November 17, 2022 — Boulder Arts Commission Joint Session

Transcript

Captions from City of Boulder YouTube recording.

[1:11] I have been promoting him to Pan. Oh, here he comes, so a little slow. There we go! And Don, you can see some of my fellow Arts Commissioner, Commissioners, Yale Aid, Caroline, and Maria, and of course Georgia Great thanks for all your efforts and so Bruce and I used to work together a while ago, and Bruce and I still clarify on projects from time to time. So Bruce and I have known each other for 20 plus years. So, and I go way back Way back. Okay. But so we are now at quorum, so there are no minutes to approve from last time, so call to quarter. We're gonna discuss the Fe. The approval of our agenda, which is basically the public art program.

[2:01] Does anyone move that we approve the agenda Someone I'll I'll I'm happy to make a motion to approve the agenda. Second. Is this a joint thing like? Does it have to be from a particular commission or board No, I think, as a joint meeting you all were on concluding This was Okay, just a free for all We are all together. We are. We are a mesh today Okay. Okay. Yes, yes, this is a new and newly christened Commission. The I would say, it's the downtown Manager commission with the Artsburg Commission. I will second versus motion. How's that Yes, thank you. So with that we are here to talk about the public art in the in the garages, and I understand, Matt, you would like to discuss lead the discussion tonight.

[3:02] Yeah. Thank you very much, and thank you all so much for the quick action to pull this meeting together. The reason that we had to do that. You know normally we would go through the process of approving these types of public art commissions with the normal cadence of both you know both of our boards what we where we find ourselves though is that because of the rules, of funding for this project that it requires us to take some quick action, so that we can get an artist into contract and have, that funding assigned to this project before the end of the year, and so that was something that we didn't anticipate with the arts commissions change in the Arts Commission process, but it required us to. Just you know. Sort of pull this together quickly, so I definitely want to thank all the the Commissioners from both commissions for acting quickly on this, and also to Lisa on Chris for being Nimble with this so that we could make it happen but I I have a

[4:04] presentation, I'm gonna show you and it's gonna walk through several elements of the public art policy. The process that we went through to arrive at this point in the approval and the details of the proposals, and a recommendation for motion language at the end of that before I share my screen with, you though I wanted to call, out that Mary Valdez is with Us Mary is the consultant on this Hi, Matt. Project who's working on Hi Mary with selection and contracting and design and construction of this project Mary has a track record of decades with the Denver arts and venues. Public art program is a very trusted voice in the community. So we're really lucky to have her on board to help make sure this projects is stewarded appropriately, and that the public art is successful. So I may reach to you, Mary, to answer some questions that I've got during the presentation, but she's also a resource for us.

[5:00] If you have questions, the Commissioners have questions about process. The proposals and the next steps. So. Yes, is there a question yeah, we're all good all right. So I'm just gonna get started and Sherman screen Matt. I do have Maria in the waiting room, and I'm really trying to per to get her in. Oh! But it's it's moving very slowly. So just so you're aware she's she's here, and she will be coming in I thought I saw Maria Pop in to the meeting She's having challenges with audio Maybe the case. Let me. I'm gonna stop sharing for a second, so we can. Yeah, she's I could see. Yeah, anyhow, I can. I can You know. Oh, Hi, Maria, I do see I do see her in the meeting. Is there another Maria Maria Cole is that who you refer? Okay?

[6:01] Maria Cole. Yeah, there she is. Okay. I don't know why. Oh! Yeah. She's still showing excellent good We want Maria here, no matter how it is. Okay, I'm gonna share my screen again. Okay. So So this is just to briefly run through the background of the project. The site is the screwscription. At at eleventh and Spruce. The entire building was the site. However, there was some focus on specific areas, but the artists were able to choose the site that they would be proposing for there. Was a a desire. Actually many years ago to have art integration into the parking garage program, and the idea behind that was that you know the garages are many things but they are certainly a gateway to boulder for people for many people it's their foot first footfalls and

[7:10] Boulder going to be at these parking around is. It's also about accessibility for people to work and to and to live in boulder is these garages, and so we definitely had in mind for a long time that there could be arts applications to the garages to enhance their use and to create a better experience for people overlaid with that there's The public art policy, so Arts Commissioners know all about this. I'm sure they've read it many times with pleasure. But I'm gonna slow down just for a second of in case you, the members of the Dmc. Have any questions about this, but basically we have a policy that guides exactly how we collect works of public art, and we're very rigorous about this because we want the selection of art to be a community process and for the community to be not only making the decision to be invested in the decision and

[8:03] Trusting that the money spent on public art is being stewarded. So, you see on the left hand side of your screen the process that we go through this is a standard process. It does change and evolve with each project, but this is the template by which we we conduct each of these public art processes, and where we find ourselves now is in the step. 3. The finalist selection. So we've gone through several iterations of working a technical review committee which I'll talk about in a minute. A community, selection panel, the community itself, and that I'll talk about again in a second and the Bulldogs, Commission and staff have all participated in getting us to this point, and then I wanted to call out that the actual language in the policy around what we're doing today. Is, is on the right hand side of your screen, so the Arts Commission has a responsibility to approve that the process was the the process that was described in the public art policy was followed.

[9:09] In addition to that, both the Arts Commission and the Dmc. Have a chance to weigh in on the finalist. The proposal, and what will make it a successful project. So when we get to that point in tonight's discussion we will be asking for your advice to bring to the artist and for staff to carry forward on how this could be best executed as a work, of public art I think it's important to note that the actual decision on the the right artist for the job is the Role of the community. Selection, panel, and it's the role of staff and our consult. Mary, to make sure that we are executing the design. The construction and the maintenance of the project to meet the not only the decision of the selection panel about the best artist, but also to your advice and to the spirit of the proposal so we have this responsibility going forward about the you know not only all this other processes happen but the discussion tonight that we're gonna work with the

[10:12] Artist, to to meet some of the the criteria that you, as members of the community, have decided, make this a great project so well. Actually before I go on to the actual project in the process itself. Does anyone have any questions about the public art policy, any clarification that's needed I can't see everyone so definitely shout if you are interested. But we can come back, and if a question comes up about the policy, let me know. But it's a guidance stock, and it's very important to us to make sure that done right. So let's talk about this particular project. This is gone through already. Some rigor. The does the design team and select community selection panel. Were formed and a budget put together for the project.

[11:04] Before we even started to build criteria about it, and that second big bullet about the Rfq. And the open call was really about assembling together the criteria for the project, the nature of the space, and some of the our hopes, for the success, so that artists across the country could take a look at that and decide if they were if they thought they would do a good job and and wanted to apply Thank you. Welcome! And so we did an open call. We got hundreds, do we is a 163 months project. Yeah, I think that's what we said. 163, applicants, and that is pretty typical for a call of this size but you know after the pandemic and sort Of a lull and public art. It was great to see that many people interested in working in boulder the community selection panel had the responsibility then of reviewing all 163 applications and deciding on just a few, 5 they ended up with semi-finalists who they

[12:11] Brought in to actually work on full proposals just recently. No. On November tenth, the selection panel. Matt herd presentation from each of the semi-finalists, and had a detailed discussion to come to a conclusion on who would be the best to move forward into the next steps of approval you will I will say, that one of those artists remove themselves because of personal matters so we ended up with 4 semi-finalists that we'll be talking about. So the Technical Review Committee, as I mentioned this is a group of staff. Sometimes there's other people involved in different projects, but in this case it made sense for members of staff who knew the most about the site about the public art policy and the community cultural plan and to come together and basically give advice to the selection panel to the semi-finalists to you about

[13:07] How these different ideas for works of art are best suited to the uses of the site. Long-term maintenance and other issues, and then you see the members of the community selection panel. So we're lucky in this meeting to have Georgia and Susan available and later on. I'm going to put you both on the spot to talk about the selection. Process, but we always like to have representation for our boards and commissions on these, because we can carry for more of a broad view of the community needs and the details of each of these projects. And So suction panel. Very important. It is our community representatives who make the very hard decision on which artists is, best and which project is going to be best. For this Yes.

[14:00] Matt, I might interject. There, that Stephanie Trees, one of the other community members is also a Dmc. Member. Oh yes! I appreciate that. Yeah. And and both Susan stuff. You were very valuable to that process. We appreciate your service to the selection panel. There, so I'm I'm not gonna read through this. There was some detail put into the call to artists. The request for qualifications to get them good background, to understand what we want. This project to do some of the limitations, and we tried. We tried to get as much information upfront, and I don't think it's in here. But we also did a a site visit now normally a site visit would be literally inviting semi finalists to the site to explore and and to answer the questions. This time it worked out best to do a video which I think is a practice we're going to do forward. Cause that was very successful. But it's a way for the Technical Review Committee to meet with the artists. Give them information. And so there was a little bit the video and a little bit of back and forth to make sure everyone was fully informed about the site and the the Criterion

[15:06] So I want to show you the proposals that were presented to the selection panel, and the first one was a group in town called Street Wise Arts, the director is Leah Brennan Clack. She brought together several different artists as part of a team to produce a proposal for a a mural and sculptural work. Here on the that's southwest, right southwest corner of the structure. Interestingly the proposals were all for this corner with, you know, some variation, but there was a lot of attraction to this as sort of the point at which all activity goes through, or most activity goes through with this garage. And so a lot of attention was paid here. But this is a proposal that it it was interesting noteworthy in the it did involve a group of artists who aren't necessarily a team that would have gotten together otherwise but a group who Leah sort of curated

[16:10] As different area artists who could work together in an interesting way and came up with this proposal for that site. I'm gonna go a little bit quicker through these. I apologize. I I tend to to linger the next artist, Rebecca Rutstein, from Pennsylvania, came up with a sculpture application to that same corner one that was inspired by the topographic view of the flat irons. In the surrounding area. David Franklin and Aaron Wilton came up with this idea, also inspired by the flat irons, but in a more abstract way, and one that again addressing that same site, but to specifically focus on a sculptural piece in aluminum that sort of pierces through visually, not literally pierces through the windows of that second floor, and then finally, Matt Brand came up.

[17:01] Is that finally, actually, there may be one more. No there's finally Matt Brand, from Massachusetts came up with this idea, which is a piece that's made with a very specifics, perforated metal. Process that sort of makes a threed holographic effect with different symbols that not only were in this site, but actually sort of appeared in different parts around the building so that's what the 4 semi-finalists proposed the selection panel then had to wrestle with those proposals, asked a lot of questions lined up their thoughts against the criteria. That's you see. There, that's described in the public art policy, and in the end with a vote of 3 options made a recommendation of David Franklin and Aaron Wilton. Yes, 1, 6, Mary, do you want to jump in here a little bit and talk about their piece and what the selection panel discussed Sure I'm happy to do that, Matt, you know, with David Franklin and his team member Erin. They've basically were both present during the we put myself on camera there. I am working as a team as a significant experience in working together as a team for public art projects. You know, at the end of the day the selection panel felt that their work was the best representation. Of what you know a garage could do as far as like impactful for visitors of older or, as you mentioned earlier, you know people that live there and worked in in the vicinity. So here's a rhythm of the corner that that is being proposed. So there's 4 different windows. We'll just call them windows where the word will come out, and basically what it is is more of a hold on me.

[18:00] Catch my thoughts. Here. It is made out of aluminum hold on, let's see. Here. Give me 1 s aluminum other water jet cut anodize colored surface. I think the selection panel same, really interested in fascinating by the colors application, which is more kind of like a in my mind. It's kind of like a patina, and more of like an organic look. Visually, and then also being in the in the interior of the garage, you also get an impact so you're you know, parking and they're on the second third floor. You'll get that visualization. So it worked well for both interior and exterior, for onlookers Sure.

[19:50] Thank you, Mary, and you know I think it might be helpful now of Susan and Georgia. If you want to talk about the process that you went through, and the final decision

[20:04] Sure I'll I'll start. I'll add to Mary's comments that he also indicated that there could be a light source behind some of the protruding pieces, particularly the ones that were perforated so that intrigued us. As well that it wouldn't just be an daytime thing. You could also have a different experience of it in the evening, and I thought the process was great. I thank you for including me in this it it was the selection process was difficult, I mean, starting out with 163 trying to narrow it down. That first meeting was pretty painful in terms of having to say no to something you really loved. But the the finalist presentations were all really really good I mean I would have taken any of if we can put them, put the others in other places I think that would be great.

[21:04] They were all just really really high quality, unique really appealing pieces, so that the finalists were all really magnificent, and I felt like we had. We tried to walk, walk walk a line between something that really appeal to of a wide variety of people, children, adult something that would be interesting to everybody who looked at it, and something that you would want to come back and look at again because it would change over time, so I I think that's that's the Impression that I got out of it. Fantastic process Thank you, Georgia. What were your feelings about it? Yes, it was yeah, it was an interesting experience, for sure, you know, reading through all of the proposals and just reading about all the different artists, was interesting.

[22:10] They had a lot of examples of work they'd done in the past, which was really nice and just to see how it looked in other public spaces. That was really helpful. Yeah, and I think that we had. The panel was really interesting. It was. I think it was Uri. He really knows about material materials and metals, and how they will wear over time outdoors like in our weather, specifically there was a lot of talk about you know. The wind and the snow, and how it will affect you know the piece, and like he it was. I was very just like thankful that he was there with all of his knowledge on metals, and like how it you know there was something that was there that if it got wet it would drip rust and then it would stay in the sidewalk below so it was it was it was a really thoughtful

[23:14] Process. Everyone really had a lot to say about, you know, just representing Boulder and thinking about the people that were will be coming, you know, to see this you know. So yeah, it was great. It was hard. It was hard, like Susan said, having to say no to something that you really liked is really hard, so No kidding, have to say no. A couple of 100 times things you like. Yes, yes. Yeah and Chris, I see your hands up. You were next on my list, anyway. So your thoughts. Thanks. Matt. Well, I wanted to chime in and let folks know. We heard from Commissioner trees from Dmc. While she's not able to be here. She did participate on the Selection Committee, and did send us an email to asking us to let you all know that she did she thought that the process was thorough, and she agrees with the ultimate artist decision of David Franklin so I just wanted to share, that and I

[24:16] As you know, kind of the I I was very much in the background of the process, following it in the periphery, but it's seemed like it went really well, I'm really thankful to all the time and energy folks spent to get to this conclusion. I'm I'm quite excited, and I think that it will be the moving forward with this work will just set us up for success for future applications. Susan. I'm not sure if we can commit to the exact artists. That's you're viewed in the other proposals. But I'm excited to see where this this work takes us next Great. Thank you. So one thing that I want to note here as as dramatic as this rendering is, and you know personally excited about the project itself.

[25:05] But as like with all public art projects, this is a preliminary proposal. And there's a lot of work still to be done in the design. So this is probably not exactly what you'll see we'll keep the artist to their to to what was approved, and and with respect to the advice that you're about to give. But things, always change with public arts, and that and evolves. So Mary's big job will keep the art be keeping the artist on task under Budget, and making sure that we have a successful piece of public art on the other end. Of this, and to do that, let's see. Oh, we don't have next steps on this sub next steps. Is that after we go through this process of approval we're going to go into contracting with the artist once they're under contract, we start design there'll be a couple months of design work before installation.

[26:03] Can begin, and so fabrication usually takes a while installation so we're gonna work with the artist on a timeframe. She's not here tonight, but just so. Everyone knows We'll keep you all updated at every step along the way, and certainly invite you to ribbon cutting when the time is appropriate. But getting way ahead of ourselves. I'm gonna stop sharing so we can all see each other and just try our best to answer any questions that you have to clarify the process about the artist and artwork itself, and then we'll go back to the motion when you feel that's appropriate I see Caroline has raised her hand, but before we get to that, Matt, can you bring up a previous slide that talked about what we are here to consider. Yes. We are not here to necessarily consider the artwork itself, but more of the process, and so that that slide I thought was instrumental, that I wanted to Review what we are here to talk about this Sorry for the this is the slide

[27:04] Is this a slide you refer to Don Was it the next? Was this one or the next one? I can't remember, I think, that I think that must have been it so I just wanted to. No, I'm thinking, yeah, yeah. Go so as here as it's written here. The Arts Commission may approve the acquisition process deny approval or delay. Approval is that kind of what we are here to cover right now, because you also talked about like what are their considerations? Might we give to the artist and things like that? I wanted to make sure we're aligned on what we are here to just talk about Yeah, I I appreciate that very much. And so what the steps will go through is first any clarifying questions you have to fully understand the decision you need to make first after that we're gonna ask for 2 questions. The first of which is, if the members of the Arts Commission, th approve of the process itself, and so we'll have to have a quick discussion not, quick. However long you want it to be a discussion about if the process was followed properly, and then there's for the entire group.

[28:07] The question of what advice do you have to the artist and the staff to make sure this is a successful project. We'll record all that and share that. After those 2 discussions. Then we can go to the motion and the policy requires that the Arts Commission pass that motion. But I'm just going to go ahead and say, let's make it. The full group, and if if there are dissenting opinions, we can certainly have that reflected and make sure that it's stewarded properly. But I think it's more powerful. If the full group, is it responsible for that motion and the final vote on that? Does that help clarify That's great for me. I just wanna maybe make sure we're on the same page. So really, first, any we can jump around as much as we need to. Yes. But really any specific questions around this and Caroline, you have a had your hand up

[29:02] Thanks and I I just wanna thank everybody who's gone through the process. I can't imagine how hard that was to narrow it down. My question does have to do with the process and potentially feed into a recommendations for successful implementation, and I'm wondering what if any discussions were had around safety protocols or anything on safety, because I look at that and I think oh, climbers and per core and I want to climb Great. And, Mary, I think it'd be best if you answer that question Yes, happy to talk about that great question. So with this particular work, as Matt mentioned. You know this is a concept right now some thoughts from the selection panel is that perhaps softening the edges of the artwork? So it does not come across like you know, like some kind of weapon or something that is concerning, and so those were some of the comments that we received from our selection, Panel but as Matthew mentioned and definitely want to hear back from Georgia.

[30:16] And Susan, I am taking notes with how, when I speak to the artist, you know some good feedback. The second thing also that was brought up from the selection. Pel was to possibly get some community feedback. That's something that's kind of typical with some public art projects where we can maybe get some buy-in from the community. But kind of want to hear your thoughts on that mad as you don't. This is my first project managing through the city of Boulder. Yeah. So those are my 2 thoughts On that. So I wonder if that was part of your discussion, or you know the proposal, or anything like that Thanks, Bruce. Yes, I do. Yeah, so. But specifically to my question, was there any discussion around safety issues

[31:06] Well, you know I can tell you that safety concerns are going to be struck through the entire process right? And I know that. Yeah, you know, paying attention to exactly about fabrication and and the edges and the real and imply safety of the piece was under discussion. Ultimately the answer to your question, though, comes down to the design process in which the artist will have to employ a certified engineer who will make sure that all contingencies including making sure that it's the least climbing possible that it is going to be secure to the building in such a Way that there's no risk of, you know damage, and during hailstorms or wind. Right. So all of those considerations come together as part of the building permit. And so, you know, we'll pay very close attention to that. And sort of with the help of our risk management department sort of walk through all the scenarios and make sure that's taken care of.

[32:03] Now that said this being bolder, one note we always have to make in every one of these public art projects is there is no way to prevent our community from climbing on things, and so what we tend to do is to try and over engineer with that in mind knowing that we're never going to recommend anyone Climb on it if we need to put a sign up that says, Please don't climb on this, but these are in the public realm, and so there is a certain amount of safety mitigation. Will do, knowing that you know it's it's still gonna be out there, and so yeah, it's it's a it's a fine line we have, to walk, but it it'll be a part. Of the conversation right up. To the moment we cut that ribbon for sure Yep. mentioned how 3 of 5 of the panelists approve this one.

[33:03] What came in second I'll hand it back to you for that, Mary. Great question. Rebecca Rusty was she she obtained 2 votes from the 4, so there was a total of 5 selection panel members 3 opted to select David and his team. Member and the other 2 opted for Rebecca Good Justin's got his window Does anyone else have questions about overall before we go into the process parts Yeah, so I might have missed this. But the motif chosen is gonna be carried through on the spruce side of the parking garages. I. What we're seeing now is on the the Eleventh Street side.

[34:00] But the entrance to the garages on the verse side. So I guess that's what I'm wondering is. Is it gonna be carried through the whole building So the the proposal is just for the Eleventh Street side. Okay. And focusing on that pedestrian interface with the stairwell. You know, if you'd like to make it part of your comments to investigate other sites. We could do that. But the you know the budget, I think, is going to drive exactly the scale Right? Yeah, that would be my only thought on it is people are driving pass that from the like. They're not coming towards the design there. Kind of driving past, and then we'll see it in their rear view if they're accessing that street. I think it's it's good like you said for the pedestrian interface. There, that's the elevator side, and I understand that.

[35:00] But was just curious if that was going to be carried through to the side where people actually enter the garage Yeah. That's that's another great question, Justin. Thank you for bringing that up. So I will just mention so when I conducted the site visit with the technical team to include Chris, Eric and Submantha. As we walked around the parameter of the garage. Basically it was at the end of the day the technical team and I don't let you talk on this behalf, Chris cause I think you had so many great points, you know, being you know an outsider well I I visit boulder every 2 weeks. For hiking good food and so forth. Initially, I thought you know it's gotta be the entrance of you know that is so impactful but there was also a lot of discussion with the technical team about you know there are some commercial spaces which might not be appropriate to install work on That front facade. So as we turn the corner, and we kind of camped in on that corner of the southwest corner.

[36:06] The technical team felt like it was such an impactful location, because visually you, if you're at Pearl Street Mall that connectivity was so great and then also that alleyway which really plays the role of the like an important thoroughfare for the public whether They're parking there, or they're just kind of, you know, coming across through that alleyway that quarter area as we share the video with the artists. They all kind of just honed it on that area. We also, you know, showed them, of course, the the length of the alleyway and some other areas, and it was really interesting. The artists all kind of gravitated thinking, you know, this is probably the most influential location, but we definitely, you know, are open to comments

[37:02] Thanks, Mary. I might add, just yeah, the the what we communicated technically was that we didn't necessarily want to have our just celebrating the fact that this is a garage where people are driving into but more a really important building in the downtown that contributes to the overall experience of of Pearl Street and the downtown experience, and so yeah, while we pointed to in the in the video we pointed to the the Spruce Street entrance. It's it was curious that all of the proposals, while we didn't tell them to focus on that corner. That that's the corner that they all picked. We, of course, in the future could consider an application on the eleventh or on the Spruce Street side. But again I think that you know in the technical video we did communicate that we we weren't just interested in highlighting the place where cars are accessing the the place. Who is it? But more about you know. Where can this investment in influence more than just the cars

[38:05] Yeah, and I brought it up mainly because the rendering that the artist provided had cars entering in that exit area. And I just want to, I guess. Make sure the artist knew the the order. Of operations. There I would also note that as we are moving to gateless, we will no longer need to entrances and 2 exits on all of our garages, and there could be a change in traffic flows and how vehicles access I'm not saying that there definitely will be but there could be a Got it. Great Maybe, Chris, you may be the one to know. The answer to this when we're thinking about Kirk cuts and where we're trying to target for uber pickups and stuff like that how that that's also in that right same area. Future where this could. Actually there could be an entrance on the 11 street side, as well

[39:01] There. Right? 2 correct Correct. That's historically a taxi stand area and we're we're in the curbside management work targeting that Eleventh Street frontage as a pickup drop off or Tncs Matt, did I see you trying to flag Yeah, I didn't want to interrupt the flow, but just a quick point of process that ebony Freeman has joined us, and for members of the Dmc. I wanted to introduce her. She's a member of the Arts Commission. Thanks for joining the 70. We've got 3 of the Dmc. Here as well I am the Dmc. Chair, as Susan and Justin are also on Dnc. Since you don't know who we are. One as I represent the the Dmc. And what boulders trying to do. We're trying to encourage people to use the parking garages more. And so this is maybe not the right part to do it.

[40:00] But is there anything we can do to pull this art into the garage to make it interesting inside the garage? What can we do with this? To make this more than a parking garage? I know we're trying to make it interesting and it would. There's some interesting points are just brought up. That being said. Did the Dmc. Has been tasked with making the parking garages more utilized in trying to get people off the street parking in into garages. More is there any? That is? Maybe not a question. We need to have right now. But as the input is, we're working with the artist. Is there anything that we can do to to pull it in to make the garage itself like interesting You know that's done excellent advice to bring back to the artist and say, you know, as as you work through the design series, to think about what that does I mean? I don't know what it's worth, but for my part, just adding this level of interest might do that right it's it's it's such a sort of like I catching design.

[41:01] That perhaps it would be something that people seek out and you know, if they're if you're gonna park in one of the parking garages in Boulder, or you're going to make a decision. Between street and on parking you might go for the one that has the cool piece of art. And so there there might be a an interesting sort of Secondary way that this does drive exactly what you're talking about And I just want to chime in that. Yes, we should absolutely be having that conversation, because the the downside of making sure that our parking garages are not just stamp. They are they are just parking garages, right? They they are part of the the urban fabric. Urban design of our downtown. Folks don't necessarily know that they're there, and so it's certainly possible. Part of our work. I would offer that in this particular location. It's our highest utilized garage. It does regularly fill up. So I don't know. That's the problem that we necessarily need to solve here. But certainly should be part of the conversation moving forward here in other locations, you know, as just educating folks on where they they can and should park, and I think that this art, again as one it's our first application and what will hopefully, be many more that we wanna to explore at this location than others in the

[42:14] future, and that should be public information. Just this week. Yeah, just as we start to think about more public art and things like that. How could you know? Bring it in? You know I just I like interactivity, you know, making it so like the kids want to park there, and they hit a button and they can turn on the lights if you have those light features make it you can hit it and it makes a sound or yeah, you know the kids want to park There for drive their parents mad to go play with it before that they run. Run down to the boulder bookstore, ebony did direct message me. If you don't mind me saying what you'd had to say have any geocaching within the garage as well as a another thing, so have any just kind of making light what your one of your comments your lead I saw that you had your hand up but do you like to add something at your hands down now Oh, my only question was, if there was going to be metrics like, if like, for instance, if we were trying to pull in more people parking there, if there, was going to be metrics involved to see if that did end up happening compared to other garages

[43:15] Well, I mean Chris, you know more than I do about how to record what goes on in a garage. I would say, for the public art. It's very difficult to draw a line between the installation of work of art and any sort of specific outcomes. We are actually starting conversations with Carlo State University. There's a professor there who's working on these types of issues, and hopefully we'll be able to have some data that leads to the the social outcomes of public guard. But it it it is. It is notoriously difficult to find data sets related to the impact of public art. It's more about storytelling, and so the the on the public art side.

[44:02] That's that's a challenge that we're trying to to sort of get at. But, Chris, how do you want when, on how that affect parking a Sure, so I'm sharing my screen or or smarking dashboard. We do collect and keep a ton of data related to the activity in all of our garages. Not just that. No, not just Starter Rogers, but all of our on streets system as well so we can certainly monitor this information and see, if there's any you know upticks this scratch is again challenging in the sense of the occupancy i'm just gonna go for You know, year to date daily Peak. This garage does fill up quite regularly. So it. It's gonna be hard to quantify whether or not the using the numbers, whether or not there's a difference, but we'd also do regular surveying of the visitors, employees businesses. In the community around many issues around the downtown and partnership with the downtown boulder partnership.

[45:06] And so we could certainly start exploring whether or not you know, folks have seen the art, whether or not it's improved their perception of their downtown experience or not, so we certainly could talk with our partners, and see if they want to incorporate those types of questions to try to eat those types Of things. I don't know, Chris. We could put a little coin operator machine, and then you turn on the lights for 30 s by dropping in a quarter and it's generating income You're such an entrepreneur. There Oh, well, I know what my board has been tasked with. Maria, your hand is up Yes, no sorry. I'm having some technical issues. So sorry I can't show my face, but I have a couple of technical questions and maybe some comments, some first. I think it's really exciting that got this kind of response to the the Rfp. So that's that's fantastic. And I think second, it's Mary is fantastic asset to this team.

[46:03] So it's great to see you again, Mary, my technical issues are related to, and looks like. There were some comments, and this in the proposals about bird control, also snow and ice, and to wind, and I would recommend adding, consultants to deal with those things. Hmm. Bird consultants in boulder that see you boulder uses all the time, and perhaps you want to take this through a wind tunnel test was also a snow. And ice. Cause I think that would be oh, very unfortunate if it became a place for iscicles to hang and hurt folks down below That's excellent advice. Maria will carry that forward for sure. Well, seeing as we've had questions, we can welcome any other questions, but to keep things moving along here. The Arts Commission was tasked with certifying that the process had been followed.

[47:00] Is there any discussion around that? Or does someone want to move a vote that? I, I and I think Matt has some good practical experience from having dealt with public feedback on public art. Yes, it was or not followed Before somebody makes a motion. I just want to quickly say that though I completely disagree with the artist's work that was chosen, I'm fully in support of the process and happy to vote to approve the process. That's really helpful. Thank you. Bye. Great, so Bruce has stated a disagreement with the art. But that is not for what are necessarily we. We get to discuss tonight, as I understand our direction from Matt, but I, Bruce. I also understand your comment, and I wish I had maybe been on the discussion panel, but I am going along with the the process. It would be fantastic to see what other ones were.

[48:04] I I didn't. I didn't make a motion. There. So Bruce has I did, Bruce? Did you move that Okay. So Arts Commission I'd be happy to make a motion if if you wanted to put the language back up I'm on it. So this is the motion for point number 2, that I think we needed to discuss was that was not this motion but I think we're really it was the process followed. I think, is one of the things you wanted to have addressed Matt, and so Yeah, and that's what this motion speaks to. So what we'll do is if there's a motion and a second for this, then you know, you can discuss the process in Isolation make sure that you talk talk that through before there's a vote after that vote then we can go back and make sure. You know we do. We have captured some ideas and advice for the artist, but we can just have a moment to make sure there's the last few, the last opportunity to speak to the success of the project.

[49:04] So we'll start with process through this motion Okay. Yeah, bye. I just wanted to make that comment before it was too late. Well, I would like to, instead of proposing this, because to me this is the last thing we do. If you can take this off, I would like to just make sure that is anyone that have any comment as to the process, being followed or anything, any missteps or concerns about the process And Don. Did you wanna introduce Lane Okay. Lane has just joined us. Lane, why don't you give yourself an introduction? I've talked to you 1,000 times, but you're gonna do a better intro Thank you. All. I didn't mean to interrupt your train of thought. But yeah, Lane Lander the off of community vitality and just super curious to see what what the plans are. That Matt and his team have dreamed up so happy to support in any way Well. So one of the comments Matt made earlier is like making sure the process is followed.

[50:01] Does anyone have any issues with the process that has been taken to date hearing none. I'm gonna move on from that type of the question we've covered general questions. One last call for questions just making. I I wanted to try to follow this in steps. General questions, process questions, and then input to the artist, Is there any other input to the artists that people would like to address We've kind of covered all these all along. I'm just making sure. Okay. Now I feel comfortable that if someone would like to propose moving at Matt, if you want to bring it back up And I think, boy, I forgot A Caroline, I think maybe, but I'm not sure of all the names I think Caroline, you actually move this. Do we have us. Okay. I I haven't moved that yet. Okay. But I move that way, prove this process was properly conducted, and recommend that the selection panels recommendation of artists, Team David Franklin, and Aaron Wetlton and the proposed concept advanced the city manager for final approval Via contract

[51:09] And so with this larger commission, instead of having a second, I think it's appropriate to have a an eye knave vote than just a second. We can do a roll call if we need to, but I don't think that's necessary. Can we hear? Everyone is muted? I would like you Okay. So and and sorry to interrupt on, we still need. We do need a second before we vote, just to reflect in the in the minutes She is Great do we have a set, I will second it that so what I would propose is that we do an I may vote on this or is that even appropriate at this time Chris, that's not what we need we just need to second it. And we're done As long as no. So yet. Now, if there's unless there's any final discussion about the motion or friendly amendments, if we're ready to make it, there's no more discussion than can go to vote

[52:02] So what I would propose is that we all go off mute and just do I, nay, versus doing a roll call So I that means I can't necessarily make you all go off mute. But you need to go off mute. And so I'm looking for all the commissioners, and I'm looking at all the Commissioners, and it looks like we're all there. So those in favor I Hi! Hi! Bye. Bye. Hi! Bye. Hi! Those against, nay. I did get to vote all I had my eyes. To die. So here no one is. I think we are unanimous at that point in in moving hard with us Great. Thank you so much for that. And like I said, We'll keep you informed in coming steps of the process, and certainly we'll go through back through this recording carefully make sure everyone's advice, to the artist is refreshing

[53:01] Thank you. Matt. Great. So there are. Next steps, are, you know, written out in the agenda, but that is not necessarily things we need to necessarily cover today. I think we are done and we can adjourn. Is there anything else we need to cover Chris I think that's it. I just again thank you so much for taking the time for this special meeting. I know you were all very busy. We're really excited to be able to keep this moving forward and hopefully. Hmm. A a year from now we'll we'll have a lot more detail on what's to come Thanks. Everybody And I'll I'll see Bruce doing his rock climbing show outside of the the tillers I want to see that too. I move, we adjourn. Do I have a second 7, Thank you very much. Everyone. Thanks. Everybody Thank you. Thank you. Thank you. Thank you. Good night. Everybody can't wait to stay the project My PC.