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Home My WebLink About04262018 - packet CITY OF UKIAH DESIGN REVIEW BOARD AGENDA CONFERENCE ROOM 3 300 Seminary Avenue Ukiah, CA 95482 Thursday, April 26, 2018 3:00 p.m. 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 2. ROLL CALL 3. CORRESPONDENCE: 4. APPROVAL OF MINUTES: The minutes from the January 25, 2018, meeting. 5. COMMENTS FROM AUDIENCE ON NON-AGENDA ITEMS The City of Ukiah Design Review Board welcomes input from the audience. In order for everyone 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. Request for Review and Recommendation regarding an Offer of Public Artwork to be located at the Ukiah Valley Conference Center, 200 South School Street. 7. MATTERS FROM THE BOARD: 8. MATTERS FROM STAFF: 9. ADJOURNMENT ADA ACCOMODATION: If you plan on attending the public hearing and need a special accommodation because of a sensory or mobility impairment/disability, or have a need for an interpreter, please call Cathy Elawadly at the City of Ukiah at (707)463-6752 to arrange for those accommodations to be made. Page 1 of 1 Chair Tom Liden presiding. 52.� � OF��II�LI��Q�LC� �Y OR��Z � B1LJ�i�PP�SP�(l �Sl�`ED�Q �M�Q B?�D�dC�XI 2�V �?P��Q R,�tD�Q 3 H W H U `, �Q�,f ( O L D V � 1 D V K 0 IDQkf , V V D 0 R 0 X O D��' 8 O O D % �55�1�1& 1 R�� 2,�p,18� ��IP6�B1�'pE761LD� h�QSS�810 O��Iddbl bB�OSS�1P1�1�°L$�L�W LRQ BL�QfI�.d 61.��A'E�Z NII iIIL F��1Q�L U C��R�1 R�R��Z �00(��20�;n&1121��6 Note: The DRB is required by the City Code to review and make a recommendation on all Site Development Permit applications. 1(�'�31G D �F9�RP OL�b�I 5�U56�D45FaPPQIt1�Q4C� 6W Minutes of the Design Review Board, January 25, 2018, Continued: �SP�'LL�'/D�@�211�'$��YID�J PL� L�[? �/ DSD�DQRPP�O�'DRDW 1 �'1/ �/ �� HM� S�MB18'�h'�L�C�I6' RIGV D�C)Q� x Bl�M�SD��B►PP�VV l�PP�6? 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R�DE�/DA�C��d1�➢�'�/ �''IbB/ � x LL�Lf.�D� x �'6t�R�5DR�il.pQ/ B�IQ/ D��d�D� mJH RI Minutes of the Design Review Board, January 25, 2018, Continued: x �:��PRF�IQD81L�b'V RRi@D� PDF�H6��?L?QR6�lG�' W �,'�6'Lb�I��iQl�LbV �bDQ x �SLIIdADI��Rd�4?� D�Q SDfd�IRmm'�piODL� x 1��1'oD�1�1tI�Z�?A4�'�LLBW LR�IV� 6�C.��PII�@fQ�W R� DQ1�/ x SPr�LLDINi'�RL�W x Bf6RBR�A �M�Fl x 59�lR��D�D�C/ IL�DQ PR� �1�R��41? 1�'I�'�1[IR2Q ��DF�BDC3 ORBbI L��BYD��L�Q� Df.�idQ �DI�CC�?�►R�P�6Z�� x ��T�1R��11�1�'dIE�DF I��JQ DF916��P�W I�SLL�4QQl�tfl/ Q��L��NL�� 6�1/ �� x �IP�RNbB�C�'C� �BI[W��RU SDfQ�I[IR�QD�iQ�QBItID��6 �PRQO SD�RD��IdV�(��/ ��l�Q I�ll?�'RI�I� TI�Q,pB.tl�RIPDI��Q �'F9 RI R�D�? x �iQP�6��D� x �D�DIG�It{�B1��F NR�RNV U'VH x ,�(C�9��QI�� O�?(11�M/ D�dQR��P,�OQ�V S�6�Z i@BI[1��IR��F�I�'��1�/ ffR1� �DF��B1�1f,�E�W x F�61tID��d�fR�C�� D� x �l��h'1�'SSU9t�'Pkl� �l�?Q �L Il�'PS�'Dd�PIi��M�'D�V �L�'6► Lf.�PS� x ��Dl��9Ldl��B'DI[ID�Q :R�C�bB/ S�h�SO9�� D� x ,IfZ/1�SLQ4G�d(!�R(Q6DJFl@I�k�UQPSD Itl��/ ��P�RDQPP�Y �D�IQ L�4D(3 mJH RI Minutes of the Design Review Board, January 25, 2018, Continued: x �C�,'�PP��R�� B1lB'�R� �6DIL1/ 5% xR1�D�l�ldd�R�L� Q9��t,��'Q ��SR�'EPSR�SKDID L��/ �D��RG x1 RQI►�S�JDP��H�RPJ'� QLQRPJ'V DQL�I{� �aSPfd�Pfl��W �� 'D�1Q�J��Q,�'SQ91�Y x �Dd��RYPB�@Qt�l� �1Q ��tP�IG�i��'�DC��f3 x i8�/ iB`D�QD1� S��/ B�� C�.'Q�'D6�DL�� x �C��RL�6L� LB x �R6�6QBBI@�R�RI�Of.�DD�S6$6 N.�`�Q x l�DB�DFl@,�I��D� ��DC�? �I�L�Q6d��D� 5� x �`SR�M6�,QW x �DdIFQH5�3 x ��M�SD�LQItIR2Q 6Q�6D�A/ S�SR��9Q8�Q�QU RM6�Q/ SD��BI�P�RI�'R� LT�� RB�R�(i�l� �68/D�X6; PS�/ �?PP��ID�9 x :R�V�6SO9�I�M6�/ �� 'D�1 Q��/�?�i`S O91�Y x19�M�D�BeIEQ�% �PDNH �LQb�RQVbRI ►�S�M61.LV�IEmC�4 QU �B�f.�68,1[I�B�QR�l�S�M�V D�Jl19�Lflb�Al J�ED�V x i�C�1? �PPLeIR(��t?,�/Ib� RPS�C�� b4/ B'�f�?�ItI��SR� ORI[1�Q�IfbLLI��Q 68/�PP�SSQ9t�J�'�SR� PL��M�@'��Fd�Q R6►RDltl�?1�7Q RPP�ID�h9 ORItID�QLB �QlI�6��/ OR'��Ihl�k1 LI��LUIQ2�1 R� (�AR9 OR��61 RQ E 8NLD��D� 5ff1idG�'6�dPPQ1[IV�QQ8�'LW mJH RI Minutes of the Design Review Board, January 25, 2018, Continued: D6'�6P�L6�Di@��QD �6'� DPL��III�SP�Q6 2DN�!$;E ��?8� �M� S�M��6��DCXI? �PRRD�C3�f�� x 6�SSCa91�1�?D �1�(�1�1,6U RSRelll?bfl/ R�QD�PL�?U l��lll�SPk'Y �QRP�SRP�'Q D RPP�V � x I�DQ�N�/ x R�SD�5P��8'BI�S��J ��SR� 68�L��'B�BD�DAIL�� BQ4�ZQ � x CJIA�D�SLffpQDpIL�6Ddk6��hB1�/ S�M64/ x �PP@y�C�'I�M�QIIQ �� D��Y 81P�Q��`ED�IVI� x,�fAILIQR�(f�6�316/ �lPSL�DV Ldt��DAILfl�ffi'IL� �'�QCJ D��l�6'�G? 8D�Q x 861�(SR�SP��I�Q DA4B�d�ItI�Q P�J{�L�16�h'C3IRDSDAIRS�D9BD;�'D�6Q/ B�M�V R�fD�(i�ELF�/ x L�elBBII6ZPS��I��M�6V x �SL�6�Db9�68�0LIE�,l�' 6� DB1LD��1RdID��R�CPIFR�/ I�Q4Gp �$B�M�OB�W I�f�L�fQ RII�S�9LV�'�l�d/�;I� l�i$Q DRQ�A'C7�LD�H�(�DQ �IDLQZ 16�L�14DC3 x ��L,BI�DIN[IP.'�1C��Bi@L�61 x b'D�It1�B�lm�'l?S�h'�]��'D�LQV ItIR��DVV 16ZP�f�@tS�KC�'?DDURSd7 SDBB6]kA �M�RPS�6'B@iQ� J�ItIR2�� PD�P��d�'DR x 6��l/L�LB�?�/OfDQ�? x �`D�71�DPaDJ6�l71�6.CQ/ B�1lQ NB'LfIK�AfDR�(I.H IIDB@f�l �@B�dBD�i[lt�l�h� �llffi1R�MW Q�QDAI�IIRPSCnt�Y 8D�Q mJH RI Minutes of the Design Review Board, January 25, 2018, Continued: x D��Q�SP�EC0�QA9BL�'/ SRel�RPEQ 1�-?�IIQlS�M6�L��P� D�Q9SV ,��Q�1'��It1Bf.�� RD�I9RD16Z,�Q/ DEll�RI 5�� x SB�Y/etl�'D�dll�'Q�91tIR�� A4�B�6(/ PDI��dJ�BDQRI x SB�QA4BB�C� �AIDG�UV ��1Q�ItIf�Q�O x 1�9BB.�D'BR�'RDQ�/ �D�/ I�PI�'Dfd�DF.�SSR�'iV x 5�61[IR2��W �l3L�bQ DA��'RC�R��I�SD�BfQ Cl��'Fl �,I�/ �D1J@C�?�'DL�11Rd?�LQJf�' I[IR��1LItI0D1[IR�PB'� Df.��ItIR2�k�LQJBSL�Y R��2JD��6V R�D�Li?ELf�/ x �'BI[IP.'��1�/ I[I��9Q/ �ItID�P,�,�,�DS�SP��I/ SDC� PRkDIG�I[IV�GpV1�ZE �IiDA9�'R(.QI�I C� PDF��D��R SS�6�D�68/ �gIDP.l5S6DQ�B�.dh� �9Rh�10 L�IPRQI[I�S�B�(N RQ x �DL68/@p1�NSbQ/ IfPDID�O D@��Q x �4�Lj[E@'.at�DPDQR l�Q�IV D¢,�'DL��Ny6�Af�'SLQ4Q �I�' �IE�R�D.t11�'DF 6�DL..�'RelB b�D�l�Q�f� x SB�QLQJ�M�$1�� DItIDZ$1�9/ 1��HB SDE�+�'RC�IC,�1 SS�SLD64/ x 5B�C3LQJ�f�.' LIbZQL�d7�(/ Nf.��RA��+Q��B'D� � D��dIQ OA'Bbl ��It1P�Q�RJBP��9 ��D �?P,��C�YSS6� �D�� L6'DL��91tIR2�/ SL�SR� S�M�'��'Pl�l�?�'V�B'O�QSR V �SP�'O ��P�I�S BS L�6P1�/ 6Q�6'BI�'LItI0D1[IVi'�B�,�NCDR L�I�r�'/ 1� �L C�V011� `Y.oR ��2JD��P�iD Al L ll��Il R.�tD��M�V mJH RI Minutes of the Design Review Board, January 25, 2018, Continued: x SBk�@/bgLQJKCR�C�b�R�Q�I,� R�GN/ D�SB'DAILII��ID�C,�IPLD�6L � P��P�DAIL�@llIV��J��Q P�G�B`fd4G? d��6L�pl@U LJLQ�P�f9 L�F�CI�1F,f�@/S�h'�'��l9!' 8��/ SD�BDIQSL��;�' RI 5�P�Y x ��M�II�I��f1ARR�D��rN�/ I�'�SR� �SP�h��W x CN6�DI�B��M�i/ x :R�'Vb��I�D6'D@D�'D�f �M�1 ��It1�Q5RelB x OR�Ik�h�l�l'�(If�lb��d/ �Q �@PP�Df.��1�R16Pd?�1'�/ �ll�'QRkJ RPSDI[l�+�DF�� S�WLA9 ��IQ��I�RIV 6@�� :�Rlfl�VB'Lll?DI��1�'�I�1Q Rl� $S�1�6��/$��Rbfl/ RSLC�'?� QD��R�Q� LJ�LO OR�LI��Q DID4B�Q8��Q�'�/ 66� R�MW OA'Bbl x �DBfD1Q�A�QD1�P.b iOD�/ PDI�� R,��M�9/ x �RNR�AIL��DiQ�� DiLQDl4D PR��RPDI��RN QN�� ,�'1�H�R��RH �L�BI�/ �D�� R.��QM�V x ��QSD�Q�/d�JQ�� 8D�Q x 5B�16ZDQSSR�Rel��O LlA4L@J��9/ IR�RIG��I�PA/DD�JfbR/�Nl�� DQ(lIfR1�6tDU SR��'P�SSR�S�? �DNL��/ B��SId/ R.��QM�{/ x �B►tIP��68DLG?i�PS��flbfl/ SRIL�BII1 RBDN ■p�L�'L.�ftIR2�l�1?L �I mJH RI Minutes of the Design Review Board, January 25, 2018, Continued: B�LC�� R�'6QW �SSB D��1/ x D�S@�RQ�LB�� H� SDA/LIQEdI�IR'�RS�i18�I�Q SDI�IL�IR6L J� �SR�SP@�QA4� M�k'Y SDpILfI? 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RI,B'�C�V �6t�DJIfiP�SPOR`16P��?QD L�dbfl/ ��1/2LI�C$��RP1�0 �11� .�'SRi�r)L��I t�?��I LC�1? mJH RI Minutes of the Design Review Board, January 25, 2018, Continued: X ��Re p�►�� D�NQP.��R��9RDB x �'EC�H��D6�ftV D�� F�NL�HQ�Sk4/ x b�B,�leC�7'R�8/�'SRI(�DC�A 68/L� D�6LG�� DC��/�@F9H �RP �RPDlI&1�'�elll�SSLITpQ Ed'��RP PI�?DC�LC�1?�'D�C��1lll?DC�dDJFRI PDb�i// LD�Q A�CSP� x ��'�SR��R�C�1BQ �D� x ��M�bBD1�ILfl'p�DJFa� 81�1 PD�D�S�h'BB'RDP)811�6t S4D�JR�VV SR�B�B19LI61 DQ�P�B4� BV x �LQJb�II'�'�Ski/ B��k9/ �P�PP��SBBI�86 J�W R�6X�ID�/ ��SRBQO I��LQJE�'DL�,ERC�� il�9R�/ 8��IJBL C�BER��Q D668'P�QQLIIDBB x mAlLllY,'1�1'SQ��'h'��dbQ/ l�t��fl/ DE��'D��QI61 x D�SLII,�B�b'B�II�L��i/ x �SSQ917..�Lf�[P�S�D DILI�J@E�'U PRL�DAILIQD�/�h� Y�k�DAILfQ �I�D R�S►D�D�h�IR�G �RB�SI�BF�V Q1��6D1�? x ,L��SO9�`�SRel11�SDIGD�IG Lll�i3�DU SDQD�B��PRR!'J� x �JSSQ9I�L��IYIE►�Q/ f�RA1V 8'D� D��N1�V x �C,�B'�B,R��@81 � x �Dd�q96QQRPR�D61DQ�id/ DC�DD�D�V L��It1�BQ x b�I�SR��Mb�� PS�Tr1�lY�1�V �81[�V 8'D� 5�� x ,��Bf81��Q� D��M�V x �S�O�dJ1,�6��Rh�lf�f L�LPD�LRQ b�D��Di�l/l�f/�(mJL.�(r& LI��JVV S�(R�Q9RB�QA�IEC�V mJH RI Minutes of the Design Review Board, January 25, 2018, Continued: x ��M�i3l�RND1�l9Belll�Lb4/ �'BVl/ � x �RLI6��D�1[IV�Ql7� �P�R�IH 8�84 x 1R�'R9@��'D�Y�I��ID�WQ/ l�,w@1'llH �NH x 2�d7l31t1P�C�' �'I�R��RC�B/R� Ll�p'B'�Itl�? ��Si�l�►L�14' B�RC��IDW {9�'DI[��RD��1 KJd�'�? 6�+�SI�dQ �B��B�ILB�R� �B1L� �'ED�V x B�LL�f��D6Yfk7B�d� �OQEQ 8'D�6�R��?1�4?� 4��PP� R�M��HPP�O RDDSS�D�O B�?RQ�EQ��QC3 6�DPLI�� RRI�'SS��SS�D�4�PLQ��RII�'P W I�FPll�tfl/ R�D�d/�Dk��;�'�1&'�t`(6QPSDD� DEII?68/l,tfl/ DQdID�OG x �DIQ��6�P�9/ LfiD��M�V x i� '�'Iff�/9�'�SR��M�iYLW L VD P D M R UI� IPoI �SP�B'L W �1�IC��DL�1?I�D 6�1��1 �1b4/ ��5�� 16ZD�D�D��G? D��PRRD��B►[I�QDI� P�U D��R�C�d�L��16tED�Q/ 19�V 5�P�Y x ��M�JB'�Dl��lt�'�lN I x �AR6L�SS�SLD�B'LQ Jefid06'DQ ORIt1�Q��ld�'Ibf bB�PPQC�PPLeIRQSS��811[I�QI D�!(@yV�J/D�CC��Qa' L�9PS�hi'�I�A D�6LC�ditl��RL��I/ RDJQ'�V ORItID�Q 6L�3 �QII�B��IA'B�Id�F l��►Q�LU C��R�R��61 RQ 0��20�' 0��20� �851007 ��Fi�'pA�R�W SP B?��dG�l mJH RI ��hmcnt # —____ Adele Phillips From: Estok Menton <estok@mentonbuilders.com> Sent: Thursday,January 25, 2018 1:30 PM To: Adele Phillips Subject: new project Adele, I am wondering if solar panels have ever been considered as part of the proposed new senior housing project on Gobbi St. which is being presented to the design review board this afternoon. This is certainly a prime location for solar access and a very conspicuous development for our community. I hope that planning, prepping and agreeing to be proactive regarding this opportunity is part of the discussion this afternoon and moving forward. I'm sure the senior tenants would be appreciative of tower costs and increased comfort afforded by this strategy as well. Thank you, Estok Menton RECEIVED JAiv 2 5 2018 CITY OF UKIAH $UILDING!PLANNING DEPARTMENT 1 AGENDA ITEM NO. 6A DATE: April 26, 2018 Department of Community Development 300 Seminary Ave. �rty Qf UkIQh Ukiah, CA 95482 planning@cityofukiah.com MEMORANDUM TO: Design Review Board DATE: April 17, 2018 FROM: Craig Schlatter, Community Development Director SUBJECT: Request for Review and Recommendation regarding an Offer of Public Artwork, to be located at the Ukiah Valley Conference Center, 200 South School Street. REQUEST/PROJECT DESCRIPTION An application has been received from the Arts Council of Mendocino County (ACMC) for an Offer of Public Artwork. The Offer of Public Artwork is for a mural to be located on the north wall (facing Church Street) of the Ukiah Valley Conference Center at 200 South School Street. Per the City's Public Art Policy, the application is to go before Design Review Board for review and recommendation to the Planning Commission. The Public Art Policy provides a prescriptive list of requirements applicants must meet. This policy in addition to the project application are provided as attachments. Due to the originality of the artwork, ACMC has requested the mural design sketch not be altered for copying or other purposes. Therefore, the mural design sketch will be provided to Design Review Board members at the time of the meeting. ATTACHMENTS: Attachment 1 — City of Ukiah Public Art Policy (Resolution No. 2016-45 plus Attachment A) Attachment 2 —Arts Council of Mendocino County Mural Application Staff Report Center for Hope 150 Luce Avenue Major Use Permit and Parking Variance File No. Munis 3072 2 i - . if:� �+� . . _ � . . �, l�� ARTS CO�NCIL of Promoting the arts and cultivating creativity to benefit and enrich the li�es of residents and visitors Offer of Public Artwork Ukiah - Past, Present, and Future a mural by Lauren Sinnott March 8, 201$ Dear Craig Schlatter, Director of Commur�ity Development, Planning Depar�ment, C�ty of Ukiah: Pursuant to #he City of Ukiah's Public Art Policy, the Arts Council o#Mendocino County (ACMC} wishes to make the following offer of public artwork: Ukiah � Past, Present, and Fufure a mural by Lauren Sinnott Attached you will find requested documentation. As this will be o�r first Offer of Public Art, it appears that the first step would be for this offer to go before the Design Review Board, ther� back to the Ptanning Department, and ther� to City Cour�cit. The Arts Council's ad hoc Pub�ic Art Committee, myself, and the artist would be �appy to answer any questions andlor to be present at any of those meetir�gs. Sincerely, � Alyssum Wier Executi�e Director .�� .� -� .. __-.. �C�;�r t� ��'-/$ �� 309 East Perkins St., Ukiah, CA 95482 - 707.463.2727 - director@artsmendocino.org - www.artsmendocino.org c�ty of ukiah rub�«arr rioli�y Section III Review of Offers of Public Artwork; Recommendations to Planning Commission P�rt 1. Docume�tatian of Offers of Pe�blic Artwork: a. Drawings,photos or written descriptions of the Artwork{s)to be place�(includiag size, colors,weight,materials and any information to establish that the Artwork has the requisite physical integrity to withstand �ublic display and exposure to the natural elements); # ATTACHMENT High resolution di�ital composite sketch and detailed sub�ect descri�,tions. • BACKGROUND This proposed mural is the product of a local process that began with the city's adoption in 2016 af a Public Art Policy. Cammunity enthusiasm for new murals resulted in local funds being collected by the Art Center Ukiah,which enabled the Arts Council of Mendocino County to win a matching Local Impact grant from the California Arts Catmcil. This program fosters equity, access,and opportunity. All Local Impact projects extend the reach of the arts to underserved populations that have limited access to the arts. In preparation for commissioning the first works of public art to be approved through the City of Ukiah's new Public Art Policy, the Arts Council of Mendocino County took input from the public at an open house in 2017 and formed a committee to distill thos� criteria and unite them with the rec}uirements of the Art Policy, as well the city's Downiown Design Guidelines. The mural opportunity and the publiclprivate co�laboration ieading up to it will have multiple positive effects including a more lively streetscape that reflects our sense of place, character, and pride af communiLy, and er�hances the city's commercial core, The mural committee advertised the opportunity widely throughout the county and conducted a competitive selection process that led to two winning projects for two identified sites. This mural is intended for the north wall (facing Church Street) of the Ukiah Conference Center at 200 South School Street. The arts committee identified three desired#hemes for this location: - Pride in our unique and diverse community - Ukia�'s characteristic landscape of agriculture and beautiful natura� scenery - A positive sense of the future + SELECTED ARTIST: Lauren Sinnott, Point Arena CA � ARTIST'S DESCRIPTION OF THE MURAL "Ukiah- Past, Present,and Future" As the county seat and commercial center,Ukiah represents a wider cammunity than those who live vcrithin city iimits. Many of us who reside elsewhere come here to work, shop, visit. Tk�e mural will represent this bi�er Mendocina family and its stories seen throu�h the lens of Ukiah. On this huge wall, I propose ta depict the re i�past and present, with an expression of our hopes and dreams for the future. The wall is made up of a series of vertical panels, a layout that lends itself to a chronolo�y of historical�eriods, events,and achievements. Each panel will represent an essential chapter in our story through a specific scene. On each panel I will paint a decorative element using the colors af tl��building's existing decoratian. One ins irational or descri�tive word will be gainted on each of these elements. These words relate to that scene and ta other parts of our story. The panels(each measuring roughly 5 x 15 ft.}are separated by verticaI pilasters{flat columns) into groups af fow. The four panels in each sec�ion are visual�y separate bui may be united by a theme or period. Tt�e entire wall is about 225 ft. long and I S ft. high. The painted area of the mural is about 150 x 15 ft., separated inta twa halves by the building's entrance. The wall has a painted masoruy or stucco surface. The mural will be painted on the panels only, leaving all existing decorative elements of the wall intact. {See the ATTACHMENT A: High resolution digital image of the sketch of the entire wall with s�ecific subject descriptions.) The stage for each scene is our beautiful landsca�e which be�ins to connect behind the separate vi�nettes. The distant hills and s�Cy will thus form a continuousi luminous upper element of the entire mural arid create a backdrop for the hiils, forest, viney�rds, orchards, fields and ran eiand within which hurnan endeavor takesplace. So,the higher(harder to paint)areas will consist of sweeping bands of light color,and the more complex scenes will be in the lower half of the wall, essentially at the level of people walking by. This will draw the observer in and enhance the pedestrian experience of downtown Ukiah. Moreover�the fi�ures painted in the scenes will be roughly life-size, drawing the viewer in, especially since a viewer will likely be ciose, d�e to the building's location immediately adjacent to the sidewaZk. Because of this, what is in actualit�r a hu�e�aintin�will be ex�erienced�ro�ressivel}� and wili not dominate its commercial surro�ndin�s. The figures wi11 be shown engaging with one anather and looking out at the viewer. This,plus the inclusion of detail, and the visual beauty will make the images easy for anyone to relate to. The mural is desi�ned to harmonize with the Art Deco style and color scheme af the Canference Center. I propose to carry these into the mural, using a realistic, but smooth, subtly stylized and elegant Art Deco painting style. This is p�rfectly suited to my skill in realistic representation and my love of line. (Please see ATTACHED Samp�es of past work) The color scheme of t�e work is also crucial. I will use a rich, but natwal palette tIiat harmonizes with its surroundings. (Please see the palette in my sketc�, but ajso note that the finished mural wi�l have a smoother,more unified look.) My sub�ect, the sto�y of this place,this rich river valley in the coastal ran�es alon�,the Pacific Ocean, is a sto�y that reaches back.in time. The first scene of the mural (starting at the �eft) depicts the natwal world that existed here befare humans arrived in North America. It is an autumn landscape including native species that engage the viewer and is painted in go�d and mauve tones that transition smoothly from tl�e colors of the building. As a visual invitation, a few oalc leaves and clover"drift" off the panel onto the unpainted section next to the corner window. There will be interesting details in all the scenes that may not be noticed at first, but will be perceived the f fth or tenth time you see the piece. This process of continuing discovery will keep the image fun for locals,who may be exposed to it over and over. The stars of this story are its people,on the beautiful sta�e of nature. This story af millennia continues across the next four panels depicting the indigenous tribes and the life they lec� in their "deep valley,"giving us the word Yakaya, and the contemporary name Ukiah. Native people flourished here for more than 10,000 years, develaping a sustainable and efficient lifestyle. This section also contains the par�el labeied"majesty,"which represents the amazing species that defines our region: the redwood forest in its primordial state. These are the tallest trees on earth and since they live 1,200 to 1,800 years, are among the oldest living beings. The next section shows the Spanish and then Mexican colonial era, represented by a traditional, highiy skilled vaquero, and continues into the period of l�uge change in the new state of Ca�iforn�a, from 184$ to 1900. The immigration explosion triggered by the Gold Rush af 1$49 transformed our region through settlement, as well as tremendous�ardship for the native people. Please see my ATTACHED Letter regarding our histor� for an explanation of how I approached this important part of the story. In short,the native peoples' experience must be represented,and to do so in an inspirational way, I focus on their courage, strength and dignity. The words for these two par�els are"endurance"and"truth." The next section represents Ukiah's growth and transformation as the county seat. I show the gorgeoas historic courthouse,the coming of the railroad, burgeoning agriculture and the lumber boom. The final panel before a viewer reaches the building's entrance shows"education"with a scene of two girls reading on the porch af a turn-of-the-century schoolhouse. Behind them is a vision of what was to come: the beautiful campus of Mendocino Co�lege. The two sections to the right(west) of the entrance show scenes af Ukiah becoming what we know today: labor in the p�ar orchards,the expansion of vineyards and winemaking,the hippie migration and back to the land movement, the heritage of our hispanic community, and the importat�ce of hospitality, manufacturing, and innovatian. (Again, see the ATTACHED camposite sketch of the mural for more specific subject descriptions.) In the final section I depict"service,"as a deep hwnan quality, but also because Ukiah is home to so many service organizations and non-prafits. The next paneI is"remembrance" showing us honoring our fallen and not forgetting thase who have gone before,which leads us �nto the final and largest panel. From looking back, we turn to looking �'orward. It represents the fitture through children. Crossing a creek in the redwood forest on the left,the kids axe watching their footing,helping each other. As they emerge into grassland, they are running forward and laugning, then looking towards the west and the afternoon sun which is setting on the waters of the Pacif c Ocea�n. On the sun's golden rays will be written words in white outlined with gold. They are aspirational values of our ideal community: honesty * respect * compassion tradition �` vision * invention peace '� prosperity '� freedom NOTE: the subject anatter of each of the scenes in this murai is specific and interesting. At the Ci�r's re�uest and as an o�tional benefit to the public, an informative brachure ma�r be desi�ned b� the artist at no additianal cost to accompany the com�leted mwal. • METHOD AND MAINTENANCE - For murals, I use exterior latex house paint, over a yuality �xterior primer farmulated for the existing surface, and properly applied after thorough cleaning. - When dry, the painted sur#'ace caz�easil,y be cleaned by�entiv scrubbing with a degreasing rp oduct. (I have used dish soap in warm water with great success.} Surface cleaning is especially important in commercial settings like these, where greasy street grime inevitably builds up. - It is also foriunate tha#the Convention Center wal� faces north and will escape most direct sunlight. This means a huge reduction in exposure to UV and visible spectrum rays that rest�lt in chalking, cracking and �ading. With pra�er greparation and apglication, in this location the mural should remain intact and vibrant for decades. � Public settin�s are always vulnerable ta vanda�ism�but there are remedies for that as well. I intend to apply an acrylic polymer varnish aver the finished painting. Th�s creates a transpazent layer to work down to if a substance is applied maliciously or accidentally to the mu.ral and must be removed with a chemical solvent. An important part of dealing with this, should it happen, is taking action quickly, within about a week of the defacement. I am happy to help with this, should it arise. Plus, as an extra beneft, I will repaint physically damaged areas, such as extreme scratching or deep scrapes, at no extra charge. - The pro�ect will require a short period of work on a com�act, wheele� scaffoldin� After consultation with the facility's managEment, I intend to pressure wash the wall as the best foundation for longevity. Applying the primer, and then painting the relatively simple upper section of sky and distant hills in its entirety is the next stage of work. This is to get the easier part do�e swiftly and remove the scaffolding, and because you never want to drip an finished wark below you. T`�e scaffolding will be placed along the wall on the sidewalk and warning cones set up on either side of it. The scaffolding wil� not impact the raadway, and if it occupies toa much of the width of the sidewalk, a pedestrian or person in a wheelchair will be able to travel along Church Street on the other side of the street. - I will make a second pass across the entire mural with the scaffolding lowered, to paint the nex_t_level of mostly landscape. - Next there will be the lon e�r period of intense work on the figures and settings of the manx scenes. At this point,the scaffolding will be gone. I will have a small portable surface to hold paints anci a mediuin-sized ladder that will be put away every night. I will will work from early marning untiI sunset and will also make use of a projectar at twilight to quickly transfer design outlines ta the surface. - In preparation, I intend to refine my imagery at the Mendocino County Historica� Society's Held-Poage Research Library, and Grace Hudson Museum. I will work out the composition of each panel ahead of time at home to make my tirne spent at thE wall as efficient as possible. b. A written description of the backgrouncllhistorical information associated with any art item, inciuding but not limited to information �bout the creation of t�e Artwork(s) and the artist(if applicable)wha created it; • ARTIST'S LETTER OF INTEREST I am a professional fine artist with a diverse portfolio ranging from the most amate Baroque bal�room adorr�ing the walls and ceiiing of a tiny private bathroom,to a life-size 3-dimensional winged angel portraying a beloved surfer after his death at sea. While I have create� a nwnber af warks visible to the public, many of tnese are either indoors or produced for ari individuai client. What is comgellin#� about this.opgortuni�y is being able to create.beautiful ima�ry that has an ins�irational message meant�#or everyone, and about everyone. A civic commission af public art, especially located outside where all are free to see, is�he most egalitarian experience of art appreciation. I love galleries and gorgeous interiors, but we don't all have the inclination or ability to access such places. Wor�s disp�ayed on the city's buildings aze truly there for all of us, atl of the tirne. Having been chosen to create a work that harmonizes with Ukiah's cityscape in the service of the project's goals is an honor. I applaud tl�e City of Ukiah for ado�rtin�a Public Art Polic� and throughout this�ro�asa�, I hope to demonstrate how I intend to fulfill its requirements and live up to its as�ira#ions with m�r creative work. All representational art tells a story, and the best public art aften heIps tell the story of its place. If it is inclusive, it fosters a sense of pride broadly within a diverse commusiity. My proposal is intended to enhance civic identi�_for all residents of our azea and express that in a welcoming way to visitors. This is good for business, and simp�y good in gen�ral. Public art makes a commercial district more fun and interesting. Public art also has a rich history, something I know well from my training. I have an extensive education in both the practice and his#ory of art. It actually started with my mom, an artist and graphic designer. When I was a toddler, I worked at a little table alongside her own, as she designed boflk covers az�d laid out pubiications. In college, I studied drawing, painting, design and art theory, earning a BA and BFA. Dizring these years, ane of my primary instructors was an abstract painter who worked in transparent layers on huge can�ases that ended up hanging in Texas banks. We all worked really big, and tttis taught me how creating large images- say a figure the same size as yourself(like in this mural) -helps you break bad habits and really look at the shape af thirigs. I then went on�o eam an MA in Art History, specializing in the Ita�ian Renaissance. This study truly shaped me as a painter. I think it lets me bring a dignity,elegance, and often a decorative enthusiasm and love of line to my subject. This back�round will help me de�ict our diverse communitvxpast�present and futurei with the res�,ect and re�rresentational skill it d�sErves. In a�ditian to artistic vision and technical excellence, I offer m��ractical experience. Easy maintenance and longevity is pazamount when one is going to the trouble of creating policy,then choosing, funding and installing works. See above for my methods and how the mural may easily be maintained so it looks fresh and vibrant for decades. Finally, I fecl well qualified to be one af the f rst artists to work with the community on public artwork guided by the new policy. Not only my ex�erience workin��arofessionall� with man� different clients�but also m�r back�round in�olitics�see Resume� has pre�ared me to do this. Policies aze essential in all realms of governance and I see Ukiah's new Public Art Policy as a helpful roadmap,rather than a burdensome set of requirements. Thank you for your consideration. I look forwazd to working with the City and the community as the project advances. Followsng a�proval, the daily�rogress on the.paintin�will be sort of a show, something of interest to an�one visitin�,Ukiah's commercial center, durin� a lar�part of the tourist season. It should be fun for people to watch the mwal come to life! Lauren Sinnott � ATTACHMENT Artist's Letter regarding,our History c. Artist biogra�by • ARTIST'S RESUME The City of Ukiah Public Art Policy defines an Artist as follows: • One who works in, is skilled in, or conceptuaily creates in any area of the fine arts, such as painting, drawing, sculpture, etc., including mixed-media. • A "prafessional ar�ist" is any person who, by virtue of professional training, e�chibition, histary and/or criticai reviews, is recognized by critics and peers as skilled in creating warks of art. • A person who nas a reputation of excellence, as judged by peers,through a record of exhibitions,public commissions, sale af works, educational attainment,or other means. • A person who is a working professional making the majority of their income from creating artworks. • An educator who teaches studio art classes. 1'�ease see below how I satisfy all of the def nition's elements. LAUREN SINNOTT 310 Main Street- FO Box 921, Point Arena, CA 95468 • 707.882.3100 • 707.684996$ lauren@artgocidess.com WWW.ARTGODDESS.COM PERS�NAL Born February 10, 1959 Madison.WI American Field Service(AFS)Exchange Student in Liege, Belgium, ]976- 1977 Residence in Haustor�TX 1977 - 1999 Residence in Point Arena CA 1999-the present EDUCATION Vaiedictorian, Sauk Prairie High Scl�ool, Sauk City WI, 1977 Cornpletion yeaz,Athenee Royale de Chen�e, Liege, Belgium, 1977 BA, 1981, Rice University, Cum Laude: French, Art and Art History • National Merit Full Scholazship 1977 - 198] BFA, 1982, Rice University: Painting MA, 1986, Rice University: Art History (Venetian Renaissance) • McAgy Fellowship, granted by the Menil Foundation i982— 1984 PROFESSIONAL Drawing Instructor, Rice University, Department of Continuing Education, 1983 - 1984 Art History Instructor, Glassell School af Art, Museum of Fine Arts, Houston TX 1986 - l 992 Art History Instructor, Gualala Art Center, upcoming: OctoberlNovember/December 2018 Studio art instruction 2001 - present: private lessons to individuals Arts in th� Schools, Mendocino county-funded public mural projects with elementary, middle, and high school students 2002-2006 Sole Praprietor, ARTG�DDESS fine art and design, 1992 - the present • Public and private commissions, portraiture, diverse one-of-a-kind projects, independent work ]992 -present • Graphic Design 1998 -present Business products including loga, branding, sign design and production • Group shows in Houston, 1994 - 1499 Including exhibitions at Lawndale Art Center, Midtown Art Center and October Gallery in the Houston Heights, Warehouse Art Crawl,and Texas Accountants and Lawyers for the Arts benefit events. • Group shows in Mendocino county, south coast, 2Q00 - pr�sent Including exhibitions at City Arts Caoperative in Point Arena,the North Coast Artists' Guild, Studio Discovery Tour, and at Guala�a Arts Center: "Shameless! -Art for Art's Sake"devoted to art as a commodity, 2014 "Celebration of Home" sponsored by T`he Sea Ranch SOth Anniversary Committee, 2p15 • MURALS 1996—present(S�e ATTACHED Work samples) RenaissanceBaroqueldecorativeltrompe l'oeil murals in Houston TX, Mendocino County, and Yellowicnife,Northwest Territories, Canada Including "Portrait of Mendocino County" 16 x 8 ft., in the meeting hall af the Communiiy Foundation of Mendocino County, Ukiah CA 20 i 6 ELECTIVE OFFICE Point Arena Mayor 2008—2011 City Council 2000- 2011 Mendacino Council of Governments, Board of Directars Vice-Chair 2008 -201 l Major grants written with successful funding: � CA State Safe Routes to School maximum grant$450,000, ranked 1 st in Caltrans District 1 � Mendocino Council of Government's 2°�o Btke and Pedestrian Fund grant $76,000 Financing reconstruction and modernization of twa af the city's three major intersections, improving pedestrian and motorist safety near five schools 2010 - 2013. • ATTACHMENT Samples of Past Work � ATTACHMENT Statement of Past Pubic Art Experience. d. A warrant of originality{if applicable}; • N�A e. The estimated value of each Artwork(including appraisa�s of the Artwork(s) if available); • Payment far the rntu�al is $�1,250,but the value of the finished product will be much higher, as weli as hazd ta calculate. f. The anticipated date for t�e placement to occur and the length of time propased for public display; • The painting will begin as soon as approval is received ar�d is targeted for completion by mid-summer 2018. g. A site plan indicating the iocation of the location of the pro�osed AMwork. • Please see ATTACHMENT G: Site Plan h. Tl�e aaficipated life af displaying the AMwork(s} in a Public Place; • Considering the fortunate location af the rnural on a north-facing wail, and the proper surface preparation that is planned, the mural should last for decades. See details about this in�he statement above(a}. �. Environmental effects of the AMwork(s); • Insignificant effect. I use water-based acrylic latex praducts commercially available in California and will apply them carefully, as well as use a drop cloth on the sidewalk where I am warlcing. j. Proposed site and method of display (including any necessary hardscaping,landscaping, buildings, udlities,security devices, anchoriag or other information necessary to insure pub�ic safety}; • The mural wiil be painted directiy on an existing wail, so na special action is required to ensure public safety. • During the period wl�en I use scaffolding to reach the upper part of the wall,the scaffolding will be placed along the wall on the sidewalk,with warning cones set up on either side of it.T�e scaffoldirtg will not impact the roadway,and if it occupies much of the widt� of the sidewalk,a pedestrian or person in a wheelchair will be able to travel along Churc� Street on the ather side of the street. k.Signage proposed for the Artwork,inclucliag si�e,lettering and material.Signage sh�ll be Wnited ta the artist's aame,title,and date of work and,where appropriate,a dectication with the name of the donor or lender. • The artEst will sign and �ate the mural using paint. l.Estimates o€the costs of installing the Artwork(s}for public display,inclucling but no� Gmited to: physical anchoring of structures for public display,retrofit of existing buildings or improvements,landscaping,lighting,security and maintenance,and whether the City or donor will pay far such casts. • No cost to the City. �Y. �ndemnification The City has no obiigation to accept, dispiay,or maintai�any offer to p�ace Artwark in a Public Place.The City �as the right to determine, at its sole and absolute discretion,what Artwork(s}offered to it for public display will be accepted, displayed,or maintained by the City. If the City elects to accept,display and/or maintain Artwork,it may reqaire the following inform�tion as conditions of acceptaace: 1. Proper documentation indemnifying and holding the City harmless to any Gability as it relates tv the Artwork,incl�di�g documentation t�at the City will not be held Iiable to any dam�ge incurred to the Artwork; 2.Written ezplanation of Zegal issues,inclvding but not limited to ident'tfying the current legal owner of the items, the existence of any copyrights, patents or other title r'tghts 'tn or to the Artwork{s),such as �ny interests to remain w'tth the artist or designer of the Arfiwork(s),�nd an explanstion of canditians or l�imitations o� the item(s) and whether the City or the donor will pay for such costs; The City will owc�the mural atid the artist wilI not malce any future claim to own it, change it, or otherwise alter the rnural. The artist, as in her other works, maintains the right to reproduce images of the mural at her discretion, in publicity, on websites, and in archival prints off�red for sale. 3. Any additio�al information the City deems aecessary or appropriate to analyze the offer. (�. �'}� ��a v� -� m u �� --� � d � t ,, � 3 �, � � CABERNET 7 CABERNET 2 � � � � CAPACITY 72Q CAPACITY 120 � �N � r' I� 1 � s � �- 3 �^ RED ROOMS � �� CAPACITY-300 � � �� s-5 � � � � d s Z N ..� c�— Y o� � 0. MERLOT 21NFANDEL N Q CAPACIT1f-20 CAPACITY 20 W Z °D OG � N �,MP y a � _ � � � � o _ = oc � KITCHEN v o CHARDONNAY CAPAClTY-70 RiESL1NG O � CAPACITY 7 5 � MEN'S M RESTROOMS � '� � ti 0 WOMEN'S � RESTROOMS ,� � PVT UVCC � �Frr OFC. < �1 a CHENIN BLANC � � PRIVATE PRIVATE CAPACITY-4� r d 4FFlCE OFFICE WORKROOM �� L, v PRIVATE � �' W = OFFICE V�S�T UKIAH � � � MENDO- MAlN `� � r Y POFF CE� CIHd $TREET � � �QQ PGM W RETAIL � � Q� a►�r W a+a OF ICE pFF CTE VlSIT UKIAH '� ` � � L` y � d �C � ° � v r � � v � � RETAIL RETAIL � � � � •• - y :Z O � � N � SCHQOL STREET Lawe� Sinnott Mu�al P:roposal "Ukiah- Past, Present and Future" LETTER REGARDING OUR HISTORY Dear members af the Design Review Board, Planning Comrnission, Planning Department, and Ukiah City Council, Prior to being selected by the arts committee, I worked intensely for weeks to refine my mural concept for review. The historicai research was fascinating anci l enjoyed figuring out how to represen#camplex events through imagery. Happily, the Conference Center wall is divided into panels that will naturally contain the different parts of this s�ory, while the landscape and sky abave will unify the overall work. When you look at the collage of my ske#ches{ATTACHED in digital form) I think you will be happy to see so many of Ukiah's stories and businesses past and present represented on this big"canvas." While every subject in the mural has a rich background and some of the descriptions I provide in the co�lage wiIl probably surprise and delight you, the themes will be familiaz.There is just one part of �he story that requires me to explain my approach. � Ukiah's new Public Art Policy Section V. Non-Discrimination states: "T'he City recognizes that cultural and ethnic diversity is essential in pragrams sponsored by the City, and seeks to be inclusive in all aspects."The policy goes on to prohibit discriminatian against an artist or a donor. Please allow me to describe how I feel it also relates to subject matter. • The stated purpase of this praject is to e�press"pride in our unique and diverse community" and "a positive sense of the futuce,"as well as to feature the natural landscape around us. My method of revealing our diverse community is to show our history and our accomplishments. �f course, this story is not just about us, the living. The story of this place, this rich river valley in the coastal ranges along the Pacific Ocean, is a story that reaches back in time. It is a story of miilennia and the people who made that plentiful environment their home. They lived here for more than 10,000 years. Hispanic and Caucasian people have been here in numbers for less than 200 years. People of Asian and African descent have found this place, and now we are all tagether. But the story of how this played out contains a grim reality that shouldn't be ignored. In 1800 there were some 15,000 native people of multiple tribes living in Mendocino County {and about 150,000 across the state.}With the Gold Rush and California's imrt�igration explasion, settlers began to fill what wasn't empty land. Sadly,those forests and streams, mea�ows and mountains were bought, stake�out and stolen, leading to starvation and desperation. Native Americans,already laid low by Eurapean contagious disease, were now subject to the destruction of their villages and food stores, to kidnapping, siavery and murder. Their children were stoIen and forced into servitude. Se#tlers and militia units accused them of theft, lied about th�ir own losses,then exacted revenge indiscrirr�inately upon any natives they could find.Nor was this attack restrict�d to a few harrible events. It took glace on a scale both large and small across California, including multiple occurrences in our county. In fact,the new state government's officia!position during the 1850s was deniai of rights and systematic extermination. There were honorable people, like Lieut�nant Edward Dillon whose US Army Infantry unit was sent to keep the peace in Round Valley, who testified that the settlers' claims were mostly untrue, and whose men did try to protect the nati�es on the reservation. But the nature af genocide is that otherwise decent people can commit horrible acts if they don't see their targets as people. Within several decades, less than 20%of the native population remained.The survivors'descendants are here now. We have mixed and rnarried and aren't as separate as before. We who are living are not responsible for these crimes. Hawever, we are responsible for our silence. If the mural is to tell our story and be inclusive, the tragedy must be represented. But how?i tried to develop images t�at can be appreciated simply for their beauty and the values they represent, and that children, visitors, anyone can enjoy. I came up with the image of a Pomo mother and her yaung child she�tered under pine branches during the cold winter,with a dny smokeless fire to escape detec#ion. I call it"endurance,"hanaring her strength,and the survival of her people. The next panel shows a native woman and baby lying tagether. If you were viewing this with your 5-year-old, you could say she was sleeping, dreaming about her husband and son, who appear walking in the va�ley mist above her. The grou�nd under her is the color of red ochre, which could be iron oxide found in the earth here, or i�could be a stripe on her blanket, but it is also her blood,because she and her baby are dead, going to join the rest of her tribe in the afterworld.The word far this panel is "truth." Without truth you can't have honor; without acknowledgement,there can never be healing. This is just one part of the big, vibrant mural, but it's an essential part, and I worked hard to present it in terms of the courage, strength and dignity of the native people,rather than the depravi#y of the acts. I ask each of you reading this to imagine that these things had befallen your family and your people. Perhaps they have. My intention is for truth to take us to honor and to that bright future we envision. Thank you for thinking about this.Academics, native descendants and others have expressed that the state and the federal government should acknowledge the genocide that took place in Califarnia. The fi�ll stary is best told in books, while the emotion of it may perhaps be processed through drama, music and ceremony. This all goes well beyond the scope of my project, but"Decency demands that even long after the deaths of the victims, we preserve the truth of what befell them, sa that their memory can be honored..."* And so we can"get to the mountaintop" #ogether, with love. Lauren Sinnott *Los Angedes �mes, May 22, 2a16, Benjamin Madley (assistant professor of history at UCLA and the author of An American Genocide: The United States and the California lndian Catastrophe, 1846-1873.) STATEMENT OF PAST PUBLIC ART EXPERIENCE Lauren Sinnott During the `90s, a naturopath in Houston commissioned"The Healing Landscape" a 3-part mural painted with acrylics on plywood panels that fla�ked the sign-in window of her reception roorr�. It measured 8 x 8 ft. Materials cost under$100 and I earned $1500. A bus� pilot and ecotourism guide in Canada's Northwest Territories commissioned a 20 x 20 ft. scene of wolves, caribou, grizzlies and other flora and fauna of the tundra in a setting that combined winter and sttmmer, including the northern lights. This was for the side of his business in Yellawknife,NWT, and I painted it on site using scaffolding during the long, long workdays of arctic summer. I earned$1500 as well as some amazing trips by float plane to his base camp. That led to a$2000 commission to paint the enormaus side and front of the nearby Quality Furniture store. T�ese were fanciful scenes of fiuniture on the tundra, with a decarative arch aver the entrance. I did this HUGE job (200' x 15'} on sca#'folding and was assisted by a First Nations man. It was from him that I learned about�he astonishing ability of many native peopie to function feazlessly at great h�ights. I also realized my tendency ta underbid. In Canada, I first saw d�livery trucks plastered wi�th pictures of their products,and that gave me the idea to paint my own car, an `8S Toyota Corol�a. Other vehicles followed: my own canverted schoo� bus, which was hame to my sons and me for a year after coming to California,an RV with a seascape {for$500), a contractor's work van(forrrier bread truck) sporting three scenes of the Point Arena Ligh#house, and a VW van with scenes of historic and modern Point Arena. That owner got the vanity license plate of Foint Arena's zigcode: 95468. This job earned me $2000 and the bread truck was done in trade for remodeling my attic. My painting method for vehicles starts with painted metal primer. I don't sand the automotive paint off,just clean and degrease it,and then apply the primer. After that, one can use house paint. The worst part af painting a car is the extreme stress put on the hood, caught between sunlight and engine heat! After I bought my house in Point Arena, right on Highway l, I created three nearly life-size "angels"representing Vision, Strength and Compassion, and mounted them like prow ornaments on the peaks of my raof. These were actually cut fram two sheets of plywood, all three right sides nesting into one another on one sheet, and the same for the three left sides. The front-facing heads are set at a 37-degree angle and each wing has a profile face for viewing from the side. I painted a sunset and night sky under the eaves and a decorative gattern along the top of the south wall. These works have all weathered well because they face downwards and escape the sun. In Point Arena I created a public arlwork that gets walked on. The High School's sports team name and mascot is a grinning pirate, and I painted his d' high head on the floor of the basketball court before it was refrnished. That earned me $300. I have done business signs that were also public murals: the nighttime lighthouse far the Point Arena Schools' District Office, Outback Garden and Feed's 8 ft. oval murals depicting agriculturE and animal husbandry, and the"Welcome" sign for Oz Farm in which a radiant sun shines on apple branches, its center cut out to match the actual setting sun in the west�rn sky. These jobs earned me $S00 - $1000 and materials costs were negligible because I was provided the panels and already own a LOT of paint. Another large mural carnmission shows a man sitting cross-legged in meditation on a giant lotus, itself afloat on a sun-drenc�ed sea, flanked by swans. Underwater,you can see a natural rnazine scene, with urchins, coral and crab. This was painted on the yoga studio right an the highway in FA, half far pay ($1000}, and half in trade for lifetime yoga classes. (Sadly, they closed tivs year!) For me, art is often entwined with life. I did a mural of dogs, cats, mice, birds, rabbits and one human(my son), painted in vibrant colors on a plywood sheet, for our local vet's office, in payment for my cat's expensive kidney stone treatment. (He's in the mural.) I also painted a wall and ceiling mwal inside tlte bar in the balcony of Arena Theater, featwing against an Art Deco starry night sky - a life-size,reclining classical nude patterned on Michangelo's sculpted figures flanking tzis monumental stairway to the Laurentian Library. The ceiling measures 7' x 10.' I did this job pro-bono. My crawning public work is a portrait of the entire county in the Community Foundation hall, lacated right across the street from the Conference Center. It measures 16' x 8' and is painted in house paint on the primered wall. My materials cost was small, about $2Q0, and the commission earned me $5000. The top section was painted using a compact, adjustable scaffolding. This was a great worlc experience: I loved the beautiful hall itself, and interacting with the foundation staff,board and advisors. I toak input,#hen reseazched the history of all the regions of our county identified by#he foundation. I used photos of specific scenes and wove them together like a tapestry in the shape of the map of Mendocino County tipped on its side, so �he ocean was at the bottom, and distant mountains at the top. I wanted to be as accurate as I could in painting a portrait of the landforms of our region,and one of the cooiest things about this project was ttsing Google Earth to look at specific geographic features fram an aerial view. Technology really helped me get it right. In many ways,the Community Foundation mural was the perfect warm up for the big canvas that I hope awaits me, across the street at the Canvention Center, and over at the Library. If chosen, I will hefp blaze a trail upon which other artists and patrons will aiso tread. µ xx � +� �4. 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Ii•- �� - . yr., �:.�1;4, .�'...-� . -k � � . ��`#. � � '-� �� ,,,,�� '�' . �� ` s_� �� 11 1� �`„ ��, �� "��.� �; �� "' . ��- � �o;�.. � ' y�Gu � '�, �,�r� � _ � � ;�.,�*�_. . _ ,� � �v x� , - '"��: r-� • �p M � � r,"�� • ► WORK SAMPLE 7-painted vehicles Riboli&Sons wor�C truck 2002 - -:�' :. . . � Wasserman VW van painted with scenes af Point Arena,.Past&Present 2002 � �� ,'_ .,..�'I � � � „. � P►rt�oddess artcar 2003 ... � --�— � . . . . ,r�" � � t �- � +,y�;:.. . ., .. �.. �.� �} :�r1i f r� , . ' � ��• x�� {. , . � � - �� Y;�� ,� �� -� I �� . .�� --� I �� -� ��_ --��y ,� ��' : . i '►- s+' -- _ ..�. �� , * � .. � .I 7}'''� . � � � I V ` �y.' ,'..,M. '.v:> '.'. .. , � � � � � . r fi— {�t 'x�- '--�` ' ' '� � ' �� +{ 'i�µr„�• �� . t � � � `FF � � T� I .�• .�I " s�.� . . j� .� � ' . . � f M1'�.�-/�,+.M1'{�'' ��. '�'�- x �. � '�."W"..'�� . 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RESOLUTION NO. 2016-45 A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF UKIAH ESTABLISHING A PUBLIC ART POLICY WHEREAS, public art creates a unique sense of place and communicates a strong civic identity for the City of Ukiah ("City"), and; WHEREAS, the City encourages the placement of artwork in public places and recognizes that art provides social, cultural and economic benefits for residents and visitors, and; WHEREAS, the installation of art in public places should be compatible with the location, design, historical character, and infrastructure of the site, and; WHEREAS, public places include City-owned parks, open spaces, right-of-ways, pathways or trails, buildings and parcels, and; NOW, THEREFORE, BE IT RESOLVED that a Public Art Policy has been developed to support and facilitate the installation of public art (Exhibit A). PASSED AND ADOPTED on July 20, 2016 by the following Roll Call Vote: AYES: Councilmember Crane, Doble, Brown, and Mayor Scalmanini NOES: None ABSTAIN: None ABSENT: Councilmember Mulheren ,��.�,r.f.s--�-1�G�GG'��L��-- Stephen G. Scalmanini, Mayor ATTEST: ; • �, � u ��. ,�.�� _ _� Kristine Lawler, City Clerk Page 1 of 1 Exhibit A 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 encourages the placement of artwork in Public Places and recognizes 8 that art provides cultural and economic benefits for residents and visitors. Therefore, it is 9 important that procedures and policies be established and implemented to support and 10 facilitate the acquisition of Public Art. 11 12 The purpose of the Public Art Policy ("Policy") is to provide guidelines for Public 13 Artwork, including: 14 15 1. Review Criteria for Proposed Artwork 16 2. Site Selection Criteria 17 3. Artistic Freedom of Expression and Non-Discrimination 18 4. Collection Maintenance 19 20 Proposals for public artwork will be reviewed by the Design Review Board. A recommendation 21 will be forwarded to the Planning Commission for final approval. 22 23 II. Definitions 24 25 Artist 26 1. One who works in, is skilled in, or conceptually creates in any area of the fine arts, 27 such as painting, drawing, sculpture, etc., including mixed-media. 28 2. A "professional artist" is any person who, by virtue of professional training, exhibition, 29 history and/or critical review, is recognized by critics and peers as skilled in creating 30 works of art. 31 3. A person who has a reputation of artistic excellence, as judged by peers,through a 32 record of exhibitions, public commissions, sale of works, educational attainment, or 33 other means. 34 4. A person who is a working professional making the majority of their income from 35 creating artworks. 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 Page 1 of 6 Exhibit A 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, S including without limitation a proposed loan, license, gift, bequest, assignment or consignment, 6 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 of Artists and design 10 professionals,for a Public Place for the public to experience, or for a public purpose. 11 2. Art that is designed specifically for a public context or place which,through a public 12 process, influences that context or place in a meaningful way. 13 3. Artwork that is publicly visible and accessible during regular operating hours of the 14 City. 15 16 Public Place 17 Any structure or open space that is visible or accessible from a public right of way, such as a 18 sidewalk, streetscape, plaza, park, building, bridge, waterway, parking garage, or sports and 19 recreational facility. This Policy shall govern Artwork and/or Public Artwork in the following 20 Public Places: 21 1. City-owned park 22 2. City-owned open space or public right of way 23 3. City-owned pathway or trail system 24 4. City-owned buildings 25 5. City owned parcels 26 27 III. Review of Offers of Public Artwork; Recommendations to Planning 28 Commission 29 30 1. Documentation for Offers of Public Artwork 31 32 Written offers to place Artwork in a Public Place shall be made to the Planning Department and 33 forwarded to the appropriate City department for review and comment, and to the appropriate 34 commission and/or organization. 35 36 a. Drawings, photos or written descriptions of the Artwork(s)to be placed (including 37 size, colors, weight, materials and any information to establish that the Artwork has 38 the requisite physical integrity to withstand public display and exposure to the 39 natural elements). Acceptable forms might include photographic images of existing 40 work to be installed, computer-generated simulations, line drawings, color 41 renderings, or other means of graphic representation of the proposed installation 42 that adequately conveys the nature of the artist's proposal; 43 b. A written description of the background/historical information associated with any Page 2 of 6 Exhibit A 1 art item, including but not limited to information about the creation of the Artwork(s) 2 and the artist (if applicable) who created it; � 3 c. Artist biography; 4 d. A warrant of originality (if applicable); 5 e. The estimated value of each Artwork (including appraisals of the Artwork(s) if 6 available); 7 f.The anticipated date for the placement to occur and the length of time proposed for 8 public display. All surfaces must be restored to their previous state upon removal of 9 Artwork; 10 g. A site plan indicating the location of the location of the proposed Artwork. 11 h. The anticipated life of displaying the Artwork(s) in a Public Place; 12 i. Environmental effects of the Artwork(s); 13 j. Proposed site and method of display (including any necessary hardscaping, 14 landscaping, buildings, utilities, security devices, anchoring or other information 15 necessary to insure public safety); 16 k. Signage proposed for the Artwork, including size, lettering and material. Signage shall 17 be limited to the artist's name,title, and date of work and, where appropriate, a 18 dedication with the name of the donor or lender 19 I. Estimates of the costs of installing the Artwork(s) for public display, including but not 20 limited to: physical anchoring of structures for public display, retrofit of existin� 21 buildings or improvements, landscaping, lighting, security and maintenance, and 22 description of responsible party. 23 m. Plan for maintenance of the Artwork . 24 25 A failure to provide the information outlined above may result in the City rejecting the offer to 26 place Artwork in a Public Place as insufficiently documented to warrant City staff time to 27 evaluate the offer. 28 29 All information provided is a public record and will be available for review at the Planning 30 Department during regular business hours. 31 32 2. Process for Review by Appropriate Commission and Planning Commission 33 34 Before making a recommendation to the Planning Commission,the Design Review Board will 35 consider the criteria for Artwork selection,Artwork location and site selection(s), and 36 documentation for placement of Artwork. 37 38 Then the Planning Commission must complete a review and approval for the Artwork proposal. 39 40 The following factors may be used by the DRB and Planning Commission when considering the 41 selection of Artwork for installation in Public Places: 42 43 a. Qualifications—Artists may be selected based on their qualifications as demonstrated 44 by past work, and the appropriateness of their concepts to the particular project. Page 3 of 6 Exhibit A 1 b. Quality—Of highest priority are the design capabilities of the Artist and the inherent 2 quality of the Artwork. 3 c. Artistic Value—Public Artwork shall have a recognized aesthetic value. 4 d. Media—All forms of visual arts should be considered. 5 e. Appropriateness to Site—Artwork designs shall be appropriate in scale, material,form 6 and content to their immediate social and physical environments. 7 f. Size and Weight for Outdoor Artwork—Public Artwork located in an outdoor Public 8 Place shall be of appropriate and suitable weight to sustain interaction with the 9 public. 10 g. Size and Weight for Indoor Artwork—Public Artwork located in an indoor Public Place 11 shall not interfere with any activities the public would normally use in the public 12 facility. 13 h. Appropriateness to City's Public Art Purpose—Artworks should address a 14 commitment to enhancing Public Places, creating a sense of place and giving 15 character to neighborhoods. 16 i. Permanence—Consideration shall be given to structural and surface integrity, 17 permanence and protection of the proposed artwork against theft, vandalism, 18 weather, and excessive maintenance and repair costs. 19 j. Public Liability—Safety conditions or factors that may bear on public liability must be 20 considered in selecting an Artist or Public Artwork. 21 k. Diversity—Public Artwork shall strive for diversity of style, scale, media and artists, 22 including ethnicity and gender of Artists selected. 23 I. Communication—The ability of the Public Artwork to effectively communicate should 24 be taken into consideration. 25 m. Maintenance— The installation shall be kept in good repair. Any deterioration, 26 vandalism and other maintenance issues shall be addressed in a timely manner by 27 the Artist and/or sponsoring organization. Failure to properly maintain the 28 installation will result in notification for removal. 29 30 3.Artwork Location and Site Selection 31 32 Artwork shall be located in a Public Place appropriate for such a purpose. Installation of the 33 Artwork shall be planned and implemented to enhance the work and allow for unobstructed 34 public viewing from as many points of view as possible.The responsibility and method of 35 installation shall be described in a Memorandum of Understanding ("MOU") between the City 36 and the donor and/or artist. Potential obstruction of growing trees, vegetation, shrubbery or 37 future construction shall be taken into account. 38 39 When selecting Artwork for Public Places,the Design Review Board and Planning Commission 40 and responsible department(s) shall consider: 41 42 a. Installation—The Artwork shall be able to be properly installed in a Public Place where 43 it can be viewed by the public in a safe manner. 44 b. Location—The Artwork shall be compatible with the design and location of the Public Page 4 of 6 Exhibit A 1 Place.The Artwork shall also be compatible with the historical character of the site, 2 as well as the preservation and integration of the natural features of the Artwork. 3 c. Site Infrastructure—The Artwork shall be compatible with the site infrastructure 4 including, but not limited to, landscaping, drainage, grading, lighting and seating. 5 d. Impacts—The Artwork shall be compatible with adjacent property owners' views and 6 uses of their property and City operations. Consideration shall be given to noise, 7 sounds and light created by the Artwork. The Artwork and accessories shall not 8 present an attractive hazard to the public, or be positioned so as to create a "blind 9 spot"where illegal activity might take place. e. Accessibility—The Artwork shall 10 comply with Americans with Disabilities Act (ADA) requirements in addition to related 11 federal, state and local codes. 12 13 IV. Artistic Freedom of Expression 14 15 The City recognizes that free expression is crucial to making of works of Artwork of enduring 16 quality. At the same time, Artwork must be responsible to its immediate site in community 17 settings, relatively permanent in nature and funding sources. It is the policy of the City to 18 encourage free expression by artists consistent with due consideration of the value, aspirations 19 and goods of the City. 20 21 V. Non-Discrimination 22 23 The City recognizes that cultural and ethnic diversity is essential in programs sponsored by the 24 City, and seeks to be inclusive in all aspects.The City will not discriminate against any artist or 25 donor based on race, gender, ethnicity, age, socio-economic class, religion, sexual orientation, 26 abilities and politics, among other qualities. 27 28 VI. Compliance with Laws 29 . 30 The City reserves the right to require that placement of Artwork in a Public Place comply with 31 all applicable laws and ordinates of City of Ukiah, California and the United States of America. 32 33 Vll. lndemnification 34 The City has no obligation to accept, display, or maintain any offer to place Artwork in a Public 35 Place. The City has the right to determine, at its sole and absolute discretion, what Artwork(s) 36 offered to it for public display will be accepted, displayed, or maintained by the City. If the City 37 elects to accept, display and/or maintain Artwork, it may require the following information as 38 conditions of acceptance: Page 5 of 6 Exhibit A 1 1. Proper documentation indemnifying and holding the City harmless to any liability as it 2 relates to the Artwork, including documentation that the City will not be held liable to any 3 damage incurred to the Artwork; 4 2. Written explanation of legal issues, including but not limited to identifying the current 5 legal owner of the items, the existence of any copyrights, patents or other title rights in or 6 to the Artwork(s), such as any interests to remain with the artist or designer of the 7 Artwork(s), and an explanation of conditions or limitations on the item(s) and whether the 8 City or the donor will pay for such costs; 9 3. Any additional information the City deems necessary or appropriate to analyze the 10 offer. 11 4. Each owner of the artwork provides written proof of insurance to the level the City 12 feels is adequate. 13 14 15 Page 6 of 6