Item 10 - Oertli Park_Jamie Spinello_2.pdf — original pdf
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Art in Public Places City of Austin Cultural Arts Division 5202 East Ben White Boulevard, Suite 400 Austin, TX 78741 512.974.7700 / aipp@austintexas.gov PROCESS SUMMARY Oertli Neighborhood Park AIPP Projects Project Summary The Austin Parks and Recreation Department is undertaking a series of park improvements throughout Austin, including Brownie Neighborhood Park, Emma Long Metropolitan Park, Highland Neighborhood Park and Reznicek Fields, and Oertli Neighborhood Park. These parks are located in Austin City Council Districts 4, 10, 4, and 1, respectively, and are funded by the 2012 and 2018 Bonds. To best meet the needs of the community, as well as Capital Improvement Park projects, with the approval of the AIPP Panel and the Austin Arts Commission, AIPP staff issued prospectuses outlining a joint artist opt-in period and a joint selection process. This will more easily facilitate an artist’s ability to opt-in to multiple commission opportunities at once and allow a single jury, consisting of community members from each park area, to select multiple artists with fewer meetings and a quicker timeline. Project Backgrounds & Public Art Goals Oertli Neighborhood Park Project Background The six-acre property is currently a vacant field divided by a fence row of trees. The park is surrounded by single-family homes and apartments with access from Blaine Road and Pearl Retreat Drive. The neighborhood park was acquired through parkland dedication funding and will focus on providing park space to the community within a half-mile radius. The property was historically a pasture, owned by the Oertli Family, who operated local dairy farms in Austin and Travis County from 1923-2001. A Texas Historical Marker is located on-site, adjacent to Pearl Retreat Drive. The neighborhood park is expected to include a loop trail, picnic tables and benches, shade trees, play features, and additional amenities in line with the needs of the community. The project will provide ADA-accessible open space and amenities to the adjacent neighborhoods. The Parks and Recreation Department (PARD) anticipates installing shade trees, walking paths, and identifying what active recreation is preferred by anticipated community park visitors. Public Art Goals & Priorities The AIPP program seeks to commission works of art of redeeming quality that advance public understanding of visual art and enhance the aesthetic quality of public places. This can be accomplished through the selection of a qualified artist or artist team who can innovatively and thoughtfully design within the context of this project. To engage local voices, AIPP held a virtual community focus group meeting about the Oertli AIPP project on April 19, 2022. Brownie, Emma Long, Highland, & Oertli Parks Process Summary The resulting goals for the Oertli Neighborhood Park AIPP Project are to select an artist/artist team who will design artwork that: • Welcomes the community’s diverse families and neighbors in a joyful, energetic way; • Celebrates the local plants and animals of the park and surrounding area; • Engages with the area’s history of farming while looking toward its future in tech; • Is safe, easily maintained, and vandal-resistant in an exterior environment; and • Contributes to the depth and breadth of the City of Austin’s public art collection Budget The AIPP 2% for these Brownie, Emma Long, Highland, and Oertli Park AIPP projects is generated from the Brownie Neighborhood Park - Phase I Improvements (2018 Prop C); 2012 & 2018 GO Bond, a Texas Parks and Wildlife Local Parks Urban Outdoor Recreation Program grant, site parking/entry fees, and Parkland Dedication fees; Highland Neighborhood Park and Reznicek Fields - Phase II Development (2018 Prop C); and Oertli Neighborhood Park - Phase I Development (2018 Prop C) and Park Acquisition funds, respectively. The total artwork budget for the Oertli park AIPP projects is $48,000. The budget is inclusive of all project-related costs including but not limited to meetings, community engagement, photography, videography, other documentation, artwork conception and production, design, fabrication and installation, including any engineering fees, travel and shipping expenses, insurance and all other costs associated with each AIPP project. Selection Process 2021-2023 Pre-Qualified Local Artist Pool About the 2021-2023 Pre-Qualified Local Artist Pool Through a rigorous selection process, the AIPP program developed a Pre-Qualified Artist Pool of exceptional emerging and established public artists working in a variety of visual media and artistic approaches. The Selection Panel for the 2021-2023 Pre-Qualified Artist Pool consisted of: • Nicole Awai, Artist and Assistant Professor at The University of Texas at Austin (Austin, TX & New York, NY) (New York& Mexico) • Cievel Xicohtencatl, Artist and Community Engagement Manager for The Laundromat Project • Regina Agu, Artist and Writer (Chicago, IL) • • Ruri Yampolsky, Waterfront Program Arts Manager, Office of the Waterfront and Civic Projects, Jaime Palomo, Pricipal, CasaBella Architects (Austin, TX) City of Seattle (Seattle, WA) A Request for Opt-in for five park AIPP project opportunities (for Brownie Neighborhood Park, Duncan Neighborhood Park, Emma Long Metropolitan Park, Highland Neighborhood Park and Reznicek Fields, and Oertli Neighborhood Park) was distributed on June 7, 2022, to local artists in the AIPP 2021-2023 Pre-Qualified Artist Pool. 40 local artists opted-in via a Microsoft Forms application by the close date of June 23, 2022. 36 of the local artists who opted in were eligible. 4 artists were deemed ineligible due to currently being under contract with AIPP for a permanent commission. On July 21, 2022, city staff and Brownie, Emma Long, Highland, & Oertli Parks Process Summary the Jury met via an online Zoom meeting and reviewed applications for artists in the Pool that opted- into the five park opportunities. Upon review of the applicants, the Jury recommended Yareth Fernandez to be commissioned for the Brownie Park opportunity, with Suzanne Wyss as the alternate; Ryah Christensen to be commissioned for the Emma Long Park opportunity, with Dale Whistler as the alternate; Samara Barks to be commissioned for the Highland Park opportunity, with Abraham Van Vleck as the alternate; and Jamie Spinello to be commissioned for the Oertli Park opportunity, with Judd Graham as the alternate. The Duncan Park artist selection recommendations are forthcoming pending finalist interviews. The selection of the artists was based on whose qualifications best met the requirements for the project. Self-Identifying Demographics Information: Local 21-23 Pre- Qual Pool Local 21-23 Pre-Qual Pool Opt-In (40) Local 21-23 Pre-Qual Pool Opt-In Brownie, Emma Long, Highland, & Oertli Finalists (8) Local 21-23 Pre- Qual Pool (163) 8 23 32 9 84 2 5 33 64 68 76 2 1 16 2 141 20 Asian* Black* Hispanic/ Latino* Native American* White* Native Hawaiian or Other Pacific Islander* Middle Eastern or North African* Non-Disclose / Other* BIPOC Male Only Female or Team w/ Female Gender- nonconforming, Genderqueer Transgender Unknown Veteran Non-Veteran Unknown Brownie, Emma Long, Highland, & Oertli Parks Process Summary 5% 14% 20% 6% 52% 1% 3% 20% 39% 42% 47% 1% 1% 10% 1% 87% 12% 1 3 6 2 24 0 0 7 13 16 22 0 0 2 0 40 0 3% 8% 15% 5% 60% 0% 0% 18% 33% 40% 55% 0% 0% 5% 0% 100% 0% 0 1 1 1 5 0 0 1 3 3 5 0 0 0 0 8 0 Brownie, Emma Long, Highland, & Oertli Finalists 0% 13% 13% 13% 63% 0% 0% 13% 38% 38% 63% 0% 0% 0% 0% 100% 0% LGBTQIA Not-LGBTQIA Unknown Disability Not-Disability Unknown 20 100 43 6 114 43 12% 61% 26% 4% 70% 26% 5 30 5 3 32 5 13% 75% 13% 8% 80% 13% 2 6 0 0 8 0 25% 75% 0% 0% 100% 0% *Ethnic representation of applicants and team members (note: multi-racial individuals could choose from multiple categories, not a "head count") The Jury was made up of community stakeholders, city staff and subject matter experts. The Jury included: Isa Boonto, Arts Professional, Brownie Park Community Member 1. 2. Estéban Hinojosa, Arts Professional, Brownie Park Community Member 3. Charles Peveto, Arts Professional, Old Austin Neighborhood Association, Duncan Park Community Member 4. Sierra DaSilva, Shoal Creek Conservancy, Duncan Park Community Member 5. Melissa Gray, Highland Park Community Member 6. Kate Garza, Highland Neighborhood Association and Community Member 7. Cristie Purple, Oertli Park Community Member 8. Reynaldo Hernandez, Project Manager, Parks and Recreation Department 9. Acia Gray, Austin Arts Commissioner The Jury also included Parks and Recreation Department Project Managers Scott Sinn, Patrick Beyer, and James Wheeler as advisors and was supported by staff AIPP Program Manager Constance White, AIPP Sr. Project Manager Curt Gettman, and AIPP Project Managers, Ryan Runcie and Alex Irrera. Jury Comments Oertli Recommended Artist Jamie Spinello: Jamie Spinello’s work is monumental in scale and organic in form. Her chosen materials are durable and particularly suited to the immensity and emptiness of Oertli Park. Ranking within the initial jury pool review was the anchor of my decision with regard to the artist's inclusion in this artistic project as well as her proven track record of successful Austin library exhibitions as well as national experience. I look forward to seeing how her artistry can bring a reflection of the history of farming at this location tied to the future of technology in this environment park environment. Oertli Recommended Alternate Judd Graham: The multi-dimensional and diverse material elements of past work and the artistic possibilities of showing the history of farming and the future of technology in this park environment was a major contributing factor. The Brownie, Emma Long, Highland, & Oertli Parks Process Summary artist's work "Ants" introduced in my mind many possibilities in showing the history of the area as a dairy farm and its cows. Judd Graham’s sculptures are playful and accessible: not every new sculpture in Austin needs to be minimalist or non-representational. His forms are particularly suited to younger park goers. Colorful artworks ART IN PUBLIC PLACES PANEL (Prospectuses) On May 2, 2022, the AIPP Panel approved the prospectus for the Oertli Neighborhood Park AIPP Project. Arts Commission Liaison Barnes moved for approval and Panel Member Lemmo seconded. Motion passed 5-0-0. AUSTIN ARTS COMMISSION (Prospectuses) On May 31, 2022, the Arts Commission voted (7-0) to approve items 4.a.i. to 4.a.v. on consent, including the prospectuses for the Emma Long Metropolitan Park and Oertli Neighborhood Park AIPP projects. Motion made by Commissioner Flores and seconded by Commissioner Gray. Commissioners Barnes, Castillo, Keeton, and Schmalbach were absent. ART IN PUBLIC PLACES PANEL (Artist Selection) On August 1, 2022, AIPP Staff presented the artist selection process recommendations for the Brownie Neighborhood Park, Emma Long Metropolitan Park, Highland Neighborhood Park and Reznicek Fields, and Oertli Neighborhood Park AIPP Projects. Arts Commission Liaison Gray made a motion to approve the selection process recommendation of: Yareth Fernandez as the artist for Brownie Park and Suzanne Wyss as the alternate; Ryah Christensen as the artist for Emma Long Park and Dale Whistler as the alternate; Samara Barks as the artist for Highland Park and Abraham Van Vleck as the alternate; and Jamie Spinello as the artist for Oertli Park and Judd Graham as the alternate. Vice Chair Villanueva seconded the motion. Motion passed 5-0-0. Panel Members Muzacz and Nolan were absent. AUSTIN ARTS COMMISSION (Artist Selection) On August 15, 2022, the Arts Commission voted to approve items 11 – 15 on consent, including the artist selection process recommendations for the Brownie Neighborhood Park, Emma Long Metropolitan Park, Highland Neighborhood Park and Reznicek Fields, and Oertli Neighborhood Park AIPP Projects. Artist selection process recommendations were: Yareth Fernandez as the artist for Brownie Park and Suzanne Wyss as the alternate; Ryah Christensen as the artist for Emma Long Park and Dale Whistler as the alternate; Samara Barks as the artist for Highland Park and Abraham Van Vleck as the alternate; and Jamie Spinello as the artist for Oertli Park and Judd Graham as the alternate. Arts Commissioner Flores made a motion to approve on consent. Commissioner Gray seconded the motion. Motion passed 9-0. Commissioner Keeton was absent. ART IN PUBLIC PLACES PANEL (Mid-Design Review) On October 2, 2023 the Mid Design of the Oertli Park AIPP Project was reviewed by the Panel – Jamie Spinello presented. No action was taken. The Panel enjoyed the naturalistic integration of the design concept into the park. Brownie, Emma Long, Highland, & Oertli Parks Process Summary ART IN PUBLIC PLACES PANEL (Final Design Approval) AUSTIN ARTS COMMISSION (Final Design Approval) Brownie, Emma Long, Highland, & Oertli Parks Process Summary OERTLI PARK PUBLIC ART JAMIE SPINELLO “LITHIC ISLANDS” This is a computer rendering to estimate the look of the design. 1 ©Jamie Spinellowww.JamieSpinello.com INSPIRATION OERTLI PARK PUBLIC ART “Honeycomb” limestone also known as “Holey” limestone is a natural geological feature of central Texas; full of cavities, holes and interconnected voids within its structure. These distinctive features are primarily formed through dissolution and erosion. Natural limestone formations in the wild support plant life, shelter native insects and animals and prevent erosion. These features as well as the aesthetics of holey limestone inspired me to create sculptures that pay homage to their beauty and function in nature. Another pitted and holey structure that I have always been drawn to when I encounter it on hikes in central Texas are cactus “bones” or cactus “wood”. I enjoy seeing the network of lace left behind by prickly pears that have dropped their paddles and the tubular wooden structures left behind by Saguro cactus. Cactus wood also plays a significant role in providing shelter for animals. These two natural formations are what I want to bring together as inspiration for “Lithic Islands” for Oertli park. This is a computer rendering to estimate the look of the design. 2 ©Jamie Spinellowww.JamieSpinello.com ©Jamie Spinello CONCEPT OERTLI PARK PUBLIC ART These sculptures, although made of concrete, draw inspira- tion from the ancient honeycomb limestone formations throughout central Texas that have shaped the landscape for millennia. As visitors approach, they are drawn to the sculptures' striking appearance—perforated with open cells, just like real limestone but clearly manmade. The shapes and forms mimic nature’s designs as if these sculptures have been weathered by countless seasons. Habitat: The sculptures serve as more than just art pieces; they are designed to enhance the prairie's ecological diversity. Within the holes and crevices of these sculptures, a microcosm of life will thrive. Tiny insects will find refuge, lizards and toads will find shelter and birds will hunt for food. The sculptures will become living habitats, embodying the park's commitment to preserving biodiversity and contributing to a healthier prairie ecosystem. Education Through Play: These sculptures are not just art; they are symbols of stewardship, a reminder that art and nature can coexist in harmony. My intention is for these works to be similar to tide pools, in that they are an opportunity to learn about the environment through first hand curiosity, discovery and study. They inspire park visitors to become stewards of the environment, appreciate the beauty of the prairie and recognize the intricate role that seemingly ordinary features like limestone boulders and cliffs have, that so many creatures utilize for survival. 3 ©Jamie Spinellowww.JamieSpinello.com ©Jamie Spinello ©Jamie SpinelloThis is a computer rendering to estimate the look of the design. This is a computer rendering to estimate the look of the design. (cid:18)(cid:47)(cid:100)(cid:122)(cid:3)(cid:115)(cid:47)(cid:18)(cid:47)(cid:69)(cid:47)(cid:100)(cid:122)(cid:3)(cid:920)(cid:3)(cid:94)(cid:100)(cid:90)(cid:28)(cid:28)(cid:100)(cid:3)(cid:115)(cid:47)(cid:28)(cid:116)(cid:3)(cid:68)(cid:4)(cid:87)(cid:94)(cid:3)(cid:882)(cid:3)(cid:75)(cid:28)(cid:90)(cid:100)(cid:62)(cid:47)(cid:3)(cid:69)(cid:28)(cid:47)(cid:39)(cid:44)(cid:17)(cid:75)(cid:90)(cid:44)(cid:75)(cid:75)(cid:24)(cid:3)(cid:87)(cid:4)(cid:90)(cid:60) ADA ADA ” B R A D B U R Y L A N E 2 1 7 2 7 7 2-0 1 0 R 2 E C P V 2" P G 1 TIN XIS E ICR ICR S 4 P C ICR 3 1 7 L O C 1 0 4 0 0 4 E XISTIN G 8" P V C P E R 2014-0580 9 9 3 8 9 73 9 63 9 5 3 9 3 R C I 4 9 3 3 9 3 2 9 3 1 9 3 R C I LOC 0 9 3 9 8 3 8 8 3 7 8 3 6 8 3 5 8 43 8 3 3 8 3 L O C E XISTIN G 8" P V C P E R 2014-0580 R C I R C I R IC I C R ICR R IC 3 1 7 ICR ICR ICR 2 1 7 C O L 7 6 4 C O L 8 6 4 IC R C V 2" P 1 D A O E R AIN (50' R.O.W.) 1 M B L B 712 IC R I C R 1 1 7 L O C L O C L O C 2 7 7 0 - 2 1 0 2 R E I C R P C V P " 2 1 G N I T S I X E I C R I C R L O C I C R 2 7 7 0 - 2 1 0 2 R E P C V P " 2 1 G N I T S I X E P V C 1 2 " L O C I C R I C R I C R I C R I C R L O C E L SIB S E C C A 0 1 7 E IN SIZ SIBLE S E C C A SIZE IN R C I R IC 1 1 7 R C I R C I 2 3 2 3 3 2 5 3 2 8 3 2 7 3 2 6 3 2 9 3 2 R IC 1 4 2 L O C E XISTIN G 8" P V C P E R 2014-0580 C O L 2 1 7 R IC 0 4 2 ICR ICR R IC 3 1 7 S 3 P C I C R ICR 2 4 2 R C I 3 4 2 4 4 2 0 8 5 4-0 1 0 R 2 E C P V G 8" P TIN XIS E C O L 5 1 7 4 1 7 L O C L O C I C R I C R I C R I C R S 5 P C I C R I C R I C R I C R I C R L O C IC R R C I I C R 8" PVC C O L R C I R C I 2 5 2 3 5 2 R C I R C I 6 5 5 2 5 2 7 5 2 8 5 2 0 6 2 4 6 2 3 6 2 714 5 6 2 6 6 2 7 6 2 8 6 2 0 7 2 R IC R IC C O L R IC R IC R IC C O L 4 1 7 3 7 2 4 7 2 5 7 2 6 7 2 8 7 2 9 7 2 1 7 1 9 6 0 1 7 1 2 7 1 3 7 1 5 7 1 4 7 1 6 7 1 7 7 1 8 7 1 I C R I C R L O C I C R 2 0 8 8 1 1 1 8 1 3 8 1 4 8 1 I C R 2 9 1 9 8 0 1 9 1 1 9 1 4 9 6 1 9 1 7 9 1 8 3 9 9 1 1 5 9 1 I C R 1 0 2 9 9 1 0 0 2 L O C C O L R IC R IC 6 1 7 R IC 2 M B 5 1 7 I C R R IC I C R R IC ICR LO C PEARL RETREAT LANE 7 1 6 ICR ICR S 1 P C NO. DATE DESCRIPTION BY 305 East Huntland Drive Suite 200 Austin, Texas 78752 p: 512.453.0767 f: 512.453.1734 TBAE FIRM REGISTRATION NO.: 1452 TBPE FIRM REGISTRATION NO.: F-1416 TBPLS FIRM REGISTRATION NO.: 10065600 0 1" The bar above measures one inch on the original drawing. Adjust scales accordingly. OVERALL SITE PLAN 1238 Pearl Retreat Lane Austin, TX 78753 9 29 PLOTTED: 2/7/2023 JOB NO: 023-93a 100 SDP: OF SP-2021-0334C L O C 2 1 7 C O L 7 6 4 L O C C O L D A O E R AIN (50' R.O.W.) V W 4 1.6 1 5 7 0.8 = R 1 E 7 V = O T U P C P N O O T T 1 M B L B 712 E C N E D F E T A PID A DIL 0 1.6 1 5 7 0.5 = R 1 E 7 V = O T U P C P N O O T T C O L V W C O L 3 1 7 L O C 1 0 4 0 0 4 E XISTIN G 8" P V C P E R 2014-0580 L O C 9 9 3 8 9 73 9 63 9 53 9 3 L O C 4 9 3 3 9 3 2 9 3 1 9 3 LOC L O C L O C 1 1 7 L O C C O L 8 6 4 C V 2" P 1 S 4 P C L O C C O L W H 3 M 2.4 3 W 0.6 3 1.0 3 1 0.4 7 0 = 7 0 P L IN(S)= 7 0 O L IN(E)= 7 T(N)= T U L O F F F 2 1 7 2 7 7 2-0 1 0 R 2 E C P V 2" P G 1 TIN XIS E L O C 1 1.0 1 1.1 0 7 E)= 0 7 L IN(S)= T(N U L O F 1 3.0 H 1 M 7 = W P O T F W L O C L O C 2 7 7 0 - 2 1 0 2 R E P C V P " 2 1 G N I T S I X E L O C B R A D B U R Y L A N E 0 9 3 9 8 3 8 8 3 7 8 3 6 8 3 5 8 43 8 3 3 8 3 LOC L O C LOC 3 1 7 E XISTIN G 8" P V C P E R 2014-0580 L O C L O C L O C L O C L O C 2 7 7 0 - 2 1 0 2 R E P C V P " 2 1 G N I T S I X E P V C 1 2 " L O C 2 7 2.1 2.2 0 0 7 7 T(N)= L IN(W)= 2 4.2 H 1 M 7 = W P O T W U L O F F L O C P O T E L T B E A L T IN 2 0.6 2 1 5.6 7 = 0 P 7 O = T L F E L SIB S E C C A 0 1 7 E IN SIZ L O C SIBLE S E C C A SIZE IN L O C 10 29 L O C E XISTIN G 8" P V C P E 0 3.8 0 7 0 3.9 0 T(W)= 7 0 1.9 H 1 M 7 = W P O T L IN(S)= U L O F F W R 2014-0580 L O C C O L NO. DATE DESCRIPTION BY 1 1 7 2 3 2 3 3 2 305 East Huntland Drive Suite 200 Austin, Texas 78752 p: 512.453.0767 f: 512.453.1734 TBAE FIRM REGISTRATION NO.: 1452 TBPE FIRM REGISTRATION NO.: F-1416 TBPLS FIRM REGISTRATION NO.: 10065600 0 1" The bar above measures one inch on the original drawing. Adjust scales accordingly. DETAIL SITE PLAN 1238 Pearl Retreat Lane Austin, TX 78753 PLOTTED: 2/7/2023 JOB NO: 023-93a 101 SDP: OF SP-2021-0334C 2 0 7 2 0 7 2 4.2 H 1 M 7 = W P O T T(N)= L IN(W)= U L O F F W P V C 1 2 " L O C L O C L O C L O C L O C L O C S 5 P C L O C L O C L O C L O C 1 1 7 2 3 2 3 3 2 5 3 2 C O L C O L 2 1 7 2 4 2 3 4 2 4 4 2 8 3 2 7 3 2 6 3 2 9 3 2 0 4 2 1 4 2 3 1 7 S 3 P C C O L 0 8 5 4-0 1 0 R 2 E C P V G 8" P TIN XIS E C O L C O L 5 1 7 4 1 7 C O L 9 5.0 0 7 9 5.1 0 7 T(N)= 4 4.6 H 1 M 7 = W P O T L IN(E)= U L O F F W C 8" PVC O L C O L 2 5 2 3 5 2 6 5 5 2 5 2 7 5 2 8 5 2 0 6 2 4 6 2 3 6 2 714 5 6 2 6 6 2 7 6 2 8 6 2 0 7 2 H E WIT C O L C N E D F S E T T S A O PID D P A O DIL O W C O L C O L 0 1" The bar above measures one inch on the original drawing. Adjust scales accordingly. 11 29 DETAIL SITE PLAN 1238 Pearl Retreat Lane Austin, TX 78753 PLOTTED: 2/7/2023 JOB NO: 023-93a 102 SDP: OF SP-2021-0334C 4 1 7 3 7 2 4 7 2 305 East Huntland Drive Suite 200 Austin, Texas 78752 p: 512.453.0767 f: 512.453.1734 TBAE FIRM REGISTRATION NO.: 1452 TBPE FIRM REGISTRATION NO.: F-1416 TBPLS FIRM REGISTRATION NO.: 10065600 NO. DATE DESCRIPTION BY L O C L O C L O C L O C L O C 0 7 2 3 7 2 4 7 2 5 7 2 6 7 2 8 7 2 9 7 2 1 7 1 9 6 0 1 7 1 2 7 1 3 7 1 5 7 1 4 7 1 6 7 1 7 7 1 8 7 1 2 0 8 8 1 1 1 8 1 3 8 1 4 8 1 C O L C O L C O L C O L C O L C O L L O C 2 9 1 9 8 0 1 9 1 1 9 1 4 9 6 1 9 1 7 9 1 8 3 9 9 1 1 5 9 1 1 0 2 9 9 1 L O C 0 0 2 L O C LOC E C N E K F LIN AIN H C N M U L O E C N O T S LOC 5 1 7 C O L 6 1 7 C O L C O L R E K R A L M A RIC O T HIS 2 M B L O C C LO PEARL RETREAT LANE 6 7 1 L O C 4 1 7 S 1 P C NO. DATE DESCRIPTION BY 305 East Huntland Drive Suite 200 Austin, Texas 78752 p: 512.453.0767 f: 512.453.1734 TBAE FIRM REGISTRATION NO.: 1452 TBPE FIRM REGISTRATION NO.: F-1416 TBPLS FIRM REGISTRATION NO.: 10065600 0 1" The bar above measures one inch on the original drawing. Adjust scales accordingly. DETAIL SITE PLAN 1238 Pearl Retreat Lane Austin, TX 78753 12 29 PLOTTED: 2/7/2023 JOB NO: 023-93a 103 SDP: OF SP-2021-0334C FABRICATION / PROOF OF CONCEPT OERTLI PARK PUBLIC ART Ferrocement / ‘Trabajo Rustica’ Construction Layer 1• Welded Steel Rebar and Rod Armature Ferrocement (FC) is a form of thin-shell construction that uses standard Portland cement, usually mixed with sand. Compared to traditional construction, the cement is rein- forced with more steel or fiber at a closer spacing. The well-distributed and aligned reinforcement increases strength making the FC behave like steel plates. Layer 2• Metal Lathe Wrapped around structure Layer 3• Scratch coat mixture of portland cement, sand, polymer binder, and fibers applied to metal lathe Layer 4• White Cement and sand mixture, poly- mer binder Layer 5 • Matte Graffiti Coating This is a sample that I create to demonstrated the construction method and materials involved. This does not represent the design, only the working methods. 9 N ©Jamie Spinellowww.JamieSpinello.com DESIGN DETAILS Plan View: Proposed configuration OERTLI PARK PUBLIC ART C apx weight: 360 lbs ≈ 6 feet *This will be built in a modular way with each component weighing less than 200lbs each, three people will be capable of lifting each component x 2 ft p a ≈ 10 feet B *total approximate weight: 500 lbs apx 3 ft ≈ 4 f e e t ≈ 4 feet t f 4 x p a apx weight: 100 lbs ≈ 10 feet ≈ 6 feet ≈ 4 feet ≈ 4 feet A t e e f 5 ≈ apx weight: 200 lbs Side View ≈ 4 feet t e e f 5 1 ≈ . A B C D Details of Holes side cross section view top bottom The holes will measure between 2 - 22 inches. Some holes will taper, some will be cosed on the bottom. tapered hole straight hole filled hole with small drain pin holes [decorative holes to contribute to natural texture.] Illustration by Jamie Spinello ≈ 4 f e e t D . ≈ 3 5 f e e t ≈ 1 f 0 0 t 4 ©Jamie Spinellowww.JamieSpinello.com FOUNDATION DETAILS OERTLI PARK PUBLIC ART Plan View: Proposed configuration All slab foundations will be buried 4 inches below ground level The buried slabs are chosen to prevent theft, prevent invasion of Hackberry trees, and add stability. Hidden slabs were also chosen to allow for a more natural look to the sculptures and how they relate to the site. ≈ 6 feet C = the approximate contour of sculptures in relation to foundations ≈ 4 feet A t e e f 5 ≈ s e h c n i 6 ≈ A Side View ≈ 4 feet x 2 ft p a ≈ 10 feet B ≈ 10 feet B apx 3 ft ≈ 4 f e e t t f 4 x p a ≈ 4 feet ≈ 4 f e e t D . ≈ 3 5 f e e t apx ≈ 25 feet ≈ 6 feet C ≈ 4 feet D s e h c n i 6 ≈ 5 Illustration by Jamie Spinello ©Jamie Spinellowww.JamieSpinello.com METHOD OF ATTACHMENT OERTLI PARK PUBLIC ART 1. concrete foundation slabs are poured in advance to specifications in collaboration with park service 2. sculptures are brought on site and attached to foundations using threaded rod and hidden bolts. The holes are then back filled with soil and mulch. C. 4” below grade concrete slab 6” *method of attachment on next slide Backfill with 4” native soil & mulch 4” below grade concrete slab 6” ground level ground level Illustration by Jamie Spinello 6 ©Jamie Spinellowww.JamieSpinello.com STRATEGY OF INSTALLATION & METHOD OF ATTACHMENT DETAILS OERTLI PARK PUBLIC ART Step One: Pour slabs Level with appropriate pitch of surface for location Let set up for 1-2 weeks Step Two: Bring Templates and/ or smaller sculptures on site to designate areas for threaded rods Step Four: Attach and secure angle brackets to threaded rods with nuts 6” slab hole in bracket for attaching to sculpture x x x x Step Three: Drill holes and install threaded rods with anchoring epoxy 6” threaded rod nut epoxy primed hole (side view of concrete slab and attachment hardware) (Aerial View) (Aerial View) (Aerial View) Step Five: placing sculpture with legs over brackets, line up internal steel plate holes, with holes in brackets attached to threaded rods Step Six: Insert bolt through access holes and tighten down into place Step Seven: Patch over hole with metal lath and ferrocement put signature mark on patch to allow for identification for future access metal lath tied into frame through hole steel plate with hole welded to internal frame of sculptures armature frame of rebar & steel rods strategically placed access holes on either side of foot for bolting the frame of the scupture to angled bracket of footing lineup holes (x-ray side view) 6” threaded rod Bolt nut (x-ray side view) ferrocement that will go over access hole morter applied to all contact points between sculpture and slab to help shed water away from potenal entry points Illustration by Jamie Spinello 7 ©Jamie Spinellowww.JamieSpinello.com ENGINEERING COMMENTS OERTLI PARK PUBLIC ART 8 FABRICATION / PROOF OF CONCEPT OERTLI PARK PUBLIC ART Ferrocement / ‘Trabajo Rustica’ Construction Layer 1• Welded Steel Rebar and Rod Armature Ferrocement (FC) is a form of thin-shell construction that uses standard Portland cement, usually mixed with sand. Compared to traditional construction, the cement is rein- forced with more steel or fiber at a closer spacing. The well-distributed and aligned reinforcement increases strength making the FC behave like steel plates. Layer 2• Metal Lathe Wrapped around structure Layer 3• Scratch coat mixture of portland cement, sand, polymer binder, and fibers applied to metal lathe Layer 4• White Cement and sand mixture, poly- mer binder Layer 5 • Matte Graffiti Coating This is a sample that I create to demonstrated the construction method and materials involved. This does not represent the design, only the working methods. 9 N ©Jamie Spinellowww.JamieSpinello.com SITE PLAN OERTLI PARK PUBLIC ART Oertli Park will be located in North Austin at 12613 Blaine Rd, Austin, TX 78753. This 6 acre park currently being developed. W E N S The art will be located 48” + from the edge of the sidewalk on the East side of the park in front of a grove of trees and wildflower meadow. W The sculptures maintain a minimalist and unobtrusive aesthetic that mimics natural geological formations. With low profiles that do not disrupt the natural sight- lines of the wildflower meadow and trees behind them, they become a harmonious part of the landscape. They site will encourage a moment of pause to stop and observe the wildlife around the space. Install Site This site was chosen as a collab- oration between the park service and the artist. It is next to the sidewalk,in front of a stand of trees and within a wildflower area. Removal from other areas of the park will allow for an experience with more privacy and a better chance for the location to become a wildlife observing site. 10 ©Jamie Spinellowww.JamieSpinello.com SURVEY OF HARRIS RIDGE RESIDENTS OERTLI PARK PUBLIC ART I reached out to Harris Ridge HOA and joined the Facebook Harris Ridge Group to solicit responses to my online survey. 60 responses Valued Features at the Park residents were asked to choose all that applied Valued Features of Public Art residents were asked to choose all that applied Exercise Facility + Walking Path / 45 Exploring Nature / 43 Community Events / 25 Childrens Play Area / 19 Local Dog Park / 11 Other / 4 Functionality, Provides Shade or Seating / 51 Blends In Nicely With Environment / 23 Beautiful / 37 Sparks Curiosity / 33 Memorable / 24 Colorful / 16 Modern / 14 Identifiable Theme / 13 Abstract / 12 Has An Interesting Backstory / 11 Not Too Flashy / 8 Highest Priorty Features for Park residents were asked to choose one as most important Highest Priorty for Public Art residents were asked to choose one as most important Exercise Facility and Walking Path / 21 pts Childrens Play Area / 13 pts Exploring Nature / 12 pts Local Dog Park / 4 pts Community Events / 1 pt Functionality such as seating and shade / 30 pts Beautiful / 10 pts Sparks Curiosity / 5 pts Memorable / 4 pts Modern / 2 pt Abstract / 1 pt Recognizable Theme/ 1 pt Has a Backstory / 1 pt Colorful / 0 pts Blends In with Environment / 0 pt Not Too Flashy / 0 pt 11 ©Jamie Spinellowww.JamieSpinello.com BUDGET JAMIE SPINELLO Budget: $48,000 AIPP Project: Oertli Sculptural Public Art OERTLI PARK PUBLIC ART DESIGN AND PLANNING 10% Labor and Expenses Design / Maquettes / Scale Drawings / CAD renderings Admin Planning / Presentations / Survey Development an Analysis ENGINEERING Engineering Review TRANSPORTATION Transportation INSURANCE Auto Insurance FABRICATION Labor Services Consultation with Concrete Studio on Methods of Fabrication and Techniques of Trabajo Rustica Welding Metal Armature Structural Supports MATERIALS concrete fiber glass threads for scratch coat sand for scratch coat rebar Fine Cement Top Coat Anti Graffiti Coating INSTALLATION / DEINSTALLATION Flat bed Trailer Rental for moving sculpture Lift, Crane, Etc, for sculpture placement Landscaping TOTAL Site visits, Material runs, consultations, other transportations needs to complete project $255.00 General Liability Insurance The Hartford annual policy / paid in full on Sept 14, 2023 $77 / month construction and sculpture services provided by Jamie Spinello an artist with 20+ years experience and a Masters of Fine Art.Degree $14,000.00 Outsourced Labor Services construction and sculpture services provided by Kristen Van Patten an artist with 20+ years of experience and a Masters of Fine Art Degree $14,000.00 consultation and 5 day training on surface techniques with one of the leading concrete art studios in the country $1,800.00 welding rebar and steel armature frame $1,800.00 apx 50 bags steel steel lathe sheeting $20/ a piece x 20 Labor / Creative Director Jamie Spinello Labor Outsourced Four professional artists besides Jamie / Public Art Installation specialists category totals $4,800.00 $1,800.00 $204.15 $1,398.00 $31,600.00 $3,800.00 $1000.00 $1,800.00 $924.00 $474.00 $500.00 $75.00 $200.00 $150.00 $400.00 $250.00 $80.00 $600.00 $2,400.00 $800.00 $800.00 $0.00 $1,655.00 $4,600.00 48,000 12 CONTINGENCY 5% of materials + fabrication + installation 1892 $1892.75 Supplemental Plantings provided in kind through local Garden association and conservancy, The Monarch Sanctuary SCHEDULE OERTLI PARK PUBLIC ART Proposed Schedule is contingent on progress with Oertli Park, which is currently under construction. October 2023 Mid Design Review November/December 2023 Create working samples and small scale replicas of proposed design January 2024 Create small maquette, Obtain Structural Engineer Drawing February / March 2024 Meet with project manager, city engineer and Park Service Lead Designer for Oertli Park to discuss installation method Create Final Design Proposal April / May 2024 Final Design Proposal Presentation May / June 2024 Fabrication Begins July / August 2024 Collaboration of pouring of buried slabs by Parks Department Aug / Sept / October Installation and Inspection by City and Park Service 13 ©Jamie Spinellowww.JamieSpinello.com Pre-fabrication Review: Lithic Islands, Jamie Spinello Report Date: April 4, 2024 Note: These comments are based on proposal documents. Because some components of the design were not finalized at the time of this report, these should not be considered comprehensive or final recommendations. Project Overview: Jamie Spinello’s “Lithic Islands” are four sculptures proposed for installation in Oertli Park, currently under development. Drawing inspiration from natural limestone formations and cactus configurations, the reinforced Portland cement sculptures, or “islands,” will be organic shapes with variable dimensions. They will be installed low to the ground, and embedded in the surrounding soil, mimicking natural rock outcroppings. As well as providing a point of discovery for human visitors, the sculptures are intended to provide habitats for lichen, insects and small animals. It is important to the artist that the surface weathers naturally and develops a patina of age. Materials and fabrication: The organically-shaped “islands” range in dimensions from 3.5’ x 4’ x 1’ high to 10’ x 4’ x 1.5’ high, with the two largest two “islands” constructed in sections to allow easier transport and installation. Each sculpture or section will contain multiple holes (designed in four basic configurations) and a number of supportive legs that will be partially embedded below grade during installation. To construct each piece, a carbon steel rebar and carbon steel rod armature will be welded to shape. Galvanized steel lath will be tied into position with galvanized steel ties to create additional reinforcement. At the leg rebars, a carbon steel plate with a drilled hole will be welded to the ends of the rebar in correct positions to receive the installation bolts. An admixture will be made of Lehigh Portland cement and Sakrete mason sand, reinforced with a combination of Buddy Rhodes glass fiber, Basalt Fibertic basalt fiber filament (coated with a silane coating to improve resistance to alkalinity), and Mapei polymer (acrylic latex) cement additive to improve strength, adhesion, and workability. The Portland cement mixture will be applied over the armature to build the sculptural forms. After curing, a surface coating of Lehigh Masonry Cement and Mapei polymer cement additive will be applied over the Portland cement base. After the cement surface coat has cured, the sculptures will be coated with Foundation Armor WL 550 Concrete Water Repellent, a (siloxane / poly (methyl methacrylate / n-butyl methacrylate / methacrylic acid) coating that is intended to assist with graffiti removal as well as water repellency. The artist specifies that the modular sections “will be connected by either welding on-site or welding together before being moved to the site. They will be connected by internal rods being welded together, the same method used for constructing the sculpture bodies in other areas.”1 Materials and fabrication comments and recommendations: • The artist intends for the sculptures to be interactive. The review materials do not include an evaluation of the load-bearing capacities of the sculptures and in particular, the polymer-modified Portland cement mixture’s resistance to cracking and breakage under 1 Jamie Spinello, via email, April 2, 2024. PO Box 6803 Austin, TX 78762 ( +1) 512.843.2123 j.unruh@outlook.com load. Verify that the constructions can bear the weight of large adult climbers without structural damage. • Depending on the final plan for combining the modular sections, confirm that expansion joints are not needed in the 6-foot and 10-foot “islands.” • Reinforced Portland cement has good durability and is expected to last the 25-year sculpture lifespan estimated by the artist. • The armature will be constructed of both galvanized steel and carbon steel in contact. These types of steel are not anticipated to develop galvanic corrosion, but there is the slight possibility that a galvanic corrosion cell can develop in the presence of moisture. If a corrosion cell is created, corrosion of the least noble metal - the sacrificial zinc plate on the galvanized steel - will be accelerated, eventually allowing corrosion of the underlying carbon steel. If unprotected, carbon steel armature components will corrode over the 25-year lifespan estimated by the artist, resulting in visible staining, development of cracks in the cement, and possible loss of structural integrity. To prevent corrosion, it is important to ensure the armature is completely encased within the concrete. Consider applying a waterproofing coating to the interior surface of the cement as well as to the exteriors. • The carbon steel plate to be used for installation must remain exposed. It is expected to • corrode prior to the 25-year lifespan estimated. • The Mapei Polymer Additive Technical Sheet specifies that concrete [i.e., cement plus aggregates] substrates must be cured 28 days before application of a second layer of polymer-enhanced cement. Schedule a full 28-day cure between sculpting the cement base layer and application of the cement surface layer. • Good surface preparation and careful application will improve the longevity of the Foundation Armor WL 550 Concrete Water Repellent coating. Follow the manufacturer’s instructions carefully. • Foundation Armor WL 550 Concrete Water Repellent has a 3 – 5 year lifespan.2 Reapplication will be required to maintain the coating over the 25-year sculpture lifetime estimate (see “Maintenance” below). • Foundation Armor WL 550 Concrete Water Repellent will darken the surface. With respect to patina development, the artist has specified in the Maintenance Review Form that “darkening of the surface or patina is desired and considered a desirable effect and attribute of the work.” That sentiment may apply to darkening due to coating as well. • Foundation Armor WL 550 Concrete Water Repellent is not manufactured as an anti- graffiti coating. Its effectiveness for that purpose is untested. • The artist would like to encourage lichen growth. The Foundation WL 550 Concrete Water Repellent will discourage lichen growth until sufficiently degraded. Once lichens are established, they will accelerate degradation of remaining coating and may etch the cement surface. The artist implies that she considers lichen alteration to be desirable weathering; confirm with the artist. Installation: For each of the four sculptures, 6” thick individual rebar-reinforced concrete foundations will be cast 4” below grade. At locations corresponding to each leg of the sculpture, a 3/8” diameter galvanized steel threaded rod will be inserted 2.5” deep into holes drilled into the foundation and extending 2 – 4” beyond the top of the foundation, secured with Quikrete two-part Anchoring Epoxy. On the Conservation Review Form, the artist describes the rest of the installation as follows: 2 Foundation Armor WL 550 Technical Data Sheet: https://www.foundationarmor.com/wp- content/uploads/2023/04/Armor-WL550-Technical-Data-Sheet-1.pdf Prefabrication review: Lithic Islands, Jamie Spinello April 4, 2024 J. Unruh Page 2 of 6 “Drilled threaded rod are attached and bolted [with stainless steel bolts] through each leg of sculpture and cemented over [with the Portland cement mix] for concealment. Each cemented over area has a small hidden mark shaped like a star that indicates where the bolt is installed. This is where the area can be drilled out and opened up, if the sculpture should ever need to be moved in the future. Inside these access holes there is a bolt system that attaches each sculpture to the concrete foundation base. The seal between the foot and the foundation must also be broken with a chisel along the mortared part line. This will enable each sculpture to be freed from the foundation and allow it for relocation.” The artist further clarifies: “There will be exposed metal lath surrounding the opening. About a quarter of an inch of metal lath that is not covered by concrete. A metal lath patch will tie into the existing lath using [galvanized] steel tie wire. Concrete will be applied over the metal lath holes using the same methods of concrete application throughout the rest of the sculpture.”3 To further expand: a carbon steel angle bracket will be attached to the embedded galvanized threaded bolts with a stainless steel nut. Strategically placed holes in the sculpture legs allow access to that bracket after the legs are positioned over the embedded bolts and brackets. The drilled holes in the carbon steel plates that were welded to the armatures during fabrication will be lined up with the holes on the angle brackets; a stainless steel bolt will be inserted through both holes to attach the armature to the foundation, and secured in place with a stainless steel nut. The artist has clarified that nylon separators will be utilized during installation.4 After the sculptures are installed, the access holes will be closed by securing galvanized lath across access holes in the interior with galvanized tie wire and applying a Portland cement admixture patch over the lath. A Portland cement mix “with a little more polymer binder included”5 will be applied around the perimeter of the legs at the base to assist with preventing water ingress into the interior of the sculpture at the legs. If the modular sections have not been welded together during fabrication, they will be welded to each other during installation. No details were provided as to whether abutting modular concrete surfaces will be sealed or otherwise finished at this time as well. Design documents indicate that plant growth directly against the “island” legs and through the holes in the sculptures is encouraged. Installation comments and recommendations: • Installation metals include galvanized steel, carbon steel, and stainless steel. The artist has clarified that nylon separators will be used with installation hardware, and those isolators should provide adequate protection against the slight possibility of most galvanic corrosion. However, there is a more serious possibility of galvanic corrosion developing anywhere stainless steel hardware is in contact with galvanized steel components – for example, at the stainless steel nut that secures the carbon steel angle bracket to the galvanized threaded bolt. Consider replacing that nut with a galvanized steel nut in addition to using a nylon separator. In general, take care to avoid creating any permanent contact between stainless and galvanized steel during installation. 3 Jamie Spinello, via email, April 2, 2024. 4 Jamie Spinello, via email, April 2, 2024 5 Jamie Spinello, via email, April 2, 2024 Prefabrication review: Lithic Islands, Jamie Spinello April 4, 2024 J. Unruh Page 3 of 6 • Unprotected carbon steel installation hardware components would be expected to corrode over the 25-year lifespan (see Fabrication comments). Note that applying wet Portland cement during installation introduces water into the interior of the sculptures; this may encourage corrosion of carbon steel components. • Protected from UV exposure, nylon separators have good durability: however, Austin’s summer temperatures will accelerate degradation, as will any humidity in the interior of the sculpture. The likelihood that the nylon washers will degrade prior to the 25-year mark is unknown. • Quikrete Anchoring Epoxy is expected to demonstrate good durability over the 25-year sculpture lifespan. • Even with additional polymer additive, the Portland cement admixture is not in itself a waterproof material. To serve the intended function of preventing moisture ingress into the interior, the patches made during installation and the extra cement applied around the feet should be waterproofed. Consult with the artist regarding whether a coating will be applied after patching and applying the extra cement around the feet; review any coatings for durability. • Though not described in the installation plan, if the modular sections are to be welded to each other during installation, additional Portland cement bridges plus water repellent coating may be required during installation. If modular components are not bridged but instead are installed abutting, moisture ingress into the interior of the sculpture at the abutting edges will occur, elevating the chance of corrosion of the armature and installation hardware. • All Portland cement mixtures applied during installation must cure completely prior to application of a water repellent; plan accordingly. • The engineer has specified a sub-surface cross-grade slope to direct rainwater away from hardware and sculpture legs. This feature is important. • The sculpture foundation and lower ends of the feet will be buried below grade, and will experience elevated moisture exposure in that placement. Prolonged contact with moisture can promote degradation processes that include: failure of the waterproofing coating; uptake of moisture by the cement, resulting in corrosion of the interior armature and cracking and spalling of the cement; freeze/thaw damage resulting in cracking and spalling of the cement; uptake of groundwater salts resulting in efflorescence and both structural and surface damage; development of algal growth at the base (the artist may wish to foster algal growth; confirm with the artist). The likelihood of these events is dependent on the water and soluble salts content of the soil at the site. • Plant growth in contact with the sculptures and foundations may accelerate deterioration. If the plants in contact are watered regularly, or if nearly landscaping is drip irrigated, the likelihood of corrosion of the steel components increases. Maintenance: The artist recommends: “Darkening of the surface or patina is desired and considered a desirable effect and attribute of the work. If graffiti is found, pressure washing and/or painting over the surface to renew it to a blank finish may be necessary. If vandalism creates cracks or pits, these areas can be repaired with cement repair products and painted over with a white or light gray matte finish cement sealer. If expertise maintenance beyond a general cement work is needed, and the original artist is not available, I recommend reaching out to Studio Cortes in San Antonio or James Talbot in Austin, Tx.” Maintenance comments and recommendations: • The Foundation Armor WL 550 Concrete Water Repellent will require periodic reapplication over the 25-year lifespan of the artwork. Identify the person or agency who will be responsible for re-application, and budget appropriately for labor and materials. Prefabrication review: Lithic Islands, Jamie Spinello April 4, 2024 J. Unruh Page 4 of 6 Additional comments: • Note that the below-grade portions of the artwork cannot be re-coated without deinstallation. • Follow the manufacturer’s instructions for coating renewal. Those instructions include thorough surface cleaning. Note that cleaning is likely to remove any developed patina. • The artist intends the sculpture to mimic a natural outcropping. As such, accumulations such as bird droppings, insect webbing, and airborne dust are believed to be acceptable: confirm with the artist. Surface accumulations such as chewing gum, other food, and stickers may be less acceptable; confirm with the artist. The artist has clarified that vandalism (which could include paint, ink, and scratched graffiti) is unacceptable. • As mentioned by the artist, if the sculptures are power washed, the coating will be • Removal of graffiti, stickers, or other surface accumulations may remove any naturally damaged and should be renewed. accumulated patina. • Certain graffiti removal products contain solvents that will damage or remove the coating and may damage the acrylic latex-reinforced cement mixture. Review all commercial graffiti removal products for suitability prior to use. Consult with a qualified conservator as needed. • Confirm with the artist exactly which cement repair products are acceptable for repair of cracks or pits. • Repairs with cement repair products and cement sealer will not visually match the naturally accumulated patina. Repairs can be disguised; consult with a qualified conservator as needed. • The artist intends the sculptures to alter with natural biological processes. Discuss in more detail with the artist exactly what types of alteration are acceptable and what types are not. • Animal and visitor interaction will cause surface and coating abrasion. • Even with the acrylic latex additive and modular construction, extensive freeze-thaw cycles may introduce cracking. Austin has not historically experienced extensive freeze- thaw. • The artist writes that the sculptures are “designed to enhance the prairie's ecological diversity. ….[they are] living habitats, embodying the park’s commitment to preserving biodiversity and contributing to a healthier prairie ecosystem.” The following observation is mentioned as it may be a consideration for the artist; it is not intended as a recommendation for a design change. There is a conflict (with no obvious solution) between durability and ecologically benign materials. The artist specifies a synthetic latex flexible polymer additive, an acrylic water repellent coating, and a polymer anchoring epoxy; all will improve the stability and extend the life of the sculptures, and are appropriate for that purpose. However, all materials’ SDSSs report variations of “persistence and degradability [data is] not available,” “bioaccumulative potential not available,” or “products of biodegradation not available.” The Mapei SDSS further reports that “mobility in soil not available.” That means those companies have not been required to test for those effects; it does not mean those products have no environmental impact.6 All three products are likely to produce microplastics as they degrade. The coating is of greatest concern, as it is not locked in a cement or concrete matrix, will be subjected to ultraviolet light (which can accelerate molecular chain scission), and is expected to 6 The Foundation Armor WL 550 Concrete Water Repellent SDSS states that the “material is expected to be harmful to aquatic organisms”: this refers specifically to the solvent system, which should evaporate completely prior to installation. Prefabrication review: Lithic Islands, Jamie Spinello April 4, 2024 J. Unruh Page 5 of 6 degrade during the lifetime of the sculpture. Without further data, the degree of environmental impact cannot be estimated. General recommendations: • Information that should be retained in the AIPP file includes: • Documentation of all final designs, including placement of access holes and how modular sections are joined. Photodocumentation of armatures prior to cementing may be helpful in the event repairs are needed. • Specifications for all materials used in final design, including the cement components, coatings, mortar, and all hardware, separators, and bolts (including exact types of steel) used in the construction of the sculpture and in the footing. • Detailed installation diagrams, including all dimensions, descriptions of any field repairs or additions to cement and coating, documentation of exact placement of mounting hardware, sub-surface site features, grade, and landscaping. • Contact information for any contracted fabrication or installation personnel, including Kristen Van Patten, the “four professional artists besides Jamie / Public Art Installation specialists,” contracted welders, crane operators, and any contractors utilized for foundation construction. • Contact information for the agency that has been identified as being responsible for • Contact information for Studio Cortes in San Antonio and James Talbot in Austin (the artist’s recommended back-up maintenance contractors). re-coating. • Artist's statement re: • intended appearance: the degree of weathering, abrasion or scratches, corrosion or other staining, cracking or breakage of cement or cement spalls, vandalism or graffiti, or other alterations that would be considered acceptable before the alteration would need to be addressed, or before the sculpture would need to be de-installed. • Cleaning products that are acceptable and those that would be unacceptable (perhaps based on environmental impact). • How to proceed if Foundation Armor WL 550 Concrete Water Repellent becomes unavailable for re-coating, or if the cement product specified for repairs becomes unavailable. • Whether or not it would be permissible to re-site the artwork in the future, and if so, the degree of change that would be permissible, including whether it would be permissible to modify the order and placement of the grouping, and whether it would be permissible to install “islands” individually rather than as a group. Prefabrication review: Lithic Islands, Jamie Spinello April 4, 2024 J. Unruh Page 6 of 6 Artist Maintenance Questionnaire CITY OF AUSTIN-- AIPP Information captured in this questionnaire will be filed to help ensure the proper care and preservation of the artwork. You may reference the Conservation Review Form as you complete this questionnaire. Please be as specific as possible. (Attach additional sheets as needed) (This section to be completed by AIPP staff) Acc. #: Artist: Jamie Spinello Title: Lithic Islands Date created: Est. July 2024 Medium: Concrete, epoxy, steel structure Dimensions: Date of Acq: General Information: General description of artwork: Do you have similar work (materials and techniques) in other collections? If so please provide the name/ owner of the collections. Materials and techniques: Please list ALL final materials used in the creation of the piece: Please list (or attach) manufacturer info for all products used in the final work: If cast or commercially fabricated, please provide information about the factory or foundry: EXHIBIT C - Artist Maintenance Questionnaire Please describe the reasons for selecting the final materials used: Please describe the method of creating the piece (describe special tools, methods, order of application, etc.): Please describe any coatings used: Please provide samples of materials, or documentation of materials and techniques employed: Samples attached (Circle one) YES NO Please describe any special needs (electricity, water, etc) or instructions for the installation of this piece: Please describe any media components used in this piece. Please complete attached Media Checklist. Preservation: Please share any opinions or recommendations regarding preventative preservation treatments. Please describe the extent to which changes in the appearance of the piece (as a result of aging and wear- and-tear) are intended/ accepted. How would you define damage? Please share your opinions on interventions; the condition at which an intervention should be considered; the extent to which the intervention is intended/ accepted: EXHIBIT C - Artist Maintenance Questionnaire Please list the frequency of cleaning or care needed, with specific techniques and/or products to be used. Please be detailed in the brand name or manufacturers’ specifications of products you would recommend, as well as step-by-step instructions for care. Signature Date EXHIBIT C - Artist Maintenance Questionnaire CITY OF AUSTIN ART IN PUBLIC PLACES PROGRAM/CULTURAL ARTS DIVISION USER DEPARTMENT PUBLIC ART EVALUATION FORM FOR TECHNICAL FEASIBILITY AND MAINTENANCE As per Section IX.A of the AIPP Guidelines, the user and managing departments responsible for housing the artwork are requested to review the artist’s final design (attached) for technical feasibility and maintenance considerations. Please provide a response on this form, or on letterhead signed by a representative in your department. Thank you! Title Department Artwork Title/Description Evaluation Date Evaluator’s Name EVALUATOR’S COMMENTS SITE INSTALLATION SAFETY / LIABILITY MAINTENANCE OTHER COMMENTS DEPARTMENTAL APPROVALS Use this section for routing of Signatures on following page Signed Needed User Dept. AIPP SPOC X User Dept. Project Manager/Coordinator User Site Manager/Supervisor User Division Manager or designee User Department Director or designee X X CITY OF AUSTIN ART IN PUBLIC PLACES PROGRAM/CULTURAL ARTS DIVISION USER DEPARTMENT PUBLIC ART EVALUATION FORM FOR TECHNICAL FEASIBILITY AND MAINTENANCE Signatures Page 2 DEPARTMENTAL RECOMMENDATION (Use as necessary) Support artwork as proposed Support artwork with the following modification(s): Signature: Date: User Dept. Project Manager/Coordinator or designee DEPARTMENTAL RECOMMENDATION (Use as necessary) Support artwork as proposed Support artwork with the following modification(s): Signature: User Site Manager/Supervisor Date: DEPARTMENTAL RECOMMENDATION (Use as necessary) Support artwork as proposed Support artwork with the following modification(s): Signature: User Division Manager or designee Date: DEPARTMENTAL RECOMMENDATION Support artwork as proposed (Required) Support artwork with the following modification(s): Signature: User Department PARD SPOC. Date: Kerri Thompson, Parks Grounds Manager4-23-24X4/23/2024xas noted above CITY OF AUSTIN ART IN PUBLIC PLACES PROGRAM/CULTURAL ARTS DIVISION USER DEPARTMENT PUBLIC A RT E VALUATION F ORM F OR T ECHNICAL F EASIBILITY AND M AINTENANCE 3 DEPARTMENTAL RECOMMENDATION (Required) Director or Designee 4/29/24 May 07, 2024 Response From Artist, Jamie Spinello. the Parks Department and The City of Austin. My engineer has also updated his drawing to show the -Jamie Spinello, signature: date: 5/07/2024 1/17/24, 4:21 PM Wufoo · Entry Detail Community Activated Park Project Program (CAPP) COMPLETE #554 The City of Austin Parks and Recreation Department is proud to offer the Community Activated Park Projects (CAPP) program for our neighborhood groups and partners. Community Activated Park Projects provide an opportunity for neighbors, non-profits, community groups and partners to raise funds and in-kind contributions to implement park improvements projects that are in alignment with PARD goals and meet community priorities. PARD collaborates with community partners to plan, develop and execute park improvements on parkland. This form provides PARD and the Review Team the relevant information to understand, research, and review the project for feasibility. Proposed CAPP submissions are reviewed monthly, excluding October, if the project is less than $5,000, and during January, April or July if the project is greater than $5,000. If you do not hear back from us within a month, your CAPP proposal exceeds the $5,000 mark and will be reviewed during January, April, July*. *CAPP submissions over $5,000.00 received after February 1st, 2023 will be reviewed in April 2023 If you have questions, please reach out to Christine Chute Canul, christine.canul@austintexas.gov or 512-974-9515 Thank you for your interest in participating in the CAPP program! Frequently Asked Questions (FAQ) on the program can be found here: http://www.austintexas.gov/department/community-activated-park-projects CREATED IP ADDRESS 47.222.229.249 PUBLIC Jan 13th 2024, 2:15:19 pm Date Submitting Application 2024-01-13 Partner Organization or Neighborhood Group Name: Monarch Sanctuary Project * Community Activated Project Proposals with a budget over $5,000 are reviewed in January, April, and July by the PARD Review Committee (projects with a budget under this threshold will be reviewed on a monthly basis, excluding October). Indicate the month you are applying for reviewal. If you are applying for an APF grant, please apply 4 weeks prior to the APF deadline and your proposal will be reviewed for feasibility. Applying for APF Funding -Due date based on APF grant cycle * Contact Name for Project Proposal Sonia Koschoreck https://app.wufoo.com/entry-manager/1/entries/554 1/5 1/17/24, 4:21 PM Wufoo · Entry Detail * Email themonarchsanctuaryproject@gmail.com Phone Number 8182706618 Secondary Contact Sonia Koschoreck Email Park/Facility Name: Ortley Park themonarchsanctuaryproject@gmail.com Location of Project in Park: Northeast corner Is this undeveloped parkland? Yes United States Partner Address (If applicable): Landscaping, Other If "Other", please describe: Monarch Conservation Organization Applying for Funds, Design/Conceptual If "Other", please describe: (No response) Please choose the option(s) below that best describe the project you are proposing: Which choice below best describes the current phase of the project you're proposing: Have you been in contact with anyone from PARD on this project proposal? If yes, please provide name(s): No https://app.wufoo.com/entry-manager/1/entries/554 2/5 1/17/24, 4:21 PM Wufoo · Entry Detail If you are a Joint Use School Park, have you been in contact with anyone from AISD? If yes, please provide name(s): No If applicable, attach acceptance to School Yard Improvement Plan. * Written Description of the Proposal (If site has an approved COA Land Stewardship Plan or Vision Plan attach below): Artist, Jamie Spinello, has designed a beautiful sculpture called "Lithic Islands." She has asked Monarch Sanctuary Project to install a native pollinator habitat space around the piece. Before Picture: Please provide a picture of the park/area/equipment you're proposing to improve. Location Map of Location of Proposed Project: Sketch Plan: should be drawn to scale and this can be hand-drawn OR Photo: of a similar project or feature that the applicant would like to replicate The parks department has agreed to add sprinkler irrigation to the area. Our team will select, acquire and plant the native milkweeds and nectar plants. We will select low-maintenance native plants that bloom throughout the spring, summer and fall seasons. Plants will require trimming twice a year and occasional weeding. Monarch Sanctuary Project is not offering to provide this maintenance, however, this would be a great opportunity to offer to the Texas Master Naturalist community for hours. I'm happy to help facilitate this relationship. Attach a File Draft Long-Term Maintenance Plan: If you chose "Other" please provide info: (No response) Desired Project Timeline: Possible opening fall 2024 (or later). The garden installation will be the last thing to add after art and irrigation. I estimate the installation would happen early fall of 2024 (early Oct). Project Proposal Funding Plan: Funding for the garden installation is still being negotiated. Monarch Sanctuary Project is willing to provide funding if other sources are not available. Design: Do you have a professional designer to develop detailed plans and cost estimates for the project or will you be requesting PARD support? Monarch Sanctuary Project is happy to design and develop visual plans and cost estimates. https://app.wufoo.com/entry-manager/1/entries/554 3/5 1/17/24, 4:21 PM Wufoo · Entry Detail Project Management: Do you have a professional designer or project manager to manage and implement the project or will you be requesting PARD support for project management? Monarch Sanctuary Project will be designing and managing the installation of the habitat space. Please provide proposed Roles and Responsibilities of PARD and your organization: Monarch Sanctuary Project will provide all tools, volunteers, and planting supplies. All volunteers are either MSP team members or Texas Master Naturalists. We do ask that the irrigation system be installed before the plants (or day of) to ensure a successful transplant. We ask that the habitat space be maintained. Trimming twice a year, occasional weeding (if needed). If applicable, please list any resources or needs you are seeking from PARD to assist with implementing this project concept: (No response) If a contractor has been engaged in the process please provide their insurance requirements as required by the COA. PARD strives to leverage community resources and collaboration opportunities to further the mission of the department. Please provide information on how you see this project as an opportunity to collaborate with other partners. Indicate which partners and why? Incorporating a native habitat space into art sculpture is an opportunity for community to experience nature in a new and creative way. Native plants offer a wealth of value to the biodiversity of our park systems and provide endless educational opportunities. This habitat will also act as a "monarch sanctuary" for our beloved state insect as they pass through twice a year during their migration- providing a place to rest, refuel and lay their eggs. This metamorphic cycle is a beautiful metaphor for the human experience and the changes we all experience. Is there community support for the project from the neighborhood and other park users/stakeholders? Explain. N/A Provide letters of support from potential partners, if any: How do you intend to measure the success of the project, if approved? Monarch Larva Monitoring Project data collection SD 2023 | City Council affirmed both a strategic vision and six strategic outcomes to guide the City of Austin over the next 3-5 years. Listed below are the strategic outcomes. Please choose the outcome(s) that best align with your project proposal. Health and Environment, Culture and Lifelong Learning Explain how: Please see previous answer. https://app.wufoo.com/entry-manager/1/entries/554 4/5 1/17/24, 4:21 PM Wufoo · Entry Detail I understand the PARD Review Team reviews project proposals monthly, excluding October, for proposals under $5,000, and during January, April, and July for proposals over $5,000. I understand that the review process, after the submission date, takes a minimum of 4-6 weeks for the PARD committee to review and contact regarding next steps. I have provided all applicable information requested. Yes, I understand. https://app.wufoo.com/entry-manager/1/entries/554 5/5