HomeMy WebLinkAboutDRB_06022016 - Packet City of Ukiah
Design Review Board
�""�"`�""" Thursday June 2, 2016 �'"'�"`�"�"
3:00 p.m.
Conference Room 5
The Design Review Board encourages applicants and/or their representatives to be available at the meeting to
answer questions so that no agenda item need be deferred to a later date due to a lack of pertinent information.
1. CALL TO ORDER: UKIAH CIVIC CENTER, CONFERENCE ROOM #5
300 SEMINARY AVENUE, UKIAH
2. ROLL CALL: Members Liden, Nicholson, Hawkes, and Morrow
3. CORRESPONDENCE: None.
4. APPROVAL OF MINUTES: The minutes from the March 10, 2016 and March 17, 2016
meetings are available for review and approval.
5. AUDIENCE COMMENTS ON NON-AGENDA ITEMS: The City of Ukiah Design Review Board
welcomes input from the audience. In order to be heard, please limit your comments to three
(3) minutes per person and not more than ten (10) minutes per subject. The Brown Act
regulations do not allow action to be taken on audience comments.
6. NEW BUSINESS:
A. Provide comments and direction on the City's proposed Public Art Policy.
B. Discussion of process for appointment of DRB members.
7. MATTERS FROM THE BOARD:
8. MATTERS FROM STAFF:
9. SET NEXT MEETING: As needed
10. ADJOURNMENT:
Americans with Disabilities Act Accommodations. Please be advised that the City needs to be notified 72 hours in advance of a
meeting if any specific accommodations or interpreter services are needed in order for you to attend. The City complies with ADA
requirements and will attempt to reasonably accommodate individuals with disabilities upon request. Please call (707) 463-6752 or
(707)463-6207 to arrange accommodations.
��ty � u�iah City of Ukiah, CA
Design Review Board
1
2 MINUTES
3
4 Regular Meeting March 10, 2016
5
6 Ukiah Civic Center, 300 Seminary Avenue
7 1. CALL TO ORDER: Chair Liden called the Design Review Board meeting to order at
8 3:06 p.m. in Conference Room #3.
9
10 2. ROLL CALL Present: Member Nicholson, Hawkes, Chair Liden
11
12 Absent: Member Thayer, Morrow
13
14 Staff Present: Kevin Thompson, Principal Planner
15 Nancy Sawyer, Ukiah Police Department
16 Cathy Elawadly, Recording Secretary
17
18 Others present: Susan Knopf
19
20 3. CORRESPONDENCE:
21
22 4. APPROVAL OF MINUTES: The minutes from the September 17, 2015 and September
23 24, 2015 meetings will be available for review and approval at the March 10, 2016
24 meeting.
25
26 M/S Nicholson/Hawkes to approve the September 17, 2016 and September 24, 2015 meeting
27 minutes, as submitted. Motion carried (3-0)with Members Thayer and Morrow absent.
28
29 5. AUDIENCE COMMENTS ON NON-AGENDA ITEMS
30
31 The DRB is required by the City Code to review and make a recommendation on all Site
32 Development Permit applications.
33
34 6. NEW BUSINESS:
35 6B. City of Ukiah Zoning Code Amendment revision discussion:
36 a. Revise parking lot tree shade requirement to reflect 15 years instead of 10 years;
37 b. Revise maximum fence height in the R-1 zone from 6 feet to 7 feet for consistency with
38 the building code.
39
40 Principal Planner Thompson:
41 • Staff is proposing a Zoning Code Amendment to the Planning Commission and City
42 Council to:
43 1) Change the parking lot tree shading requirement from 10 years to 15 years in the
44 R-2, R-3, C-N, C-2, PD, P-F zoning districts and AIP Ordinance; and,
45 2) Change the maximum fence height in the R-1 zone from 6 feet to 7 feet. This change
46 would make certain the Zoning Code corresponds with the recent changes to the
47 California Building Code. The California Building Code now allows 7-foot tall fences
48 without building permits. 7-foot tall fences are allowed in the backyard. A 3-foot fence
49 height is required for the front yard. All fences must comply with front, side and
50 backyard setback requirements and provided for in the UMC.
51 • The reason for the proposed code amendment change of 50% shade coverage in 15
52 years for parking lots is that the expected canopy cover of 50% in a 10 year period the
Design Review Board March 10, 2016
Page 1
1 City has been requiring for projects is impossible and unrealistic. The 50% shade canopy
2 coverage in 15 years is the standard the City of Davis uses for projects. The City of Ukiah
3 has been applying the City of Davis shade coverage standard to projects.
4 • Requiring 50% canopy coverage in 15 years for new projects is not typically a problem.
5 However, projects with existing parking lots often have a problem meeting the 50% tree
6 shading requirement for parking lots and typically seek an exception where based on the
7 design of the parking lot, a reduced number of trees may be approved through the
8 discretionary review process.
9 • It may be the shade requirement of 50% coverage is inappropriate for projects with
10 existing parking lots in that it may be too burdensome. Because 50% canopy coverage is
11 difficult for applicants to do for projects with existing parking they seek exceptions from
12 the zoning code requirement in this regard. Cited the new World Gym where the former
13 Ukiah Daily Journal operated as an example of a project with an existing parking lot that
14 could not meet the 50% shade coverage requirement for the parking lot and therefore, an
15 exception was requested. In order to comply with the 50% shade coverage requirement,
16 the applicant would have had to tear up his parking lot and this would have been
17 burdensome and not cost effective.
18 • Asked the DRB if there is support for having a different standard for projects with existing
19 parking lots. Finds it important, however, that applicant be able to provide for some level
20 of landscaping for projects with existing parking lots even though he/she cannot meet the
21 zoning code requirements.
22 • It may be necessary to look more closely at projects with existing parking lots that cannot
23 meet the 50% shade coverage requirement due to the design of the parking lot and/or
24 parcel constraint to determine how such projects should be treated with regard to
25 compliance with the City's parking lot shade requirement. Should we continue to allow
26 exceptions or should we develop separate standards for projects with existing parking
27 lots.
28 • As it is now, a request for an exception to the 50°/o shade coverage requirement can
29 actually act as a tool giving the City some leverage to ask for as much landscaping/trees
30 as possible for a particular project even though the project cannot meet the standard.
31 • Recommends further review of how projects should be looked at that have existing
32 parking lots. Should we continue to allow exceptions and ask for more landscaping where
33 feasible on a case-by-case basis or establish standards that are more realistic for
34 projects with existing parking lots?
35
36 Susan Knopf:
37 • Would conformance with the parking standards mean less parking or is it the rules
38 require more landscaping than they use to?
39
40 Principal Planner Thompson:
41 • The parking requirement would remain the same. It is just the 50% landscaping coverage
42 for projects with existing parking lots cannot be met in all cases without modification to
43 the parking lot. Parking lots with 12 or more parking stalls are required to have a tree
44 placed between every 4 parking stalls within a continuous linear planting unless clearly
45 infeasible. If clearly infeasible, the applicant typically asks for relief from the requirement
46 where the Zoning Administrator or Planning Commission has the discretion to reduce the
47 number of trees required.
48
49 Member Nicholson:
50 • Without some sort of a shade coverage requirement applicants could say that compliance
51 is `just too much trouble' and infeasible. While it may be impractical for the Zoning
52 Administrator or Planning Commission to possibly reduce the number of trees required
53 via an exception having a standard does provide for a tool to get some landscaping for a
54 project.
55
Design Review Board March 10, 2016
Page 2
1 Principal Planner Thompson:
2 • Agrees with the aforementioned statement where the idea is to possibly consider having
3 a different standard for projects with existing parking lots. What typically occurs is the
4 applicant cannot meet the standard and asks for an exception. The question is should we
5 continue with this process or establish set standards for projects with existing parking
6 lots.
7 • It may be we should continue to allow for exceptions and ask for as much landscaping as
8 possible for a particular project.
9
10 There was DRB/staff discussion concerning changing the parking lot tree shading requirement
11 from 10 years to 15 years and what is the best approach to take for projects with existing parking
12 lots where exceptions to the 50% standard is what typically occurs.
13
14 Member Nicholson:
15 • New developments may have an issue with having to do something different than
16 what existing developments have to do for parking lots.
17
18 Principal Planner Thompson:
19 • Acknowledged there is a difference between new development versus existing
20 development where the same rules may not really apply because the project type/project
21 characteristics are different.
22
23 DRB:
24 • Is fine with changing the maximum fence height in the R-1 zone from 6 feet to 7 feet.
25 • Is fine with the 50% shade coverage over all paved areas within 15 years standard but it
26 may be important to have a discussion and provide more information about the
27 application of the 50% shade coverage requirement for projects with existing parking lots
28 to either continue to allow exceptions or establish set standards.
29
30 Principal Planner Thompson:
31 • It may be more discussion is necessary concerning parking lot shading for projects
32 with existing parking lots and will look further into the matter.
33
34 6A. Crime Prevention Through Environmental Design (CPTED) presentation from Nancy
35 Sawyer Community Services Officer Ukiah Police Department.
36
37 Nancy Sawyer, Community Service Officer, UPD:
38 • Is a certified international crime prevention specialists.
39 • Crime Prevention Through Environmental Design (CPTED) is a methodology that relates
40 to planning and design in that it directly addresses the relationship between the physical
41 environment and the incidence of crime.
42 • Advocates of CPTED see this concept as a way to improve safety in a community by
43 providing a physical environment that promotes positive behavior and deters criminal
44 activity.
45 • While interpretation and implementation vary, the rise of community policing efforts
46 solidify CPTED's role in planning and community development.
47 • Provided an overview about her experience in applying the methodology of CPTED in the
48 community and her role in the process thereof and cited examples of businesses that
49 participated in the effort to deter criminal activity and what measures were taken.
50 • CPTED recommends having a design and plan review processes in place.
51 • CPTED has design recommendations for residential, commercial and other facility types.
52 • CPTED provides for landscaping recommendations that suggest planting and selection of
53 landscape materials be included such that sight lines remain open and clear and places
54 of concealment are not fostered/encouraged. Keep shrubs trimmed to three feet or at
Design Review Board March 10, 2016
Page 3
1 least below window sills, particularly if safety is an issue. Prune the lower branches of
2 trees to at least seven feet off the ground. If graffiti is a problem, consider thorny
3 landscape plants as a natural barrier to deter unwanted entry. Use of vines or planted
4 wall coverings help to deter graffiti. Important to note that blank walls may be an invitation
5 to graffiti vandals. Provide for landscaping/fencing that do not create hiding places.
6 Provide for attractive and durable fencing materials where feasible.
7
8 The following attachments are included in the minutes:
9 1. Email from Alan Nicholson, dated February 21, 2016, Attachment 1;
10 2. Letter from Pinky Kushner, dated March 5, 2016, Attachment 2.
11 3. Email from Lynda Myers, dated February 4, 2016, Attachment 3.
12 4. Small Retail Business Security Survey Assessment Form, Attachment 4. (This form is
13 used to help small business assess how they operate in the event they are interested
14 in suggestive and corrective measures to help prevent crime through environmental
15 design efforts)
16 5. Handout, What is CPTED?, Attachment 5.
17
18 DRB:
19 • The DRB looks at projects from a design and aesthetics perspective.
20 • Finds that while CPTED has merit where the objective is to provide outreach to the
21 community as an educational program to control crime through the use of strategies
22 pertinent to natural surveillance, natural access control, territorial reinforcement and
23 maintenance (attachment 1 of the staff report - General Guidelines for Designing Safer
24 Communities), does nothing really to prompt and enhance the aesthetics of the community
25 as it relates primarily to landscaping and corresponding landscaping features.
26
27 Member Nicholson:
28 • Read an excerpt from his email to staff, dated February 21, 2016:
29 'It is understandable that law enforcement is concerned with `natural surveillance'
30 concepts for keeping intruders under observation. In support of law enforcement, it is
31 important to continue their outstanding outreach and educational initiatives. A one-page
32 handout placed in City Hall next to the approved tree list briefing those interested in the
33 highlights of this program would seem appropriate, not legislating a confusion design
34 policy that the City would be hard pressed to implemenY
35
36 Nancy Sawyer:
37 • Acknowledged maintaining aesthetics is very important particularly if a business, such as
38 the World Gym project, is thinking of applying CPTED landscaping design standards.
39 • Important for the community to understand CPTED is a concept that may be helpful if
40 certain methodologies are considered and/or applied.
41
42 Chair Liden:
43 • Has experienced vandalism to his business and finds this to be an issue in the
44 community.
45
46 Susan Knopf:
47 • Finds that lighting in the community is too bright and cited some examples.
48 • Would like to see that lighting fixtures/systems be shielded and downcast so as not to
49 spill out onto adjacent properties.
50 • The NWP Rail Trail is too brightly lit.
51 • Sees the value in applying environmental design concepts to deter crime.
52
53 Principal Planner Thompson:
Design Review Board March 10, 2016
Page 4
1 • Related to lighting, we ask that all lighting for projects be shielded and downcast in
2 conformance with the International Dark Sky Association standards.
3
4 Nancy Sawyers:
5 • CPTED recommends pathways be clear and to highlight entryways without creating
6 harsh effects or shadowy hiding places.
7 • Related to lighting systems, such systems should provide night time vision for motorists
8 to increase the visibility of pedestrians, other vehicles and objects that should been seen
9 and avoided. Important to design lighting systems for pedestrians, homeowners and
10 business people to make certain pedestrians see one another and the ability to see
11 clearly when walking at night. Design lighting systems which will enhance the ability for
12 surveillance and observation and provide lighting systems that minimize glare, shadow,
13 light pollution and light trespass. Lighting can be used in landscaping for security and
14 aesthetics.
15
16 Principle Planner Thompson:
17 • No action is necessary from the DRB concerning the aforementioned presentation.
18
19 DRB:
20 • Supports the importance of providing for a safer community and with taking security
21 precautionary measures such that the information introduced by Nancy Sawyer is
22 valuable.
23 • It may be more discussion concerning ways to look at crime prevention though
24 environmental design would be useful.
25
26 7. MATTERS FROM THE BOARD:
27
28 8. MATTERS FROM STAFF:
29
30 9. SET NEXT MEETING
31 The next regular meeting will be Thursday, April 14, 2016.
32
33 Staff inquired whether the DRB would be interested in attending a special meeting Thursday,
34 March 17, 2016 for review of the Mutt Hut accessory building project.
35
36 DRB would be amenable to attending the March 17, 2016 special meeting.
37
38 10. ADJOURNMENT
39 The meeting adjourned at 4:24 p.m.
40
41
42 Cathy Elawadly, Recording Secretary
43
44
45
46
47
48
49
50
51
52
53
54
Design Review Board March 10, 2016
Page 5
��t�chm,:nt # �
Michelle Johnson
From: Alan Nicholson <alan@andesignstudio.com>
Sent: Sunday, February 21, 2016 8:30 PM
To: Michelle Johnson
Cc: Kevin Thompson
Subject: Letter to DRB for 2-25-16 meeting
Attachments: Notes on Environmental Crime Prevent�on.pdf
Hi Michelle,
Thank you for getting out the review materials for this week's Design Review Board. I am looking forward to the
presentation with Nancy Sawyer in Community Services, and the other items on the agenda.
I am not clear about what the end objectives are for the Community Surveillance design initiative, and my comments
attached may be irrelevant, but after reading through the Guidelines, I found some responses that I felt a need to express.
I hope this may become part of the ongoing dialog.
Anyway, I look forward to the meeting, and thanks again,
Alan
alan nicholson Design Studio
PO Box 577
3201 Mill Creek Road
Talmage CA 95481
p. 707 972 8879
f. 707 462 1045
e. alan(a�anDesiqnStudio.com
.r
1
Some thoughts on a proposal for Crime Prevention through Environmental Design
Design Review Board Meeting, Feb. 25, 2016
Crime Prevention Through Environmental Design (CPTED) is based on idea that the proper design
and effective use of the built environment can lead to a reduction in the incidence and fear of
crime,and an improvement in the quality of life.
In the United States, and the rest of the world,the most desirable communities to live in have not
advanced because a fear of crime was the driving component. Quality of life is typically rated based
on many elements; unemployment, crime,the economy,and income growth,the cost of living, as
well as well as recreational and cultural opportunities.A vibrant downtown and a walkable,
pedestrian friendly city have been cited at community design charrettes for decades as being near
the top of priorities for the citizens of Ukiah.This current proposal is simplistic and lacks any sense
of comprehensive inquiry into principles enhancing a positive quality of life in this community.
Rather than frame the discussion in terms of"Natural Surveillance",the discussion is really about
encouraging and bringing the public into the community.Security is in creating places where
people are comfortable and do gather,as it is well documented that the safest public places are
where more people are, rather than how well-lit or open the visibility is.The new Rail Trail is an
example of decreasing the attractiveness of this area for homeless camping.
Any tour of Ukiah will illustrate how impractical and incongruous a civic regulation concerning
limitations in height and shape of plant material or night lighting would be. Most planners and
design professionals will speak of scale, proportion,color,texture, and form when addressing the
relationship of landscaping and buildings,that is to say,aesthetics.Security is but one design
element of many and is not exclusively or necessarily at the top of the list. Community planning, ,
building design and landscaping are relative to the context in which it is intended and designed for.
Making safe spaces that draw the public into them takes experience,expertise, intuition and
creativity. Every illustration promoting safe design in the proposed guidelines is a lonely, bleak
landscape that discourages community communication and celebrating public interaction. If you
look at the photos the message is about curating surveillance security, not building people friendly
community spaces.
There are many different types of urban spaces.There are civic spaces such as City Hall, parks,
schools.There are retail and dining destinations,service business', hospitality functions, residential
neighborhoods, etc.There are many different street types with different scale buildings and
different automobile and pedestrian functions. In short, a one design solution is inadequate for
planning for the diverse conditions of our city.
It is understandable that law enforcement is concerned with "natural surveillance" concepts for
keeping intruders under observation. In support of law enforcement,it is important to continue
their outstanding outreach and education initiatives.A one-page handout placed in City Hall next to
the approved tree list, and briefing those interested in the highlights of this program would seem
appropriate, not legislating a confusing design policy that the City would be hard pressed to
implement.
Respectfully,
Alan Nicholson
�+�itachm�a►�t # 2
March 5, 2016
T0: The Design Review Board
FROM: Pinky Kushner
RE:
Crime Prevention Through Environmental Design, a document for consideration of
approval by the Design Review Board
COMMENTS:
The source for this document is Virginia Beach,which is described in Wikipedia---
"Virginia Beach is an independent city/ocated in the U.S. state of Virginia. As of
the 2010 census, the population was 437,994.�3J In 2013, the population was estimated
to be 448,479.(4]Although mostly suburban in character, it is the most populous city in
Virginia, having grown larger than the more urban neighboring city of Norfolk, and is the
39th most populous city in the United States."
There is a huge difference between Ukiah, California 'Gateway to the Redwoods' and
Virginia Beach. Recommendations for Virginia Beach,VA, a beach community and a
big weekend party destination, are antithetical to the small community of
Ukiah. Safety in a community like Ukiah is best improved by knowing and
interacting with one's neighbors and police force.
Particularly revealing in the document are the illustrations, featuring a car, in front
of a house or a school, and no people at all. Many people walk in Ukiah and leave
their cars at home. If one were walking along a street, for instance, any street, my
street in Ukiah, Oak St., I know that the best protection I have from crime is knowing
and befriending my neighbors. Moreover, Ukiah's new community out-reach efforts
by the Police Department into the neighborhoods encourage interactions with the
Police and, importantly,neighbor to neighbor. This is the sort of'crime prevention'
tactic that works here in Ukiah.
Some specific points for discussion:
1. The document does not take into account the weather in Ukiah, the mild winters
and the very hot summers. Without vegetation, especially trees near the sidewalk,
the neighborhoods become sterile, unpleasant routes for walking, biking, and
getting to know your neighbors.
2.The document also does not take into account the proximity of nature to even the
center of town in Ukiah. We have all seen bluebirds on School Street. What
provisions does the document have to accommodate birds and bugs (for instance,
butterflies)?
3. Especially disturbing is the section in the document on lighting. Lighting for
security is a double-edged sword. Lights can be blinding at night and decrease
visibility---think about a car with bright headlights on, moving toward you. Or think
about walking on a dim street and suddenly having a motion-sensitive bright
'security light' go on. In that situation, one's eyes have accommodated to the night
and then suddenly are blinded, and one cannot see for some time/distance
afterwards.
Night lighting that is not downward shielded removes the possibility of seeing stars
at night. Disrupting circadian rhythms with night lighting increases the incidence of
diseases such as cancer.
Ukiah is presently having a real night-lighting problem. The newly opened rail trail
is lighted by lights that are downward directed but not sidewise shielded. These
new lights, presumably expensive ones,send out blinding lateral light scatter at
night to users of the trail. A big mistake. Moreover, I know of one new LED light
that was installed on Todd Road near Todd Grove Park,that caused such problems
that the home-owner was blinded with such lateral light scatter that she could not
see her front stairs, even with her own porch light on. To modify the problem, it
took two city workers to shield and re-direct the new light so that it was acceptable.
Even now, however, the light is still dangerously bright.
Outdoor lighting should be downward shielded and laterally restricted. For more
on the topic of lighting,see http://www.flagstaffdarkskies.org. The Planning
Department has been very careful to demand fully shielded lighting on new
construction. The Electric Department has yet to accept fully shielded lighting as
beneficial to community safety.
In summary, crime-prevention is worthwhile. Moving forward with crime
prevention only as the goal is not appropriate and can cause other problems. For
the most part, crime comes from people at the bottom of our community. These
needy persons need to be helped,but not by making the Ukiah community look like
a prison yard.
Sincerely,
Pinky Kushner
504 N. Oak St.
Ukiah, CA
510 459-8289
�:����hm::nt � ��.
Nanc Sa er
From: Lynda Myers <Imyers@pacific.net>
Sent: Thursday, February 04, 2016 8:46 AM
To: Nancy Sawyer
Subject: Business Watch - interest @168 Washington Ave.
Dear Officer Sawyer,
I would like to thank you for your advice about trimming back some of the bushes, and other changes, at 168
Washington Ave.to discourage vandalism,theft, and trash left by transients. Since the bushes were trimmed, and the
other changes made,we have had no more evidence of transients sleeping in the area, no more thefts, and less trash
thrown on the property. The trash we still have seems to be tossed by people walking by, and we would like any
additional advice you have for us on that issue.
I saw information about a Business Watch program on the Ukiah Police Dept.website, after reading Chief Dewey's
article in yesterday's Ukiah newspaper.While I am the owner of the building at 168 Washington Ave., I do not have a
business there. I have six tenants, and I would like each of them to receive information about the Business Watch
program, if you think that is appropriate.The tenants do look out for each other now,to some extent, but the varying
work hours keep some of them from seeing each other on a regular basis. For example,one tenant only works in the
evenings (she is a marriage and family counselor, who also has a day job), and one tenant, an artist, often works on
weekends.
Another reason I would like to encourage them to join the Business Watch, is to partner with other businesses in the
area. If it is possible, I would also be interested in partnering with the owner(s) of the apartments across the street, as
well as the owner(s) of the empty lot and the abandoned building and home rental just East of my property, as well as
other business owners in the area,to work on ways to keep our sites cleaner, more attractive, and safer. If possible, I
would like to include the residents of the homes North of my property in the discussion, as well, since I can see that they
also deal with graffiti and trash.
Thank you for your help and guidance.
Sincerely,
Lynda Myers
Imyers@pacific.net
(707)462-7192
1
/�i`#cs�hm��t �� �
• Keep as little cash as possible in the ATM and remove the cash when the business is unattended.
• Do the following if the ATM is located outside the business: use a bolt-down kit in addition to ground bolts,
keep the sunounding area well lighted at night, install firmly-cemented bollards around the ATM to prevent a
vehicle from hitting it,and install a motion-activated alanns and cameras.
SMALL RETAIL BUSINESS SECURITY SURVEY ASSESSMENT FORM
Business name
Owner's or manager's name,phone number,and e-mail address
Address
Check items that need attention and suggest corrective measures in the space below or on a separate page.
1.DOORS 7.PROPERTY CONDITION
a. Single entry doors a.Address numbers at least 12-in.high and visible
_b. Double entry doors from the street and alley
_c. Deadbolt locks _b.No graffiti,trash,junk,etc.
_d. Hardware(sensors,locks, latch guards,etc.) c.Outside refuse and recyclable material containers,
_e. Visibility(doors clear of signs) dumpsters,and container enclosures locked
mm f.Height marks next to egress doors _d. Properiy defined by fences and walls
_g. Bollards e. Secure gates
_f. Secure outdoor storage
2.WINDOWS AND OTHER OPENINGS
a. Locking means(primary and secondary) 8.SECURITY MEASURES
_b.Glass strength a. Entry and exit control
_c. Visibility(panes clear of signs) _b. Burglar and panic alarms
T d.Other openings and roof access secured _c. Watch dogs
T e.No access through common walls and attic _d. Security personnel
e. Employee badges
3.LIGHTING f. Cameras
a. Exterior _g. Mirrors and office windows
_b. Interior h. Secure office equipment
i. Security gates and shutters for windows and doors
4. UTILITIES _j. Property identification and inventory
a. Electric power k. Company vehicle parking
_b.Telephone lines _l. Key control
_m.Cash handling and control
5.LANDSCAPING ' n. Safes
a. Bushes trimmed to less than 3 ft. _o.Letter of Agency
_b. Tree canopies trimmed to at least 8 ft. _p. Cashier protection
_c.Not blocking lights or cameras _q.Drive-through windows
_d. Backflow preventers _r. Back-and side-door peepholes or cameras
e.Decorative rocks s.ATM installation
6.SIGNS
a.No loitering or trespassing
_b. Towing unauthorized vehicles
_c.Alcoholic beverage sales
_d.Code of conduct
e. Surveillance camera warning
_f. Minimal cash and employee safe access
_g.No hats,hoods, or sunglasses
_h.No scavenging
15
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N
��ty � u�iah City of Ukiah, CA
Design Review Board
1
2 MINUTES
3
4 Regular Meeting March 17, 2016
5
6 Ukiah Civic Center, 300 Seminary Avenue
7 1. CALL TO ORDER: Chair Liden called the Design Review Board meeting to order at
8 3:06 p.m. in Conference Room #5.
9
10 2. ROLL CALL Present: Member Nicholson, Hawkes, Morrow,
11 Chair Liden
12
13 Absent: Member Thayer
14
15 Staff Present: Michelle Johnson, Assistant Planner
16 Cathy Elawadly, Recording Secretary
17
18 Others present:
19
20 3. CORRESPONDENCE:
21
22 4. APPROVAL OF MINUTES: The minutes from the February 25, 2016 meeting will be
23 available for review and approval.
24
25 The DRB approved the February 25, 2016 meeting minutes, as submitted. Motion carried (4-0).
26
27 5. AUDIENCE COMMENTS ON NON-AGENDA ITEMS
28
29 The DRB is required by the City Code to review and make a recommendation on all Site
30 Development Permit applications.
31
32 6. NEW BUSINESS:
33 6A. Ellie's Mutt Hutt 732 South State Street, (File No.: 1610 SDP-ZA): Review and
34 recommendation to Zoning Administrator for a Minor Site Development Permit for the
35 addition of a 448 square foot accessory building on the north west property line located at
36 732 South State Street, APN 003-031-41.
37
38 Assistant Planner Johnson:
39 ■ Gave a staff report.
40 • Noted the siding will be hardi plank, the color for the building will be Pebblestone Clay to
41 match the color of the existing building and the roof shingles will be Pewter Gray.
42 ■ The existing shed on the site will be removed. Has no knowledge about the plans for
43 use of the concrete slab that will remain after the shed is removed.
44 ■ Attachment 3 represents the site map/plan for the project (Sheet C-1, A-1 and A-2) for
45 discussion purposes.
46 ■ Since landscaping is a requirement for the Site Development Permit asked if the DRB is
47 okay with only the addition of one tree or is there a desire for more landscaping.
48 ■ The outdoor dining project approved last year is not going to happen so whatever
49 landscaping was approved for this project is not a part of the new project.
50
51 DRB:
Design Review Board March 17, 2016
Page 1
1 • Is pleased to see the Mutt Hut is proposing the addition of a 448 sq. ft. accessory building
2 for use as office space, storage space for dry/bulk supplies, a new walk-in refrigerator
3 and two new public restrooms.
4 • Made the following comments:
5
6 Roof(shingles):
7 ■ The site plans (A-2) indicate the roof would be a `wood shake' to match the
8 existing restaurant building.
9 ■ Not sure whether `shake roofs' are allowed anymore. It may be wood shakes are
10 specially treated for fire proofing reasons or imitation made.
11 ■ Would like to see a shake roof or the equivalent provided it does not look like
12 fake wood shakes in place of the Pewter Gray fiberglass shingles shown in
13 attachment 1 of the staff report.
14 ■ The roofing material needs to be `appropriate' and comparable to the existing
15 roof for the restaurant.
16 ■ Preference is a wood shake roof as per plan to match the existing structure
17 unless unfeasible to do.
18 ■ If it is determined a wood shake roof is unfeasible, is fine with allowing the
19 Planning Director to make a decision about the roof type based on the DRB's
20 roofing preference.
21
22 Electric Panel:
23 ■ Relocate the electric panel to the north side of the building where it is not visible
24 to the public and supports a recessed flush located on the north side for the
25 panel or the panel put into its own alcove. The corresponding electrical pipe need
26 not be exposed. The conduit to weatherhead should be located behind the siding
27 and/or hidden in the wall.
28 ■ Asked about the location where the City electric wires come into the existing
29 building and where the wiring will come into the accessory building. According to
30 sheet A-1 it appears the power is coming in from the north side of property.
31 Overhead wires do run along State Street and there is a power pole right
32 between Beverly's Fabric and the Mutt Hut so it is likely power will be coming
33 from the north portion of the property. Having the electric panel on the north side
34 of building is perfect particularly if the power comes from the north because all
35 corresponding electric facilities will be out of sight.
36
37 Landscapina
38 ■ While one new Chinese Pistache Tree is proposed to the Freitas Street planter
39 on the south west portion of the property would like to see more trees, if feasible.
40 ■ Do the City parking lot shade requirements apply to the proposed project?
41 ■ Would like to see more street trees on the State Street frontage. Is of the opinion
42 this area is barren.
43 ■ Discussed areas where more trees could be added. It is possible to add two
44 Chinese Pistache trees in the planter area on the west side of the property.
45 Chinese Pistache trees do not have a big root system so they make good street
46 trees.
47 ■ It might be nice to have a planter in and around the slab area after the shed is
48 removed.
49
50 Assistant Planner Johnson:
51 • Even though the proposed project involves an existing parking lot based on how the UMC
52 is written, it must meet the 50% shade coverage requirement. Due to the small size of the
53 parcel and/or other constraints compliance with the landscaping shade coverage
54 requirement is not possible without removing parking spaces which make the project non-
55 complaint with the parking requirements. However, there are opportunities to add to the
Design Review Board March 17, 2016
Page 2
1 landscaping. The DRB can determine whether or not it is fair and reasonable to ask the
2 applicant to provide for more landscaping, i.e., by planting more trees and taking out the
3 existing Junipers, for instance.
4 • Planting more trees along the State Street frontage may be problematic as it was when
5 consideration was giving to the Outdoor Dining project, but there is an opportunity to add
6 more trees in the back parking lot where the outdoor eating area is located and this would
7 require removal of some Juniper.
8 • A large Redwood tree does exist in the area where the shed is presently located so it
9 may not be a good idea to add another tree in this location.
10 • It may be the garage/recycling may go in the same location where the shed is now. The
11 applicanUowner will have to find a suitable location for the trash/recycling and have a
12 plan in this regard. Understands trash/recycling facilities now require the enclosure be
13 covered, but will confirm whether or not this new regulation pertains to dumpsters and not
14 to trash/recycling containers.
15 • Will talk to the applicant about the location for the trash/recycling bins/containers because
16 it appears the plans do not specify a location.
17
18 Chair Liden:
19 • It may be the existing shed should not be removed and used as an enclosure for
20 trash/recycling.
21
22 Member Nicholson:
23 • Every street curb in Ukiah is lined up with trash/recycling containers when it is that
24 particular street's day for trash/recycling pick-up and finds this condition not to be
25 aesthetically pleasing.
26 • Related to potential increasing the landscaping features, the applicant does not
27 necessarily have to put in more Chinese Pistache trees in the planter area located on the
28 property line to the west. They could be of different species. This would be a matter for
29 Member Thayer to make this recommendation concerning appropriate selection of
30 landscaping species/trees.
31
32 Landscapinq
33 ■ It may not be a good idea to plant another tree in the same area where the large
34 Redwood tree exists that is located near the existing shed because it would likely
35 be too shady for a tree to grow.
36 ■ There was more discussion concerning changes to the landscaping that will
37 include: 1) removal of the Juniper bushes; 2) Add two new trees and
38 groundcover/vegetative landscaping in the existing planter on the property line to
39 the west; 3) Provide for live groundcover/landscaping species in the existing
40 planter next to the entrance to the parking lot on Freitas Street; 4) Add one new
41 tree and live groundcover/landscaping in the existing planter on State Street.
42 ■ Requested staff ask Member Thayer utilize his landscaping expertise to work
43 with the applicant regarding the selection of the landscaping species for the
44 different planter areas.
45
46 Shed (trash/aarbaae issue)
47 • There was discussion whether the shed structure should be retained and used
48 for trash/recycling purposes such that with having two buildings next to one
49 another they should be architecturally consistenUcompatible. However, the shed
50 is clearly `a shed' so it may be not so important that it architecturally match the
51 other buildings. The existing shed consists of redwood.
52 ■ Preference would be for the shed to be retained.
53 ■ Does not want to see trash/recycling displayed on the Freitas Street side of the
54 building. It is visually an eyesore.
55
Design Review Board March 17, 2016
Page 3
1 Member Morrow referenced the site plans (Sheet C-1) and noted it appears the slab from the
2 shed proposed for removal will be used to store trash/recycling bins. This area will be fenced with
3 a gate.
4
5 The DRB is fine with the aforementioned location for storage of trash/recycling and noted this
6 would be a significant improvement from what typically occurs where the Mutt Hut displays
7 trash/recycling on the Freitas Street side of the building.
8
9 Member Nicholson:
10 • It is not acceptable to put trash out on the sidewalk. It should be a project condition not to
11 allow trash on a sidewalk.
12
13 Assistant Planner Johnson:
14 • The project is a site development permit and not a use permit where the project findings
15 differ. However, this may be the opportunity to enforce the situation of not allowing trash
16 on the sidewalk as a public nuisance and will look into the matter. The proposed project
17 is an opportunity to get the trash/recycling off the sidewalk on Freitas Street and stored in
18 the fenced area where the shed is currently located.
19
20 The DRB discussed the fencing material type appropriate for the trash enclosure area. The
21 material should likely match the siding on the new annex building or at least be architecturally
22 compatible. It may be the fence should consist of cedar board rather than hardi board like the
23 siding on the annex building. The fence should be painted/stained to be compatible with the color
24 of the new annex building.
25
26 Assistant Planner Johnson will check to see if the trash/recycling area requires a roof.
27
28 Noise
29 ■ Discussed the issue of potential noise impacts from the refrigerator compressor.
30 • Noted a lot of noise is generated from traffic on State Street so noise coming
31 from the compressor would not likely be an issue. It is doubtful the compressor
32 would make that much noise.
33 ■ It was noted the compressor would be mounted on the roof behind a parapet wall
34 so it unlikely noise would be an issue.
35
36 The DRB further discussed the electrical panel location and access for reading of the electrical
37 meters and noted this will be visually seen from Beverly Fabrics.
38
39 Miscellaneous
40 ■ Maintain a five-foot free zone for ADA access per City code.
41
42 Chair Liden referenced attachment 2 of the staff report (City of Ukiah — Commercial
43 Development Design Guidelines Project Review Checklist) and it does not appear the project is
44 out of context with this document.
45
46 M/S Nicholson/Morrow the DRB highly recommends the Zoning Administrator approve Ellie's
47 Mutt Hut site development permit to allow an accessory building based on 1) landscaping
48 changes as discussed above that will include the addition of 3 new trees in addition to the
49 proposed Chinese Pistache tree, one of which is to be located on Freitas Street and State Street
50 and two additional trees in the existing planter area on the property line to the west. The applicant
51 will consult with Member Thayer, the DRB landscape expert, on appropriate plant materials. In
52 addition to the trees recommends low shrubbery, plants or groundcover appropriate to the
53 existing mirco-environment; 2) related to the annex building recommends wood shakes to match
54 the existing shakes on the restaurant building as per plans from Bob Axt, Architect; 3) Related to
55 the new annex building recommends moving the electrical panel to the north side of the building
Design Review Board March 17, 2016
Page 4
1 and set flush with riser pipe to weatherhead enclosed in wall; 4) Maintain per City code a five-foot
2 free zone for ADA access; 5) recommends the fencing for the storage area be per the plan and
3 of a compatible color with the new annex building; 6) approval of the project is conditioned on
4 removal of any trash/recycling on Freitas Street. Motion carried (4-0).
5
6 7. MATTERS FROM THE BOARD:
7 Member Hawkes:
8 • Would like the DRB to discuss Member Thayer absences from meetings. His presence
9 and professional landscaping expertise is crucial with helping to shape projects into an
10 architecturally pleasing product.
11
12 Chair Liden will contact Member Thayer about his absences from meetings and his future intent
13 with serving on the board.
14
15 Chair Liden:
16 • The agenda document should contain the term, `Agenda.'
17 • Would like staff to make certain the DRB is properly noticed of an upcoming meeting to
18 ensure attendance.
19
20 8. MATTERS FROM STAFF:
21 There was a brief discussion about the proposed zoning ordinance change regarding the 50%
22 shade coverage for parking lots in 15 years and the problem with projects having existing parking
23 lots being able to meet the 50% shade coverage standard in which exceptions are typically
24 requested. The question in this regard is whether we should continue to allow exceptions or
25 formulate new standards for projects with existing parking lots. As it is now, projects with parking
26 lots cannot meet the landscaping standards and typically seek relief. This gives staff the
27 opportunity to change the landscaping and possibly ask for more landscaping that allows for a
28 nice finished product.
29
30 9. SET NEXT MEETING
31 The next regular meeting is April 14, 2016.
32
33 10. ADJOURNMENT
34 The meeting adjourned at 4:38 p.m.
35
36
37 Cathy Elawadly, Recording Secretary
38
39
40
41
42
43
44
45
46
47
48
49
50
Design Review Board March 17, 2016
Page 5
ITEM NO. 6A
Community Development and Planning Department
G��ty Of u�c�i 300 Seminary Avenue
Ukiah, CA 95482
planninq(a�citvofukiah.com
(707)463-6203
DATE: June 2, 2016
TO: Design Review Board
FROM: Kevin Thompson, Principal Planner
SUBJECT: Request for Review and Comment on proposed Public Art Policy
BACKGROUND:
Attached is a proposed Public Art Policy that has been request by the City Council. The policy
lays out a procedure for artists seeking to place artwork on public property throughout the City.
The process requires the DRB to review and make a recommendation to the Planning
Commission prior to final approval. We are seeking DRB comments on the policy. Staff
suggests the DRB review the draft policy and provide comments or suggestions. The next step
includes presentations to the Planning Commission and then City Council for adoption.
Attachment: Draft Public Art Policy
1 City of Ukiah
2 Public Art Policy
3
4 I. Purpose
5
6 Public art creates a unique sense of place and communicates a strong civic identity for the City
7 of Ukiah ("City"). The City endorses the placement of artwork in Public Places and recognizes
8 that art provides cultural and economic benefits for residents and visito erefore, it is
9 important that procedures and policies be established and impleme to courage and
10 facilitate the acquisition of Public Art.
11
12 The purpose of the Public Art Policy ("Policy") is to provide ui es fo 'c
13 Artwork, including:
14
15 1. Review Criteria for Proposed Artwork
16 2. Site Selection Criteria
17 3. Artistic Freedom of Expression and Non-Discri on
18 4. Collection Maintenance
19
20 Proposals for public artwork will be revie b sign Revi oard. A recommendation
21 will be forwarded to the Planning Commiss for f'
22
23 II. Definitions
24
25 Artist
26 1. One who work ' s ' ptually creates in any area of the fine arts,
27 such ainting, g, sculptu , etc., including mixed-media.
28 2. I artist y person who, by virtue of professional training, exhibition,
29 istory an itical r is recognized by critics and peers as skilled in creating
30 orks of art.
31 3. rson who h reputation of artistic excellence, as judged by peers, through a
32 r of exhibi s, public commissions, sale of works, educational attainment, or
33 othe ns.
34 4. A perso a working professional making the majority of their income from
35 creating orks.
36 5. An educator who teaches studio art classes.
37
38 Art/Artwork
39 Any artwork that is intended to enrich the public environment for both City residents and
40 visitors. Artwork shall include, but not be limited to, sculptures, murals, paintings, graphic arts,
41 mosaics, photography, crafts, mixed media and environmental works.
42
1
1 Donor/Donate
2 The terms "donor", "donate" and all derivations thereof(e.g. donation, donated, etc.) shall
3 refer to the act of, and/or person responsible for, submitting proposal(s) for placement of
4 Public Artwork in a Public Place, pursuant to this Policy and includes any form of proposal,
5 including without limitation a proposed sale, lease, loan, license, gift, bequest, assignment or
6 consignment, or as may otherwise be applicable for a given proposal.
7
8 Public Art/Artwork
9 1. Artwork created by an Artist, Artists, and/or a collaboration o ' ts and design
10 professionals, for a Public Place for the public to experien or fo a public purpose.
11 2. Art that is designed specifically for a public context or p ich, through a public
12 process, influences that context or place in a meani I wa
13 3. Artwork that is publicly visible and accessible dur' lar op g hours of the
14 City.
15
16 Public Place
17 Any structure or open space that is visible or accessib m ' right of way, such as a
18 sidewalk, streetscape, plaza, park, building, bridge, wate parking garage, or sports and
19 recreational facility. This Policy shall gov Artwork and/o ic Artwork in the following
20 Public Places:
21 1. City-owned park
22 2. City-owned open space or public ht of
23 3. City-owned pathway or trail syste
24 4. City-owned buil '
25 5. City owned p els
26
27 III. Review of Offers commendations to City Council
28
29 1. Docum ffers o "c Artwork
30
31 Wri ers to place rk in ublic Place shall be made to the Planning Department and
32 forwarde he appropr City department for review and comment, and to the appropriate
33 commission or organi ion.
34
35 a. Drawin os or written descriptions of the Artwork(s) to be placed (including
36 size, colo , weight, materials and any information to establish that the Artwork has
37 the requisite physical integrity to withstand public display and exposure to the
38 natural elements);
39 b. A written description of the background/historical information associated with any
40 art item, including but not limited to information about the creation of the Artwork(s)
41 and the artist (if applicable) who created it;
42 c. Artist biography;
43 d. A warrant of originality (if applicable);
2
1 e. The estimated value of each Artwork (including appraisals of the Artwork(s) if
2 available);
3 f. The anticipated date for the placement to occur and the length of time proposed for
4 public display;
5 g. A site plan indicating the location of the location of the proposed Artwork.
6 h. The anticipated life of displaying the Artwork(s) in a Public Place;
7 i. Environmental effects of the Artwork(s);
8 j. Proposed site and method of display (including any necessary hardscaping,
9 landscaping, buildings, utilities, security devices, anchoring o r information
10 necessary to insure public safety);
11 k. Signage proposed for the Artwork, including size, letter' material. Signage shall
12 be limited to the artist's name, title, and date of wo nd, appropriate, a
13 dedication with the name of the donor or lender
14 I. Estimates of the costs of installing the Artwork u lic display, ding but not
15 limited to: physical anchoring of structures public display, retrofi ' ing
16 buildings or improvements, landscapin ing, se 'ty and mainte ce, and
17 whether the City or donor will pay for such
18
19 A failure to provide the information outli above may re the City rejecting the offer to
20 place Artwork in a Public Place as insuffi cumented t t City staff time to
21 evaluate the offer.
22
23 All information provided is a public record a e ava for review at the Planning
24 Department during regula hours.
25
26 2. Process for Revie propri Commissi d Planning Commission
27
28 Before making a recomme to the ing Commission, the Design Review Board will
29 consider, t r Artw ection, Artwork location and site selection(s), and
30 docume ion for ent of .
31
32 Then th ning Comm n must complete a review and approval for the Artwork proposal.
33
34 The following ia sha e used by the Appropriate Commissions and Planning Commission
35 when considerin ction of Artwork for installation in Public Places:
36
37 a. Qualifications—Artists shall be selected based on their qualifications as demonstrated
38 by past work, and the appropriateness of their concepts to the particular project.
39 b. Quality—Of highest priority are the design capabilities of the Artist and the inherent
40 quality of the Artwork.
41 c. Artistic Value—Public Artwork shall have a recognized aesthetic value.
42 d. Media—All forms of visual arts should be considered.
43 e. Appropriateness to Site—Artwork designs shall be appropriate in scale, material, form
44 and content to their immediate social and physical environments.
3
1 f. Size and Weight for Outdoor Artwork—Public Artwork located in an outdoor Public
2 Place shall be of appropriate and suitable weight to sustain interaction with the
3 public.
4 g. Size and Weight for Indoor Artwork—Public Artwork located in an indoor Public Place
5 shall not interfere with any activities the public would normally use in the public
6 facility.
7 h. Appropriateness to City's Public Art Purpose—Artworks should address a
8 commitment to enhancing Public Places, creating a sense of place and giving
9 character to neighborhoods.
10 i. Permanence—Consideration shall be given to structural an rfa integrity,
11 permanence and protection of the proposed artwork a heft, vandalism,
12 weather, and excessive maintenance and repair cos
13 j. Public Liability—Safety conditions or factors that r on p iability must be
14 considered in selecting an Artist or Public Art
15 k. Diversity—Public Artwork shall strive for di ity of style, scale, me rtists,
16 including ethnicity and gender of Artists ted.
17 I. Communication—The ability of the Public A to ively communicate should
18 be taken into consideration.
19 m. Maintenance—Consideration II be given to t e and scope of maintenance
20 necessary to preserve the Pub rk in a Public
21
22 3. Artwork Location and Site Selection
23
24 Artwork shall be located i Place app riate for ch a purpose. Installation of the
25 Artwork shall be plann nd im ented to ance the work and allow for unobstructed
26 public viewing from y point f view as p e. The responsibility and method of
27 installation shall be desc in f Understanding ("MOU") between the City
28 and the donor and/or artis . ntial o on of growing trees, vegetation, shrubbery or
29 future cons II be ta ' to account.
30
31 Whe cting Artwor Public ces, the Design Review Board and Planning Commission
32 and res ' le departm s) shall consider:
33
34 a. Inst n—Th rtwork shall be able to be properly installed in a Public Place where
35 it can by the public in a safe manner.
36 b. Location e Artwork shall be compatible with the design and location of the Public
37 Place. The Artwork shall also be compatible with the historical character of the site,
38 as well as the preservation and integration of the natural features of the Artwork.
39 c. Site Infrastructure—The Artwork shall be compatible with the site infrastructure
40 including, but not limited to, landscaping, drainage, grading, lighting and seating.
41 d. Impacts—The Artwork shall be compatible with adjacent property owners' views and
42 uses of their property and City operations. Consideration shall be given to noise,
43 sounds and light created by the Artwork.
44 e. Accessibility—The Artwork shall comply with Americans with Disabilities Act (ADA)
4
1 requirements in addition to related federal, state and local codes.
2
3 IV. Artistic Freedom of Expression
4
5 The City recognizes that free expression is crucial to making of works of Artwork of enduring
6 quality. At the same time, Artwork must be responsible to its immediate site in community
7 settings, relatively permanent in nature and funding sources. It is the policy of the City to
8 encourage free expression by artists consistent with due consideration of he value, aspirations
9 and goods of the City.
10
11 V. Non-Discrimination
12
13 The City recognizes that cultural and ethnic diversity is es ' I progra nsored by the
14 City, and seeks to be inclusive in all aspects.The City ' ot scriminate agai rtist or
15 donor based on race, gender, ethnicity, age, socio- omic c s, religion, sexu ientation,
16 abilities and politics, among other qualities.
17
18 VI. Compliance with Laws
19
20 The City reserves the right to require that c Artwork i Public Place comply with
21 all applicable laws and ordinates of City of 'ah, C n t e United States of America.
22
23 Vll. lndemnificatio
24 The City has no obligati acce or intain any offer to place Artwork in a Public
25 Place. The City has the rig erm sole and absolute discretion, what Artwork(s)
26 offered to it ' displa e accepted, displayed, or maintained by the City. If the City
27 elects to pt, nd/or ' Artwork, it may require the following information as
28 condi ' s of acceptan
29 1. document n indemnifying and holding the City harmless to any liability as it
30 relate e Artwor including documentation that the City will not be held liable to any
31 damage i d t e Artwork;
32 2. Written exp ation of legal issues, including but not limited to identifying the current
33 legal owner of the items, the existence of any copyrights, patents or other title rights in or
34 to the Artwork(s), such as any interests to remain with the artist or designer of the
35 Artwork(s), and an explanation of conditions or limitations on the item(s) and whether the
36 City or the donor will pay for such costs;
37 3. Any additional information the City deems necessary or appropriate to analyze the
38 offer.
5
1 VIII. Temporary Art
2 The City of Ukiah believes that the historic architecture found in Downtown Ukiah is art in and
3 of itself and should be respected as such. The same can be said of the surrounding context
4 including streetscape, parks, and other supporting features of the District. A cohesive whole has
5 been created that supports economic development, tourism, and cultural activities.
6
7 Because the historic resources and any temporary Public Art must share the same landscape,
8 the addition of the new must be harmonious with the old. Siting of te ary Public Artworks
9 must respect the historic setting with no tendency to overwhelm or o ive. It also cannot
10 cause physical damage to historic resources or other supporting f s of the Downtown.
11
12 The City encourages the development of context-sensitiv orary 'c Art installations
13 within the Downtown. Because the appearance of su a ations ca e a significant
14 impact on the Downtown's setting, the City has de oped guidelines to a licants in
15 proposing installations that complement the Dow 's sett'
16
17 1. Application
18 • An application must first be submitte to the appropri mmission for review and
19 approval prior to being undertaken. above.) Pro f temporary Public Art
20 within the Downtown shall be consid me mann other Public Art proposals.
21 • Applications will include a proposed ex ition 'nclu ing location(s), installation
22 and removal dates, design and installati I main ce plan, and removal plan.
23
24 2. Duration
25 • Temporary instal s are d ed by an ition period of less than twelve months.
26 Considerations for al a imum of three additional months will be
27 considered based upon p an ance.
28
29 3. Locat'
30 • I ations canno cure a ectural features, nor detract from the existing historic,
31 arc ral, and de context of the site and surrounding area. The installation must
32 respec istoric se g and have no tendency to overwhelm or be obtrusive.
33 • Installatio ould b laced in a site where they will enhance their surroundings or at
34 least not det hem. They should not be placed in a given site if the landscaping and
35 maintenance re ements of that site cannot be met with reasonable accommodations.
36 • Installations can ot damage existing surfaces. No direct painting of fences, walls, and other
37 surfaces will be allowed. Method of installation and attachment must be temporary, non-
38 intrusive and approved as part of the installation plan. All surfaces must be restored to their
39 previous state upon removal of artwork.
40
41 4. Design and Installation Plan
42 • A graphic representation of the proposed format and installation is required. Acceptable
43 forms might include photographic images of existing work to be installed, computer-
6
1 generated simulations, line drawings, color renderings, or other means of graphic
2 representation of the proposed installation that adequately conveys the nature of the
3 artist's proposal.
4 • A narrative description of the proposed format and installation, including discussion of
5 materials to be used and methods of construction and installation, must also accompany
6 the graphic representation.
7
8 5. Materials and Signage
9 • The material to be used for fabrication of the work shall be of a typ opriate to the
10 theme or concept of the proposed Artwork and should respect t urr nding natural and
11 building environments. The material shall require low mainte nd shall not include
12 any dangerous surfaces or materials.
13 • Accessories to the Artwork such as mounting hardware n ting s ot distract from
14 the Artwork. In the case of lighting, it must be non-fl nd non-mo nd cannot
15 create glare for passing drivers or pedestrians. All essories shall be dura require
16 low maintenance.
17 • Interpretive signage must be preapproved an co w' signage standards of the
18 appropriate commission or department.
19
20 6. Safety and Security
21 • Installations cannot block windows nor acc and egress from buildings.
22 Normal pedestrian and vehicular acces nnot ' e .
23 • The Artwork and accessories shall not pr attr hazard to the public, or be
24 positioned so as to cre ' d spot" re illegal ctivity might take place.
25 • Installations must ecure manner that they will not create potential hazards to
26 the public or sur ' g prop y.
27
28 7. Maintenance
29 • The ins II be k good repair for the duration of the exhibition period. Any
30 det ation, 'sm an maintenance issues shall be addressed in a timely
31 r by the Ar nd/or nsoring organization. Failure to properly maintain the
32 inst n will result otification for removal.
33
34 8. Removal
35 • Installations emoved by the approved deadline. The City may consider extending
36 exhibition peri for up to a maximum of three months based upon upkeep and
37 maintenance.
38 • The installation must be completely removed from the site, and all surfaces must be
39 restored to their previous state, upon removal of Artwork.
40
7
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A. Executive Summary G. Public Art Guidelines
I Key Components and Purpose of the Plan 5 Guidelines for Public Art in City-Funded Projects 40
Guidelines for Public Art in Private Development 41
B. I n t r o d u ct i o n Guidelines for Gifts and Loans 42
Guidelines for Deacessioning and Relocating Public Art 43
What the Planning Team Did � Guidelines for Murals 44
What the Planning Team Learned 8
WhatthisPlanlncludes 9 H. Administrative Recommendations
� C. The Big Picture: PublicArt in Santa Rosa ArtinPublicPlacesCommittee 45
Selection Panels 46
Vision 10 Community Engagement 46
IMission 10 Public Art Program Funding and Staffing 48
Creative and Policy Goals 10 Documentation and Communication 49
� Tactical Imperatives 11 Maintenance and Conservation 50
� Trajectories 11 Evaluation 50
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I
D. Public Art Creative Zones 13 I. Roles and Responsibilities
E. Governance Tools citycounci� 51
Director of Recreation and Parks 51
Public Art Master Plan 28 Arts Coordinator 51
Public Art Policy 28 Art in Public Places Committee 52
Development Requirements Related to Public Art 29 Selection Panels 52
Guidelines 29 Developers 53
F. Implementation Processes J. Definitions 54
AnnualWorkPlan 3o qppendix1: OnlineSurvey 56
Public Art Expenditure Plan 30
PublicArtProjectPlan 31 qppendix 2: Intercept Surveys 63
Project Implementation 31
Artist Solicitation and Selection 32 C C 2 d I t5 67
Partnership Projects with Other City Departments 34
Partnership Projects with Non-Profits and Curators 35
Public Art in Private Development 36
Gifts and Loans of Public Art 38
Acquisitions 38
Portable Collection 39
De-acessioning and Relocating Public Art 39
Opposite Page:Dedication for Whole Some by Boback Emad
Santa Rosa Public Art Master Plan 3
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Santa Rosa's hopes for public art and for its arts and culture sector are The key components of the Plan are to:
ambitious. In the early 2000s,the City was busy establishing the policy qdopt a high-level vision that considers how public art can
and funding infrastructure that would allow the Downtown Arts District • �onnect to the City's creative spirit and civic life,and how
to coalesce and flourish. It was hoped that a thriving arts district and public art can project a broader image that Santa Rosa is an
arts and culture sector would enrich the life of the City and be a strong arts destination.
factor in promoting tourism and economic development.
• Focus public art efforts on topics and places—identified
Unfortunately,the economic downturn in 2008 made it difficult for the here as"Creative Zones"—that tie into urgent civic issues
City to advance those ambitions and the City's plans for the arts and and opportunities while allowing for a range of artistic
culture sector were put on hold. In addition,one of the City's key fund- response and community engagement.
ing resources,the Redevelopment Agency,was dissolved in 2011 due to
changes in state law. • Reorganize the Art in Public Places Committee(APPC)
so that it is better structured to fulfill its mandate.The
This Public Art Master Plan represents a first step toward rekindling APPC should consist of at-large members who are chosen
that vision. for their professional expertise in the arts or their insight
It focuses on the Public Art Program,for which some funding and into other aspects of placemaking.
staffing already exists, but the hope is that vital,targeted and • Provide enhanced guidelines that clarify the City's
successful public art initiatives will revive the broader community's expectations for public art in private development and offer
interest in arts and culture policy. developers additional support.
While the long-term hopes for public art in Santa Rosa are expansive, • Work with current allocations of project funds,but seek
this Plan offers a focused strategy for the next few years.Overall, more funds for staffing.
the goal is to put in place an operational framework that can produce • Address limited capacity in program management and
projects that create civic excitement about public art—demonstrating project development primarily by collaborating with local
that public investment in public art,and by extension in arts and culture, arts organizations and curators,occasionally by retaining
has clear public benefit. consultants,and ultimately by increasing City staff time
dedicated to oversight of the Public Art Program.
• Undertake a series of"kick-off"projects,a collection
of temporary works that explore the ideas of"Downtown
Connectivity"described in Creative Zone 1.1.
• Support the Creative Sonoma Arts Action Plan recommen-
dation to create a County-wide Public Art Program.
• Update the Public Art Policy as necessary to implement the
components of this Plan.
• Conduct an evaluation of the Public Art Master Plan
in three years.
Opposite Page:Poppy Wall by Artstart,Prince Memorial Greenway
Santa Rosa Public Art Master Plan 5
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Santa Rosa's Public Art Master Plan is a collaboration of the City of W h at t h e P l a n n i n g T e a m D i d
Santa Rosa, Department of Recreation and Parks,and the Sonoma
County Museum,which is a museum of history and of contemporary art The Master Plan process involved more than a year of exploration and
located in downtown Santa Rosa. conversation about public art in Santa Rosa.
The goals of the Plan,as set out at the beginning of the project,were to: At the outset,the City established an advisory group comprised
Produce a planning document created with broad of inembers of the APPC and others with a commitment to public
• public and civic input to guide the Public Art Program and art and creative placemaking in Santa Rosa.This group met with the
activities in the Downtown Arts District and enhance the p�anning team every two or three months throughout the process to
unique identity of Santa Rosa. review different stages of the work.
• Evaluate and recommend refinements to existing programs The planning team began its work with a"legislative research"phase.
and policies. This involved a scan of the City's public art ordinance and policy;city
planning documents such as the General Plan and recent Specific Area
• Assess available sources of funding. Plans;and plans,studies and Council actions related to arts and culture
• Develop a near-term implementation plan. in Santa Rosa. Later in the process,the team held a telephone meeting
• Outline a long-term and sustainable program to promote with the consultants developing the Creative Sonoma Arts Action Plan,
public art in Santa Rosa. and reviewed the plan after it was completed.
The process was launched in 2012,with funding from a National Endow- The planning team held numerous one-on-one meetings with key City
ment for the Arts Our Town grant and funding from the City of Santa staff,creative leaders and civic leaders,as well as several"roundtables"
Rosa's Public Art Fund.The project was directed by Tara Thompson,the with the artist community and the downtown merchant community—
City's Arts Coordinator,with guidance from Diane Evans,the Sonoma including one afternoon workshop to explore the best options in Santa
County Museum Director.The project was Rosa for"creative placemaking"and"tactical urbanism."The team held
undertaken by a consulting team led by Todd W.Bressi,an urban a"cookies and lemonade"evening in Juilliard Park and invited residents
designer and public art consultant from Philadelphia,Pennsylvania, to talk about the public art there.The team made site visits to various art
in collaboration with Meridith McKinley/Via Partnership,John Bela/ programs and resources throughout the city,took guided"walkabouts,"
Rebar Group,and students from Sonoma State University. and explored parks,creeks and public facilities on its own.
The team conducted a survey online,asking people about their
perceptions of public art already in the city,and about the opportunities
and priorities they saw for new artworks. Because survey respondents
expressed a strong interest in public art in parks,the team followed
up with an intercept survey that took place in various parks.The team
visited Olive and Juilliard Parks,as well as Howarth Park,A Place to
Play, Rincon Valley Park and Southwest Community Park,to ask people
about their attitudes about the art that is already there,or art that might
be added.Altogether,some 450 people participated in these surveys
and interviews.
Finally,during the planning process,City staff of the Public Art Program
organized three public forums with guest speakers who discussed
various aspects of the practice of public art.Consultant Todd W. Bressi
Opposite Page:Artstart Benches,Courthouse Square discussed his work with the Philadelphia Mural Arts Program;Steven
Santa Rosa Public Art Master Plan 7
Huss discussed the Oakland,California, public art • Santa Rosa's arts and civic leadership wants the City's
program;and Rebar Group principal John Bela discussed public art arts and culture scene to be distinctive from the rest of
and tactical urbanism. Each lecture was followed by informal public Sonoma County,and wants to build an arts and culture
discussion. reputation that will attract tourists.
• There is a desire in the community for public art to
What the Planning Team �earned connectatapersonal,experientiallevel—itshould
enrich people's lives and bring a sense of whimsy and
These are the team's key impressions of Santa Rosa that delight to everyday spaces.
influenced the components of the Master Plan: There is also a desire in the community for public art
• Santa Rosa has an expansive vision for the arts,rooted • that is useful—integrated into public spaces in a way
in planning and policy development that was done in that expands the functionality and use of those spaces.
the early 2000s. Unfortunately,as a result • There is a desire,among artists and arts leaders,
of the economic downturn and the dissolution of the for public art to be urgent,part of the broader current of
Santa Rosa Redevelopment Agency, much of the discussion about the future of Santa Rosa.
momentum,and some key tools for supporting arts
and culture activities, has been lost.The Public Art • Funding for staff is an issue.Though there is a full-time
Master Plan is positioned as a key first step to A�s Coordinator,the Coordinator is assigned other
achieving those broader aspirations. duties that take away time from arts administration.
Additional staff resources for those other duties would
• Santa Rosa is located in a region known for its allow for the Coordinator to oversee all aspects of the
sculpture,and has attracted its share of murals. Public Art Program more effectively,including
According to the community-wide online survey that administering multiple projects and tasks.
was conducted for the Plan,those are the art forms
that the community favors most. • Funding for projects is not the most pressing issue
right now.Through its annual funding and reserve.
• Santa Rosa has a unique creative culture. It is distinct the Program has sufficient working capital to take on
from the rest of Sonoma County for art making that is projects that are small but significant and which offer
participatory and temporal,that blurs the boundaries something new to the community.
between artist and audience.and blurs the boundary
between"artist"and"maker."This can best be seen • The APPC has experienced vacant seats and difficulty
in areas like SofA(South A Street arts district),in the achieving a quorum.
work of groups like the Imaginists and in events like the • There is a desire in the community for the public art
Handcar Regatta. that is created by developers to have a stronger impact
• Santa Rosa's creative culture includes a range of on people's experience of the City.
distinctive arts non-profits and public art curators with
whom productive partnerships would be advantageous,
to help drive the Public Art Program's creative output
and to expand its capacity.
8 Santa Rosa Public Art Master Plan
What This Plan Includes directed.
The Public Art Master Plan includes three main components: These priorities are outlined as"Creative Zones"—areas in the city
overall direction of the Public Art Program, projects to and general topics that are a priority for consideration for public art
undertake,and policies and procedures that will support the in the next few years.
City'svisionforpublicart.Thesecomponentsaresummarized policies and Procedures
below and discussed in depth throughout the Plan.
The Plan provides direction for how these ideas can be
VISI O11 implemented. It outlines the policies and procedures that would
The Plan sets forth a new vision for public art in Santa Rosa: support the vision, mission and projects described in this Plan.
These include recommendations for:
Public art will enrich civic life,give voice to Santa Rosa's unique Governance tools,such as the Public Art Master Plan,
creative spirit, and galvanize Santa Rosa's reputation as an arts • the Public Art Policy and the City Code provisions for
destination. "Development Requirements Relating to Public Art."
M I SS 1011 • Implementation tools,such as processes and guide-
lines for Annual Work Plans,public art in private
The Plan describes what the Public Art Program's priorities should development,and gifts and loans.
be.The Public Art Program will catalyze new projects,provide
guidance to projects undertaken by developers and others,and • Administrative topics such as staffing and funding,
continue community outreach and education around public art. the structure of the APPC,selection panels,
documentation and communication,conservation and
Creative and Policy Goals maintenance,andevaluatingthePlan.
The Plan sets out artistic and policy outcomes that the Program • Roles and responsibilities for different entities
should aim for. It should aim for catalyzing public art that reflects involved in the Public Art Program.
creative excellence, matters of civic importance,and Santa Rosa's
unique artistic voice. It should lay the groundwork for discussions
about broader arts and culture policy.
Tactical Imperatives
The Plan sets out tactical strategies that will make the Program
more successful.Activities should be directed by staff.with the
APPC setting priorities.The program should build a broader
network of partnerships with arts and culture organizations,
community groups,business organizations and other city staff.
Projects
The Plan establishes priorities for public art that should be
commissioned in Santa Rosa,and towards which the community's
shared resources(funding and professional expertise)should be
Santa Rosa Public Art Master Plan 9
. � � . . � 1 � . . ' 1 .
Vision Creative and Policy Goals
What impact will public art have in Santa Rosa? What artistic outcomes is the Public Art Program seeking?
Santa Rosa's Public Art Program will enrich civic life,give voice • Seek the highest level of creative excellence.
to Santa Rosa's unique creative spirit,and galvanize Santa Rosa's To achieve creative excellence,the Public Art Program
reputation as an arts destination. should constantly challenge the people that it works with—
artists,curators,cultural organizations and stakeholders. In
M I$$I�n developing its Work Plan each year.the Program can foster
a broad community conversation about the civic goals for
What will the Public Art Program's priorities be? public art. In responding to specific opportunities outlined
• Santa Rosa's Public Art Program will focus on the in the Creative Zones,artists,curators and
following core functions: cultural groups can bring critical thought to their
approach to public practice.
• Catalyze projects that focus on issues and places that are
important to Santa Rosa's civic dialogue. • Connect with issues and places that are key to Santa Rosa's
future.
• Develop projects in collaboration with other public
agencies, non-profit cultural groups and curators. This means that the Public Art Program should commis-
sion projects that are about places and topics that people
• Review projects initiated by developers. recognize as being of civic importance,so that public art
• Review projects,gifts and loans proposed by others can be linked to dialogue about the future of Santa Rosa.
for City property. By focusing on projects like this,the Program can create a
• Review murals that are publicly funded or on City sense of urgency and importance around its work.
property. • Reflect the creative spirit of artists,curators and arts
• Facilitate community participation in the development organizations in Santa Rosa.
of public art Work Plans and projects. This means that public art needs to feel authentic to the
• Stimulate public awareness of and conversation about place,conveyed with a spirit and vision that are generated
public art in general. by the creative forces within the City.
• Organize exhibitions in City facilities. What are the policy outcomes that the program is seeking?
• Manage the existing collection(maintenance, • Galvanize public support for a broader arts and culture
conservation). policy in Santa Rosa and Sonoma County.
Public art contributes to the bigger picture of a vital arts and
culture sector in Santa Rosa.While public art might offer
achievable short-term successes,careful thought should
be given to using these successes to build awareness and
support for broader arts policy in the City.
10 Santa Rosa Public Art Master Plan
Tactical Imperatives Trajectories
What does the Public Art Program have to do in order to achieve What will the Public Art Program do?
these goals? For the next few years,the Public Art Program should focus on
• Demonstrate to the general public that public art can have a implementing projects that explore the"Creative Zones"articulated
visible and immediate impact on the cityscape. elsewhere in this Plan.To accomplish those projects,the Program
• Increase the capacity of staff assigned to the Program to should develop the capacity to:
manage day-to-day activities. • Develop Annual Work Plans that focus on implementing
• Ensure the APPC sets priorities and provides general public art within the Creative Zones.
direction for the Public Art Program. • Develop projects on its own, in partnership with other City
• Build stronger partnerships with City departments, departments and with arts non-profits and curators.
neighborhood groups and community organizations • Provide oversight for public art in private development.
wishing to participate in public art projects, developers who
have public art requirements,Santa Rosa arts
organizations and economic development, business and
tourism organizations.
• Build support for increased resources.
Santa Rosa Public Art Master Plan 11
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The Santa Rosa Public Art Master Plan establishes priorities for public In addition,each Creative Zone is manageable enough that significant
art that should be commissioned in Santa Rosa,and towards which the progress could be made in the course of a year of project development
community's shared resources(funding and professional expertise) and programming,or by adding projects one-by-one over time.After
should be directed. several years of implementing a series of Creative Zones,Santa Rosa
will have created a collection of artworks that is diverse and engaging,
These priorities are outlined as"Creative Zones"—areas in the city and and at the same time focused, distinctive and impactful.
general topics that should be a priority for consideration for
public art in the next few years. Each year, in establishing the Annual Work Plan for the Public
These"Creative Zones"have evolved from many community discus- Art Program,the Arts Coordinator and the APPC should review the
sions about the kinds of public art projects that would complement Creative Zones outlined in this Plan and determine which should be
the focus of the next year's activities,considering,among other things,
Santa Rosa,as well as an assessment of what locations and strategies p�anning,development and infrastructure projects being undertaken
would have the most impact,and how the artistic resources in the City in the City.
could best be involved in projects.As a group.Creative Zones offer a
strategy for making choices and establishing realistic goals.Creative Based on that,the Arts Coordinator and the APPC should develop
Zones can help to harness diverse ideas and energy into coherent Project Plans that outline the details of each project. Depending on
groups of projects that can become more than the sum of their parts the nature of the Creative Zone,the Public Art Program can involve
in the public's imagination.Creative Zones provide both focus and potential partners,stakeholders and the broader community in the
flexibility. initial conversations that lead to the crafting of the Project Plan.
Individually,each Creative Zone is open-ended enough to allow for
a variety projects to emerge over time.This provides flexibility for
creative invention and collaborations among organizations,allows
for work in various media,and enables the creative community to be
responsive to opportunities that arise.
Opposite Page:Breaking Through by Artstart,Prince Memorial Greenway
Santa Rosa Public Art Master Plan 13
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Downtown Santa Rosa and the Downtown Arts District are vital hubs of Though Santa Rosa's downtown streetscapes generally offer pleasant
retail and business activity,and they have a growing cultural presence pedestrian environments,connectivity is an issue. Downtown is large,
as well.The City's long-term downtown plan calls for strengthening the with several sub-districts,and is bisected by the Santa Rosa Plaza
commercial base with the insertion of more infill housing in and around and the elevated Highway 101. Merchants are especially interested in
downtown,both to accommodate regional growth and to take advantage of improvements that would improve pedestrian connections and make
pedestrian,bicycling and transit infrastructure. walking around more enjoyable and legible.
Downtown should be the central focus of public art as it is the center Small-scale, pedestrian-level public art projects could support this
of the City and the County.The long-term goal should be to create a goal. Projects could range from small infrastructure projects,such as
true arts district that communicates the artistic character of the city to new entry markers,to temporary installations in small public spaces
residents,visitors and prospective businesses;and that provides more or on blank walls.
opportunities for artists to live and work,and for arts organizations to
presenttheirwork. 1.1 DOWI1tOW11 C011C1@CtlVlty PCOj@Ct5
Within downtown,there are several general categories of public Commission groupings of projects,or serial projects that entice
art projects,each of which is described as its own Creative Zone: pedestrians to circulate downtown,connecting the different districts
Streetscapes and Connectivity(Creative Zone 1), Precincts and Focal as well as the various parking areas. Examples include small,artist-
Points(Creative Zone 2)and Gateways(Creative Zone 10).Other designed light projects at participating storefronts,an artist-created
Creative Zones,such as the Prince Memorial Greenway(Creative Zone 4) walking tour,the addition of more murals in surprising places,or an
and Parking Garages(Creative Zone 6),also address downtown. artist-designed scavenger-hunt style project.
Downtown Connectivity could be approached as a"creative
placemaking"activity, launched through a workshop with a variety
of downtown stakeholders,such as merchants, artists and police.
The goal would be to have multiple projects,which could be
experienced by walking around downtown, and promoted as a
focused exhibition.
'• ' I �- - -
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Opposite Page:Wednesday Night Market,Downtown Santa Rosa � .-,- '��f�' � . . -- 1.1
Santa Rosa Public Art Master Plan 15
� � � � ' � •
� 1 1 � � 1
�'�"'� • Downtown Santa Rosa and the Downtown Arts District are a group
:y� i
. �,
' � of distinct precincts connected by the underlying street grid,which is
;:•�.. largely intact except in the area of Santa Rosa Plaza,Santa Rosa Creek
''g ' °� , �, and Highway 101.These precincts include the retail core,Courthouse
�,�;== :; ` Square, Railroad Square,the SofA Arts District and the emerging
� �, cultural cluster near the Sonoma County Museum.
Each precinct has its own sub-identity within the overall context
of downtown,and each sub-identity should be strengthened for
downtown to prosper overall.Specific public art projects that create a
. _ special identity and visual focal point for each precinct could support this
- goal.These could include a specific focal feature in each area,such as a
`� e: . ' '� sculpture or a mural.Projects could be implemented over time.
� �. . :r
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��f� °��� � ' � 2.1 Courthouse Square Activation
- .r�,;.,,,� The City has developed conceptual designs for reunifying Courthouse
,:,:;_=•::: _ �
- �� ' Square by closing Mendocino Avenue in the center of the square and
°�x� *�~ re-routing traffic around the edges.The City is trying to identify
_- - funding for the project.
-- In the interim,Courthouse Square could be a location for temporary
art projects that would help people imagine what the uses of this new
, ' square might be.The projects could be focused on a period of several
days when Mendocino could be closed temporarily(as it is for various
special events).
During the development of this Plan,a workshop identified
"Courthouse Square Activation"as a priority project for the Public Art
Fountain with Ruth Asawa Relief Panels.Courthouse Square Program.Some of the ideas that emerged as possible future
projects were projections(perhaps using videoconferencing)on some
of the larger building facades, projects exploring agriculture-
viticulture,artist-designed movable furniture designed to stimulate
social interaction. It was hoped that any temporary art projects on
Courthouse Square could eventually be moved into other
neighborhoods.
16 Santa Rosa Public Art Master Plan
2.2 Courthouse Square Reunification 2.3 Sonoma County Museum / Seventh Street
The reunification of Courthouse Square will offer one of the most The Sonoma County Museum is creating a small arts campus in the
significant opportunities Santa Rosa will see in the near future for a new northwest corner of downtown. In addition to its main building,the
public art commission.As soon as a design team is identified to work Museum maintains an outdoor sculpture garden,and is creating a
on the next iteration of the project,an artist should be brought on board contemporary art gallery in a former commercial space near the
to join the team and develop an approach to public art that is integral corner of B and Seventh Streets.The collection and exhibitions are
to the project concept and design.This could also be coordinated at the being rebranded as the Art Museum of Sonoma County.
staff level by adding a representative of the APPC to the Courthouse This area can be a hub for public art. Recently,the Museum installed a
Square Advisory Committee. sculpture by Ned Kahn along the roofline of its new recently-acquired
The Final Environmental Impact Report for the reunification project building. From time to time,the Museum has offered local artists
indicates several locations for public art, including sculpture sites,an small grants to activate the area;this has resulted in several murals
art garden and an interactive sculpture garden.The costs of such art- on the facades and gates of its future contemporary art space.One of
works will likely exceed the Public Art Program's capacity to fund on its the Museum's primary concerns now is pedestrian connectivity and
own.Additional funding to implement the Courthouse Square Reunifi- wayfinding.
cation public art recommendations should be identified. The Public Art Program should explore the possibility of connectivity,
In addition,there are two loaned artworks and two permanent artworks wayfinding and activation projects that would reinforce the emergence
in Courthouse Square.The two loaned pieces should either be returned of this area of downtown as an arts and culture destination.In addition,
to the artists or relocated with the artists'permission.One permanent the Museum may be a collaborator in helping to locate sculpture at the
artwork consists of cast concrete relief panels by Ruth Asawa.The re- triangle on A Street(identified as an art location in the downtown specific
unification project will require this piece to be relocated from its current plan)and two dimensional work on the parking garage fa�ade,helping to
location on a fountain,and will require very sensitive treatment because turn that block of Seventh Street into an"art room."
of its material and construction approach.The other is a bronze"Peanuts"
sculpture,and it can be relocated more easily.
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Santa Rosa Public Art Master Plan 17
� ' � 1
SMART(Sonoma—Marin Area Rail Transit)is a passenger rail service
that will ultimately link Santa Rosa to Cloverdale to the north and Lark-
spur Landing to the south.The first segment of the system is expected
to be operational in late 2016.The rail service is meant to serve people
who commute between Marin and Sonoma Counties,and less as a
,,:. ' ,� feeder route to San Francisco.
Santa Rosa will have two SMART stations—downtown(Railroad Square)
' ' and Guerneville Road.The Railroad Square Station is expected to be
the busiest on the line,and to trigger new residential,commercial and
retail development nearby, making the area within walking distance of
the station even more lively with activity.The City's Downtown Station
f Area Specific Plan (2007)outlines goals for new development there.At
the Guerneville Road Station,the North Santa Rosa Station Area Specific
Plan (2012)would build on the
presence of Coddingtown Mall and the emerging cultural district
(Schulz Museum,Children's Museum)to create"a bustling village-
like activity at and adjacent to the new station."
Santa Rosa's stations are too far along in their design for public art to
be incorporated into them, but once the stations are up and running,the
Public Art Program should evaluate the use of any adjacent public areas
around them and consider the possibility of locating artworks in view of
the station area.These could be new commissions, donated works,or
loaned works in the model of the Civic Artwalk.
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18 Santa Rosa Public Art Master Plan
� � 1 � �
The Prince Memorial Greenway is one of Santa Rosa's grandest
and most generous civic gestures,a place where the city's vision for
a walkable, bikeable public realm has most clearly been achieved.
�` �`' ''�' The Greenwa is a 0.6 mile-lon im roved athwa alon the north
, �;�:. s�'r' '"� Y 9 � p P Y 9
r � .
F y � +�'�:• �t and south sides of the Santa Rosa Creek,stretching from City Hall
, ya ;.:��',:'' ,K •
nt .c.?-�- �.:• � to Railroad Square. It is experienced as an immersive environment,
� Fv
�t�. +�:�. ' - a series of terraces with native landscaping,trails, plazas and public
,�' �"�'+���"� �' art.The transformation of the creek from a concrete flood channel
.w� ra
�, '�I�� ��-'',�' came about through the involvement of hundreds of citizens and a
► i5�'; bequest to the City from the Prince family,who had been downtown
• �;;, `'-' propertyowners.
�
�� `'' . The Greenway is the heart of the Civic Artwalk,with painted,
ceramic tile and mosaic murals,as well as numerous sculptures and
art benches.Several of the works along the Greenway have fallen into
•� disrepair,because of vandalism,poor design and installation,and
neglect.
''�• Currently, maintenance is the highest priority for the art collection
r �; � 4 along the Greenway. In particular,graffiti and tagging damages the art
Y•
as well as other elements of the Greenway,such as pathways,railings
������`. �'�'� and stonework.
,<. � _ The Public Art Program's efforts in the Greenway should focus on
maintaining and conserving the existing artworks. No new projects
� should be commissioned and no new artworks should be accepted
along the Greenway until the vandalism recedes.
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Fish Mosaic Sculpture by Artstart,Prince Gateway Park ` � _� --�` ,';��?•. �
..4.:
Photo by Bob Stender - � -Y� -" __. -
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Santa Rosa Public Art Master Plan 19
� � 1 � � 1 '
.. Parking garages are a major feature of the downtown Santa Rosa
�* ,� ' • -< streetscape.The City owns five public parking garages scattered around
t r" �"""�'r"� . downtown,and Santa Rosa Plaza maintains a series of garages in the
� � : ' : :
�,.q, f., i •� ��•- block between the mall and Highway 101.
�•� - - Altogether,the facades of the garages create blank spaces in the
�� streetscape—yet they are sometimes one of the first things visitors see
upon entering downtown Santa Rosa.They are ideal locations for
. �- :*,
temporary or permanent artworks that can make a big visual statement.
� This Creative Zone could be implemented in an incremental basis,
r� commissioning projects one at a time,particularly if there is some
connection to an event.
�� 5.1 Parking Garage Wayfinding
The City's Parking Division has a long-term plan to create a wayfinding
system for its garages.The first step would be to design the scope of
work and to issue an RFP.The Public Art Program should commission
an artist to work as an integral member of the team,to assist with the
development of visual components.One outcome,for example,could
be for Santa Rosa artists to help develop graphic themes for each of the
garage levels.Costs could be shared,with the Parking Division covering
the base cost of the project,and the Public Art Program picking up the
�� additional cost of contracting with artists.The Arts Coordinator should
���* assist Parking Division staff in developing the RFP,commissioning an
artist,and managing coordination of artist design and implementation
phase.
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Artstart Mural.3rd Street Parking Garage r'� • : ":� • ,. �`t�'h ��
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20 Santa Rosa Public Art Master Plan
• � 1 1 . ' .
�` . ; �' - • � Several of Santa Rosa's adopted planning and urban design studies
' - - �.:'� - - recommend investment in better gateways into the city and downtown.
-'•'���' ' � , - l -� ' Public art is recommended as one tool,along with urban design and
,. ` ' . — ' landscaping that could help create better gateways.Generally,public
' .� 1 - '� - art cannot create a good gateway by itself,it needs to be thought of in
�,;;,:;_.�' ' _ _• .. � �. � �" '� _ concert with surrounding urban design,architecture and landscape.The
=• ""` � Public Art Program should be attentive to public or private developments
. where artistic gateways could be a component,and collaborate on those
� projects,but it should not initiate gateway projects on its own.
6.1 Downtown Underpasses
Recommendations for downtown gateways often include suggestions
for public art to be incorporated into the underpasses that carry traffic
,x .
beneath Hwy 101 and Hwy 12.Some of these underpasses,such as
� the underpass that carries Olive Street under Hwy 12,already include
� ' public art.The Public Art Program should consider opportunities for
t�L implementing additional projects in the underpasses.
Most of these underpasses are owned and maintained by Caltrans,
the state highway agency, which has an application for underpass art
projects.Caltrans has advised the City to submit a master application
for artworks at underpasses,explaining the process it would follow to
develop and install projects,so that it does not have to return to
Caltrans for approval of each specific project.
9th Street Underpass Mural
Even though the actual projects might be years off,the Public Art
Program should begin work on a master application to Caltrans so that
.�•�'�;�,, ' i _ I _ � _ - - - `��:�;4, ' i � I _ - _ _ permission will be in hand when opportunities arise.
. _ �.�• — h
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- ��'�• � - --- �=, ' - -� • ��'�� �- _ -� - �-� �� 6.2 Downtown Eastern Gateway
, _'.�t, .._ ra .,, , . _�-.��, _ _ _ '_�, �. xa .,, ,
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'�;1�.�-�r���;- �� `����` `�.,`���°• ��`" ':j._.-�r';;�.;" °•.�.��� ��•..*�:,���°• �`.,�-' The intersection of College Avenue and Fourth Street is a perceptual
���? ��"� ��`� ��`�! �`°�� •. gateway for drivers approaching the central area of Santa Rosa from
. � �� � ...�;.•.` ' .�.'�..,:�...
LL` 'Y"�{ ^ ��.` �: � �;� - '�•� 'Y`�'f"`����-� � `�•�� �.��' - the east.On the western side of the intersection is a small park-like
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� � �'Y` '� ` � � •'���� r�,. . � �����Y�'��•`"`•.`'���'�f`• � � sitting area.This could be the location for a sculptural gateway
{k �.' .. � ri� . 1:''. V'��'n.'f`. .. .
� �"'i�� �"i�� ���`�t�•�M1�'�. ��"`� ''• element,which would complement Cyclisk and Whole Some,which
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`'`�#`��"�``�=r� � . -- - . `-`�,``�'��'��`�`�,r��`� � . - mark the southern and northern gateways to downtown,respectively.
`..,:` .�� ..� �,.�•:_,,_....�� � -- . -- '`s....`'. .�.:�:,. .� � .. �,..�._ ,, ....- . -":_.5 `�......,- .
. 4 � , _ _.'�v�� � ;;,.,� 4 - A sculpture here would complete a trio of markers that indicate
__ I �r � � ' f , � ... _
�_ ',. _'.. �I �....�' passage into Santa's Rosa's city center.
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Santa Rosa Public Art Master Plan 21
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SantaRosahasanextensivenetworkofripariancorridors,manyofwhich 7.1 Stream Corridor Crossing Markers
include biking or walking trails that run parallel to the creeks.The City
has developed a Citywide Creek Master Plan that seeks to enhance the Santa Rosa's riparian corridors cross under arterial roads and
values that this network brings to the city—habitat,recreation,water neighborhood streets at regular intervals. Most of the bridges at
resources management,flood control and cultural history. these crossings are owned by the City,and though the crossings are
generally marked by road signs,they could be also highlighted by
Most of the creek corridors are above ground,serving as greenways and simple public art projects that bring additional visibility,such as
connecting parks throughout the city.Because creeks often travel behind mosaic panels inset into the parapets of the bridges,or special street
properties and between neighborhoods,and because several stretches markings.The Public Art Program could collaborate with the Utilities
have been channeled underground(including a segment of Santa Rosa and Transportation and Public Works Departments to determine an
Creek beneath downtown),the corridors are not always a highlyvisible easily applicable suite of improvements that could be created by artists
component of the landscape. working with nearby communities,and install projects as funding
One of the City's goals is to raise public awareness and education about allows on bridges that the City owns.
its riparian corridors.Public art could play a key role in this,helping mark 7 2 C r e e k D ay l i g h t i n g
the paths these corridors take through the city,and creating activities
that help people engage with these places.Public art projects could help A workshop during the Public Art Master Plan process identified
make the presence and function of these corridors more visible to people, projects along creeks and trails as a priority next-step project for the
and build a stronger sense of connection to the corridors. Public Art Program.
Depending on the type of project and the location,there would be The workshop imagined a range of permanent and temporary projects
numerous partners involved.The maintenance of creeks,trails,bridges that could trace the path of creeks through the city, metaphorically
and other infrastructure are the responsibility of various city,county and "daylighting"them by showing people the paths they take underneath
state entities(including the City's Recreation and Parks,Transportation streets and neighborhoods.Some of the ideas included a temporary
and Public Works Departments,and the Sonoma County Water Agency) blue running fence, installing fish in the City Council chamber(Santa
as well as private property owners.Other potential partners would Rosa Creek passes underground in a culvert),a creek clean-up,a
include the Utilities Department Storm Water Team and Creek Steward- street-boat regatta,street and bridge enhancements,and floating
ship Program,Sonoma County Regional Parks,and the Sonoma County projects along streams.
Agricultural Preservation and Open Space District,as well as neighbors,
nearby schools and civic groups interested in stream quality. The Public Art Program would need to coordinate with multiple
agencies, including the City's Utilities and Recreation and Parks
Departments,and state,county and federal watershed awareness
� _ programs.The projects could be timed with the City's annual"Creek
Week Celebration."which included a public art walk along the Prince
, � � Memorial Greenway in recent years.
• :.;
�
i r
,
� 7 Opposite Page:Santa Rosa Creek
Santa Rosa Public Art Master Plan 23
. .
'� The City's Recreation and Parks Department manages parks in every
corner of the city,as well as numerous special facilities.
�
- The Internet survey conducted for this Master Plan identified parks
�, as one of the types of places in the city where people would be most
- interested in seeing public art.Survey respondents gave some of the
highest rankings to the ideas of creating artworks and art activities in
community facilities such as parks,and creating artworks that anchor
community gathering places.
The Master Plan follow-up intercept survey,conducted in four city
�� parks,suggested that people would be most interested in seeing
.: �.:_ �■ � artworks that had a functional use,such as playscapes,gathering
places,seating or shade structures.
�� At the moment, however,the City's capital budget includes little money
' for new park development or major enhancements.
- For the most part, public art projects in parks would have to be"retrofit"
into existing settings.Over the course of the next few years,the Public
Art Program should set a goal of identifying and commissioning at least
one public art project in a park,focusing on functional elements that
expand the usability of the park.
Alternatively,consideration should be given to whether artists can
enhance typical features of parks,such as shade structures,when they
are replaced. In that situation,the Public Art Program would fund the
Live at Juilliard Concert Series,Juilliard Park extra design and construction expense of having an artist involved in
r.
the project,but not the base cost of the feature.
r
- ;� R ' 8.1 Juilliard and Olive Parks
� s
° _ - „ Juilliard and Olive Parks host loaned artworks that are part of the Civic
' Artwalk: Tuberosity in Olive Park,and Hangover II and Red Quake in
_ - � �� � �� � Juilliard Park.(There is also a permanent piece, Torqued Column,in
. Olive Park).The Public Art Program should determine whether the
� � �.
- • - - , sculptures on loan should remain in place, be replaced with new art-
�:_ .. , .
- - , � work,or removed completely.
-' Surveys done in conjunction with this Master Plan indicate that users of
8 both parks enjoy having public art there.The surveys also indicate that
the artworks in Olive Park are popular,while the artworks in Juilliard
Tuberosity by Al Voigt&Douglas Unkrey Park generate less enthusiasm.The Public Art Program should consider
Olive Park
returning the Juilliard Park sculptures to the artists and replacing them
with new sculptures,and retaining the sculptures in Olive Park.
24 Santa Rosa Public Art Master Plan
� . . ' 1 . 1 1 1
"�*�- ::` '. - " , u:; Santa Rosa High School is located on Mendocino Avenue,Santa Rosa's
��ry ,. ¢- -;;= ,. � �' primary north-south street,just a few blocks north of College Avenue.
- �e'.� �
.:�' ' -"'� -- The high school has a highly regarded art magnet program called
f . _� . ' ArtQuest,which offers specialization in seven disciplines related to the
- � , visual arts and performing arts,as well as core curriculum courses that
_ - . — are arts-based. Entry into the program is competitive.ArtQuest serves
several hundred students from across the County.
- The program is located in a cluster of facilities on a corner of the high
, - school campus at Mendocino and Ridgway Avenue,but has little visual
Y --- presence on the street.ArtQuest faculty are open to collaborating
- with the Public Art Program to create interdisciplinary temporary and
� permanent projects-from sculpture displays to building fa�ade treat-
w � _ ments-that would signal the presence of this creative resource.
, A collaboration like this would support not only the academic
- - `~ ��'=-��-= x~ - programs of the high school and ArtQuest, but also help achieve the
--�y.�'=:;�:�~ � - � �'�- oals of the Mendocino Avenue Corridor Plan(2009).That lan includes
_ _�� _ .� . ��_ _� _ - ` � 9 p
- '` -�'" ��-+ ���s -•• � �,` � recommended streetscape design and development standards for
- r T r��'`�� - _ '_�r�'� � �. -.�,� the segment of Mendocino between College Avenue and Steele Lane,
�
- - .._ �. '.,.�:^�� � including the high school campus.
�., ��,�� -� The plan specifically indicates that the corner of Mendocino and Ridg-
,���f� ��"'�-,.���`�� �~ � � way is a"primary gateway"and that the ArtQuest buildings and high
Circle Project,collaboration between ArtQuest and Santa Rosa Charter School for the Arts school main building are"neighborhood landmarks."In addition,the
Photo by Art(luest plan states that buildings near intersections should have"prominent
i _ - - _ architectural features,"and that"outdoor spaces should have clear
i ~ � � � ., � � - . purpose...and are not simply'left over'areas."Art
� I '�' , � ;�-! � installations at the ArtQuest campus would help to fulfill these goals.
� � - � + �
���,.;�- -��-� � � �- � -r , -' ! I This Creative Zone should primarily involve a collaboration between the
_ i _-r - � -� � T �-� � - � - i J Public Art Program and the ArtQuest program.The first steps should
_'-:�:::':�:, , � i � , �- � -, � -i � r be to develop a concept plan for artworks that could be implemented,
���:�• - -i - ;.- - _� ,_ _� _ _. ��, and to work out the administrative aspects of the City supporting public
'i���'��4 - -- '�`� � � art on school district property.After that planning is complete, projects
�s I _I — I_I '�Sn x'�h`4 �
�:- � -����i::��„ �•J -� ��•� �t �•:�'' ''� �`� ��}`� from this Creative Zone should be incorporated into the Annual Work
--- ' ' ' --��"'� '' '? `�- -
.:j. - 'A - ,
-r- -�^� �,��-.,...�� x�.�•` Plan.
_ �,��` � _
.,�A .r..
,.,;,,:,Y-.
_ _� `��;� - _
_ 'x�.-':;�,�:.: . _ f::�� -
.k �l'F �"��._'_ .
�Yk. �'�r ��µ~ M1\
� .�'S�' . f .��.
`�'��''.',
, . . . '� �':i_ ' - - . . . 9
Santa Rosa Public Art Master Plan 25
1 '
. � .
Sonoma County is regarded as one of the best areas for bicycling
anywhere in the world,and the region's economic development
agencies work hard to market the region's bicycling virtues to attract
r• visitors, residents and businesses.
S �
Public art can reinforce this aspect of Santa Rosa's character and of the
• �� region's tourism strategies.Santa Rosa already features Mark Grieve
.
' �� and Ilana Spector's Cyclisk, made of recycled bicycles,as a gateway
to downtown. In other cities,artists have helped to enhance bicycling
infrastructures,such as bike stations, rental facilities,wraps for rental
bikes and trail markings/environmental graphics.
!r� Elsewhere,artists have been commissioned to develop projects along
-- trails that enhance the experience of using those trails.They've also
been commissioned to create temporary projects related to bicycling
events, including the Amgen Tour of California.
'` The Public Art Program should search for opportunities to commission
��• a unique portfolio of projects related to bicycling to celebrate this aspect
;
� U of the City's recreational and economic life.
�
� :
y
C�clists competing in the Amgen Tour of California , � . .
Photo by:PhotoSport International uk usa asia/AEG '.� _
�.��• _ :_"—
: ?�;:-—-. : J�
�.� �— - ;'—f- — :.;-
`�. �'
�
_ �]'�` . —
._ __.._ 1 _-ti `
�-
I
t � '
10
1
s
Cyclisk by Mark Grieve and Ilana Spector
26 Santa Rosa Public Art Master Plan
. �
Southeast Greenway
An undeveloped freeway right of way,owned by Caltrans and
originally acquired to extend Hwy 12 eastward,is being explored
by private citizens and governmental agencies.The prospect for a
greenway that connects Farmers Lane to Spring Lake Regional Park
has stirred civic imagination. In 2010,a citizens committee enlisted
the help of an American Institute of Architects Sustainable Design
Assessment Team to lead a community process that resulted in
conceptual designs.As efforts progress,public art should be part of the
conversation.Artists might be engaged as members of design teams,
create site specific projects.or develop community-based projects that
mark important events in the life of the greenway.
Santa Rosa Public Art Master Plan 27
1 ' . ' 1 1 1 ' � 1 � � 1 1 .
There are three main documents that,together,set out the governance of p u b l i c A rt P o l i cy
the Public Art Program:the Public Art Master Plan,the Public Art Policy
and"Development Requirements Relating to Public Art."The Program The City of Santa Rosa's Public Art Policy sets the operational policies
should also develop internal guidelines for its review processes. and procedures that the Public Art Program follows in its everyday
work.These include artist selection processes,the composition of
P u b l i c A rt M a ste r P la n selection panels,artist selection criteria,funding and key definitions.
It was first approved by Council Resolution in 1996 and most recently
The Public Art Master Plan is a document that gives creative direction updated in 2009.
to the Public Art Program and contains governance and operational q number of the components in this Public Art Master Plan would
components that should be incorporated into the Public Art Policy(by need to be implemented through revisions to the Public Art Policy.
City Council)and used as guidelines(by the APPC).The Master Plan: These include:
• Sets out the basic foundation for public art in Santa Rosa— . Composition and role of the APPC.
a vision, mission and overall goals.
• Processes for developing Annual Work Plans and Project
• Broadly identifies the types of projects the Program will Plans;approving projects;reviewing gifts,loans,and devel-
consider when developing Annual Work Plans.These are oper projects;and de-accessioning and relocating artworks.
described within targeted"Creative Zones"of near-term
focus that meet the long-term goals of the Public Art • Guidelines for reviewing City-funded public art,
Program. developer-funded public art,gifts and loans,murals,and the
de-accessioning and relocation of public art.
• Recommends policies,procedures and guidelines to
incorporate into a revised Public Art Policy or to use as • Definitions of new terms,and new definitions for existing
guidelines. terms.
Recommend Recommend
APPC should review and forward this Master Plan to City Council with APPC should review a revised Public Art Policy that is consistent with
a recommendation for approval by resolution. the recommendations of this Public Art Master Plan and submit to
Council for approval by resolution.
28 Santa Rosa Public Art Master Plan
"Development Requirements Guidelines
R e lat i n g to P u b l i c Art�� Guidelines outline decision-making processes and criteria in a manner
Santa Rosa's"Development Requirements Relating to Public Art."City that is more detailed than in the Policy.These are internal processes and
Code Chapter 21-08,established a mechanism for funding the Public Art are approved by either the APPC or the Director of Recreation and Parks.
Program and for integrating public art into private development projects The Plan establishes guidelines for reviewing and approving City-funded
throughout the City. It was adopted in 2006. public art projects,murals that are funded by the City or on City property,
and public art that is provided by developers in fulfillment of the public
Specifically,this provision of the Code sets out private development art requirements.
requirements for public art,whether by the installation of art on-site, Recommend
payment of in-lieu fees or provision of cultural space,and a process for
managing those requirements.The Code also sets out requirements for APPC should adoptguidelines for reviewing and approving City funded
City financial contributions to public art. public art projects, murals that are funded by the City or on City
Recommend property,and public art that is provided by developers in fu fillment
of the public art requirements,as recommended elsewhere in the Public
The Public Art Master Plan recommends no changes to City Code Art Master Plan.
Chapter 21-08.
Santa Rosa Public Art Master Plan 29
� . . � � � � . .
Planning for a public art project begins with the process of develop- P U b�I C A rt EX p e Il d I t U r e P�a Il
ing an Annual Work Plan and General Expenditure Plan for the Public
Art Program,and continues through the development of a Public Art Each year,the Public Art Program should develop a"Public Art
Project Plan.Together,these tools outline the broad work that the Public Expenditure Plan,"which outlines the public art expenditures that will
Art Program will undertake in a given year,as well as the specific be made from the Public Art Fund in any given year.
parameters of each project. The expenditure plan should be prepared by the Arts Coordinator in
collaboration with the APPC,in conjunction with the development of the
An n u a l W o r k P la n Annual Work Plan.All expenditures should be consistent with allowable
expenditures from the Public Art Fund,as indicated in the City Code
Each year,the Public Art Program should develop an Annual Work Plan and the Public Art Policy.The expenditure plan should be reviewed by
for the coming fiscal year.The plan should outline which Creative Zone the APPC,and forwarded to the Director of Recreation and Parks,who
the Program will focus on and which new projects the Program will initi- should include it in the budget proposal that is submitted to City Council.
ate,indicating where the projects will be located and what the proposed City Council approves the expenditure plan as part of the overall budget
budgets will be.The annual plan should also track projects that are still in adoption.
process,and special projects such as planning activities.
Generally,the annual plan should be developed collaboratively by the
Arts Coordinator,relevant City departments and the APPC,and will be
approved by the APPC.
To prepare the Work Plan,the Arts Coordinator should assemble back-
ground information relevant to the various Creative Zones outlined in
this Plan,as well as information about major planning,development and
infrastructure projects being undertaken in the City.When appropriate,
the Arts Coordinator should consult with City staff and communities who
are stakeholders for a project that is likely to be discussed,in order to
assess the potential partnerships with City departments,non-govern-
mental organizations and communities.The Arts Coordinator should also
estimate what resources are available for the Program to work with in the
coming fiscal year.
The Arts Coordinator should facilitate a meeting of the Art in Public
Places Committee to determine which Creative Zone will be the area
of focus for the coming fiscal year,and what the priority projects and
potential budgets will be.As with all APPC meetings,opportunities for
public input would be provided during the meeting.
Based on the outcome,the Arts Coordinator should develop a final Work
Plan,including proposed project descriptions,locations and budgets.
Recommend
Update the Public Art Policy as necessary to include reference to the
Annual Work Plan.
30 Santa Rosa Public Art Master Plan
Public Art Project Plan Project Implementation
Santa Rosa's Public Art Program should undertake careful planning for The Public Art Program should utilize the following process in imple-
each project that it implements to ensure that all projects are well- menting an artist commission.If an arts non-profit or curator is selected
conceived and enduring.This planning should include identifying the to manage the project,some of these steps will be the responsibility of
opportunity;finding project partners;understanding potential hurdles the organization orthe curator.
with permissions, permitting or construction;establishing realistic
budgets and timelines;and communicating with project partners at an Establish a Selection Panel
early stage about the intent and scope of the project. Once a project is funded as part of the Annual Work Plan,and a Project
For each public art project that is approved in the Annual Work Plan,the Plan is adopted,a Selection Panel may be assembled, depending on the
Program should adopt a Public Art Project Plan,which is a foundational needs of the project.The APPC may serve as the Selection Panel,or opt
document that guides the planning and execution of a project.A Project to form a separate Selection Panel, based on recommendations from
Plan sets out the basic framework of a project—its goals and location, the Arts Coordinator.(The composition of Selection Panels is outlined in
particularly in relation to the Creative Zones;budget and funding;time- Section H,Administrative Recommendations.)
line;the artist selection process and community engagement process;a
marketing plan;a list of internal and external stakeholders;and protocols Recruit and Select an Artist
for collaboration with other entities,as necessary.A Project Plan does not The Arts Coordinator should issue a Call to Artists and/or Curators and
determine the concept for the project,although in some circumstances it Cultural Organizations,according to the process outlined in the Project
might outline a theme to which artists are asked to react. Plan.The Arts Coordinator should facilitate the selection process;the
Generally, Project Plans should be developed by the Arts Coordina- Selection Panel should recommend artists and artistic concepts:and
tor,working with the APPC,City departments and other stakeholders, the APPC should approve the artist and concept selection.
through a process unique to each project.The Project Plan may be qrtist Contract
more or less comprehensive, depending on the nature of the project.
Ultimately, it should provide a basis for managing the project,and for Upon recommendation of the APPC,the Arts Coordinator should oversee
accountability and evaluation. a contract with the selected artists,curators and/or cultural organiza-
Project Plans should be approved by the APPC. tions.The contract should include the scope of work,fee,schedule,and
relevant terms and conditions.The scope of work may vary depending
Recommend on the project,but will generally include final design and engineering,
Update the Public Art Policy as necessary to include reference to the fabrication of the artwork,and installation of the artwork.
Public Art Project Plan. Contracts are approved according to the contract authority for City Council
and Department Directors established in City policy.A policy to allow
award authority to the Director of the Recreation and Parks Department
and/or the Assistant City Manager for Artist Services Agreements of
$50,000 and less is recommended.
Concept Design
If the artist is selected through an interview process,the initial
step should be to develop a Concept Design.The Arts Coordinator
should organize necessary meetings with project stakeholders.The
concept design is presented to the Selection Panel for review and
Santa Rosa Public Art Master Plan 31
recommendationtotheAPPCforitsapproval. AI'tl$t SO�ICItdt1011 dlld Se�eCt1011
Final Design Santa Rosa's PublicArt Program should choose from avarietyof
Once the Concept Design is approved,the artist may develop final methods for soliciting and selecting artists,depending on the require-
design and engineering drawings for approval before proceeding with ments of the project.These solicitation methods should include an Open
fabrication.The Arts Coordinator should coordinate technical review by Competition,Limited or Invitational Competition,and Direct Selection.The
appropriate City Departments. method of selecting artists for individual projects should be determined
in the approved Public Art Project Plan.
If the artist proposes any significant changes from the original concept,
theArtsCoordinatorshouldsecureAPPCapprovalbeforeapproving Artist Solicitation Processes
changes.If the City requests any modifications to the project,the Arts
Coordinatorshouldreviewtheproposedchangeswiththeartist. Open Competition
FdbriCdtion An open competition is a call to artists for a specific project in which
artists are asked to respond through a Request for Qualifications(RFQ)
Once the final design and engineering drawings have been approved or Request for Proposals(RFP)process.Any artist may respond,
by the City,the artist may proceed with the fabrication of the artwork. subject to limitations established in the Project Plan.Calls for artists
The fabrication may be done by the artist,or part or all may be done for open competitions should be sufficiently detailed to permit artists
by subcontractors supervised by the artist.The Arts Coordinator may to determine whether their work is appropriate for the project under
request a studio visit, photographs or written updates from the artist. consideration.
The City's current artist contract forms should be reviewed to consider
a design-onlycontract. Limited or Invitational Competition
�nstallation A limited competition is a call to artists in which a small number
of artists are specifically invited to respond through a Request for
In most cases,the artist should be responsible for the installation of the Qualifications(RFQ)or Request for Proposals(RFP)process.Artists
artwork.The Arts Coordinator may coordinate installation with the artist should be invited based on their past work and demonstrated ability to
and the appropriate City Department(s)and their contractors. successfully respond to the conditions of the particular project or based
on other non-aesthetic Public Art Program goals(such as seeking local
Communications, Submittal of Project Documentation and orregionalartists,etc.).
Project Closeout
A communications strategy should be planned and implemented by the Direct Selection
Arts Coordinator.The artist should be required to submit all required At times the Arts Coordinator may recommend a direct selection of
paperwork, including all drawings and a maintenance and conservation a specific artist for a particular project.Such a recommendation may
worksheet,prior to project closeout and final payment. occur for several reasons,but will generally occur when circumstances
Recommend surrounding the project make either an open or limited competition
unfeasible(for example: project timeline,community or social consid-
Amend City contract award authority policies to allow either the erations,etc.).
Assistant City Manager or the Director of the Department of Recreation
and Parks to approve Artist Services Agreements of$50,000 or less. Recommend
Incorporate the above descriptions of the artist solicitation process into
the Public Art Policy.
32 Santa Rosa Public Art Master Plan
Artist Selection Processes The artists would be invited to interviewwith the Selection Panel,which
recommends one of the following to the APPC:selection of one of the
Each artist selection process should be uniquely designed to match finalists based on their proposals,or not selecting any of the artists or
the conditions of the project. However,the process should involve the proposals and going back to review the qualifications of other artists.
following basic procedures.
Recommend
RFQ/Qualifications-Based Process
Incorporate the above descriptions of the artist selection process into the
The Arts Coordinator should collect artist qualifications through one Public Art Policy.
of the methods outlined above.The Arts Coordinator should present
the artist qualifications to the Selection Panel,which may select three
to five finalists to submit a proposal,or select three to five finalists to
interview,or select a single artist based upon their qualifications,or
request another pool of artists for consideration.
Finalists should be invited to interview with the Selection Panel,which
recommends one of the following outcomes to the APPC:selecting
one of the finalists based on their qualifications and interviews,or
not selecting any of the artists or proposals and going back to review
qualifications of other artists.
RFP / Proposal-Based Process
Generally,an RFP or Proposal-Based process should only be used in a
Limited Competition,or the second phase of an Open Competition. It is
not advisable to use an RFP process with an Open Call.
The Arts Coordinator and the APPC would develop an RFP that
provides background on the project,outlines expectations for the
artists'responses,and establishes an honorarium for the artist's time
and expenses.The RFP is then provided to the short list of artists under
consideration.
Depending on the nature of the project,the Public Art Program
would organize a site visit for the competing artists.This site visit
could involve engagement with a range of stakeholders,if time and
circumstances permit.
The artists would be requested to submit proposals to the Arts Coordi-
nator. If time allows,the Arts Coordinator would seek initial technical
review and feedback on the proposals,which would be forwarded to the
artist.
Santa Rosa Public Art Master Plan 33
P a rt n e rs h i p P ro j e cts The following coordination issues should be considered:
with Other City Departments • Programminganddesignstudiesshouldconsidergoals
and options for public art in the user experience and
The Public Art Program should consider opportunities for partnering with function of the project.
other City departments on commissioning public art that is integrated . Funding for artist involvement should be explored
into new City Capital Improvement Projects,even if the projects do not fall to consider requirements and limitations of funding
under one of the Creative Zones outlined in this Plan. sources for the project.
The Arts Coordinator should maintain close liaison with staff in • Budgeting approaches for the public art should be
departments such as Economic Development and Public Works.The considered at the earliest stages of project budgeting,
Coordinator should bring opportunities to the attention of the APPC as particularly the method of allocating between base budgets
they arise,and consider them during the Annual Work Plan Process. and art budgets.
The Coordinator and the APPC should consider the following criteria in Expectations for collaboration with artists and the Public Art
evaluating partnerships: • Program should be incorporated into RFPs and RFQs.
• There is an opportunity to incorporate permanent artworks . Artist selection and artist contracting approaches should be
during new construction or renovation that will result in a explored early on to address contracting and procurement
strong artistic outcome. processes.
• The site is visible and accessible at least during regular . Community engagement processes should be considered.
business hours.
• Review and permissions processes should be outlined
• The City department that is responsible for the project sup- in advance of confirming the public art opportunities.
ports including an artist in the project,can bring additional
resources to the project,and is committed to maintaining
the project.
• The project presents a good opportunity to incorporate the
work of visual artists in the design and construction
of the project that will result in a strong artistic outcome.
• There are appropriate budget,staffing resources and time
available for the project to be successful.
When a project of this type is added to the Annual Work Plan,the Arts
Coordinator and the responsible department project manager should
collaborate at the earliest moment in the project planning to determine
the best approach to incorporating public art,and incorporate these
approaches into a Public Art Project Plan.
34 Santa Rosa Public Art Master Plan
P a rt n e rs h i p P ro j e cts • Demonstrates experience in successfully completing works
of similar scope,scale,budget and complexity,or ability
with Non-Profits and Curators toarticulatehowheorshewouldbeabletobringthe
Issues necessary artistic and technical skills to the project.
• Is available to perform the scope of work in a timely and
The capacity of the Public Art Program to commission public art is professional manner.
limited.At the same time,Santa Rosa has arts non-profits and curators
who have experience with public art, and can bring substantive creative • Demonstrates successful business management and
expertise to the Program's commissions. project management experience.
When the Public Art Program is interested in commissioning a public Recommend
art project, it may issue a RFQ or RFP to non-profit organizations or Establish a selection process that allows non-profits and independent
established curators,as an alternative to issuing a RFQ or RFP directly curators to respond to RFPs and RFQs and facilitate public art projects
to artists. Retaining a non-profit or a curator will enable the Program that help the Program complete its Annual Work Plan.
to expand its project management capacity and to draw on specialized Incorporate into the Public Art Policy as necessary.
expertise that the City does not have in house.
Calls to non-profits or curators should be competitive.Calls should
be structured to help the Public Art Program implement a defined
Public Art Project Plan,which in turn would implement part of the
Program's Annual Work Plan.
The APPC should review and approve the artist selection and artist
concept,just as if the project were being commissioned by the City
itself, unless the Public Art Project Plan establishes an alternative
review process.The following criteria should be considered:
• Demonstrates general interest and capability in working
with artists to create public artworks.
• Demonstrates general ability to identify.select and
manage artists to produce public art of artistic excellence,
innovation and originality.
• Demonstrates interest in and understanding of the project
and the City's goals.
• Demonstrates interest and capability in identifying,select-
ing and managing artists whose work(media,concepts,
community engagement approaches,and fabrication)are
appropriate to the project goals and site.
Santa Rosa Public Art Master Plan 35
P u b l i c A rt i n P r i vat e D eve l o p m e n t During pre-application discussions regarding development projects
potentially subject to the public art requirement,the City's Community
Issues Development Department should provide reference to the Code require-
ments,as well as guidelines developed by the Director of Recreation and
Communicating the City's public art in private development require- parks,and recommend early communication with the Arts Coordinator.
ments has not been consistent and many developers are not aware of it
early enough. When informed about a project with a public art requirement,the
The process for managing developer requirements should consider closer A�s Coordinator should contact the developer to offer background
information on the requirement and an informal conversation about
monitoring at various stages and clear criteria to meet City expectations. the process.This should occur as early as possible in the developer's
Developers of certain commercial properties in Santa Rosa are required consideration of the project.
to include public art in their developments,or to make in-lieu payments
to the City's Public Art Fund. The City Code delegates to the Director Implementation Phase
of Recreation and Parks,or designee,the authority to develop guide- When a developer proposes to meet the public art requirement by
lines for reviewing and approving art in private development. (In this providing public art on-site,the developer should contact the Arts
section of the Master Plan,"Director of Recreation and Parks"means Coordinator at several stages:
the Director or the Director's designee.)
Intake Meeting
Review Process
This is an informational conversation to discuss the public art require-
The Public Art Program should use the following process in reviewing ment,City expectations and potential resources for the developer.This
and approving developer percent-for-art projects: can be initiated by the Arts Coordinator or the developer.
Information Phase Preliminary Art Application
Information about the public art requirement should be provided more This application records a determination by the developer about
consistently in materials that explain the City's overall development whether they will include artwork on-site,or make an in-lieu payment
review process. to the City.This application should be filed with the Arts Coordinator as
All City web pages that explain the development review process should early in the development process as possible,to allow ample time for
appropriately cross-reference the public art requirement. For example, artist selection,concept development and possible review by the APPC.
the Building Permit web page should provide advance notice of the qrtist Selection and Art Concept Review
public art requirements.
If the developer chooses to include artwork on-site,the Director of
Intake Phase Recreation and Parks may recommend a presentation to the APPC,
All building and development intake forms should include a consider- Whose role would be advisory to the Director. If this step is recom-
ation of public art. For example,the City's Building Permit Application mended,the developer should present the selection of artist and
should include,in the"staff use"area at the bottom,a check-off for artwork concept to the APPC.Typically,within a month of submitting
whether the project triggers the City's public art requirement.Should complete materials to the Arts Coordinator,the APPC would be able to
the box be checked,or should staff later determine that the project will review the artist and artwork.
be subject to the public art requirement,then the application should be
referred to the Arts Coordinator.
36 Santa Rosa Public Art Master Plan
Final Art AppLication Modify the review and approval process togive theArts Coordinator
If the developer chooses to provide artwork on-site,the developer contact with the developer earlier in the process. Specifically, add a Pre-
should submit a Final Art Application that confirms the artist and liminary Art Application phase,and for on-site artworks,add advisory
provides a rendering of the concept,considering any input from the presentation to the APPC(if recommended)before the Director of Rec-
APPC and the Director of Recreation and Parks at the Art Concept reation and Parks approves the application.
Reviewstage.TheFinalArtApplicationshouldalsoincludeabudget, prIV0t2 D2Ve�Op1'Ylellt II1fOC1'Y1at1011 P8Ck8t
demonstrating that the public art requirement is being met through
eligible expenditures,as outlined in the City Code. The Director of Issue
Recreation and Parks should review the application for approval or Developers do not always receive information about the Development
advise the developer about modifications.The Final Art Application Requirements for Public Art, or about the public art process, in a timely
should be approved before a Building Permit is issued.
manner.
Fee Payment Santa Rosa's Public Art Program currently offers a basic packet of
If the developer chooses to make an in-lieu payment,the amount should information for developers who are required to include public art as
be paid in full prior to the issuance of a Certificate of Occupanty. part of their projects under the City Code provisions for"Development
Requirements for Public Art."This packet includes information about
Cl05eout Phase the City's goals for public art and the review process for public art in
private development.
The Director of Recreation and Parks should inspect the project to
ensure it has been installed as approved in the Final Art Application. Future iterations of this packet should incorporate:
The developer should provide a covenant for ongoing maintenance of • Enhanced guidelines and goals for public art in
the artwork.The Director of Recreation and Parks should review and private development,as outlined elsewhere in this
process the covenant. Plan.
The completion of the project,or the making of an in-lieu payment, • Revised flow-chart with expected timeframes for
may be deferred for six months beyond the time that a temporary or project development and review,based on the
permanent Certificate of Occupancy is applied for. process outlined elsewhere in this Plan.
Recommend • Updated and additional examples of successfully
completed public art in private development projects
Maintain current City Code provisions. in the City and elsewhere.
Modify web pages, applications and intake forms relating to • Additional background on how private developers
development review to include cross-referenced information about the have made public art a valuable component of their
public art requirement. projects.
Modify the written guidelines,which is allowable under the Code provision • Additional information about resources available to
that`proposed public art must be reviewed and approved by the Director developers.
of Recreation and Parks or designee for compliance with this Chapter and Recommend
any associated guidelines subsequently formulated by the City". Update private development information packet.
Modify guidelines and criteria to give developers a clearer indication of
the City's goals.
Santa Rosa Public Art Master Plan 37
Gifts and �oans of Public Art Acquisitions
In order to facilitate a fair assessment of proposed gifts and loans of Santa Rosa's Public Art Policy allows the City to acquire public art, in
public art,the Director of Recreation and Parks, in consultation with addition to commissioning it. For the foreseeable future,the Public Art
other City departments as appropriate and with the APPC,should Program should not commit its resources to acquiring,through direct
coordinate the review of all aspects related to the acceptance of purchase,new works for its public art collection.Acquisitions could
donations and loans of public art. be undertaken instead through fundraising or gifts.Artworks acquired
Proposed gifts and loans should be evaluated to determine whether through fundraising or as gifts should be handled through policy for
they are in keeping with the City's overall goals and adopted plans and 9ifts and loans, described above.
policies,whether they are placed in appropriate locations and integrated Should an acquisition be desired, it may be recommended within the
appropriately with their sites,and whether proper advance planning Annual Work Plan. Furthermore,a Public Art Project Plan may be
and preparation has taken place. developed to outline the process for the acquisition.The process should
Proposals for gifts and loans of public art that are made to any City be facilitated by the Arts Coordinator,according to the Project Plan,and
official or department should be referred to the Arts Coordinator,who using the guidelines set out elsewhere in this Master Plan.
should coordinate review of the proposal.Technical review should be Recommend
undertaken by City staff and aesthetic review should be undertaken by Do not spend City resources on acquisitions of existing artworks.Rely on
the APPC,according to guidelines proposed elsewhere in this Plan. fundraising or donations.
Staff and the APPC should provide a recommendation to the Director of
Recreation and Parks,who has final approval authority over gifts and if an acquisition is recommended in an Annual Work Plan,a Public Art
loans of public art. Project Plan should be developed to manage the process.
Recommend
Adopt the above policies and procedures as necessary into the Public Art
Policy.
38 Santa Rosa Public Art Master Plan
Portable Collection De-accessioning and Relocating
Santa Rosa's Public Art Policy refers to a"rotating art collection,"a term P u b l i c A rt
that generally refers to paintings, drawings,sculptures,tapestries and From time to time,the City may find it necessary to remove an artwork
similar artworks that are suitable for installing inside public from its collection,or to relocate an artwork from its original site.This
buildings. many occur for various reasons,such as changes to the site,new
The City has an existing portable collection, primarily works that are on approaches to managing the City's collection,the need to mitigate a
view in City Hall.The Department of Recreation and Parks should create hazard or to address new regulatory requirements. For that reason,
an inventory and conduct an assessment of these works.The assess- the City should retain the right to relocate or de-accession any art-
ment should be conducted by a professional art conservator.The City work in its collection, regardless of the source of funding or method of
should also document its portable collection and make the documenta- acquisition.
tion accessible to the public,via the Public Art Program website. However,the City should operate from the strong presumption that the
The City should not commit resources to acquiring new works for its City's public artworks,individually and as a collection,should be main-
portable collection for the foreseeable future,as the portable collection tained as a permanent cultural resource for the community.Accordingly,
is not the best tool for meeting the goals for public art in Santa Rosa. re-siting or de-accessioning should be employed rarely,taken only in
Should acquisitions for the portable collection be desired, it should be carefully considered circumstances and following processes that protect
recommended within the Annual Work Plan process. Furthermore,a the public's interest in maintaining the collection.
Public Art Project Plan should be developed to outline the process for Should it be necessary to consider the re-siting or de-accession of any
the acquisition.The process should be facilitated by the Arts Coordi- artwork,the Art Coordinator should initiate a review process that involves
nator,according to the Project Plan,and using the guidelines set out consultation with the artist,as provided for in the artist contract,and
elsewhere in this Master Plan. other City agencies as appropriate;review and recommendation of the
Recommend proposed action by the Art in Public Places Committee;and final approval
of the proposed action by the City Council.
Fund and conduct an inventory and assessment of existing City-owned Recommend
artworks in the portable collection.
Do not expand the City's portable collection at the current time. Develop procedural guidelines for re-siting and de-accessioning of public
art and incorporate them into the City's Public Art Policy.
Santa Rosa Public Art Master Plan 39
� � � � . .
The Public Art Program should develop guidelines that provide clarity professional manner.
in its decision-making processes.While the City Code and Public Art . guilds the diversity of the City's public art collection. (As
Policy outline the authority and processes for City staff and the APPC in the APPC wishes to commission and encourage the best
decision-making,the guidelines describe criteria for decision-making. and most appropriate public artworks,there is no overall
Guidelines should be approved by the APPC. recommendation for residency requirements for artists,
although Project Plans might set goals specific to each
Guidelines for Public Art project.)
I Il C I ty-F u n d e d P r o j e cts Criteria for Reviewing Concept Proposals
The following guidelines should be used by the APPC or Selection
Criteria for Reviewing Artists Panelinreviewingartistconcepts:
The following guidelines should be used by the APPC or Selection • Meets the definition of Artwork as defined in the Public Art
Panel in selecting an artist: Master Plan and Public Art Policy.
• Meets the City's goals for public art,as outlined in this plan • Demonstrates artistic merit, including excellence in
• Meets the definition of Artist,as defined in the Public Art
aesthetic quality,workmanship, innovation and creativity.
Master Plan and Public Art Policy. • Demonstrates appropriateness in scale and form and is of
Demonstrates artistic excellence, innovation and originality materials/media suitable for the site.
• as represented in past work and supporting materials. • Meets the project's goals as outlined in the Project Plan.
• Demonstrates capacity for working in media and with • Demonstrates feasibility of construction and installation.
concepts that are appropriate to the project goals and site. • Demonstrates feasibility in terms of budget,timeline,
• Demonstrates interest and capability in creating public safety,security, durability,operation,maintenance.
artworks in collaboration with the City,the design team (if conservation,legal and ethical issues.
applicable)and other project partners. • Builds the diversity of the City's public art collection.
• Demonstrates interest and capability in engaging Recommend
community representatives in a project.
APPC should adopt the above guidelines.
• Demonstrates the ability to communicate effectively and
elicit the ideas of team members;flexibility and problem-
solving skills;and ability to work with architectural drawings
and construction documents.
• Demonstrates experience in successfully completing works
of similar scope,scale,budget and complexity,or articulates
how he or she would be able to bring the necessary artistic
and technical skills to this project.
• Demonstrates interest in and understanding of the project
as outlined in the Project Plan.
• Is available to perform the scope of work in a timely and
40 Santa Rosa Public Art Master Plan
G u i d e l i n e s f o r P u b l i c A rt • The artwork is appropriate for the selected site,in regard to
scale,siting, media and appearance.
i n P r i vate D eve lo p m e nt • The proposal demonstrates feasibility in terms of budget,
The following criteria should be used by the Director of Recreation and safety, durability,operation, maintenance,conservation,
Parks,and in some cases,the APPC, in reviewing a developer's artist legal and ethical issues related to possession and use of
selection and concepts for public art in fulfillment of the Development proposed artwork,security and siting.
Requirements Relating to Public Art. • The artwork is a fixed asset of the property.
Criteria for Reviewing Artists • Theartworkwillnotposeasafetyhazardorpublic
nuisance in any way.
The following guidelines should be used by the Director of Recreation Recommend
and Parks in reviewing the developer's selection of an artist:
APPC should adopt the above guidelines.
• Meets the definition of Artist,as defined in the City Code,
section 21-08.020.
• Demonstrates artistic excellence, innovation and originality
as represented in past work and supporting materials.
• Demonstrates capacity for working in media and with
concepts that are appropriate to the project goals and site.
• Demonstrates interest and capability in creating public art-
works in collaboration with the developer(if applicable)the
design team(if applicable)and other project partners.
• Demonstrates experience in successfully completing
works of similar scope,scale, budget and complexity,or
ability to articulate how he or she would be able to bring the
necessary artistic and technical skills to this project.
Criteria for Reviewing Concept Proposals
The following guidelines should be used by the Director of Recreation
and Parks,and the APPC if it is conducting an advisory review,in
reviewing the artisYs concept:
• The artwork is easily visible to the public.It should be
located in a prominent location that allows the art to
be visible to the public from a public right of way,at least
during business hours.
• The artwork is consistent with any applicable Specific Plans
or other City-approved plans for the area,especially plans
related to urban design and streetscape.
Santa Rosa Public Art Master Plan 41
G u i d e l i n e s f o r G i fts a n d �o a n s • Maintenance and Conservation.Has the Donor provided
of P u b l i c A rt a professional art conservators report indicating anticipated
maintenance needs?
Gifts and loans of public art are welcomed as a useful way of building • Availability of Site. Is the proposed site available for the
Santa Rosa's public art collection and serving the social needs of the installation of Artwork?Are necessary electrical, plumbing
community.Currently,the City has several sculptures on long-term or other utility requirements defined and available?
loan, primarily along the Civic Art Walk in Juilliard Park,Olive Park and . Appropriateness of Site. Does the proposed siting respect
Courthouse Square. existing officially adopted plans of the city? Is the
Elsewhere,this Plan recommends that gifts should be a primary proposed siting consistent with the current use of the site?
vehicle for the City to acquire existing artworks for its collection,and • Identification Plaques. Do the design and text of plaques
that loans are a desirable strategy for incorporating more sculpture in that will be provided for interpretation, donor
the public realm without incurring purchase costs. acknowledgment and/or other purposes meet the City's
However,the City should act with the broad public interest in mind design requirements?
when considering gifts and loans, particularly in regard to both the Additional criteria for Technical Review may be developed as
fiscal impact of such donations,the general public's use and necessary by the Department of Recreation and Parks. Donations
enjoyment of public space,and the general aesthetics of the City. and loans of portable works do not require Technical Review.
Thefollowingguidelinesforevaluatinggiftsandloansofpublicart Criteria forAesthetic Review
should be used:
Aesthetic review should be conducted by the APPC.The APPC should
Criteria for Technical Review usethefollowingcriteria:
Technical Review should be conducted by City staff assembled as a • The Artwork clearly responds to the City's vision for
Technical Review Committee,led by the Arts Coordinator.The review public art and applicable plans for its location.
should be based on the specific criteria outlined below: • The Artwork demonstrates excellence in aesthetic quality,
• Ownership. If the Donor is proposing to donate or loan workmanship,innovation and creativity.
an existing Artwork,has the Donor documented that the • The Artwork demonstrates appropriateness in scale and
Artwork can be legally donated or loaned to the City? form.and is of materials/media suitable for the site.
• Financial Costs. For gifts,has the Donor documented • The Artwork builds the diversity of the City's public art
that the financial costs associated with the Artwork have collection.
been adequately anticipated and can be met?These costs Recommend
include, but are not limited to,shipping, insurance,site
preparation, installation,dedication,signage,lighting and APPC should adopt the above guidelines.
deinstallation.
• Safety and Liability. Is the Artwork durable?Does it pose
any safety or liability concerns? Does it meet all applicable
codes?
42 Santa Rosa Public Art Master Plan
Guidelines for De-Accessioning criteria for Evaluating
or Relocating Public Art a New Site for an Artwork
A site selected for the relocation of an artwork should meet the
The following guidelines should be used in evaluating proposals following criteria:
for relocating or de-accessioning public art:
• The artwork is easily visible to the public.It should be
Criteria for Initiating the De-accessioning and locatedinaprominentlocationthatallowsthearttobe
Relocation Process visible to the public from a public right of way,at least
during business hours.
The City may relocate or de-accession a work of Public Art in the City's The artwork is consistent with any applicable Specific Plans
collection,subject to any of the following findings: • or other City-approved plans for the area,especially plans
• The City is unable to continue to preserve or care for the related to urban design and streetscape.
work properly, including but not limited to the following • The artwork is appropriate for the selected site,in regard to
circumstances: scale,siting, media and appearance.
• The site is being eliminated. • The artwork will not pose a safety hazard or public
• The site is being altered such that the artwork is no longer nuisance in any way.
compatible with it.
• The security of the artwork can no longer be reasonably
guaranteed at the site.
• The artwork has become a danger to public safety.
• The cost of maintaining or updating the artwork's
operation technology is cost prohibitive.The artwork is
found, in the context of the overall public art collection,
to be surplus, redundant,a duplicate,of inferior quality,or
otherwise not in keeping with the goals of the Public Art
Program;
• The disposition of the artwork may,whether by exchange
or through use of proceeds derived from its sale,permit
the City to upgrade and refine the collection;The artwork
has been found to have been falsely documented,
described or attributed,to not be an original artwork,and/
or to be a forgery;
• The artist or donor has failed to comply with the terms of
any contract with the City:or The de-accessioning of the
work would otherwise be in the best interest of the City.
Santa Rosa Public Art Master Plan 43
' _ :_S .�'� ��; �.R,� " �'.r.S`•= :iy�' a'- - -a• - -d:- _ _ - •f
��}:� " R �•�^y .• •
'���' ��� �3 �����= ; .� ��; ���� i Gui elines or Murals
.�1-= `�=�� '� �•- � -
- � . . _ . '�...=_
Funded by the City or on City Property
The City reviews and approves murals that receive City funding or
�:i i . • � �- are on Cit ro ert To facilitate this,the Cit has develo ed a mural
. �,� ��`: Y p p Y• Y p
application form that guides the review process.The Art in Public Place
' Committee should have authority for review and approval of murals
�;;�_;,' ::::;;.. , , �.� , that meet the criteria above.The Arts Coordinator should facilitate the
. . � application and review process.The review process should be clarified
"-t. s:4-*:��', �:;=;'• ' � . by publishing a set of criteria or guidelines for the approval of murals,
-4 ';'�- - ?�. � such as follows:
� .�? �''''f
� � -
•iui �E :-
. ° _ '��_' Criteria for Reviewing a Mural
- �. �
- • � • The mural should demonstrate artistic merit and quality.
�y .
- , ,;",,��1_: � • The mural should be site-specific and respond to its location.
'_ _ R' =.'� '�,` • The mural should be created by a professional muralist,
_ . � � � '�,'Fl;•:;• or if a participatory project,a professional muralist should
"' - lead the process.
• The plan for the mural should consider technical issues
such as wall quality and protection against graffiti.
• The mural should be visible to the public.
� • The mural cannot be commercial in nature.
`'°...':� - �� .�
�==<��r:_.. - � - •- . - • Additional criteria for Murals should consider de-
_�.°.,...�_,., . ..� .
accessioning criteria and may be developed as necessary
Artstart Mural,D Street Parking Garage by the APPC.
Recommend
APPC should adopt the above guidelines.
44 Santa Rosa Public Art Master Plan
� 1 . ' ' ' 1 ' 1 . 1
Art in Public Places Committee WhileSantaRosaresidencyrequirementsdonotapplytoAPPC
members,the number of non-Santa Rosa residents serving on the
Issues committee at a given time should not exceed three.
The composition of the APPC consists of representation from both Terms
citizens and other boards and commissions with affiliated mandates. Committee members should be appointed to four-year terms and be
The intent was to establish communication between the APPC and eligible for two sequential terms,after which they should be required
these other entities.In practice,this has resulted in a Committee whose to sit out for four years before being eligible for additional terms.The
membership is not well aligned to the key mandates that the Committee terms of Committee members should be staggered,so that each year
has,and has made it difficult for the APPC to obtain quorums for meet- one or two appointments come up for renewal.
ings.
The APPCwas formed bythe City's PublicArt Policy in 1996.Originally, Appointment
its role was to provide guidance to the City Council in the development When a vacancy on the Committee becomes known,the Arts
of policies for the selection, placement and maintenance of Public Art Coordinator should make a public announcement of the vacancy and
and for the implementation of cultural programs, including public art request applications from potential members.The Committee should
projects and grants,with a focus on the implementation of a downtown review the applications, discuss and vote on the selection of new
arts district. It was also intended to play a coordinating role among members.The selected candidates should be recommended to City
various arts organizations and city departments.As such.it was en- Council for appointment.
visioned to function as something like an arts commission or an arts
council. Chairperson
This Master Plan outlines a narrower set of roles and responsibilities The Committee should elect a Chairperson on an annual basis.
for the APPC,focused on advising on the general direction of the Public
Art Program and on selecting specific public art projects. Removdl
CompoSition The Committee,at its discretion, may recommend to the Council the
removal of any member for attendance reasons.Specifically,the
In order to better fulfill its responsibilities,the composition of the APPC Committee may recommend the removal of any member who misses
should be changed.The Committee should consist of nine 25 percent of the required meetings over six months.
voting members with the following composition:
Recommend
• A majority(five)of the Committee members should have
professional experience in the field of visual or public art Revise the Public Art Policy to modify the composition of the
including,but not limited to artists,arts administrators, committee, term limits, and appointment and removal process.
curators or producers of public art,scholars or teachers.
• The remaining(four)Committee members should have
experience including,but not limited to environmental
design,placemaking,economic development,tourism,or
have a background or general interest in other aspects of
the arts.
Santa Rosa Public Art Master Plan 45
Selection Panels setting Expectations
Selection Panels may be established by the APPC to provide guidance Establish clear expectations for community engagement.There are a
in the development of public art projects. For smaller projects,the range of roles that different stakeholders can play in a process, ranging
APPC may serve as the Selection Panel. from providing information to giving feedback on recommendations
proposed by others to being involved in the decision—making process.
The membership of Selection Panels should be recommended by the These expectations will shift,even within different phases of the same
Arts Coordinator and approved by the APPC. Panels should consist project.
of five to seven voting members,and indude members of the APPC,
visual arts and design professionals,and representatives of inter- Community Involvement in the Development
nal and external stakeholders. Representatives of the community or of Annual Work Plans
precinct where the project is located,a member of the design team or The development of the Annual Work Plan should be led by the Arts
host City department as applicable should serve on the Selection Panel. Coordinator, in consultation with the APPC.When appropriate,the Arts
Coordinator should consult with stakeholders for possible projects in
C o m m u n i ty E n g a g e m e n t order to assess potential partnerships.
Appropriate community engagement is a necessary ingredient CommUnity Involvement
to creating a successful public art program and public art projects, in the Development Of ProjeCt Plans
and an important value of the Santa Rosa Public Art Program. The development of a Public Art Project Plan should be led by the Arts
Following are guidelines for how the Public Art Program can actively Coordinator, in collaboration with the APPC.
work to inform,consult with and include community stakeholders During the planning phase,the Arts Coordinator and the APPC should
in decision-making about planning for public art and commissioning consult broadly with internal and external stakeholders as
artworks. necessary,to gather background information and gain insight into what
Defining Community the goals of and approach to the project might be,as well as technical
considerations.This background should inform the Project Plan and
Identify who the"community"will be for a particular project. For some may also be a useful resource for the artists.
projects, primarily those related to Creative Zones that are arranged
around places,"community"can be thought of as the people who live Community Involvement in the Artist Selection / Concept
or work in close proximity to the project location. For a park project,for Review Phase
example,the community would largely be nearby residents and park The selection of an artist should be facilitated by the Arts Coordinator.
users. and undertaken by the APPC or Selection Panel.There are a variety
For other projects,primarily those related to Creative Zones that are of processes that may be used,involving either interviews or the
arranged around topics or broad networks of places, it makes sense to development of conceptual proposals.When appropriate,the finalist
think more broadly of"community"as people and organizations who artists should be asked to meet with the community or present their
have expertise, knowledge and interest in a particular topic,even if concepts to the community,for feedback.When the Selection Panel
they aren't located near the project. For example,for a creek project, makes a recommendation,it should take into account community
the community could include a variety of public agencies(city,county, comments,as well as other factors related to the goals of the project.
state),civic groups,environmental groups, business groups and others,
in addition to neighbors.
46 Santa Rosa Public Art Master Plan
,. ��j �i
� - �
� �
��' + ' ,�.
-:��.��
y����-�� -
�� -
Community Involvement • Post information about projects on the City's web site as
in the Project Implementation Phase soon as the Project Plan has been approved and update
that information at the following thresholds:when the call
The artist should be asked to consider an appropriate level of to artists has been released,when the finalists have been
community engagement in developing the concept for their project and selected,when a final artist has been selected,when the
undertaking further research necessary to complete it.The goals and project concept has been approved,and when information
nature of this engagement will depend on the project,but every artist is available about the dedication.Also post announcements
should be aware that this is an expectation of their work. about important milestone meetings,such as APPC
Keeping the Community Informed approvals of Project Plans,artist visits,artist selections and
artist concepts.
A project's success is tied to how well information about the commis- Issue media releases at the same project milestones as
sioning process,the artist and the artwork are distributed.Therefore, • outlined above to citywide media,community newsletters,
the Public Art Program should dedicate time and resources to ensuring and listserves.
that key stakeholders have timely access to information.At a minimum,
the Program should: • Provide regular updates on all projects and planning
processes at APPC meetings,which are public meetings,
• Identify,through the Public Art Project Plan.any special noticed in accordance with the Brown Act.
communication vehicles that can be utilized to disseminate
information to the groups and individuals who need to be
kept informed about the project.This can ensure that these
groups and individuals are informed of important milestone
meetings,such as APPC approvals of Project Plans,artist
visits,artist selections and artist concepts. Above:Maple Avenue Mural by Jet Martinez
Santa Rosa Public Art Master Plan 47
Public Art Program Funding and Staffing Funding
The outlook for staffing and funding for Santa Rosa's Public Art The Public Art Program is funded through an annual general fund
Program has improved in recent years.Currently,the Program's appropriation that pays for the Arts Coordinator and some of the non-
greatest constraint is staff capacity. project costs of the Program. For project funds,the Program receives
funding from City Capital Improvement Projects(CIP),calculated as one
Staff i n g percent of general fund CIP construction costs,and Park Development
Fees,calculated as one percent of the total fees received by the City.
The Public Art Program is currently supported by a full-time Arts Coor- The Program also receives in-lieu fee payments from developers,in
dinator who is based in the Recreation and Parks Department. Funding the amount of one percent of the construction costs of projects covered
for the staff position was recently shifted from the Public Art Fund to by the requirement.The City Code Section 21-08.090 and the Public Art
the General Fund,freeing up more money from the Public Art Fund for Policy outline eligible expenditures from the Public Art Fund.
project development. However,as a result of the Department's overall
staffing situation,the Arts Coordinator is also assigned other duties, Currently,the Program averages about$20,000 a year in CIP funds
which effectively result in a part-time focus on public art. and Park Development fees. In recent years,it has received an
average of$80,000 in developer in-lieu payments.The Program has
Given the potential for expanding the portfolio of public art activities in a cash reserve.
Santa Rosa,an important goal should be to have the Arts Coordinator
focus full-time on public art responsibilities and duties.The City would This funding level, if it remains stable,will provide the Program with
need to fund additional staff for the Recreation and Parks Department in adequate working resources to pursue projects in the Creative Zones
order to relieve the Arts Coordinator of ancillary duties,such as special outlined in this Plan for the next few years.The Program should seek
event permits. to leverage these resources through partnerships with other City
departments,other public agencies and other organizations.The
The Public Art Program should also use consultants and partnerships Program should draw down its reserve carefully and incrementally.
to help expand its capacity.Consultants may be useful for specific This funding,because of its flexibility in use,is also adequate for
tasks,such as organizing a workshop or public process that leads to an conservation and maintenance funding.
Annual Work Plan. Partnerships,whether with non-profits or curators,
may help the Program to expand its capacity to develop and manage Recommend
projects. Provide additional operating funds to the Recreation and Parks
Department to relieve the Arts Coordinator of ancillary duties.
Increase project funds through partnerships with City departments,
other public agencies, and other organizations.
Amend the Public Art Policy to reflect special requirements for how
revenue from Park Development Fees can be spent.
48 Santa Rosa Public Art Master Plan
Documentation and Communication Too�s
The Public Art Program's main communication tools are its web page,
M essa g es the weekly e-newsletter about broader arts and culture activity in the
Successful documentation and communications start with a series downtown Arts District,and the map of the Civic Artwalk. Each of these
of key goals and messages to support those goals. tools would benefit from modest improvements—the map of the Civic
Artwalk should be updated,the e-newsletters should be archived
For Santa Rosa's Public Art Program,the key message should revolve on the web page,and the logic of the web page navigation should be
around the Program's refined vision and strategy.Quite simply,the improved.The Public Art Program should have more visibility on the
Program should communicate that it will be organizing public art projects City's home page.
that enrich civic life,give voice to the City's unique creative spirit,and
galvanize the City's reputation as an arts destination.Each of these three The Public Art Program should also develop a more dynamic platform
sub-messages can be developed as its own narrative through the content that allows for more timely information about current activities,and
that is created.Each of these three narratives should involve specific encourages interface with users through comments and uploads.
partners and appeal to specific audiences. In general,using publicly available platforms such as Facebook or
Instagram is preferable to developing an independent platform.
A second key message,intertwined with the first, is that public art is an
active part of the city's life,about the here and now. Murals and the Civic
Artwalk are legacy projects, put up some time in the past but still visible
to the community.The Program should make it clear to the community
that it is doing new things and embracing the collective forward energy
of the city.Other messages for public art commonly involve the"story
behind the story,"so that people can understand the depth of thought,
creativity and collaborations that go into a public art project.
Content
Over time the Program should add more information about the works in
its collection to its web page and publications.Additionally,content on
its existing platforms should be re-evaluated to ensure that it helps to
convey the key messages described above.
The Program should consider providing"real-time"updates of projects
as they are being developed,and once they are on view.These updates
can range from"work in progress"reports from the artists to comments
and interviews from people who encounter the art.These updates should
be archived and provide a first draft of the formal documentation of the
artwork.They are important for conveying the message that the Program
is creating fresh,relevant work,and especially critical for temporary
projects,for which the documentation will be the key way for people to
access information about the project.
Santa Rosa Public Art Master Plan 49
Maintenance and Conservation Evaluation
F u n d i n g The Public Art Program does not have a formal evaluation process for
its individual projects,for its overall efforts,or for people's impressions
The Program's revenue stream,and its reserve,are flexible enough to of artworks in its collection.
cover maintenance and conservation costs for the foreseeable future.The The most appropriate way to evaluate a program or a project is within
Program should consider dedicating a portion of its reserve and annual the context of the goals that have been established for that program or
revenue to a special Conservation and Maintenance trust,perhaps in the project.Therefore,clear goals should be incorporated into every Project
amount equal to one year's budget for the Program itself. plan that the APPC approves.
R e co r d ke e p i n g a n d P l a n n i n g The Public Art Program should undertake several types of evaluation.
The Public Art Program should bring the City's inventory of public art The Program should evaluate individual projects at their conclusion
up to date,and the inventory should include the two-dimensional pieces by asking people who were involved to complete a simple survey.The
that are in its City Hall collection. The additional cost of inventorying survey should largely focus on the goals of the project,but should allow
public art should be funded by the Public Art Program. for open-ended responses as well as structured responses.
The Public Art Program should then undertake a conservation study of its The Program should evaluate its overall progress and body of work by
entire collection.The study should collect all conservation and mainte- posting an online survey for residents, businesses,visitors and users,
nance protocols in one place,and should establish a schedule for the and by conducting a small number of key stakeholder and intercept
maintenance and conservation of its pieces.The cost of the plan,and of interviews.This should occur every two to three years,tracking several
the conservation work,should come from the Public Art Fund. baseline questions,such as people's familiarity with the Public Art
Program and its commissions.The survey should also ask specific
P r i n ce M e m o r i a l G re e n w a y questions about people's engagement with the Program and com-
missions that were undertaken since the Public Art Master Plan was
The Public Art Program's key maintenance and conservation challenges adopted.
involve projects along the Prince Memorial Greenway.There, because
of the isolation of the Greenway from public view,graffiti and vandalism The stakeholder interviews should reflect on the various processes that
have been a long-standing problem, not only for the public art but also are set out in this Master Plan,and the degree to which interviewees
for the landscape and other decorative elements. feel the Program is meeting the goals set out in this Plan. Intercept
interviews could be modeled on the interviews conducted in Juilliard
This is a challenge that transcends the abilities of the Public Art and Olive Parks as part of this Plan,and ask people how public art is
Program, requiring action and leadership from a higher level,and impacting their experience of a place.
requiring collaboration with other City departments and nearby busi-
nesses and neighborhoods.The Program should not be responsible for
this leadership but could help to catalyze it.
City Hall Collection
The City owns a number of two-dimensional artworks that were
purchased for City Hall and the City Hall Annex.These have not been
recorded or inventoried recently.The collection should be inventoried,
as mentioned above.The Program should also develop guidelines for
display,storage and de-accessioning of the collection.
50 Santa Rosa Public Art Master Plan
' 1 ' . 1 ' ' 1 1 1 '
City Council Arts Coordinator
• Santa Rosa's City Council comprises seven members The Arts Coordinator is the City staff inember assigned to manage the
elected from the City-at-large,and includes the Mayor and Public Art Program on a day-to-day basis.The Arts Coordinator has the
Vice-Mayor.The Council's roles in regard to public art are following operational responsibilities in regard to public art:
to: Act as liaison to City staff regarding Public Art Program.
• Approve the Public Art Master Plan. , Coordinate revisions and review of the Public Art Policy and
• Approve the Public Art Policy. • guidelines.
• Approve the Public Art Expenditure Plan during the annual • Facilitate development of Annual Work Plans with APPC.
budget adoption. Prepare the Public Art Expenditure Plan in conjunction with
• Approve recommendations for the appointment of , the Annual Work Plan and submit it to Director of Recreation
members to the APPC. and Parks.
• Approve Artist Services Agreements,consistent with the • Based on the Annual Work Plan,develop Public Art
City's procurement policies. Project Plans for review and approval by the APPC.
• Facilitate the management of public art projects,including
D i r e ct o r o f R e c r e a t i o n a n d P a r ks contracting,budgeting,scheduling,artist selection pro-
The Director of Recreation and Parks is the director of the department in cesses,community engagement processes,contracting and
which the Public Art Program is located in City government.The Director oversight of design/fabrication/installation.
has the following operational responsibilities in regard to public art: • Recommend members of Selection Panels.
• Advise on the Public Art Master Plan,amendments to the • Coordinate with Community Development staff in regard to
Public Art Policy,and guidelines. public art requirements in private development.
• Assist in the presentation of the Public Art Expenditure • Review public art projects incorporated into private
Plan as part of the annual City budget,and submit to the development and make recommendation to the Director of
City Council via the City Manager. Recreation and Parks.
• Create guidelines for the review of public art in private • Manage process of filling vacancies on the APPC.
development. • Oversee the public art collection,both City-owned and
• Review and approve proposals for public art in private loaned artworks.
development. • Monitor conservation and maintenance matters.
• Approve Artist Services Agreements,consistent with the • Facilitate review of proposed donations and loans
City's procurement policies. of public art.
• Facilitate project evaluation and the periodic Program
evaluation.
• Organize public communication and outreach for the
Program overall.
• Attend to other facets of day-to-day Program operations not
listed above.
Santa Rosa Public Art Master Plan 51
Art in Public Places Committee Selection Panels
The Art in Public Places Committee(APPC)advises the City Council,the • Selection Panels may be formed for projects that the Public
Director of Recreation and Parks,and the Arts Coordinator in matters Art Program undertakes,or for a series of projects that
related to the City's Public Art Program.The APPC strives to ensure are undertaken simultaneously in the implementation of
excellence in the public collection by advising on policies and goals for Creative Zone.The panel advises on the selection of artists
the selection, placement and maintenance of works of art,and by active and approval of artist concepts.
participation in a sequence of stages to select of public art projects. . The panel's responsibilities are to:
The APPC's roles in regard to public art are to: • Select one or more artists,cultural organizations or
• Review the Public Art Master Plan and recommend it to curators based upon the process outlined in the Public Art
Council for approval. Project Plan,and recommend to the APCC for approval.
• Review amendments to the Public Art Policy and • Review project concepts based upon the goals outlined in
recommend them to Council for approval. the Public Art Project Plan,and recommend to the APPC
for approval.
• Review and adopt guidelines for decision—making
processes and criteria.
• Provide guidance in the development of the Annual Work
Plan,as well as amendments during the year.
• Provide guidance in the development of the Public Art
Expenditure Plan and recommend to Director of Recreation
and Parks for approval through the annual budget process.
• Review and approve Public Art Project Plans.
• Review and approve the selection of artists and development
of concepts for public art projects commissioned through the
Public Art Fund.
• Serve as the Selection Panel for smaller projects commis-
sioned through the Public Art Fund.
• If recommended by the Director of Recreation and Parks,
review and provide feedback on art projects provided
by developers in fulfillment of the City's Development
Requirements for Public Art.
• Review and advise on gifts and loans of public art to City.
• Review and approve proposals for murals that receive City
funding or are located on City property.
• Review applications for appointments to the APPC;
recommend new APPC members to City Council for
approval.
52 Santa Rosa Public Art Master Plan
Developers
Certain commercial developers are required to include public art in
their projects under the"Development Requirements for Public Art"
provisions of the City Code.A developer's responsibilities are to:
• Inform their development and design team about the City's
requirements and expectations for public art at the earliest
possible stage of their project.
• Meet with the Arts Coordinator to discuss requirements,
expectations,options and resources at the earliest possible .. — '
stage of their project. .
• Submit a Preliminary Application for Public Art in a timely
manner,before the Building Permit is applied for.
• If recommended by the Director of Recreation and Parks,
present artist selection and concept to APPC for review and
feedback.
-r-
�,.
• Submit a Final Application for Public Art.before the Build- -
ing Permit is issued. __ ��
• Contract with artist.
• Obtain any necessary permits for the artwork,which may
ti�.r
be separate from the permits for the project that triggered -
the public art requirement.
• Oversee fabrication and installation of artwork.
• Provide a maintenance covenant for the artwork.
• If opting to fulfill the requirement by paying an in-lieu fee,
the developer's responsibility is to make the payment
before the Certificate of Occupancy is issued.
Essential Energies by Riis Burwell,commissioned by PG&E
Santa Rosa Public Art Master Plan 53
1 ' 1
Annual Work Plan.The Annual Work Plan is a tool that outlines the Final Design.An artisYs final design for a public art project,submitted
work program for the Public Art Program in any given year, includ- after all design investigation and community engagement is complete,
ing an identification of the Creative Zone the Public Art Program will and including any renderings, drawings and certifications necessary
focus on that year,and list of new projects the Program will initiate, for approval for fabrication and installation.
including information about where the projects will be located and General Fund.A fund in the City budget that receives revenues from a
what the proposed budgets will be.The Annual Work Plan also tracks variety of sources(including sales and property tax,other taxes,vehicle
public art projects that are still in process and special projects such as license fees,and charges for services,taxes,vehicle license fees,
planning activities.Generally,the Annual Work Plan will be developed and charges for services)and provides the resources for most of the
collaboratively by the Arts Coordinator,relevant City departments and services the City offers.
the APPC,and approved by the APPC.
Art in Public Places Committee."Art in Public Places Committee"or Maintenance.The routine care and repair of works of public art that
"APPC"means a committee designated by the City Council to advise the does not require specialized expertise(dusting,washing,changing light
City Council and staff on the implementation of the Public Art Policy and bulbs, lubrication of moving parts,etc.).
expenditures of the Public Art Fund. Portable Collection.Artworks in a variety of inedia,such as sculpture,
Artist."Artist"means a person who has established a reputation of painting,mixed media,prints,photography and textiles,that are owned
artistic excellence,as judged by peers through a record of exhibitions, by the City and primarily exhibited in the interior spaces of City buildings.
public commissions,sale of works or educational attainment. Public Art."Public Art"means an original work of art in any media,
Arts Coordinator.The City staff inember who is responsible for produced by an artist or by a team of artists that has been planned
coordinating activities of the Public Art Program. and executed with the intention of being staged in the physical public
domain, usually outside and accessible to all.
Artwork.A work of Public Art. Public Art Collection.The"Public Art Collection"is the body of art-
Concept Design.An artist's preliminary idea for a project,presented in works acquired by the City over time,through commission, donation,
images and/or text,and approved by the Art in Public Places Committee purchase or other means,and owned by the City.
as the basis for further design exploration and community engagement public Art Expenditure Plan.The"Public Art Expenditure Plan"out-
in the development of a public art project. lines the expenditures that will be made from the Public Art Fund in any
Conservation.The regularly scheduled examination, documenta- given year.The Expenditure Plan is prepared by the Arts Coordinator in
tion,treatment and preventative care of an artwork conducted by a collaboration with the APPC in conjunction with the Annual Work Plan.
professional art conservator. The Public Art Expenditure Plan is reviewed by the APPC,and forwarded
Creative Zone.Specific locations in the City,general types of places or to the Director of Recreation and Parks,who includes it in the budget
topics that are a priority for consideration for public art. proposal that is submitted to City Council for approval.
Curator.A fine arts professional who assists in the development of a Public Art Fund.The"Public Art Fund"is a dedicated account estab-
public art project, primarily by locating an artist suitable for a project, �ished and maintained by the City of Santa Rosa for the purpose of
assisting the artist in developing their concept,and assisting in the funding public art and cultural programming consistent with the Public
implementation of the project. A�Pa�icy.
54 Santa Rosa Public Art Master Plan
Public Art Master Plan.The Public Art Master Plan sets out the basic
foundation for Santa's Rosa's Public Art Program—a vision, mission
and overall goals—broadly identifies the types of projects that the
Program will undertake,and outlines policies, procedures and guide-
lines for implementing the Program.
Public Art Ordinance(Development Requirements Relating to
Public Art).City Code Chapter 21-08,which sets forth requirements for
public art in private development and requirements for City contribu-
tions to the Public Art Fund.
Public Art Policy.City Council Policy 000-42,adopted by Council
resolution and amended from time to time,sets forth the policies that
govern the Art in Public Places Committee,the Public Art Program and
the administration of the Public Art Fund.
Public Art Program.A program for the delivery of a broad range of art
and cultural projects and activities throughout Santa Rosa and within
the Santa Rosa Arts District,as designated by the City Council in the
Public Art Policy.
Public Art Project Plan.A document that guides the planning and
execution of a specific public art project. It sets out the basic framework
of the project—such as goals and location, particularly in relation to
the Creative Zones; budget and funding;timeline;the artist selection
process and community engagement process:a marketing plan:a list
of internal and external stakeholders;and protocols for collaboration
with other entities,as necessary.
Request for Proposals(RFP).A call to artists that asks for the
submission of both an artist's credentials and a conceptual proposal
for an artwork, both of which are the basis of selecting an artist.
Request for Qualifications(RFQ).A call to artists that asks for the
submission of an artist's credentials,which is the basis of selecting an
artist.
Santa Rosa Public Art Master Plan 55
' II ' 1
Analysis of Online Survey 2. What makes Santa Rosa unique?
The Master Plan process involved a survey over the Internet,asking BY far,survey respondents said that Santa Rosa is unique because it is
people about their perceptions of public art already in the city,and about the hub of Sonoma County—close to nature,agriculture,wine and food,
the opportunities and priorities they saw for new artworks. and a jumping off point for visiting other places,a commercial and
business center for the region.In contrast to those who find the city
The survey was posted from December 3,2013,through April 25,2014, sprawling,a number of respondents said the felt Santa Rosa was
and was available in English and Spanish. Paper copies of the survey a good mix of city and town.
were also distributed.
After more generalized comments about the city,arts and culture was
There were 298 Internet respondents and 20 paper respondents,which the most frequently mentioned specific feature of the city that was
were mostly Spanish-language.There was no significant unique—slightly more than nature/agriculture/wine/food,and
difference between the English-and Spanish-language responses. heritage and history.About one in six respondents mentioned arts
and culture, referencing the Greenway, murals,Art Trails,SoFA,the
1. W h a t i s t h e f i rst t h i n g t h a t co m e s t o m i n d Handcar Regatta and youth art programs.This suggests that there
w h e n yo u t h i n k of Sa n ta R osa? could be a nucleus of artistic activity that could be built upon,as much
Reflecting on the first impression of Santa Rosa,the largest number of as any other feature of the city,to make it unique.
responses--nearly a third—remarked on the physical character of the Diversity was also mentioned as a characteristic of Santa Rosa that
city.About a third of those responses reflected on positive aspects,such makes it unique. It would be important to understand better what types
as "bustling,""busy,"with"two whimsical downtowns,"but most of the of diversity people are referring to,and how that is present in the city
comments consisted of observations such as"behind the times"and that makes it feel unique to people.
"sprawl."The second largest cluster of responses related to the natural percentage/Response
landscape in and around the city, including specific locations like the
Luther Burbank Home and Gardens.Arts and culture was not ranked 38 Size,location,access//center of the county,proximity
highly at all,and almost as many respondents remarked on the lack to other things
of arts and culture resources as they did the positive aspects of Santa 21 Arts and culture
Rosa's arts and culture scene. 21 Nature/agriculture/wine/food
Percentage/Response-Total (265) 17 Diversity
17 Opportunities for business,education etc.
26 Environment,landscape,climate 13 Physical Aspects of the city:buildings,planning etc.
24 Physical nature of the city/negative comments 11 Good mix of town and city
15 Arts and culture resources 11 Heritage and history
13 Home familiar safe
12 Physical nature of the city/positive comments
12 Wine and food
11 Economy,business particular to the city
5 Lack of arts and culture resources
56 Santa Rosa Public Art Master Plan
3. Where do you take visitors? 4. What kind of public art do you feel
The most popular places to take people involve downtown,outdoors is m ost i nte resti n g?
(hiking,lakes, parks)and places related to wine and food. Respondents expressed a strong preference for sculpture,and a
Though arts and culture scores slightly higher on a question about what second preference for murals,compared to site-specific installations
makes Santa Rosa unique, it does not score well in regard to where and art in museums and galleries.
people take visitors.This indicates that while arts and culture might be The responses to this question may reflect the prevalence of sculpture
important,there is more to do in Santa Rosa related to wine and food, in the city and the region,particularly the sculptures in prominent places
visiting downtown,and outdoors activities.This reinforces the find- downtown,and the sculpture at Paradise Ridge,and the relative lack of
ings of the first question,about the first thing that comes to mind about museum and gallery exhibitions.Also,more murals are beginning to
Santa Rosa. emerge in more prominent locations in Santa Rosa through the work of
This might indicate that in building on the city's arts and culture A�start.These results provide encouragement that each art form will be
resources,a goal might be to provide more arts and culture resources Welcome,and suggest perhaps that more exposure to/dialogue about
that offer people something to do,rather than being part of the ambient other forms of public art might be called for.
experience.It also might indicate that the arts and culture resources of Percentage/Response
the city do a fine job of working as ambient background—visually
pleasing features that make it pleasing to be in Santa Rosa,or act as place 45 Sculpture
markers,without being destinations in and of themselves. 29 Murals,mosaics
16 Site specific work
Percentage/Response 15 Experimental,modern
50 Downtown 7 Museums,arts,galleries
42 Outdoors,hiking,lakes,parks
42 Wine/food
21 Arts and culture
18 History and heritage
Santa Rosa Public Art Master Plan 57
�
5. Did ou know Santa Rosa has a ublic art � .��= �
Y p .T �;:
program? �
75 Yes " �
25 No
6. what examples of public art in Santa Rosa
are you familiar with?
People are most familiar with"gateway"pieces—Ned Kahn,C�clisk,
Boback Emad. 94% Wall installation on AT&T building downtown(by Ned Kahn)
People are also familiar are the projects along the Greenway and
the nearby spaces on the Civic Artwalk. People are less familiar with
murals elsewhere in the city.
Comparing this to answers to question#4,there is a high degree of
awareness of sculpture in the city,and a secondary awareness of
murals in the city. Murals that are smaller,or in transportation-related
locations(underpass murals,artist billboards,transit mall mural)aren't
as well known,while sculpture in transportation related sites,such as
gateways, is better known.
In general,it seems that people's awareness of pieces is related to their ,
prominence in terms of location and circulation patterns. - :
. . 'L.� '_ _'�_
90% Cyclisk sculpture project on Santa Rosa Ave.at South A Street
The images to the right were shown in the survey.
(Mark Grieve and Ilana Spector)
They are arranged in the order that they were recognized,in
four columns from left to right.The percentages reflect the
percentage of respondents who recognized the artwork.
t
�
85% Downtown gateway sculpture near College and Mendocino
(by Boback Emad)
58 Santa Rosa Public Art Master Plan
�
��, - - �
�
. '#. ,� ¢ -
Fx,�� � _ - �.�. �
- -" ,.
] {
w
. �-_�.
80% Murals and mosaics on view in various 66% Artworks created by private developers 51% Temporary wall art at the Sonoma County
locations along the Prince Memorial in commercial areas(Santa Rosa Plaza, Museum
Greenway Montgomery Village,Coddingtown)
-
�
_ .�' ��� � �
� .�
.�:- -
�
� ��.
77% Civic Art Walk(Courthouse Square,City 65% Artstart projects(mostly murals)through- 47% Temporary murals on"artist billboards"
Hall,Prince Memorial Greenway,Juilliard out the city throughout the city
Park,Olive Park)
� �_.
� � �
. � � ���! � �
,
S 1 ;
� .
� 4
71% Maple Avenue mural in Luther Burbank 53% Ninth Street underpass mural 34% Transit mall mural and panels
neighborhood(byJet Martinez)
Santa Rosa Public Art Master Plan 59
7. What other examples of art and culture 8. Public art in Santa Rosa should:
programming in Santa Rosa's public places are ThisquestionasksaboutgoalsforpublicartinSantaRosa.The
yo u f a m i l i a r w i t h? selections clustered into three groups,as shown below.A basic obser-
Percentage/Response vation is that people's first priority is for projects that reward everyday
experience,and which support the local arts community;a second
91 Wednesday night markets downtown priority is for projects that raise Santa Rosa's profile in the region and
85 Events in Railroad Square,such as Handcar Regatta beyond,and a third priority is to serve as place markers and to provide
81 ARTrails venues in Santa Rosa a didactic function (e.g.,be"about"something).
63 Outdoor concerts at Juilliard Park Percentage/Response
58 Art exhibitions in community centers and City Hall
57 Downtown street performers Local;enriching experience;whimsy and delight
53 Cultural festivals that occur downtown or in Juilliard Park �1 Support the growth of the local arts community
40 Outdoor movies in parks around the city each summer 60 Provide opportunities for people to experience art that
39 Theatre performances in Santa Rosa's parks enriches their lives
24 Art events at Bike Expo 59 Bring a sense of whimsy and delight to everyday spaces
Destination,interaction,identity
46 Position downtown Santa Rosa as an arts destination.
42 Help build or reinforce distinct neighborhood identities
39 Make Santa Rosa a leader in the arts in Sonoma County and
throughout the greater Bay Area
36 Create community interaction,strengthen social networks
and connections
Gathering,pride,tourism,history,environment,issues
38 Promote pride in Santa Rosa
33 Anchor gathering places.
26 Welcome people to Santa Rosa and let them know they have
arrived
25 Draw attention to the natural environment and environmen-
tal issues facing the community
23 Support tourism
22 Explore and provide information about facets of Santa Rosa's
history
20 Enhance the identity of community institutions and civic
buildings
18 Open up conversations about issues facing the community
60 Santa Rosa Public Art Master Plan
9. Santa Rosa's Public Art Program should focus on:
This question assesses which opportunities are most interesting Percentage/Response
to people.In this case,responses focused on"local,local,local"— 78 Creating opportunities for local artists,makers and creative
projects that support Santa Rosa arts organizations,projects that entrepreneurs
involve celebrations and events,and commissions for local artists.
61 Supporting local arts organizations(such as Artstart,
One interesting response involved"creating artworks that anchor the Sonoma County Museum and the Santa Rosa High
community gathering places."This scored in the second tier of pref- School Artquest program)to commission public art projects.
erences as expressed in this question, but scored in a lower tier in 58 Supporting artist-led and artist-designed celebrations and
goals as expressed in the previous questions.Santa Rosa doesn't have events
much art the plays this function right now,except for the sculptures in 58 Maintaining and repairing existing artworks
Juilliard and Olive Parks,so this might reflect people's general comfort 55 Creating opportunities for arts-related activities in parks and
level with art in parks,which is also reflected in question 11. public spaces throughout the city.
Also interesting was the response to"organizing opportunities for 53 Creating artworks that anchor community gathering places
people to have hands-on experiences making art."Given the emphasis 45 Organizing arts-related events,such as performances,
on local organizations and artists expressed in the responses to this lectures,presentations and other educational activities,
question,and what we have heard about the"maker"community in in downtown and the Arts District
Santa Rosa, it is surprising to see this more highly ranked.Also,some 45 Organizing opportunities for people to have hands-on
of the city's more memorable projects,such as the handcar regatta,the experiences making art
sofa derby,the winter blast,Artstart projects and Jet Martinez's mural, 43 Creating artworks that act as visual gateways to the city
do involve"hands-on"activity by a broad group of makers,community or downtown
members,and/or youth. 42 Creating artworks that are integrated into new buildings and
Finally,very few respondents indicated support for temporary art per landscapes that are built by the City
se,even though support for"artist-led celebrations and events"was 40 Commissioning new murals elsewhere in the city
high.This topic should be looked at more closely. 36 Working with developers of office and shopping complexes
to incorporate high quality works of art into their projects
36 Commissioning new murals in downtown underpasses
23 Organizing temporary projects in downtown and the
Arts District
22 Putting up more temporary artist billboards throughout the
city
Santa Rosa Public Art Master Plan 61
10. Thinking specifically about downtown 11. Thinking about the entire city of Santa Rosa,
Santa Rosa and the Arts District, what locations what locations interest you most for new public
interest you most for new public artworks? artworks?
Here,there is an emphasis on pieces that relate to the fine grain of the Here,there is an emphasis on artworks that support pedestrian and
city as experienced by pedestrians,and which fill in visual gaps or gaps transit areas, primarily downtown.The idea of artworks along road-
of activity.This may be a response to the transition of scale in buildings ways,such as pieces along arterials or at major gateways, received
and spaces right outside the central core,or the expanses of broad, a lower ranking,even though gateway pieces are the most highly
blank walls in so many of the blocks that surround the pedestrian core, recognized.
or the expanses of garages and parking lots that ring the core. However,artworks that connect through downtown underpasses were
Percentage/Response ranked low here and as well as in question 10, indicating that people
62 Vacant walls throughout downtown may consider linkages design challenges, not public art challenges.
57 Railroad Square District There was also a strong interest in public art at community
55 Downtown Streetscapes(3rd,4th,5th,Ross,B, facilities that people actively use,such as parks and recreation
MendocinoSanta Rosa,D,E) centers,as opposed to civic facilities such as fire and police stations or
53 Vacant storefronts throughout downtown municipal service centers.
49 Courthouse Square Trails and greenways also ranked low,perhaps because of their lack of
40 Downtown Underpasses(Third,Fourth,Fifth,Sixth,Santa visibility or low-intensity uses.
Rosa) Percentage/Response
40 Downtown Gateways(Santa Rosa,Sonoma,4th/College,
B/Healdsburg,etc.) 68 New SMART stations
34 SoFA District 66 Streetscapes in pedestrian-oriented areas(downtown,
29 Santa Rosa Corridor(Sonoma Avenue to Hwy 12) Arts District)
26 Prince Memorial Greenway 53 Community facilities such as parks,recreation centers,
24 Sonoma County Museum swim center,senior centers
16 City Hall grounds 48 Gateways into the city(Sonoma Rd.,Santa Rosa Ave.,
Mendocino Rd.,Guerneville Rd.,etc.)
43 Streetscapes on vehicular arterials(Santa Rosa Avenue,
Mendocino Avenue,Sebastopol Road,Fourth Street)
40 Courthouse Square
40 Major new commercial developments and nodes(malls,
shopping areas,office areas,hotels)
33 Downtown underpasses(3rd,4th,5th,6th,Santa Rosa Ave.)
33 Other creek trails and greenways in Santa Rosa
20 Prince Memorial Greenway
15 Southeast Greenway
15 City facilities such as municipal service centers,police and
fire facilities
62 Santa Rosa Public Art Master Plan
' II ' 1
Analysis of Park User Intercept Surveys werealreadythere.Thegoalforinterviewsinotherparks—South-
west,A Place to Play, Howarth and Rincon Valley–was to find out if
In May,2014, interns from Sonoma State University, under the direction people felt public art would enhance their experience of using those
of the Public Art Program and Master Plan consulting team,conducted parks.
intercept surveys of approximately 180 park users in six park through- The data obtained from that survey follow.
out the City.
The interns used a structured interview device.The goal was to learn,
for Juilliard and Olive Parks,what people thought of the sculptures that The images below were shown in the intercept survey.
City of Santa Rosa Public Art Master Plan
General Park User Survey:Rincon Valley,Southwest,A Place to Play,Howarth
May,2014
These are zramples of the kinds ofprojects artists have done tn parks in other plares.Can you
pick three that interest you,and tell us why
A
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Santa Rosa Public Art Master Plan 63
duilliard �lire
Sl'MA•fARY Thi.is n ce�3nmunity F�nrk+��e�is�wi lieariE}•utiad l�y ilir imm Yliat�[octil resi�leiiLL A in�mkkr c�FEkc��l�we ap�m�aelKCl.µ-]wl}�cr
Loca[cd�ux�xvut�i uCt]n Dvwniown un-a and adiNCCn[�v�ic aAs disfric�,d»s purk is a€xal Iuvvn[e.��1os�of[lic participanix livcd they panicij�ated nr nd.,were jia[paxsing�hrough to dre creek pa3h. !��fany people x•oufd no�participaee in Ilze xiu-re}•process,and
within a neu6y iieiehlwrh�x�cl and visited regularly.l�inny of dinse we inten•ie�ced 1verz lx�ccz UaU playeis and camz fr�m all o�•er iE wn��diEYicuh[o find criough Fnu>>lc lo tomplctc I}lC dllVitc'(I II11R�'Y�IY4'Cyti. qJpU1;q5I I}](�C W"I1D�i��BTE1C1�]NIC IIfCCC%l5'89 tI1LCC[I
So�ioms ComF[y For Icag�w games.Dnig uwc,discnrdcd nccdln a�id cvndoins wcrc of cviiccm lv ma�n-of Uu Fmcrvii-wcca,nnd a reactirni�o�he T��bernsity xcul3nure,hut a consensus cui appreciatiort For�he Torqued column.
Few even saic!iliat ihz}•no]nngar 6ring dieir children duz to tl�is.Tliat bei�ig sai��L mnst Exo��le��Fn�exsed great Irn•e n£this park
and e�yoy�he natural lx�au�}•nf ii. ??Suncy's tolal--Uemc�,rapliic wld inttn•icwcti s lacnkdem•�i
32 Si�3ve��s�otal--Ue3nographic aied inten•iex•ee's Eaeakdnu•n Leff He lace Hemvre
Tw eredCalirrnn 23 - I
l.eff Rr lncc Removr
RedUxake 1-0 li ] Tre6erout' t$ 8 �i
iTun rn�er!! i•9 lU U
7Qe E�vupi ngs
1ee eroupinas
Ci S-�J LV-I� IS-�Y �O-^_� ?J-3$ 35-A-7 -15-S�i SJ-J� FiU-G�'� C�$-iq -5—
.- �-y 1(�-i-1 3�_11 ?ri_�.} �_;-} ;s-qq 15_�.; »_�] CN?-Cr7 55_-q ��� V k t 3 6 3 l 1 3 1 i]
�i 8 2 [� 3 - 5 ] _ 1 l Die�i 12 Ala�ie 8
�4'nmt�� 1� iirnup ]9
A�S�Ki iti Alon� -
�i'omen '�] Group 3] I l i�itcn•icu'ecs did i�oi coE��nient upan thc"u'h}''tliey liktd u�'cEi[4t't itka�Ix sculfriuree.�E'hc remainiaK iittaiviewees�t3=�rfe ifie
Fvllvwn3g conunents:
?interv iew•cea did not mmment upan�he--vrh��'dtey liked ar didn t liF�e the xculptures.The remainuFe i Frtervievrees nFade tl�e
ti�El�nvin�[cnmm�u�s: Torgued Column Taherosih
I Veritly is gocx3 Iiids fall ar rtni ima this.Scvntrliiue morc child
Red OusRe Haneover![ proof�frei nd I}'p]ease.
I renzinds her eF I_nron,ch:utee co1cK�o yel3ow,nranee.or dnesnt makz sza;e _ Th�.is nk Inii likal d�c rcd sloor lno. li�chdd lJ;c lo scc Sefcr&IRUfC YAC1Cly[�CSCIIII�UYCS.Lllls 1S[ow'
some�}uiya it�i will Mend in ' mare:�Aifferzni sculpeures r�r art and kids hun seh•es on ii.
2 ]mpmcz uverest �e x� 7 Srnnzihii�g dif£erznt�coulrl he nice
3 rotadng artisis ..� re[aucll vvidi BFRC�ieaac
q plaq�k will�arl irdo t�aMC nc1�cr s�xn il P I
9 -- har'e ner'cr socn it � rrall}•like this 'f his haK 6een hera a while.Somed�in�new
ti ].i}:a it havz�taver vren it wvi�lcl l�c�iice iv see
• Vo rcasen lo chw�e Soni�ttun�more inieresting.colvdul 9 fkztty Really]ike d}is. 4yr nld smi]ikee m play
I O E�nrtihle.waste of�p.�cr,"t�4v1i is t1v�iY" Vn ccxim�ant wvaroemd il.
I i Vnccy�lmtnt nn opi3lipn ifi its>>iilirnriart di��'t sea if np ng�ii�ion
I2 nr rep�+c��l��pen��ing cn�che an �;n c,enrn�m i a y�nnziEiiik m�r z in�cro�rin��cau3�i Ew i�3ce
13
14 ii's ruce hut swiirh i!iqi Nn r�+nm�ent i 5 [ooks�iice.like i� 6ac1 colvr clinice.�oo laud.tvv hrigilt
I S FIaE:inq wnkduq2 h�e r�ith a waierfall or w5ier feature iCs rtice i" I�IiIt55 N I1'IICIlRLI]BCI:SOIt 4luiUL i5 ENI�il�). ��2fR.2�j0
u•rn�ld bc mnl �icn dn that.
i8 Eikesii Vnccu�ia�ent i8 Likc�3i7n. Uoi�'i clixi�,c! Sti 8n
29 mnldplc.aJphu s in a circk 2U Eikc a Ucnch
2i add iiwrc _1 Kcnlly likc dii+it iti iuE 7�sti��u Uo�xri iikt Ihis. ilvEn somttlting furc�crciyc.a
22 Parks clmngc ovcr timc.nc�•=ut rc�ccts ihal charprc hcticr Soc 8a ice�cr�ollc`�.' !]cfiila[c€y 9UI11C�}]lilg,iiltCTBC�IYC
23 W'nu]A Lke!n�s�rt wcvks miafed rvil}i nthef]reces zithher See 8a For kich.hSa�he a Charlie Rro«•n item'
�3zw nr m ciry•alrearly.Ke.��s tha intaresi up and Fresl�I.ik� '
�lus rn�nC tci�i it staying Fnr a wlutr :4 add somctlii�ig>>cw mo 3iFy i[
25 �M fcmd o£hiod�i 1u�. Somcllu�dassical�.•wilA 6c iace. Scc Sa _= LJ:es iliis pla�sc do no[rc}�lacc.�us!add t�iE. W'o��IcE like�n scc dlis clia��icd
Tlmil:e torning piec�'s is a gmd irica
2a �his is what is wrar�wi�i an in public.likes caa hranxe no opininn.s[n;�s in 6occe an�
2- lads ar�a�Rarted to if,tv�dcrsn t like it. no npirtion.sta73 in l3xce ana
28 �rexm on ftim leave it es 1rn�e as nn gralTiu coo1.people tn}:e pics widi ii
29 w�n4r1 fike W xe x maE K rri�c,em�ire�ur�nlally cvn.israiir ils���enrcYl fi�r.x�cc+�&nyEace nilh Km�3tlEang
wiihnaturt�l dcmcnts nFpark tznuiifi�l,cnnnccl with rulun x�iir_kic�w
30 unntlhing me&iungful,h'alice.�ncrivan
31 ]nAifferent.]ikes it. C'rncemrA aAnw graf£nn Sez 8a
3? Vo c�rmncnl Lik�s sc«lqi�as
64 Santa Rosa Public Art Master Plan
Svuthwexl Rincoo V allcy
Sl7v1A•1,�RY' 5i.!A�I�SANI'
Th�x parlc is has a primanly I-Iispanic visitor populalion and wc cxperieiic..�d a bi[of a languxgc harricr willi many pariici�aiz[s. it4any people came from acroxs w�vn�n eiejoy d»s heau[iful park.Panicipan�s svere oFten found relaxin¢in tlie graxa or�s•aichi�ig
Ho�vever,many were eagzr rn g�anici}�a�u aixl make su�estin�Le frn�addiucn�s ro ihz�rk.h�ta�n•nF die s�ee:;ii�u incl�uizd mater dtcir kidw ur dnp,s NI play Sc�•cra]mculi[r�ed�ia1 vrt ai fiiis pauk H�ould!k a wclonmc addi�icm as tl�crt nrc widc txyxuscs nFnExn
FcaWres li�r chilclrcn lv��lay iri murals.suid ackliuwial play�uipmcnl. spacz.Sculpnues�s•ere the primary su�ac4eion for public art adriitioFLg.
k Swvey's�n�al--Demc�npUic ancf ii�ten•iewee's 6reak��vn 3l 5<<ncy's tota]--Uemc�,rapliic wid inttrv icwre s l�rcnkdcm•�i
Phu10 Number 1 2 3 4 5 6 7 8 9 10 il lZ Photo humber 1 2 3 d 5 fi 7 A 9 10 11 12
f..7C'hnic•e ;i 1 3 l [� 1 1 �� 3 �7 3 I.er('hnice 8 I 3 ci 5 n Fi t 1
?nr�L'hnic•e ] ? I [� 3 ] � 4 �� 1 l ] 2nd('hnice 3 2 3 I 3 i l [1 11 S
. . . .. ... . . . . . -
3rdCkon:e il fi ? ] 4 ] ❑ li � 0 0 i 3rdChoice --?---U— 3— --� ----3— ----3 -—V --1— --t—---9— ---.'.— --�--
. . .. .. . . .. . . . . .......---._......._..--...................................-�--......---...--�-�-------..._....._....._..................._..............-�-----...._.....-�-�--�--
�ilh Chvice D �i t 0 0 p f.l I U 1 U D �J�h Choicr 0 U [t 1 1 U U 0 U l C� 0
Tatul.s 4 3 7 3 8 2 1 b Z 5 1 S T'oruls 13 3 14 6 10 8 Z 13 3 6 � 1Z
Aee ernuoins€
:�ge_groupings
-:5 5-] 117-]$ 15-19 WO-'$ 2�-3A 3�-•1•1 •i�-5•i _-±9 Gfl-CxS G5.�4 ^7- •_5 S-y lf]-1�1 ]5-19 ?[�-?4 75-i� i5--1.1 -15-�� SS-S�j Cl�-E-4 fi$-'a ..
!i 0 ] 3 9 5 3 3 3 I �1 V I 3 1 Fi -7 - 1 l 3
A•fen iG Alvne •9
A4en 1•f Alrnie 5
l�'an�i�� la Gruu�� �Fi N�cm�tn ]' Group �fi
:"':inten•iewere did�iot en�ume�U u�7nn ihz"uhy��[hr}•liked�1��exn37iplc choices
The remai�img ia[�rview��:s made Ilie l'ollowiiig,commeorts: ??inien�iax•ces did nnt comincru upcm ille"w9i}'�dvcy]ikeci Ifie exaonplt clK�icea
l'he remainii�inten•iewees maAe diz fnllnn•ing cnmmznic:
# C:ammen}s
1 �ioocl£or kids=climb�iig„kids can climl�,nicc 6ig arcistic addrtivr�good for climb'v�g and dif2crcnr� # C'ommentn
�i��,_�t i Part of play a[n�cWrc,kids wouid enjvy,gvod lor kids tt�l,incorporating rliings for kicls,¢ood if kids
? Likex spvAs tlieme la'�7i can climbupvi�urtereaiing.
3 c:uta kick n•xiEA like tn make and play wid�this.prettyf s^?.Ivnks nice u�d aeicls c�lvr.cnlnr ic
2 Spnn.�dEama.ple�ce io.,��.�ficl�nc]lnrelan ima��'
ilecdecl iiz�tis pxrk.r3ice.cdi�cuci�iial,somc scrt uF i3mel�>>c,nawrc,sennie 3 Really cool l�?1,like i[[x�i,like-bu�please lesx Uald�bus}', likes x•s�er scene,liave�ie communi�}'
a Si��vith frieru9s.rela�.prett�•.mmindz him n[child}�nnd atiritt[x'_�.r�y�n��jati�by«•alkii�q nit�anc�]ikas an iu��n�'c'��iti�L iiildn:+1 m�xNhwey i��r�iic�`
� Gcwcl idca!Liiclvsed mak�•s for c+nmmimi[}',govd lor kirlw tu[aEF�iulk w•iI1F Fnci}ds ix?].somewhcrc h4emrniai greemti•ap�,[oL4 of paths,�vvuld 6e covl if the}•weren
ia relaY,pa}'�itzniirni,kid iisc,sncial,etones 6riiig persrniality f oa hlun�l.
6 Prc�iy,kias a�.srdrnu��.fecin�¢.I['s cuic.pwlun:s wiih famil;-.Likcs spvris d�nnt lik�`s huLLcrllics. a PeacefuL pevple use ii,xome of[hese rvill6e qvnd cn¢Id use some o[tiiese,prett�•not garisl�
beav�ifii]
5 Lincxl fcs kicEs,fur siitir�g,kin[ia cc�L place ta sit ai�J talk.gailiering pEnce Cor pcnplt.piny�umts.
' I.ikes ehis as lv�ig ae it is s��eciCic anA o£]xa]people nr rele�•aizt im��iant£igiires, feld iri��s,place tn sit-cnmmui�al,
8 53inek[x3J.gcx�d For gnllicri�tigs{i�1,�iicc.puUlic.u�miscrrsri�•s,�uater,sc„iict}�iiig coulcl I�a��ciz 5 Nic�ga[c.looks iiatviral.ic+uve u:ul culming,pre[ly.mviung,Prc[ly�ncx3!'orxii cnh�niic<.Fee3
liere,gno��some��•liere to party,creati�e,npeF�gooA for gaiherings,musical evems nr p€a}'ers. oirtside,anfi�l,6eai�tii'ul
J 1['himsicnl,imagirinli�•c,wlarful.arhy a�nr]kid fricndly� ' LJ.c i[,
IU �iotta h.n•e 1v�ater,likes Fowuain,water,�iecoratire,creatiVe S n4uYicni perfom�ances,sluide�a?1.ga[lieni�¢x 1x31,prac�icx€.preu}•,s1�acle,anrac[n•e E�37,sugc arca,
l l Hc�311y conl,iiiec.atalucs srt mooiitrncnts uo[a lnig miisic��'],nuil�i use�^]],minicnl reeiza�or lueal�rnup.a�pgeer,ie,pictticks„pedom�ancee,
12 Remiitck her oF Coddiizgtnwn p[ay area for kids��2�,gnnd for kids[z3}in[eraciive t��1,looles like 9 Yrett�•,wliimsica!
tun,ciifFrrout 3�� [,J;�i�,founr:iin,jicu l�eca�i e iis wn�er.n��n�c�nc,c3rcvlar fo�unain like I��ince M��no�ial iir�anuay
11
1= <<ood fur&i�E.lx'_�,kide cnn ha��a P�41�X31,lllICYJYIIn�,P�11iC11P11E1I,nilt[11C1�1'�,�III�FC[ill[,P[S�C[5
creatir-it�•,wa�idermen[,did llrtenctive,stimula[e}'rnuig minds,diR-erem,Fwik}•
Oflic r cam ments:
F'I�BS�'iI121F:�hfI ISiUII l S�i15Ui�".E Iftl�ti�-),,�>>�'�fi���p IEltlt W'Ui�ICI E�I�31fI lil fllp.��'ISIkI]7CC�Ilu Ylll"C[�El[l�ll�v,
Santa Rosa Public Art Master Plan 65
A Place To Plor- Honartl�
5i.!A3�SAItI' fhi.is n hu,y we11 icsad park Fro�»[a�urc�iily]all scctor+oftln ci�y and tiiirrnunding a3rau "Ihc3e is ytrong iilltayt emd
Prinzarily a s�xirta park.mui�•people suggexied t13ai a pla}'ground be added fur c]�ildreiF.There v�•as a saFety concem wi�h cree��}' e3ifhi�siasm in�ie addition oFPu6lic ar�thaf ix reE3exive nf the crnnmuizities'r-alues a�id Frx cllilcEa�n f educatiorS interactive,and
IilS14'1lIl3XIti yIHIIiF[�4,.S�H�V�:lll_P,.C}]A�lil�',llI1CI VI}IYfW'ISC}]NiRSSi]�C,1i'U][3Ci1811(I�El1I�R]] 1'��fai]inln IR'o c�'�)SRl[�'moi}ILfy N'1�1 C�n�[{ ]]TCtt1'1MC5][i�L'Y`5!I I Il�i][IJ1lF(111 VI 5"IyliF1II3']liSc'Ct'S[]31�..�Lf:IIIC,lil<<18CIlt•u,NiS[I�UII�]'CIiI Nl[�I[L'H3't]5 RETCHl�[I U1'�f Arid(n•Cf.
tha�reporteA a xi�spicirnia man appraachii�g in a menacing ua}•.p lL'e iniiC�eA ilie police.]Cnlike dher�rks wiierz many vCd�e
in[crvicwcts rxrrtc lu ci3joy end relnx.a[Ihiti park I}�cy wcrc ihcre forprac[icc.Far curcisc,fcu tluu�logs,c[c.hlxny-cxpn:ssccl x 38 Surt��cy's toW]—f7cmc�,rapliic and intcrvicwcc's istal;dc+�•�i
dcsirc Iar i3lorc b zichcs nnd�ublcs.
3U Sun�cy's tolal--De�3iogi�aphic wid'uucrvicwcc's l.acekclown Photv I�um6er 1 2 3 � 5 6 7 8 9 10 11 12
I.st('hnice 8 5 l a 3 3 I �i I f.i 3
_......---..........----_--....._....................._............---._.... _
.............................._..._.....---�--......_._.................... ----.....
�ndChoice -7 1 =i 2 1 I 0 2 3 -4
Photv�umAer 1 2 3 A 5 E 7 A 9 7R 11 12 3rd("'kniee 3 2 4 U 4 f 1 > > ?
l.st[:'hnic•e 8 a 3 2 .i � ....--�...............--._....... ..._...._......._....._..----...__.._..--��--�---.........._._'..........-_----��--�_-��-�----.._.......-��-��--
l •i � 1 € _ �l�h(_'haiee I ii I �i U l 0 f� l 2 U F�
'nd('hpice 5 I ? ^_ a 3 �� r t 3 ! _
.... ... ... . .... .. . .. . ... .. . .... llnknox•n(:hnice i I 3 � 3 i �) lr Ci ] Ci 1
3rd[`hniee 1 3 =S 1 ? U 0 ? l •1 ? - -
................ .. .. .. ... .. .... . ........ ...... _ ..... .. .. .. .... .... .... ...'.... T'orafs l9 fi ]? 3 l� lU •1 � 3 6 �[i
d�h(:Hnrce Li L1 U ❑ U 0 i? U 1 0 1
S�h Choicr [i rl [� U 1 6 U L} V V [i U
Tarals l7 R 9 5 9 5 l IY 2 9 4 12 _1�e_graupings
Aeeervuoinea °=5 �-9 10-]A ]�-19 30-?•1 ..�-3.1 3±-•]•i �1�-�a =�-i9 Ci]-S] GS-?•1 -
0 8 Ci 3 - ] l I
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lvien 18 Alane '
n p t fi 5 9 ? �1 _ 1 - �:����� �� lirnu�� 31
hlzn 23 No3�e ]'_ 1?intcn•ic�vecs lmsiiily cleildreu3 dicl izd cummcod u�wii il�e"wEIY�thc;•liked I}�c vxan�plc cEwiceti
4�'omen 1[i �iroup �I the remaini�ig inteniewzzs maAe die[ollrn�•in�e canzments:
^?inien•iewe�di3�iot commeni upvn ilie"wli}'��tey]iked ihe�aample clioices # CGommeots
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bb Santa Rosa Public Art Master Plan
. �
2014 Art in Public Places Committee Members
Nina Bonos,Chair
Jacquelynne Ocana,Vice-Chair
Katherine Anderson
Brad Calkins �
Julie Combs � �
Vicki Duggan �
Flora Lee Ganzler
Christine MarksCarolina Spence ���
�
Recreation 8 Parks Department
Nanette Smejkal.Director
Tara Thompson,Arts Coordinator � .
Sonoma County Museum
Diane Evans, Executive Director , . *
G�rnthia Leung,Community Outreach and Volunteer Coordinator
Eric Stanley,Curator
The Public Art Program and Art in Public Places Committee(APPC) •
acknowledge the dedication of previous APPC members,the Master
Plan Advisory Committee,stakeholders and community members
who have provided invaluable insight and support through the process: t�-=�o�
Steve Rabinowitsh Dan Flock Design by Bud Snow
Karin Demarest Mario Uribe
Raissa De La Rosa Jan Sofie
Judy Kennedy John Bela
Steven Huss Vicky Kumpfer
Spring Maxfield Julie Kawahara
Keven Brown Bud Snow
Michael Schwager Sonoma State University Arts Management Students
Santa Rosa Public Art Master Plan 67