Prosperity IV study and recently completed a
Creative Economy Report, developed by a Claremont graduate student, analyzing the role of various
industries in Santa Clarita's creative sector. This appears to be an area with great promise for planning:
based on data for State Assembly District 38 (source: Americans for the Arts Creative Industries Report),
Santa Clarita appears to have a higher -than -average concentration of creative businesses and jobs. In
this District, which includes Santa Clarita, Simi Valley and the northern reach of the San Fernando Valley,
creative businesses (performing arts, museums, film, radio, TV, visual arts, photography, design,
publishing, arts schools and arts services) account for 6.4% of all businesses, compared to 4.2% of all US
businesses. Creative employment in District 38 accounts for 2.9% of all jobs, compared to the national
figure of 2.1%. This figure undercounts actual jobs in the creative industries because it does not include
self-employment, which is a defining characteristic of the creative industries. Santa Clarita has made
successful efforts to attract and retain business. It was named the Most Business Friendly City in Los
Angeles and brands itself as "THE place to do business in Southern California." The City's Economic
Development Division's strategies and objectives frequently involve, or can involve, creative industries.
The Arts Master Plan can explore new ways for the creative industries to enhance tourism, location
shoots, other film business, creative business attraction and growth, and other areas.
Our Philosophy of Cultural Planning
We believe that arts and culture are among a community's most powerful assets. They distinguish each
community and allow residents to better understand and celebrate the uniqueness of their lives. As the
"Smart Cities" movement illustrates, arts and culture are also a competitive tool, strengthening many
elements of civic life, including the economy, workforce development, education, youth development,
neighborhood development, redevelopment projects, sustainability, and cultural equity. An increasing
body of research documents how thoughtful cultural policy is essential to civic health. Cultural planning
is a primary tool for organizing the best use of this critical asset.
As practitioners of the craft, The Cultural Planning Group fundamentally views cultural planning as
holding up a mirror to the community. To accomplish this, we emphasize diverse community input,
rigorous data collection, thoughtful team analysis of project issues, and substantial interaction with
project leaders throughout the process. We do not do "cookie cutter" work. We listen well to cultural
stakeholders, assess the needs of those not served by current programs, research questions that require
new data, and develop solutions in consultation with project leaders. At the end of the process, the
cultural assessment and planning report will reflect the community's diverse needs, aspirations, history
and capacities. Rather than merely adopting methods used in other communities, we will help forge new
solutions that fit Santa Clarita. We have a mindset towards, and a track record of, innovative solutions
that expand national best practices.
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In San Antonio, we developed the first major city cultural plan to establish a direct linkage between
cultural development and economic development by assessing the larger creative industry. In Broward
County (Florida), we recommended the transformation of the local arts agency into the lead agency for
the creative economy, not only "the arts," and its restructuring as a quasi -governmental agency, with
greater autonomy in fulfilling its mission. In Minneapolis, in response to the gentrification that was pricing
artists out of the city, we proposed a public-private partnership for the creation of a Cultural Trust that
would purchase the development rights to properties already providing artist live -work spaces. In Santa
Monica, in response to exorbitant real estate costs, we proposed "Arts Alleys" to take advantage of
underutilized properties along the alleys in the downtown core. In San Diego, we worked with local
developers to extend the percent for art requirement to new commercial and industrial development in
the city.
We believe in and practice an inclusive planning process, with special attention to community
engagement specific to each city. Working with the client, we identify cultural stakeholders and other
community groups and leaders who will add to the depth of input shaping the collective cultural vision.
We utilize surveys, interviews, online tools, social media, structured "community conversations,"
charettes, artist -led workshops, community forums and other local opportunities to engage people. In
Kansas City, a representative example, 3,600 people participated directly in the planning process. This
included 24 "community conversations," informal discussion groups led by volunteer facilitators and
held in diverse, grassroots settings throughout all neighborhoods of the city. In Santa Monica, children's
art workshops associated with community planning meetings provided artworks portraying their vision of
art in the community.
Virtually all of our plans have been implemented or are currently in process. This is possible because
each plan is derived from the community. We manage the planning process to generate community
consensus, leadership and support for the plan.
Overall Approach to the Arts Master Plan
Our approach is based on a comprehensive assessment and community engagement process, designed
to elicit not only a portrait of the arts ecosystem, but also the community's aspirations for cultural
development. The process will probe and articulate a vision of the future of arts and culture for Santa
Clarita and make it both specific and achievable. We have an excellent track record of creative and
effective community engagement that yields information, consensus and momentum for implementation
of the plan. Our proposed scope of work includes services and tools that our experience suggests will be
effective for Santa Clarita. These can be customized, in consultation with you, to form the most
appropriate, imaginative and useful scope of work. We have also included optional services that could
add value to the plan.
We will also address the five specific issues identified as important to this plan. We have included specific
services to illuminate these issues and arrive at workable, optional recommendations for consideration by
City Council, the Arts Commission and senior staff. Much of this work will focus on aligning Arts Master
Plan recommendations with current City plans and strategies, to better assure realistic outcomes that
meet established community needs.
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Planning Process Graphic
Phase I: Community Engagement & Research
Work plan/timeline
Steering committee formation
Key stakeholder identification
Familiarization tour of Santa
Clarita
Project Initiation
Community leaders
Electeds and senior staff
Stakeholder Arts organizations
Input Artists & other creatives
Town Halls pr ",
Santa Clarita Festival of Ideas
Community survey Research/
Interviews Community
Focus groups Engagement
Comparable communities �A"
Best practices
Data Review,
Analysis,
Planning
Draft Arts
Master Plan
Development
Phase III: Arts Master Plan Presentation Feedback and
and Approvals Revisions
Final plan development
Implementation planning
Implementation partner workshop Final Arts Master
Advocacy Plan
Presentations presentation
Transition to implementation ,
The Cultural Ranning Grasp
Creative businesses
Arts donors & philanthropists
Phase 11. Arts Master Plan Development
Data analysis and integration
Summary findings
Preliminary recommendations
Implementation and funding plan
Draft plan review
Stakeholder vetting
Community vetting
Work Plan with Deliverables
Introduction
We present here a three-phase workplan for the Santa Clarita Arts Master Plan, which can be readily
completed within the timeframe in the RFP, October 2014 through July 2015. Our proposed services
represent our best understanding of the needs of the project at this time. If selected, we will discuss the
project in depth with you and negotiate a scope of work that may contain modifications. We have
identified optional planning components that may be useful or even essential to the process, as we clarify
a mutual understanding of the project and the best way to fulfill project objectives.
Phase One: Community Engagement and Research
Phase One would last approximately five months and include two site visits. At the start, the consultants
and client develop a shared understanding of the project, clarify the process in detail, form a steering
committee, create a platform for several forms of research, and generally prepare the foundation for
successful planning. Then the consultants, in partnership with the client, conduct a comprehensive
process of engaging stakeholders and the community at large. Stakeholders are, generally speaking,
people and organizations with a direct connection to the City's arts programs, or with whom the City may
choose to develop a new relationship. Similarly, "the community' is residents and workers, including
people currently participating in the arts and others the City may choose to better engage through its
programs.
Project Initiation
• Detailed Project Work Plan and Timeline: We will negotiate and develop a comprehensive
scope of work and schedule for the project. We will also clarify roles and responsibilities in the
planning process, and identify potential barriers to a successful plan.
Document Review: We will conduct a comprehensive review of materials that provide
background or context for this plan. These include City, community and organizational plans,
reports and studies, also, data on the City's current programs and facilities. Specific documents
will include the City of Santa Clarita's general plan, area specific plans, departmental plans,
other relevant city and regional plans and studies, city budgets, Arts Blueprint Phase I and II
(draft), Arts & Economic Prosperity IV, Creative Economy Report, and Creative Industries data,
and other relevant literature.
Project Steering Committee: We will assist with definition and formation of a Steering
Committee, including size, composition, representation and a position description for committee
members. We will also develop orientation
materials for the Steering Committee. The
Steering Committee is a central element for
connecting to the community—a mirror
reflecting community values, needs and
aspirations. Composed of representatives of the
major stakeholder groups, community groups,
local residents, and City project staff, the
Committee directs the vision and mission for the
Santa Clarita Plan, directs the consultant team
to investigate particular issues, identifies
opportunities, connects the consultants with
09 The Cultural Planning GroW
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influencers in different sectors and neighborhoods, and provides feedback on findings and
strategies. Ultimately, Committee members will be asked to approve the final plan, advocate for
its adoption by partner agencies and monitor the implementation of the plan within their specific
purview.
Key Person Interview and Focus Group Lists: Working with staff, the Steering Committee and
other informants, we will develop a master list of individuals and stakeholder groups to be
consulted during the planning process. This will include local artists and arts organizations, City
elected and appointed officials, community and business leaders, potential funding partners,
creative businesses, individual creative entrepreneurs, neighborhood and civic associations,
tourism associations, youth and senior groups, education leaders, the faith community, as well
as any other civic leadership that would be valuable to the planning process.
• Research Planning: In consultation with staff, our team will frame the proposed community
engagement process, design all research instruments and protocols, and develop a final timeline
for implementation. These include a community survey, outlines and instructions for workshops,
interviews and discussion groups, inventory of cultural assets, arts programs and facilities, and
other elements of the community engagement process. Also, for the optional services of
MindMixer and "Community Conversations," see below, page 15.
Communications Plan: One essential component of a successful planning process is the
creation of a project communications plan. This ensures effective internal and external
communications among the consultant team, the City, stakeholders and the community. Our
team proposes a schedule of regular on-site meetings with the Steering Committee. We promote
community participation opportunities through stakeholder and community networks, project fact
sheets, media stories, and social media. We can assist with development of a project website, a
"portal' for public access to information about the project. (We can also develop interactive
online participation for the community through MindMixer, an optional service listed below.)
• Familiarization Tour of Key Neighborhoods and Venues in Santa Clarita: to provide a basic
familiarity with arts venues, political geography, community gathering places, planned
developments and other relevant places.
Stakeholder Input and Community Engagement
Community Engagement: The intent of our community engagement efforts is to develop a
"porous" system with many entry points through which anyone can participate in the process.
Our approach includes multiple entry points for all sectors of the community, from the grassroots
to the leadership level. Community engagement initiatives include traditional face-to-face
interviews and personal meetings; discussion
groups; cafe conversations (large -group); family-
oriented creative workshops with local artist
participation; and a community survey (both online
and paper versions).
Santa Clarita Festival of Ideas: It may be
valuable to "package" a series of community
engagement activities into a multiday Festival of
Ideas that brings public attention to the planning
process and, more importantly, to the planning
issues. In other communities, this approach has
started with a mayoral kick-off event, and
extended over a time period from one to several
The Cultural Ranning Group
Children's Artslmagine workshop
10
weeks. Public activities will include a Town Hall (see next bullet), consultant -led discussion
groups, key person interviews, and optional volunteer -led Community Conversations. If desired,
we can conduct community meetings in locations throughout the city.
Cafd-Style Town Hall: At the start of the project, a Town Hall using cafd-style discussion groups
is conducted as a public kick-off event. This is advertised to the whole community for
participation. They provide a diverse group of people with an opportunity to easily share
information and insights into the arts and cultural planning process for the City. A number of
topics are prepared and documented based on the number of tables in each meeting. People are
invited to talk in small, intimate groups at the tables about topics of interest and then are asked
to rotate to another table with a different set of questions around another topic. At the end of the
session a plenary session is conducted to allow the whole group to share and connect with the
topics and ideas generated. This meeting helps to energize participation in the planning process
and allow a cross-pollination of ideas across a large group of people. It is a powerful technique
for creating shared knowledge of Santa Clarita's current arts and cultural landscape and future
aspirations while it provides us with exploration of new issues for the planning process.
• Interviews and Discussion Groups: The consultant team will conduct a comprehensive series
of interviews and focus group meetings, including City officials, civic leaders, artists, cultural
organization leaders, and other stakeholders drawn from the master list of key persons and
groups described above. These direct engagements allow for an in-depth exploration of the
challenges and opportunities for the Arts Master Plan.
• Community Survey: We will conduct an online community survey for residents and workers,
which investigates arts and cultural participation, aspirations for the arts and cultural
development, and other specific issues, such as arts facilities demand, children's arts
participation, the desired role of the City, and funding. If desired, a paper version can be also
used to reach those less inclined to respond online. We may also conduct an online survey of
arts organizations and other cultural providers in Santa Clarita.
Additional Research and Assessment
• Public Art Program Assessment: We will conduct a review of the City's public art program,
including the current collection and process. We can then identify opportunities for placement of
both temporary and permanent public art throughout the city, including performing and media art;
assess potential changes to the selection and approval process; identify alternative funding
strategies; and identify additional potential enhancements to the program.
• Arts Commission Review and Workshop: We will review Arts Commission documentation
(ordinance, bylaws, qualifications, selection process, minutes, etc.) and conduct one or more
workshops with the Arts Commission on their goals, role and activities. The purpose is to identify
ways to enhance the Commission's effectiveness and satisfaction in their advisory leadership
role.
• Newhall Arts & Entertainment District Review and Options: We will review the City's current
cultural assets and programming in Old Town Newhall, and identify additional ways to align with
the Old Town Newhall Specific Plan. We will interview staff and stakeholders to understand the
current issues in implementation of the plan and identify options for appropriate arts and cultural
uses, including creative business opportunities, in the district.
• Arts Funding Review and Options: We will review the funding history of the Arts & Events
Office, city investment in arts facilities, public art expenditures and other arts -related spending.
We will also review the Arts Commission's research into the potential for a private arts
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foundation. Based on this review, we will conduct additional interviews and research as needed
to identify options for both public and private resources for the arts.
Arts Facility Needs: To assess arts facility needs we assess the community's needs as well as
those of the arts community. We will include questions on the community survey relevant to their
arts participation, which reveals many elements of facility needs, and probe this issue in the
community engagement. To understand the arts community's facility needs, we will review the
Arts Blueprint research and conduct a survey of arts organizations, as needed. We will identify
facility needs and prepare options for the city's role in meeting those needs, in the short- and
long -tern. If desired, we can also add a market assessment as an optional service (see Optional
Services, below), which quantifies the size and character of arts demand in the market area.
However, it may be best to determine whether a market study is warranted until after this initial
inquiry.
Development of the Creative Economy: We will review the City's economic development
strategies and objectives, and interview staff to learn the current extent and state of the creative
industries in the city. We will also prepare a creative industries report, based on Dunn &
Bradstreet data, to quantify and list the creative businesses and employment in the city. Based
on this portrait, we will identify and conduct focus groups with creative businesspeople, business
leaders, individual creatives and other stakeholders. We will identify strategies to foster
development of the local
creative economy and
alignments with the City's
current economic
strategies.
Benchmarking Study of
Comparable Cities: We
will identify a cohort of
relevant cities and/or
programs for a study
comparing agreed -on
criteria. This benchmarking
study can focus on levels
and types of arts funding,
model approaches to
k
programs of Interest to Multi -city comparison of creative employment
Santa Clarita, private arts
support, arts facilities and districts, creative economy programs, and other factors. In addition,
we can profile model organizations or initiatives of special interest.
• Inventory of Santa Clarita Arts and Cultural Assets: We will prepare an inventory of nonprofit
arts organizations, venues and major programs as a basis for assessment of the community's
arts ecosystem. We will utilize a combination of available data and information collected through
the community engagement/research process.
• Assessment of City Arts Programs, Funding and Structure: We will develop an assessment
based on a review of available program and funding data (current and historical), and interviews
with staff and users. The intent of assessment is to compare purposes to results (to the extent
possible with available data), comment on each element in the context of the community needs
assessment, collect suggestions for improvement, and, in some cases, to provide comparisons
to other models and approaches.
The Culta [Planning Croup
12
is
Phase One Deliverables
Detailed work plan and schedule Inventory of local cultural assets and facilities
Final report documentation of review of Assessment of City arts programs, funding and
relevant plans and studies structure
Communications plan Focus groups, interviews, and Town Hall meeting
Orientation and facilitation for Steering Web -based surveys
Committee Benchmark study of comparable cities
Phase Two: Arts Master Plan Development
Phase Two would last approximately three months and include two site visits. This phase provides an
iterative approach to translating the results of the Phase One into an Arts Master Plan that represents a
broad consensus. During this phase, the consultants compile and analyze the sum total of stakeholder
input, community and engagement and other research. This is presented in a preliminary report that
includes initial recommendations—a means of digesting the results of Phase One and testing general
ideas for the plan. Then, we develop a draft plan that sets forth a preliminary set of materials (vision,
goals and recommended strategies), which is then thoroughly vetted by the City and the community, and
finalized into a plan document for adoption by the Steering Committee, Arts Commission and City
Council.
• Preliminary Report of Findings and Initial Recommendations: We will prepare a report that
summarizes the findings of the Phase I community engagement and research, and presents
initial recommendations. This report is intended to facilitate discussion and learning, and to test
preliminary ideas for the plan.
Internal vetting of the draft plan by City staff.
Presentation, review and vetting by the Steering Committee.
• Draft Santa Clarita Arts Master Plan: We will develop a
draft plan that includes a summary of all research and
assessment, with findings, a draft vision statement,
preliminary goals and strategies.
• Internal vetting of the draft plan by City staff.
• Presentation, review and vetting by the Steering
Committee and Arts Commission.
• Follow-up Interviews and Meetings: as required to fully
vet the draft plan with key decision -makers and
stakeholders.
• Town Hall Meeting: a second Town Hall to present the draft plan and gather citizen and
stakeholder input.
• Presentation to the City Council: preferably in a work or study session, allowing in-depth
discussion of the draft plan's findings, recommendations and strategies.
aTheCultumIPlanning Grap
13
Ib
Phase Two Deliverables
Draft Santa Clarita Arts Master Plan
Second community Town Hall meeting
Presentations of the draft plan
Follow-up interviews and meetings
Phase Three: Arts Master Plan Presentation and Approvals
Phase three would last approximately two months and include one site visit. During this phase, a revised
final draft plan is prepared, a comprehensive master plan document. Presentation materials are prepared,
presentations relevant to adoption are planned and carried out, and the transition from planning to
implementation is prepared.
Final Draft Arts Master Plan: We will develop a comprehensive final plan document, based on
the vetting and feedback from the draft plan. The final plan includes all the elements of the draft
plan but also fully develops arts and cultural strategies for Santa Clarita, identifying funding
mechanisms, programming and collaborative opportunities, organizational structure, roles and
responsibilities, and alignment with City goals and initiatives. To assure clarity and better
implementation, each recommendation will identify a lead agency, partner agencies, costs and
resources needed, potential funding sources, a starting year, initial steps and other detail. Draft
recommendations that do not have a viable lead agency or are otherwise deemed infeasible will
be modified or removed from the final plan. This avoids "setting up the community for failure' and
better assures support for adoption. The plan will include an implementation chapter, budget pro
formas, and other components as needed to assure successful review, adoption and transition to
implementation. In addition, the plan will include a description and record of the planning
process, background documentation from plans and studies, and other archival information
considered useful to future use of the plan. The final format of the plan can include a printed
executive summary, an electronic/online version, and a full document (with appendices) as the
complete record of the plan.
• Workshop for Implementation Partners: The purpose of this workshop (or individual meetings)
is to confirm their commitment to participate in the implementation of the plan. We will refine and
confirm roles, and help create the conditions for successful implementation. This recognizes that
the City may be just one of the partners to implement portions of the plan.
• Presentations of the Plan to Approving Agencies: including the Steering Committee, City
Council and other implementing agencies or organizations.
Phase Three Deliverables:
Final Arts Master Plan, including detailed implementation plan
Implementation partners' workshop
Presentations to Steering Committee, City staff and City Council
WThe Guftural Planning Grrxjp
14
17
Optional Services
MindMixer and Social Media: MindMixer is a
web -based tool for community engagement. It
allows easy, public access to project information
and multiple ways to provide ideas and opinions –
visually and textually. The team will use the tool
for instant polls and surveys, testing ideas and
concepts, and also set up a PhotoVoice and
VideoVoice area on the site. MindMixer may be
particularly useful for the Santa Clarita project
because it allows for targeted questions on
specific issues, such as public art and the
Newhall Arts District. We also encourage people
to tell their stories about their community and their
interaction with arts and culture through their
photos and videos. Additionally, MindMixer acts
as a tracking tool to measure participation.
Related to the MindMixer platform is a social
media program of Twitter, Facebook, Instagram,
Pinterest and other channels to incite
conversation, promote awareness, publicize
information and events, and generally engage the
portion of the public that most relates to social
media. For a sample MindMixer cultural planning
site, visit http://oneartskc.mindmixer.com.
Community Conversations (volunteer or co-
volunteer led): These discussion sessions allow Sample MindMixer pages: participant summary (top) and mini -poll (bottom)
Santa Clarita residents to discuss among
themselves their vision and aspirations for Santa Clarita's arts and cultural future in their own
venues, as opposed to a more formal City -sponsored input session. Community volunteers are
recruited and trained to conduct a series of conversations in familiar, comfortable community
settings—schools, churches, community centers, neighborhood associations, libraries, their own
living rooms, restaurants, bars, and local "gathering spots." Discussions are customized to the
neighborhoods and topics of interest. Volunteers are given comprehensive materials including an
introduction, discussion questions and a reporting format.
Audience Demand Analysis and Mapping: We
can develop maps and supporting data that
compare existing cultural assets and programs to
population need and demand for services. If
available, we can utilize audience ZIP code data
collected through Arts & Economic Prosperity IV to
better understand the existing audience using
Mosaic lifestyle market segmentation. Utilize
secondary data from ESRI to quantify and describe
the consumer demand for arts programming within
the city and region. The analysis produces
household counts and a geographic assessment of
consumer demand for the arts including consumers
who show high, average, and low demand for
various types of arts programs such as live music,
dance, theater, visiting museums, and taking adult
0 The Cultural Panning Group
Sample: map of museum attendees in the Raleigh/Durham region (NC).
15
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volunteer led): These discussion sessions allow Sample MindMixer pages: participant summary (top) and mini -poll (bottom)
Santa Clarita residents to discuss among
themselves their vision and aspirations for Santa Clarita's arts and cultural future in their own
venues, as opposed to a more formal City -sponsored input session. Community volunteers are
recruited and trained to conduct a series of conversations in familiar, comfortable community
settings—schools, churches, community centers, neighborhood associations, libraries, their own
living rooms, restaurants, bars, and local "gathering spots." Discussions are customized to the
neighborhoods and topics of interest. Volunteers are given comprehensive materials including an
introduction, discussion questions and a reporting format.
Audience Demand Analysis and Mapping: We
can develop maps and supporting data that
compare existing cultural assets and programs to
population need and demand for services. If
available, we can utilize audience ZIP code data
collected through Arts & Economic Prosperity IV to
better understand the existing audience using
Mosaic lifestyle market segmentation. Utilize
secondary data from ESRI to quantify and describe
the consumer demand for arts programming within
the city and region. The analysis produces
household counts and a geographic assessment of
consumer demand for the arts including consumers
who show high, average, and low demand for
various types of arts programs such as live music,
dance, theater, visiting museums, and taking adult
0 The Cultural Panning Group
Sample: map of museum attendees in the Raleigh/Durham region (NC).
15
is
education courses. This report maps where audience demand is located throughout the region. It
is also possible to map lists of arts patrons if they are provided by Santa Clarita theaters and
other arts organizations. The sample map here is an illustration of population demand for
museum visitation in the Raleigh/Durham market area (darker colors show greater visitation).
Specific boundaries would be established for the Santa Clarita study, which would likely be a 20 -
or 30 -minute drive time, and within these boundaries, the analysis would detail demographic and
lifestyle data important to cultural facilities planning.
Project Timeline
Our proposed approach to this project includes three phases that can readily be completed in the eleven -
month timeframe proposed in the RFP. Please see the Work Plan section for additional detail, page 9.
Proposed Project Timeline Schedule
Phase Services & Deliverables Dates
Project start/contract signing
Phase I: Community
Engagement and Research
Phase II: Arts Master Plan
Development
Phase III: Arts Master Plan
Presentation and Approvals
•g The Cultural Planning Group
Two site visits
Interim research and planning
Interim reports and presentations
Two site visits
Draft plan development and vetting
Revisions
One site visit
Development of final plan documents
Preparation for implementation
Presentations and approvals
September 2014
October 2014 — February
2015
March — May 2015
June — July 2015
16
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I Statement of Qualifications
The Cultural Planning Group Overview
The Cultural Planning Group is a consulting firm serving the
field of arts and culture. We are based in California,
Philadelphia and Hawai'i. The field of arts and culture faces
unprecedented challenges that include rapid and unpredictable
change. Our focus is to help our clients address change and
develop appropriate solutions.
Our Services
Planning
• Cultural and Creative Economy Planning
• Cultural Facilities Planning
• Creative Pacemaking
• Strategic Planning
• Public Art Planning and Project
Management
• Leadership and Organizational Transition
• Assessment and Capacity Building
Cultural Planning Experience
Cohen, David Plattner -Saunders and Jerry Allen
Philanthropic Effectiveness
• Program Assessment and Design
Innovating
Projects Reflecting Change in the Field
CPGs principals have prepared more than 60 cultural plans for communities throughout the nation, more
than any other US firm. These include a great range of communities—urban, suburban and rural—in
diverse regions. They also include an array of cultural visions, needs, goals and constraints that give us a
breadth of experience. A sample list includes:
California
Alameda County
City of Culver City
City of Livermore
City of Los Angeles
City of Menlo Park
City of Pasadena
City of Pleasanton (current)
City of Riverside
City of Roseville
City of San Diego
City of San Josh
City of Santa Clarita
City of Santa Cruz
City of Santa Monica
City of Stockton
City of Thousand Oaks
City of Tracy
City of Ventura
Sonoma County
aTheCultural Planning Group
East
Broward County, FL
Cultural Council of Indian River
County, FL
District of Columbia (current)
Florida Keys Council on the Arts
Montgomery County, MD
Montgomery County, PA
West
City of Boulder, CO (current)
City of Chandler, AZ (current)
City and County of Denver, CO
City of Peoria, AZ
City of Reno, NV
City of Scottsdale, AZ
County of Los Alamos, NM
Salt Lake County, UT
Midwest
City of Kansas City, MO
Kansas City regional plan
(current)
City of Milwaukee, WI
City of Minneapolis, MN
Ohio State Arts Council
South
City of Charlotte & Mecklenburg
County, NC
City of Raleigh, NC (current)
City of Roswell, GA (current)
Town of Hilton Head Island, SC
Texas
City of Dallas
City of San Antonio
City of The Colony
17
20
Our Clients
Selected List
Government Agencies
Broward County, Florida
California Arts Council
City and County of Denver
City of Charlotte, North Carolina
City of Dallas
City of Kansas City, Missouri
City of Los Angeles Cultural Affairs Division
City of Minneapolis, Minnesota
City of Pasadena, California
City of Philadelphia, Office of Arts, Culture and the
Creative Economy
City of Reno, Nevada
City of Riverside, California
City of San Antonio, Texas
City of San Diego, California
City of San JosB, California
City of Santa Clarita, California
City of Santa Monica, California
City of Thousand Oaks, California
City of Tracy, California
City of Upland, California
City of Ventura, California
County of Maui Office of Economic Development/lao
Theatre Restoration Initiatives Task Force, Hawai'i
Los Alamos County, New Mexico
Los Angeles County Arts Commission
National Endowment for the Arts, Washington, DC
New Jersey State Council on the Arts
Ohio Arts Council
Salt Lake County, Center for the Arts
Salt Lake County, ZAP (Zoo, Arts & Parks) Program
San Francisco Redevelopment Agency
Foundations
California Community Foundation, Los Angeles
Hawaii Community Foundation, Honolulu
Pew Center for Arts & Heritage, Philadelphia Cultural
Management Initiative
The Community Foundation Serving Riverside and
San Bernardino Counties, California
The Emily Hall Tremaine Foundation, Connecticut
The James Irvine Foundation, San Francisco
The San Diego Foundation
Terasaki Foundation, Los Angeles
The Montgomery County Foundation, Pennsylvania
09 The Cultural Planting Group
Arts and Cultural Organizations
African American Museum of Philadelphia
Amador County Arts Council, California
American Revolution Center, Philadelphia
Americans for the Arts, Washington, DC
Art Sanctuary, Philadelphia
Arts and Business Council of Greater Philadelphia
Chamber Music Hawaii, Honolulu
Dallas Arts District Management Association and Arts
Foundation
Dance/USA Philadelphia
Ennis House Foundation (Frank Lloyd Wright), Los
Angeles
Exploratorium, San Francisco
Fresno Arts Council, California
Hawaii Arts Ensemble (Halau Hula Ka No'eau),
Honolulu and Waimea
Hawai'i Capital Cultural District, Honolulu
Historic Hawai'i Foundation, Honolulu
Humboldt Arts Council, California
IONA Contemporary Dance Theatre, Honolulu
L.A. Stage Alliance
LEONARDO/The International Society for the Arts,
Sciences and Technology
Music Center of Los Angeles, Center Dance
Association
Painted Bride Arts Center, Philadelphia
People's Light & Theatre Company, Malvern,
Pennsylvania
PennPraxis, School of Design, University of
Pennsylvania
The Philadelphia Singers
Raices Culturales Latino Americanas, Philadelphia
Scottsdale Public Art, Arizona
Side Street Projects, Pasadena, California
Southwest Chamber Music, Pasadena, California
Taller Puertordqueno, Philadelphia
Wyck Association, Germantown, Pennsylvania
Yerba Buena Center for the Arts
Yuba Sutter Regional Arts Council, Marysville,
California
ArchitecturaNrban Design Firms
DCE Design Community Environment, Berkeley
LMN Architects, Seattle
18
11
4. Capability and References
Relevant Projects
The following projects illustrate our team's successful experience in projects relevant to the Santa Clarita
Arts Master Plan project. They include communitywide cultural master plans, cultural facility and district
plans, arts research, public art master plans, creative economy plans, and cultural tourism plans. Among
these and other projects, we have addressed issues specific to the Santa Clarita plan, including
communitywide needs assessment, public art, arts facilities and districts, assessment of city arts
programs, identification of funding mechanisms, and development of the creative economy. Links to work
samples are provided for most. All projects were completed within agreed -on budgets and schedules.
City of Santa Monica, California
Creative Capital (2007), a Community Cultural Plan
http://www.smgov.netIPortalsICulturelAboutICultumi—Plan. aspx
Santa Monica Civic Auditorium Redevelopment (current)
Santa Monica is adjacent to, and in "cultural competition" with, the City of
Los Angeles. Our research for Creative Capital revealed an extraordinary
and defining fact: Santa Monica has the nation's highest concentration of
creative professionals. More than 4 in 10 residents make some or all of their
living in the arts, and there is a higher proportion of arts -related jobs than in
cities like New York, Los Angeles and San Francisco. Creative Capital
celebrates and promotes individual creativity through development of small-
scale facilities and venues, support for individual artists, and GLOW, the
biannual celebration of contemporary art on and near the Santa Monica
Pier. A unique recommendation is "Arts Alleys," which capitalize on unused
space in the rear of existing businesses on the city's pedestrian mall and
creativecapO
W
acre
=on"
ora
adlacen municlpa par ngstructures. t er aci ity recommendations
included options for the city's historic Civic Auditorium, artists' live/work spaces, and arts facility
development within specific planning areas. Since adopting the plan, Santa Monica has increased its arts
support, added new cultural facilities to its portfolio, and is shepherding development of arts uses within
multi -use developments along a new transportation line. We were recently re-engaged by the City,
through HR&A Advisors, to prepare options for the redevelopment of the Santa Monica Civic Auditorium,
in light of the loss of California's redevelopment agencies.
Chandler Center for the Arts
Strategic and Business Plan (2014)
We prepared a strategic and business plan for this city -
owned performing arts center. We conducted a
comprehensive organizational assessment, which included
the Center's three partner organizations: the City of
Chandler, Chandler Cultural Foundation and Chandler
Unified School District. We also prepared a comparison
09 The CALM Planning Group
19
22
study of performing arts centers in Mesa, Scottsdale and Wickenburg. We then developed a three-year
strategic plan with a detailed implementation plan that was adopted by all three partner organizations.
City of Hilton Head Island, SC
Cultural Assessment and Definition of City Role in the Arts (2014)
In this project, the City's goal was to understand how best to shape its role in the arts. A number of issues
had reached the level of city council, without clarity on how to respond. We assessed the nonprofit arts
and cultural community in Hilton Head Island, with strategies to sustain local cultural organizations
through long-term funding. The other primary focus of this plan was to assist the City to define its role in
promoting the growth and development of the arts on the Island. The plan included a detailed review of
current and needed cultural facilities and recommendations to stabilize the Arts Center of Coastal
Carolina. '
Kansas City, Missouri
KCMO Arts Convergence (2013)
http://kcmayor.om (click on New Reports Available—Mayors Task Force for the
Arts Final Report)
KCMO Arts Convergence is a communitywide cultural plan that
redefines the role of the City of Kansas City, MO in arts
leadership. After a decade of private philanthropic investment in
the arts—more than $1B in new cultural facilities and districts
alone—new City leaders sought to leverage the arts to make
KCMO a 21 s' Century cultural center. The plan has ten goals,
including expanding the city's arts agency, expanding access to
arts education, using arts and culture in neighborhood
revitalization, better support for individual artists, planning and
support for the creative sector, and expanding the well-established
public art program.
Scottsdale Public Art Program
Public Art Master Plan (2012)
http://www. scottsdalepuhlicart. org
This plan asked the question, "What's next?" for one of the nation's
most acclaimed public art programs. It included a review of all
aspects of Scottsdale's award-winning, 30 year old program.
Because of the high-level challenges in this plan, we organized a
two-day symposium, "The Future of Public Art," attended by a
dozen national and regional experts to identify trends and new
ideas for Scottsdale. The plan included new recommendations for
strategies, funding sources and organizational structure. The
revamped program includes permanent and temporary art projects,
events
•g The Guttural Planning Group
20
2�
City of San Antonio, Texas
1) Cultural Collaborative (2005)
2) SA2020 Vision Survey (2013), and
3) Downtown Arts Facility Study (2014)
Our first project for San Antonio was a comprehensive cultural plan,
which is among the first of its type to focus on development of both the
cultural community and the overall creative economy. The year-long
planning process directly involved more than 1,000 people and
included three related studies, 1) an economic impact study, 2) a
creative industries study, and 3) a bilingual, random household
telephone survey. Building on the ideas of economist Dr. Richard
Florida, the plan encompasses economic development strategies for
cultural and heritage tourism, arts -related businesses, the creative
workforce, and cultural districts and facilities. It also encompasses
more traditional cultural planning issues, such as access and
participation, cultural equity, funding, public art and arts education.
Since June 2005, San Antonio's Office of Cultural Affairs has
TE CutuW CpIIIHON�INF
uN4\
SA... SA
implemented nearly the entire plan. This agency received major increases in its City budget and secured
additional implementation funding each year from the City, throughout the economic recession. In
addition, new resources have been provided by a ballot initiative, a new united arts fund, a new
foundation providing fellowships for individual artists, and other implementation partners. Recently, CPG
was re-engaged twice, to help realign the City's cultural efforts with its new communitywide vision plan,
SA 2020, and to conduct a study for a downtown arts facility.
AL
Americans for the Arts A its I n d ex
Local Arts Index (2010-2012) `
htro://www. artsindexusa.oranocairerts-index / A Project of Americans for the Arts
We assisted Americans for the Arts in the research, development and launch of the Local Arts Index
(LAI). LAI is an innovative approach to understanding the vitality and character of a local arts community
through a set of 51 indicators that measure resources, activity, competitiveness and character. LAI allows
for comparisons among any of the 3,143 counties in the United States.
City of San Josh, California
Cultural Connection (2011), a Community Cultural Plan
http.'Il w .saniosecultwe.orafindex.aspx?NID=4341
Cultural Connection is a comprehensive cultural plan based on a
communitywide needs assessment for this "capital of Silicon Valley." This
included review of, and recommendations for, the City's facilities portfolio and
creative place -making opportunities throughout the community, including
informal venues in neighborhoods, parks and downtown. Two communitywide
surveys helped inform facilities needs. The entire planning process was
shaped by the city's fiscal circumstances, which reflected (at that time) seven
years of deficits. The entire plan was incorporated into the City's general plan
update, Envision San JosA 2040.
the CuMoN Planting Group
21
24
Los Alamos County, New Mexico
Los Alamos Creative District Plan (2011)
hftp:lllamainstreet.com/lacd-library (click on Creative District Plan)
The Los Alamos Creative District plan presents a bold vision for, and
envisions a dramatic transformation of, downtown. Los Alamos was the
coordinating site of the WWII Manhattan Project to develop the atomic
bomb and remains the home of the Los Alamos National Laboratory, which
is a now a major international center for scientific and technical innovation.
The present-day community of 18,000 is rural, yet has high levels of
education, affluence and sophistication. The Creative District reflects the
community's identity, combining science and technology, arts, history and
the natural environment. The District produces creative programming,
supports downtown revitalization, fosters increased tourism, and serves as
a focal point of community activity and events. The plan included a
community assessment and review of previous studies, leading to
recommendations for facilities, funding and governance.
The San Diego Foundation
1, pARTicipate San Diego: A Strategic Plan for Arts and Culture: Increasing Cultural Patronage (2005-
06) httpY/www sdfoundation omIPortalslolNewsmom/PDF/RworWArtsandCultumReportpdf
2. pARTners in Education: A Strategic Plan for Arts Education (2007)
3. Ready Assets: a first-ever study of individual, working artists in San Diego County (2011)
http://www.sdfoundation.omiPortalslalNewsroom/PDF/Reports/ARTCultumsurvevFINAL082211 Ir pdf
The first project is in essence a countywide cultural plan for a community
foundation, as opposed to the arts agency of a local government. The
Foundation sought to understand and document community needs in the
area of arts and culture, and to formulate a strategic plan for itself and
community partners. Project research included extensive stakeholder
engagement, a countywide telephone survey conducted in English and
Spanish, a countywide survey of arts and culture organizations,
comparisons of San Diego County with other communities, and
investigation of effective strategies and programs in other communities.
The resulting plan, entitled "pARTicipate San Diego," encompasses five strategies for increasing and
enhancing cultural participation throughout the countywide community. The Foundation adopted the
entire strategic plan.
As part of its implementation effort, the Foundation re-engaged CPG, in partnership with the California
Alliance for Arts Education, to conduct a countywide research project in arts education. The purpose was
to better understand the state of arts education in all 42 local school districts in the county and refine
strategic approaches to reintroducing arts education to every classroom. In 2011, the Foundation
commissioned CPG to prepare a first-ever study of individual, working artists in San Diego County. This
study was the basis for the Foundation's new individual artists fellowship program.
WThe Cultural Planning Group
22
25
Broward County, Florida
CreativeBROWARD 2020 (2010)
hftp://www.broward.orQ/Arts/Resources/Publications/CulturalPlan2020/Pages/Default asgx
The goal of this plan was to identify the local arts agency of the future. In
response, Broward County's (Ft. Lauderdale) 10 -year cultural master plan
envisions a transformation of one of the nation's largest and most successful
local arts agencies. The plan includes specific elements for the creative
economy, cultural tourism, and public art and design. The extensive countywide
planning process involved more than 1,000 people, online participation, two
community surveys, community engagement, and four advisory bodies. As a
result of this plan, the Steering Committee has created an Arts & Business
Council to raise funds and provide leadership in implementation of the plan.
City of San Diego
Public Art Master Plan (2004)
While we have done a great variety of, and more recent, public
art master plans, the City of San Diego Public Art Master Plan is of
particular interest for the Santa Clarita project. Expanding from an
existing program, this plan resulted in the adoption of a 2% for art
policy for City capital improvement projects and a 1 % for art
requirement for private commercial and industrial development, with
provision for an in -lieu contribution by the private developer to the
City's Public Art Fund. It was probably the first higher -requirement
ordinances in the US, and garnered the support of both City Council
and the real estate developer community.
Cities of Dallas, San Jose and San Francisco
Culturat Facility and District Planning, Management and Development
Puldic Art Atacter Plan
CPG Principal Jerry Allen has had planning and management responsibility for many cultural facilities.
As Director of Cultural Affairs for Dallas, Texas, he planned and oversaw the construction and operation
of the South Dallas Cultural Center and managed operations of the Bathhouse Cultural Center. He was
the lead City staff during the design and construction of the Meyerson Symphony Center and developed
the operations plan for that major facility. In Dallas, he was also responsible for the Museum of Natural
History and the Majestic Theater (a renovated 1920s vaudeville house). Jerry was the founding director
of the Yerba Buena Center for the Arts in San Francisco, a complex of three galleries, two theaters and a
film -screening venue. He oversaw the design and construction and developed the plans and staffing for
the facility. In San Jose, he was responsible for the planning and oversight of the Mexican Heritage
Center, the California Fox Theatre and the Montgomery Theatre. As a consultant, recent project include
operations planning for the theatre complex in Thousand Oaks, California and the Japanese American
Community and Cultural Center in Los Angeles, California. As a cultural planner, Jerry has conducted
community-based planning projects in more than 60 communities across the country
aThe aift ral Planting Group
23
2b
References
For Santa Monica Creative Capital Cultural Plan (2007 & 2014)
Jessica Cusick, Cultural Affairs Manager
City of Santa Monica
(310)458-8350
Lessica.cusick@smgov.net
For Hilton Head Island Arts Study (2014)
Jill Foster, Community Development Deputy Director
One Town Center Court
Hilton Head Island, SC 29928
(843) 341-4694
J iIIF @ h ilton head i s la ndsc. gov
For KCMO Arts Convergence (2013)
Porter Arneill, Director
Municipal Art Commission
City of Kansas City, Missouri
City Hall, 17thFloor, 414 East 12th Street
Kansas City MO 64106
(816) 513-2538
P o rte r. A r n e i l l@ k c m o. o rg
For Chandler Center for the Arts Strategic Plan (2014)
Michelle MacLennan, General Manager
Chandler Center for the Arts
250 N. Arizona Ave.
Chandler AZ 85225
(480)782-2676
Michelle.MacLennan cDchandleraz.gov
For Cultural Connection (2011)
Kerry Adams Hapner, Director
Office of Economic Development/Office of Cultural Affairs
City of San Jose
200 E. Santa Clara Street 14th Floor
San Jose CA 95113
408-793-4333
kerry. ada m s -hap n er(oD sa n ioseca. g ov
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5. Assigned Personnel
The Consulting Team
Our team includes three consultants with The Cultural Planning Group. Managing Partner David Plettner-
Saunders will serve as the project lead consultant. CPG Partner Jerry Allen and Research Director Linda
Flynn fill out the team.
The table below identifies the consultants, roles, and relationships for our team. A description of The
Cultural Planning Group's qualifications and other distinguishing team characteristics are provided on
page 8.
Santa Clarita Arts and Culture Master Plan
Proposed Consulting Team Organizational Chart
Firm & Consultants Project Role
The Cultural Planning Group
David Plettner-Saunders,
Managing Partner (Lead
Consultant for this project)
Jerry Allen, Partner
Linda Flynn, Research Director
The Cultural Planning Group
4769 Kensington Drive
San Diego, CA 92116
davidpcu Itur_alplanning.com
213-500-6692
0 the Guttural Plarxrng Group
As a team, we are responsible
for development of overall plan,
community engagement,
analysis and integration of
findings, and preparation of
planning documents.
David and Jerry provide the
onsite services and develop the
plan.
Linda Flynn oversees the
community survey and
additional research tasks.
Notes
CPG has extensive national
experience in cultural planning.
David Plettner-Saunders brings
experience in cultural planning, arts
education, community process,
facility planning, team leadership
and writing.
Jerry Allen brings deep experience
in public art, cultural planning and
management of local arts agencies
Linda Flynn has extensive research
experience with nonprofit and
corporate clients, and has developed
new approaches to community
engagement in arts projects.
rt&y
Z8
Consultant Bios
David Plettner-Saunders, Co -Founder and Managing Partner
David Plettner-Saunders is Co -Founder of The Cultural Planning
Group. A consultant for 25 years, David has prepared cultural plans
focusing on the creative economy for more than 30 communities,
including San Antonio, Santa Monica, San Josh, Kansas City,
suburban Philadelphia, and Broward County (Ft. Lauderdale), Florida.
Other clients include the National Endowment for the Arts, Los Angeles
County Arts Commission, California Arts Council, San Diego
Foundation and California Community Foundation.
David is a leader in the field of creative economy planning, incorporating this work into his cultural
planning practice since 2005. He has also conducted a variety of original national and regional studies on
individual artists and plans focusing on arts -in -education. He has prepared assessments and strategic
plans for arts and cultural organizations of virtually all disciplines and sizes, and in a great variety of
community contexts. These include Side Street Projects, an entirely mobile (off -the -grid) artist center in
Los Angeles, Philadelphia Singers, a professional chorus, and Grand Theatre Center for the Arts, a
multidisciplinary presenter and art center in Tracy, California. He has helped strategize a variety of
festivals through his cultural planning work, including Glow in Santa Monica, Next Big Idea Festival in Los
Alamos.
A retired modern dancer, David holds a J.D. from the University of North Carolina School of Law, Chapel
Hill and a B.A. in Music from Wesleyan University. He is co-founder of the San Diego Alliance for Arts
Education, responsible for successfully preserving and advancing arts education in one of the nation's
largest school districts. He is the past Chair of the Southern California Dance Futures Fund and the
Dance Resource Center of Greater Los Angeles.
Jerry Allen, Partner
Jerry Allen brings 35 years of experience in the local arts agency and cultural
planning fields. Beginning as a studio artist, he did graduate studies at the
University of Washington, concentrating on studio art and public administration.
He was the Visual Arts Coordinator for the King County Arts Commission
(Seattle) in the mid -seventies. King County had one of the earliest percent for
art programs in the nation and the first county program ever established. In that
capacity, he conceived and administered King County's acclaimed
EARTHWORKS: Land Reclamation as Sculpture Symposium, widely regarded
as one of the seminal projects in the history of contemporary public art.
After serving three years as Executive Director of the King County Arts
Commission, Jerry became the Director of Cultural Affairs for the City of Dallas,
Texas. While there, he assisted with the formation of the Dallas Arts District and the Arts District
Foundation. In that position, he developed the City's first cultural plan and policy and directed the first
public art master plan ever completed by any city. Jerry went on to develop the Yerba Buena Arts Center
in San Francisco, California, and recently retired as the Director of the Office of Cultural Affairs in San
Jose, CA, where he was responsible for a general fund budget of $7 million and a public art budget of $18
million. Jerry is regarded as one of the nation's foremost experts in the field of public art.
The Cultural Piannirig Group
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Jerry's practice has included providing organizational development, strategic planning, meeting
facilitation, and leadership development assistance to dozens of nonprofit cultural organizations. He has
participated in the development of community cultural plans and public art master plans for more than 50
city, county and state agencies.
Linda Flynn, Ph.D., Research Director
Linda Flynn directs community research for the firm and is integral to analysis
of each client's project issues. She has exceptional and broad experience in
research and community engagement, delivering results for evidence -based
planning and successful execution of large-scale projects. Linda turns
numbers into stories and textual data into themes, providing insight
understandable by all for actionable planning. She designs effective multi-
faceted methodologies customized to each project's goals and audiences,
taking advantage of advanced technologies as well as more traditional efforts.
In addition to her work with arts and culture, Linda's experience and
relationships cross many industries, working with all levels in organizations
MCMincluding government agencies, healthcare, consulting groups, nonprofit
organizations, and private sector corporations. Her toolkit includes all
qualitative and quantitative research methodologies, including web -based and
traditional surveys, focus groups, affinity and natural groups, one-on-one interviews, literature reviews,
and analysis of existing data. Linda has a Bachelor's degree in Cognitive Psychology, a Master's degree
in Industrial/Organizational Psychology, a doctorate from Nova Southeastern University, and professional
certifications in qualitative research and quantitative research. Linda is affiliated with the American
Psychological Association (APA), the European Society for Opinion and Marketing Research (ESOMAR),
and volunteers her time at various local nonprofit organizations focused on the improvement of youth
educational experiences in the State of Florida.
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6. City Resources
We look forward to the prospect of working with the City of Santa Clarita staff. To best fulfill the project
objectives, we request the following assistance from the City during the project:
• Assembling and transmitting to the consultants, all documents, plans, policies, studies, data and
other literature relevant to the planning process.
• Attendance at relevant meetings, including meetings of the Steering Committee; also at
stakeholder and community meetings where the presence of City staff would not deter candid
input and discussion of planning ideas.
• Development of engagement lists, such as potential steering committee members, interviewees,
stakeholder discussion group participants, etc., in consultation with the consultants.
• Scheduling of interviews, focus groups, meetings and other planning activities and
announcement/publicity for community meetings.
• Logistics for all meetings and other planning activities.
• Implementation of the communications plan, including potential development of a project website
with content to be developed by both the consultants and the client.
• Distribution of the community online survey, through electronic lists, newsletters, print, and other
publicity, in cooperation with CPG's Research Director.
• If desired, professional graphic design and/or printing of the final plan document.
• Timely response to consultant inquiries, requests, draft documents and other planning materials.
For Optional Services
• Recruitment and management of volunteer facilitators for "community conversations," in
cooperation with CPG's Research Director.
• Ongoing monitoring and development of the MindMixer website content, in cooperation with
CPG's Research Director.
• Assistance with gaining access to theater and arts organization audience lists.
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7. Subcontractors
The Cultural Planning Group does not intend to engage subcontractors for this project. This project falls
squarely within our area of focus as a firm, and we have the necessary expertise and capacity in-house to
successfully fulfill the goals of this project.
8. Conflict of Interest
We are not aware of any potential or actual conflicts of interest regarding this project.
9. Additional Data
We would like to address the question, "Why Choose CPG?", to provide additional information about our
proposal. The Cultural Planning Group is the most qualified firm for this project for five primary reasons.
First, we have more successful experience in cultural planning than any other US firm, including Santa
Clarita's original cultural plan and many other cities sharing similarities with Santa Clarita. The range and
depth of our cultural planning work, and our specific experience in Santa Clarita's identified issues,
provide us with an unmatched ability to help Santa Clarita develop a successful arts master plan. Second,
we do not do "cookie cutter" work and have a track record of effective innovation. This means that we can
help Santa Clarita invent appropriate approaches to its unique circumstances. Third, our team has
worked extensively for and with city government and we understand the realities of getting things done in
the municipal context. Fourth, we are dedicated to results. Cultural plans are complex undertakings and
we are experienced at navigating any challenges that might arise. We "land the plane" successfully.
Lastly, we are great to work with. We don't bring outsized egos to the work. We enjoy the process of
dialogue with our clients and the community, and help create the conditions for success, creativity and fun
along the way.
[Sections 10 — 12 not relevant to this RFP]
13. Alternative Proposals
We are not making any alternative proposals for this project. Our proposed approach is fully represented
in the Work Proposal chapter, page 5. However, the Work Proposal includes optional services, described
on page 15.
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14. Acceptance of City's Terms and Conditions
have, read, understood, and agree to the terms and conditions on all pages of this proposal. The
undersigned agrees to furnish the commodity or service stipulated on this proposal as stated above.
Company: The Cultural Planning Group, LLC
Address: 4769 Kensington Drive, San Diego, CA 92116
Name (Print): David Plettner-Saunders
Title of Person Signing Bid: Managing Partner
Company Phone No.: 213-500-6692
Signature: , f��1��'i4 %�G1C�
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