Item 12 - AIPP - Rehab_AFD1EMS6_FinalDesign.pdf — original pdf

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Artist: Rehab El Sadek Title of Artwork: 1938+ AIPP Project Manager: Lindsay Hutchens 1 Artist Narrative My goal for 1938+ is to create a durable, low-maintenance work of art that honors the history of the site and the mission of the first responders that serve Downtown Austin past, present, and future. The building that currently houses AFD Station #1 and ATC-EMS Station #6 was constructed in 1938 at 501 E. 5th Street. It was built to replace the original Central Fire Station #1 built in 1885 at 114 W. Colorado Street. Throughout the years, the station’s architecture has drawn national attention in fire department trade magazines for its modern, art deco style—one of the few examples of the Moderne/Streamline Moderne style in Austin. Until recently, it also served as the Austin Fire Museum with relics dating back to the mid-1800’s. The building structure is currently being renovated and modernized. I have asked for several interior elements to be salvaged from the construction for the purpose of creating art. Given the important history of the site, my design proposes a wall-mounted sculpture in the lobby of the station fabricated primarily from the salvaged items, many of which date back to the original construction. An artwork in conversation with its surroundings and the echoes of the past. In my personal practice, I frequently create site-specific installations and sculptures using everyday objects. I see 1938+ as an extension of this practice and a tribute to our shared history. Project goals The goal of this AFD/ATC-EMS project is to design artwork that: Integrates with the site; or the interior or exterior architecture of the station. Reflects the mission "to create safer communities through prevention, preparedness, and effective emergency response." Relevance to AFD/ATC-EMS's role in how the station serves the community. To be physically and conceptually accessible to nearby residents, visitors, and station staff. Is easily maintained and vandal resistant; and contributes to the depth/breadth of the City of Austin's public art collection. 2  Ride-alongs and Engagement I began my engagement by learning about the AFD and ATC-EMS first responders who work at the station—their practice, routines, and relationship to the community. I accomplished this through 12 hours of ride-alongs and spending additional time at the station. Through this experience, I gained insight into the downtown community the station serve —many of whom are homeless. In observing how EMS staff in particular interact with at-risk communities, I started to meditate on the concept of second chances and how it might be reflected through art. View from the artist’s ride-alongs/community engagement while shadowing AFD1 & ATC-EMS6 staff 3  Examples of rescued materials 4  1838+ Footprint 5  6  7  8  Artwork Measurements: 12’5”x 11’ 5”x 1’5” | Total weight 666lbs (466lbs + 200lbs Substrate) 9 proposed frame behind theartwork. This would bear onand be bolted to the floor andlaterally tied to the wall. Assumed framing members arechannels or tubes, but couldalso be Unistrut which wouldallow spaced anchorage to wallor artwork.  Profile View 10 Project general information General description of artwork A mixed-media wall-mounted sculpture measuring approximately: 12'5" h. x 11’.5” w. x 1'5" d. Materials and techniques Final materials used in the creation of the piece: Salvaged steel, plywood substrate, wood, plexiglass, acrylic paint, light fixtures, polyurethane coating (hand/spray/ aerosol), screws, wood glue, brad nails, nut + bolts, lag bolts. List of manufacturer info for all products used in the final work Varathane 1 qt. Clear Matte Water-Based Interior Polyurethane Sika 10.1 fl. oz. Sika AnchorFix-1 Everbilt Lag bolts (various sizes) Titebond premium wood glue Dewalt 18 gauge brads (various sizes) Simpson strong tie screws Superstrut or Everbilt SS allthread (various sizes) Sandeply plywood (various thickness) Prowood lumber (various sizes) The artwork site and installation method The artwork will be installed in sections directly onto the masonry of the south-facing wall of the lobby of the AFD1/ EMS6 Station. Each section will be mounted with all-thread using an epoxy anchoring system. 11 The method of creating the piece (special tools, methods, order of application, etc.) Elements will be attached or incorporated with wooden back structures to support and aid mounting, french cleat style mounting with locking screws. Stand alone items will be anchored to the wall with suitable weight bearing anchors. Mixture of glue/wood/brads/screw and mechanical fixings used during production and installation. Coatings & Finishes Polyurethane coating applied to salvaged items to maintain the repurposed texture/finish. Will be applied by hand/ spray/aerosol. Special needs (electricity, water, etc) or instructions for the installation of this piece Several light up elements, electrical outlet required (*previously been discussed with architect, builder and COA AIPP team). Note As the base materials are artifacts salvaged from the station renovation, an aged appearance is acceptable. Damage would be artwork becoming unattached from the wall mounting. The artwork becoming unattached in whole or part from the wall would necessitate a maintenance intervention. 12 Revised Final Budget Draft (February-2-7r {September 9, 2024) Materials New materials I $6, 124 Repurposed materials I in kind Additional Material Costs $2,021 (33% increase} + $612 (10% increase in material costs) Labor Fabrication Labor I $11,400 Additional Labor Costs $3,762 (33% increase} 1,140 (10% increase) Delivery and Installation Art delivery and installation I $5,500 Transportation and truck rental I $1,108 + $600 (extra trips) Other General Liability and Commercial Auto Insurance I $1,890 + $450 Travel and Lodging I $3,748 Additional Travel Costs $2,000 Storage I $750 (5 months at $150/month) Additional Storage Costs $300 (two additional months} + $750 (5 additional months) Graphic Design Services I $1,300 Original Subtotal: $31,820 Revised Estimated Subtotal: $39,903 (25.4% increase or $8,083) +$3,552= 43,455 Artist Design Fee/Project Oversight 20% I $9,400 Additional Artist Fees: $2,388 +$915= $3,302 CeAtiAgeAey (10%) I $4,700 Revised Contingency Amount (10% of new budget}: $5,894 ($1,140 increase} +$457= $6,351 Original Budget Total $46,920 Additional Amount Needed: $11,611 Revised Budget: $58,531 + $4,924= $63,455 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! Department Artwork Title/Description Evaluation Date Evaluator’s Name Title EVALUATOR’S COMMENTS SITE INSTALLATION SAFETY / LIABILITY MAINTENANCE OTHER COMMENTS DEPARTMENTAL RECOMMENDATION (Attach additional sheets as necessary) Support artwork as proposed Signature: Support artwork with the following modification(s): User Department Director or designee Date: Austin Fire DepartmentFS1 AIPP - Mixed media wall mounted sculpture utilizing rescued materials from FS 11/30/24Peter TelihaAFD Division Chief of LogisticsMixed media wall mounted sculpture highlighting the history of FS1 through the use of "rescued" materials either used by the used by the station during its operations, or materials directly from the historic building itself.401 E. 5th St., Austin, TX 78701This piece will utilize aged materials of both salvaged steel and wood, as well as an epoxy anchoringsystem. Safe margins around the piece are necessary to prevent cuts/snags of passersby, as well as rounded edges for safety.The piece should also deter climbing and scaling.The piece will need to be cleaned and dusted on a quarterly basis, as a minimum.The piece should be observed for pollen and dirt accumulation and cleaned as needed.N/APTPTAustin Fire DepartmentJanuary 30, 2024Conservation Review Form CITY OF AUSTIN AIPP Information captured in this form will help expedite the conservation review process, which aims to address the following considerations: 1) Durability of Materials 2) Appropriateness of Fabrication Methods 3) Relationship to Site/Context 4) Installation and Site Preparation 5) Maintenance Needs Artist(s): Rehab El Sadek Phone: 214-636-0902 Email: rehabelsadek@gmail.com Title of AIPP Project: AFD1/EMS6 AIPP Project Title of Artwork: AIPP Project Manager: Lindsay Hutchens Date: 1-18-2024 Assuming best maintenance practices, what is the life expectancy of this work? 50+ years List ALL materials and components to be used in the creation of this piece (be specific): Describe any coatings or sealants to be used (be specific): Salvaged steel, plywood substrate, wood, plexiglass, acrylic paint , light fixtures, polyurethane coating (hand/spray/aerosol), screws, wood glue, brad nails, nut + bolts, lag bolts, Provide contact information for the fabricator(s) and a description of their services on this project: Describe the methods and/or processes used in fabrication, in order of their use in the artwork:  Describe the artwork site and installation method: The artwork will be installed in sections directly onto the masonry of the south-facing wall of the lobby of the AFD1/EMS6 Station. Each section will be mounted with all-thread using an epoxy anchoring system and french cleat design for certain elements (still using the epoxy/thread method for final fixing to the wall. Describe any required maintenance procedures and/or products: Normal dusting at quarterly intervals. N Attach all that apply: Y Y Y Y N N N Architect’s or Engineer’s preliminary drawings Material samples Images of site or site drawings Manufacturer specs or Material Data Safety Sheets (MSDS) for all commercial products  Pre-fabrication Review: 1938+, Rehab El Sadek Report Date: 16 February 2024 Note: These comments are based on proposal documents and email correspondence with the artist, fabricator, and AIPP coordinator. Many components of the design, including materials, fabrication methods, and installation attachment mechanisms, will be determined during fabrication and installation. Because a final design was not available, these cannot be considered final or comprehensive recommendations. Project Overview: 1938+ is a wall-mounted installation proposed for the entrance vestibule of the Austin Fire Department building on 5th street. The artist will repurpose materials salvaged from renovations to create a collaged installation that speaks both to the building’s history, and also to the possibility of rebirth. Materials and fabrication: The artist will determine the reclaimed materials that will be used and the exact fabrication methods during construction. As of 16 February 2024, the following were not available: final list of reclaimed items to be used to construct the sculpture and the materials of which they are constructed; any additional fabricated elements and their materials and fabrication methods; product information for certain materials; configuration and placement of items on backing boards or directly into the wall; specific mounting methods for individual items; lighting and wiring diagrams; specifications for the wall; and an engineer’s report. For this reason, many of the exact materials, fabrication methods, and mounting methodologies to be used in the sculpture could not be specifically reviewed for this report. General comments are made. The artwork will be fabricated by Graeme Durant. Durant reports that “for fabrication we will be using a combination of these reclaimed [example] items [illustrated on page 4 of the Final Design document] and fabricated elements either hold and mount [sic] or to mimic objects that did not pass through the abatement testing.”1 A general list in the Conservation Review Form 2 mentions “salvaged steel”; however, the materials of which the objects depicted on page 4 of the design document include a painted(?) metal (types of paint and metal unspecified) light fixture with wiring and a light bulb, other painted surfaces (paints and substrate unknown), apparent galvanized steel and/or aluminium, copper, a composite steel/glass/ink?/paper object, possible plastic (exact plastic unidentified) elements, and printed paper documents, among other materials. The light fixture and possibly other elements are intended to be wired to function. Durant remarks “I know there will be down lighting from above and some back lit parts that will shine through the yellow acrylic material,” and further comments that the lighting elements will likely be on a timer.3 El Sadek writes, “As the base materials are artifacts salvaged from the station renovation, an aged appearance is acceptable.”4 To maintain the current (deteriorated) condition of the 1 Graeme Durant, 12 February 2024, email communication; with reference to document entitled AFD1EMS6_FinalDesignPresentation. 2 Rehab El Sadek, Conservation Review Form 3 Graeme Durant, 12 February 2024, email communication. 4 Rehab El Sadek, Artist Maintenance Questionnaire PO Box 6803 Austin, TX 78762 ( +1) 512.843.2123 j.unruh@outlook.com elements, it is proposed to coat some or all elements with Varathane Clear Matte Water-Based Interior Polyurethane.5 Some, but not all, salvaged items will be attached to backing boards constructed of Sande plywood – in some cases reinforced with Prowood lumber - and painted with Nova Color Artists' Acrylic Paint (colors not specified). No primer was specified. Durand reports, “[The plywood substrates] will be glued, brad nailed, then fortified with screws. The elements will be attached to these either with screw, lag bolts, nuts and bolts. We will use washers and spacers where appropriate.”6 The artist further specifies that locking screws will be utilized (locations not described).7 Specific construction hardware details and exact fastening schematics were not supplied for this review. Materials and fabrication comments and recommendations: Because a precise materials list and fabrication details could not be provided, only general comments can be made. These comments may not be applicable to the final design. • Dissimilar metals in contact raise the possibility of galvanic corrosion. Pay attention to the galvanic series during fabrication, and use appropriate separators as needed. • There is no one coating that can preserve all mixed-media elements in their present condition over 50 years without maintenance in an environment that contains light, humidity, and oxygen. In a museum setting, applied coatings are tailored to the specific substrate and situation, and as a general rule, require periodic renewal, and are therefore reversible. A one-time application of Varathane “Ultimate Polyurethane Water Based” on the reclaimed items depicted presents several potential problems: o Polyurethane can be expected to degrade long before the 50-year mark estimated by the artist. A query to the manufacturer as to the whether the polyurethane was photostabilized was not answered by the date on which this report was due, but as a point of comparison, one real-time ageing study estimates a lifespan for a different polyurethane product of between 5 – 10 years in an outdoor exposure.8 o Varathane “Ultimate Polyurethane Water Based” is formulated for wood and is not recommended for linoleum, vinyl or glazed tiles and metal.9 If it will be used to coat surfaces other than wood, its use should be considered experimental. o Any coating on an uncleaned surface will not maintain good adhesion. o Polyurethane coatings are not normally easily reversible without damage. o A polyurethane coating over painted surfaces may actually exacerbate paint loss. Polyurethane shrinks, embrittles, and flakes with age. Depending on the paint, the coating, and the environmental conditions, as the coating shrinks with age, the coating may pull the paint off the surface instead of fixing it to the surface. o Corrosion may continue under a surface coating, particularly if the surfaces are intentionally uncleaned. Arresting active corrosion underneath a non-removable coating will be problematic. o As the coating ages, microcracks will allow humidity ingress under the coating; that may encourage the formation of new corrosion cells. 5 The exact product is believed to be https://www.rustoleum.com/product-catalog/consumer- brands/varathane/ultimate-polyurethane-water-based. Confirmation that this is the intended project was not received by the deadline for this review. 6 Graeme Durant, 12 February 2024, email communication. 7 Rehab El Sadek, Artist Maintenance Questionnaire 8 https://www.sciencedirect.com/science/article/abs/pii/S0300944018305927 9 https://rustoleumsupport.zendesk.com/hc/en-us/articles/4422343760141-Varathane-Ultimate-Polyurethane-Water- Based Prefabrication review: El Sadek, 1938+ 16 February 2024 J. Unruh Page 2 of 6 Without knowing the exact reclaimed items to be used and the materials of which they are constructed, the best general recommendation would be to leave most items uncoated. Depending on environmental control in the building, some items may continue to deteriorate slowly. The degree of deterioration that would be expected would be item- specific, dependent on the exact material and condition of the reclaimed item. • Paper and ink present particular preservation challenges. Manufactured paper will embrittle and crumble. Most inks are not light stable and will fade. Deterioration can be slowed, but not halted, by mounting under UV-blocking glass. • Nova Colors utilize a proprietary acrylic medium. Its long-term stability could not be determined before the deadline for submission of this review. In general, acrylic paints in an indoor setting do eventually exhibit a color shift towards yellow, but very slowly. Acrylic paints may begin to exhibit craquelure or flaking within a 50-year window. Whether either of those events are likely cannot be determined without knowing the exact medium and panel preparation. Obtain exact product specifications, and review for suitability and long-term stability in the specific applications in which it will be used. • Exact paint colors were not specified for this review. Light stability is dependent on the exact pigment used; pay attention to the manufacturer’s ASTM lightfastness rating. Nova Color product literature additionally states, “Ratings are based on the color at full strength. Some colors may be less lightfast when used as a tint (mixed with white or other colors) or if used as a glaze (mixed with clear mediums).”10 • No specifications were provided for the Plexiglas panel and accordingly, the exact product to be used was not reviewed for suitability and stability. In one artificial ageing study of acrylic panel, the onset of degradation (including clouding and cracking) was predicted at 25 years.11 Deterioration may be accelerated by both heat and light. Obtain exact product specifications, and review for suitability and long-term stability in the specific application in which it will be used. • Light accelerates chemical deterioration and color shifts. During fabrication, consider the light output of any of any functioning light fixtures and the effects on surrounding materials, particularly the Plexiglas panel, printed paper documents, and any painted surfaces. See also “Installation comments and recommendations” below. • Heat accelerates chemical deterioration and color shifts. During fabrication, consider the heat output of any functioning light fixtures and the effects on surrounding materials, particularly the Plexiglas panel. Depending on the final back-lit Plexiglas panel design, incorporate vents to dissipate heat behind the panel. • Once finalized, review lighting placement for any other potential effects on surrounding light- and heat-sensitive materials. • No specs were provided for location and installation of light timers or light switches. Once finalized, review for suitability and accessibility by maintenance staff (necessary) and the public (discouraged). • Sande plywood, like most plywoods, is manufactured using a formaldehyde-containing materials, and for that reason can offgas manufacturing residues such as formic acid, which can in turn cause metals corrosion, discoloration and other alterations. In a museum setting, plywood is commonly sealed (utilizing a variety of methods) to prevent offgassing. In this application, it is recommended to prime the plywood prior to painting; that will partially seal the plywood and also assist paint adhesion. If primer is used, 10 Nova Color product information sheet, Artex Manufacturing Company, supplied by Rehab El Sadek. 11 Yin, Wenhua, Zeyu Xie, Yuming Yin, Jun Yi, Xiaodan Liu, Huiqin Wu, Shuang Wang, Yufang Xie, and Yunong Yang. 2019. “Aging Behavior and Lifetime Prediction of PMMA under Tensile Stress and Liquid Scintillator Conditions.” Advanced Industrial and Engineering Polymer Research 2 (2): 82–87. https://doi.org/10.1016/j.aiepr.2019.04.002. Prefabrication review: El Sadek, 1938+ 16 February 2024 J. Unruh Page 3 of 6 review the exact primer product chosen for suitability on a plywood substrate, compatibility with Nova Color acrylic paints, and long-term ageing properties. • The exact product name and specifications for the Titebond wood glue to be used were not provided, and accordingly, it was not reviewed. Obtain exact product specifications, and review for suitability and long-term stability in the specific application for which it will be used. Installation: As of 16 February 2024, specific mounting methods for individual items and specifications for the wall had not been determined. For this reason, only general comments can be made in this report. The artist reports, “Stand alone items will be anchored to the wall with suitable weight bearing anchors.”12 Durant expands, “The found objects will either be mounted to plywood and lumber substrates that will ultimately be hung on the wall with a french cleat. The partner piece that will be attached to the wall will be anchored using epoxy anchor (sika) [believed to be Sika AnchorFix-1, a structural 2-part epoxy13] and SS threaded bar with nuts and bolts. There will be certain instances where the object is attached directly to the wall to minimise any protuberance and to keep us in the requirements for distance away.”14 AIPP project coordinator Lindsay Hutchens reports, “Electricity is coming from a J‐box that will be centered on the wall, 6 to 12 inches above the floor (through the brick, not the infill), and will protrude no more than 1 inch from the wall. Wiring will be coming through the wall, so there will be no conduit along the wall or floor.”15 No wiring diagrams were provided for this review. Installation comments and recommendations: • Determine the final construction of the wall and placement of electrical points. • Once the design is finalized, commission an engineer review of the French cleat hanging system to ensure that the weight-bearing hardware for fastening the artwork to the cleat, the anchors that fasten the cleat to the wall, and the angle of the cleat are all appropriate for the forces expected and for the construction of the wall. Determine specific mounting methods for individual items and review all for load, suitability of anchoring methods, and durability. • The installation site is in front of floor-to-ceiling windows and are expected to experience high light levels. All light-sensitive materials can be anticipated to experience light- induced alteration. Affected materials may include certain paint colors, plastics including Plexiglas, paper, and ink. • The Sika anchoring epoxy may produce minor staining of the wall around the anchor bolts. needed. • 2-part epoxies are not normally reversible. Should the sculptures need to be deinstalled, the epoxy may prevent deinstallation without damage or breakage to the wall and to the French cleat section attached to the wall. • Stainless steel hardware is corrosion resistant and is appropriate. Utilize separators as • Wiring conduit will be required running from the electrical point 6 to 12 inches above the floor to the light at the top of the sculpture and to any other wired elements. Wiring 12 Rehab El Sadek, Artist Maintenance Questionnaire 13 Confirmation that this is the intended project was not received by the deadline for this review. 14 Graeme Durant, 12 February 2024, email communication. 15 Lindsay Hutchens, 12 February 2024, email communication. Prefabrication review: El Sadek, 1938+ 16 February 2024 J. Unruh Page 4 of 6 schematics were not provided for this review. Review all final wiring schematics with a qualified electrician. Maintenance: El Sadek notes in the Artist Maintenance Questionnaire: “As the base materials are artifacts salvaged from the station renovation, an aged appearance is acceptable. Damage would be artwork becoming unattached from the wall mount.” The artist recommends “normal dusting at quarterly intervals.” She also notes, “The artwork becoming unattached in whole or part from the wall would necessitate a maintenance intervention.” Maintenance comments and recommendations: • Determine the person who will be responsible for quarterly maintenance and insure there is a budget for labor for the lifetime of the sculpture. • Durant states, “we have not finalised the actual [lightbulb] fixtures yet, but are leaning towards LED given their ability to last longer and lower heat/energy output.”16 LEDs should not need frequent replacement, but they may require maintenance. Determine who will purchase replacements and who will replace LEDs as needed. • The sculpture will not be protected from accidental or deliberate abrasion, impact damage, or vandalism, including possible damage due to janitorial maintenance of the floor by industrial waxers or similar machinery. Elements that are accessible may be accidentally abraded, broken, or deliberately detached. • Vibration (produced by vehicular traffic, for example) may loosen hardware over time. Additional comments: • A microclimate will be created in the small airspaces between panels hanging from French cleats and the wall, and, depending on final design, between other elements of the construction. Depending on building environmental and pest control, it is possible that the reverse surfaces of the plywood substrates, other organic materials, and any small cavities will harbor mold growth, insects, and spider webbing. Mold growth can be prevented if vestibule relative humidity is kept below approximately 65%. General recommendations: • Information that should be retained in the AIPP file includes: • Detailed diagrams of the final design. • Specifications for all materials used in final design, including detailed descriptions of the repurposed materials used, descriptions of any fabricated elements used, hardware and fasteners used for each, exact configurations of the collaged materials on the plywood supports and on the wall, any coatings utilized and the locations of those coatings, and any other information that is necessary to fully document the artwork and its construction. • Contact information for the fabricator, Graeme Durant. • Detailed installation diagrams, including all dimensions, exact placement of elements and mounting hardware, sub-surface features including electrical wiring diagrams, and light timer or switch placement. • Specifications for all hardware, separators, and the 2-part epoxy used for installation. • Artist's statement re: acceptable appearance and the definition of damage, to include: • intended appearance: the degree of abrasion or scratches, breakage, fading or discoloration, detachment of elements, clouding or cracking of plastic components, deterioration of coatings, development of new corrosion, or other 16 Graeme Durant, 12 February 2024, email communication. Prefabrication review: El Sadek, 1938+ 16 February 2024 J. Unruh Page 5 of 6 alterations that would be considered acceptable before the alteration would need to be addressed, or before the sculpture would need to be de-installed. • 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 mount individual sections of the artwork rather than maintain the artwork as a whole, and whether it would be permissible to display the artwork without the live lighting. Prefabrication review: El Sadek, 1938+ 16 February 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: Title: Date created: Medium: Dimensions: Date of Acq: General Information: General description of artwork: A mixed-media wall-mounted sculpture measuring approximately: 12' 6" h. x 12' w. x 1' 2" d. Do you have similar work (materials and techniques) in other collections? If so please provide the name/ owner of the collections. No. Materials and techniques: Please list ALL final materials used in the creation of the piece: Salvaged steel, plywood substrate, wood, plexiglass, acrylic paint , light fixtures, polyurethane coating (hand/spray/aerosol), screws, wood glue, brad nails, nut + bolts, lag bolts, Please list (or attach) manufacturer info for all products used in the final work: Varathane 1 qt. Clear Matte Water-Based Interior Polyurethane Sika 10.1 fl. oz. Sika AnchorFix-1 Everbilt Lag bolts (various sizes) Titebond premium wood glue Dewalt 18 gauge brads (various sizes) Simpson strong tie screws Superstrut or Everbilt SS allthread (various sizes) Sandeply plywood (various thickness) Prowood lumber (various sizes) If cast or commercially fabricated, please provide information about the factory or foundry: Please describe the reasons for selecting the final materials used: EXHIBIT C - Artist Maintenance Questionnaire To create an original work of art using salvaged materials from the station renovation. Please describe the method of creating the piece (describe special tools, methods, order of application, etc.): Elements will be attached or incorporated with wooden back structures to support and aid mounting, french cleat style mounting with locking screws. Stand alone items will be anchored to the wall with suitable weight bearing anchors. Mixture of glue/wood/brads/screw and mechanical fixings used during production and installation Please describe any coatings used: Polyurethane coating applied to salvaged items to maintain the repurposed texture/finish. Will be applied by hand/spray/aerosol. 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: Several light up elements, electrical outlet required (*previously been discussed with architect, builder and COA AIPP team) Please describe any media components used in this piece. Please complete attached Media Checklist. None. 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? As the base materials are artifacts salvaged from the station renovation, an aged app ance is acceptable. Damage would be artwork becoming unattached from the w mount Please share your opinions on interventions; the condition at which an intervention should be considered; the extent to which the intervention is intended/ accepted: The artwork becoming unattached in whole or part from the wall would necessitate a maintenance intervention. 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. Dust quarterly. Signature Date: 01/30/2023  Process Summary Fire Station 1 / EMS Station 6 (Downtown) REQUEST FOR QUALIFICATIONS Project Summary The City of Austin Art in Public Places (AIPP) program of the Cultural Arts Division, Economic Development Department seeks to commission four (4) local artists or artist teams to create permanent public artwork for stations related to fire and emergency medical services. AIPP is seeking artists to create artwork that will reflect the mission of the Austin Fire Department (AFD) and Austin-Travis County Emergency Medical Services (EMS) “to create safer communities through prevention, preparedness, and effective emergency response.” The commissioned artworks should be integrated into the spaces of the stations. A range of materials and conceptual approaches are welcome. Public Art Goals & Priorities The Art in Public Places 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 through the selection of qualified artists or artist teams who can innovatively and thoughtfully design within the context of this project. The goal of these AFD/EMS projects is to select artists or artist teams who will design artwork that: • • • • • • integrates with the site; or the interior or exterior architecture of the station; reflects the mission “to create safer communities through prevention, preparedness, and effective emergency response;” is relevant to AFD/EMS's role in how the station serves the community; is physically and conceptually accessible to nearby residents, visitors, and station staff; is easily maintained and vandal resistant; and contributes to the depth/breadth of the City of Austin's public art collection. Budget The funding for this Art in Public Places project is generated by pooling 2% of the estimate construction budgets for the renovations to the AFD/EMS station. The AFD/EMS station projects derive funding from certificates of obligation. The award for this artist opportunity is inclusive of the artist’s time, design, fabrication, and installation, include engineering and permitting fees, oversight time, travel and shipping expenses, insurances and all other project-related costs. AFD and EMS are committed to maintaining safe and equitable facilities for fire and paramedic staff. Bringing this existing AFD/EMS station up to a more useable and safer standard will allow personnel to better perform their duties of serving the City of Austin community. One artist will be commissioned for the AFD/EMS station listed below. • AFD Station 1 / EMS Station 6: 401 E 5th St, Austin, TX 78701, Council District: 9  o Station Renovations include extensive building system, code, and accessibility upgrades o Artist Budget: $42,000 Selection Process RFQ published on PublicArtist.org Information Meeting (Eventbrite, YouTube) February 25, 2021 Submission Deadline Jurors February 6, 2021 April 27, 2021 • Kipp Kobayashi – Artist and AFTA Public Art Network Council Vice Chair (Los Angeles, CA) • Oscar Alvarado – Artist, Public Art Commission with Fort Worth Fire Department (San Antonio, TX) • Jimmy Castillo – Artist and Houston Arts Alliance Director of Civic Art + Design (Houston, TX) • Suzy González – Artist, Curator, Zinester, Educator, and Community Organizer (San Antonio, TX) • Samara Barks – Artist and Illustrator (Austin, TX) Project Advisors • Davis Haden – Logistics Division Chief, Austin Fire Department, City of Austin • Wesley Hopkins – Division Chief, Emergency Medical Services, City of Austin • Alejandro Wolniewitz – Facilities Planning Manager, Austin Fire Department, City of Austin • Gadiel Arellano – Project Coordinator, Emergency Medical Services, City of Austin • Michelle Noriega – Project Manager, Public Works Department, City of Austin • Burton Jones – Project Manager Supervisor, Architectural Project Management Division, Public Works Department, City of Austin • Stephanie Lemmo – AIPP Panel Liaison • • Joel Nolan – AIPP Panel Liaison Jaime Castillo – Austin Arts Commission Liaison Staff • Sue Lambe, AIPP Program Manager, Cultural Arts Division, Economic Development Department, • Curt Gettman, AIPP Project Manager, Cultural Arts Division, Economic Development • Alex Irrera, AIPP Project Manager, Cultural Arts Division, Economic Development Department, City of Austin Department, City of Austin City of Austin General announcements were presented to: • Various Facebook and Instagram • AIPP Newsletter, CAD Newsletter, and AIPP Call to Artist subscription lists • RFQ announcement on AIPP’s Current Open Calls to Artists page • Posted to Glasstire and Texas Commission on the Arts artist opportunity pages • Direct emails to past applicants to AIPP open calls, including TEMPO 2015-2021, Montopolis Recreation Center, Austin Fire Dept/Austin-Travis County Emergency Medical Service Embedded Artist (6 stations), Georgian Acres Neighborhood Park, and Pharr Tennis Center  • Email to the City of Austin Cultural Centers liaisons – Dougherty Arts Center, Mexican American Cultural Center (MACC), Asian American Resource Center (AARC), and George Washington Carver Museum • Email to the City of Austin Quality of Life Commissions liaisons – African American Resource Advisory Commission, Asian American Quality of Life Advisory Commission, Hispanic/Latino Quality of Life Resource Advisory Commission, Lesbian, Gay, Bisexual, Transgender, and Queer Quality of Life Advisory Commission • Email to Austin Public Library staff (22 Libraries) • Email to Austin arts & cultural organizations including: Asian Creatives of Greater Austin, Austin Asian Impact, Big Medium/Canopy, Six Square, Raasin in the Sun, and Capitol View Arts 63 applications were received. The City of Austin Art in Public Places Panel convened a jury to evaluate the eligible submissions. On May 28, 2021, the jury and advisors reviewed qualifications and selected one artist and one alternate for each of the four stations. Artist Rehab El Sadek was selected as the Artist and Artist Sarah Wilson was selected as the Alternate for AFD Station 1 / EMS Station 6. This recommendation will be presented to the Art in Public Places Panel and Arts Commission for approval. Selection Comments from Jurors + Advisors: For Artist: Rehab El Sadek “The work of this artist demonstrates a thoughtful process that involves the re-use of discarded materials in a unique and intriguing way. the artist's work has a great potential to be in dialogue with the history and renovation of this facility. The work is non-figurative and is appropriate for a wide audience, which makes it a good fit for this facility in an urban setting.” “I'm excited about the potential of this artist using materials that are remnants of the department's renovations. Their experience, conceptual framework, and aesthetic will provide something new to the city.” “This artist shows a unique approach to art and can potentially produce an unique piece of art for this limited site.” “Talented artist who deserves the opportunity to take the next step into larger and more permanent installations. Use of materials and imagery is both haunting and beautiful.” For Alternate: Sarah Wilson “The artist is already working on temporary projects involving Fire and EMS professionals that is both human and heroic. This artist has the potential to carry that concept forward into a permanent project at the site that would resonate with the public and with AFD/EMS workers." “The artist's work is already aligned with the theme, and provides a humanity to first responders through portraiture” “Sarah's photography of first responders is so powerful and humanizing. I felt it would make a good fit at this station.” “Sarah has a body [of] work that is sensitive to fire and EMS personnel.” ART IN PUBLIC PLACES PANEL (Prospectus) On October 5, 2020, Curt Gettman and Alex Irrera presented the Prospectus the 4 AFD/EMS Station AIPP Projects. Arts Commission Liaison Barnes made a motion to approve with recommended changes. Panel Member Nolan seconded. Motion passed (7-0-0). • • • • • • • •  AUSTIN ARTS COMMISSION (Prospectus) On October 19, 2020, the Austin Arts Commission voted (9-0) to approve items 4.a.i., 4.a.ii., 4.a.iii., 4.a.iv., and 4.a.v. on consent, including the Prospectus the 4 AFD/EMS Station AIPP Projects. Motion made by Commissioner Flores and seconded by Commissioner Fonte. Commissioner Garza was absent. ART IN PUBLIC PLACES PANEL (Artist Selection) On July 12, 2021, Curt Gettman and Alex Irrera presented the artist selection process recommendation for the 4 AFD/EMS Station AIPP Projects. Panel Member Carr made a motion to approve the selection process recommendation of Rehab El Sadek as the artist and Sarah Wilson as the alternate for the AFD1/EMS6 Station AIPP Project. Arts Commission Liaison Barnes seconded the motion. Motion approved (6-0-0). Vice Chair Villanueva was absent. AUSTIN ARTS COMMISSION (Artist Selection) On July 21, 2021, the Austin Arts Commission voted (9-0) to approve items 5.a.i., 5.a.ii., 5.a.iii., 5.a.iv., and 5.a.v. on consent, including the artist selection process recommendation for the Del Valle AFD/EMS Station AIPP Project, Travis Country AFD/EMS Station AIPP Project, AFD22/EMS12 Station AIPP Project, and AFD1/EMS6 Station AIPP Project. Motion made by Commissioner Flores and seconded by Commissioner Castillo. Commissioner Keeton and Commissioner Barnes were absent. ART IN PUBLIC PLACES PANEL (Mid-Design Review) On June 5, 2023, Artist Rehab El Sadek presented her Mid-Design to the Art in Public Places Panel via Zoom. The Panel gave feedback. No action was taken. NEW AIPP Project Manager AIPP Coordinator Lindsay Hutchens managing project as of September 26, 2023. Sponsor Department: Capital Delivery Services, Michelle Noriega; AFD, Chief Peter Teliha; EMS, Chief Eric Jakubauskas Community: District 9, Downtown ART IN PUBLIC PLACES PANEL (Final Design Approval) February 5, 2024 - ACTION: Approve the Final Design for the AFD1/EMS6 Station AIPP Project. Rehab El Sadek presented. Approved on the motion of Panel Member Shaer and Panel Member Davis seconded. Passed 6-0-0. AUSTIN ARTS COMMISSION (Final Design Approval)