Item 14 - Final Design - Corridor Seg B Mary Moore Searight_Calder Kamin_Back up.pdf — original pdf

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• Project: Corridor Segment B: Mary Moore Searight • Artist(s): Calder Kamin • Phase: Final Design Review • Sponsoring Department: CPO • Project Budget: $63,000 • Council District: 5 & 2 • Project Manager: Bryana Iglesias AIPP PANEL MEETING AGENDA ITEM #7 DATE:11/4/2024  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 Corridor Construction Program Slaughter Lane Art in Public Places Projects (2) Project Summary 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 two (2) artists or artist teams who can innovatively and thoughtfully respond to the design within the context of the Slaughter Lane Construction project. Project Background Slaughter Lane serves as one of the City’s major horizontal throughways and is the southernmost roadway included in the Corridor Construction Program. Similar to its paralleled neighbor William Cannon Drive, Slaughter Lane has seen an explosive amount of development over the years. While some segments of Slaughter Lane have retained its rural roots, much of the roadway now hosts sprawling residential neighborhoods and bustling shopping centers. Historical Context This roadway is named after the nearby Slaughter Creek, which gets its namesake from pioneer Stephen F. Slaughter. One of the earliest white settlers in what is now Travis County, Mr. Slaughter had received a large grant of land in the south Austin area in 1835. Over the years, the land that contains Slaughter Lane has transformed with major residential and commercial development. But not too long ago, Slaughter Lane was still known to Austinites as a quieter part of town that felt more secluded from urban life than it does today. Native Austinite and Corridor Program Project Manager for Slaughter Lane Greg Weems recalls life along Slaughter in the 1980s, when he was in grade school: “Back then it was pretty common for a lot of kids to ride their bikes [along Slaughter Lane], so we grouped up and rode together. The biggest concern we had was crossing the train tracks—but there is an overpass there now…” Culture and Arts of Corridor Similar to William Cannon Drive, Slaughter Lane is regarded by many as a utilitarian roadway that lacks an obvious arts and culture scene. As growth along this corridor continues, there are opportunities to leverage placemaking/keeping projects to celebrate the families and individuals who live, work, learn and play along this roadway. CCP Slaughter Lane Process Summary  Some of the most frequented destinations along Slaughter Lane include but are not limited to the Southpark Meadows Shopping Center along I-35, Alamo Drafthouse, Circle C Metropolitan Park and Mary Moore Searight Metropolitan Park. About the Corridor Construction Program In 2016, Austin voters approved $720 million in bonds for transportation and mobility improvements throughout the city. These approved funds are handled by both regional and local transportation authorities. Through 2024, a dedicated team of planners, engineers, data analysts, and construction teams will be delivering these improvements for a safer and more mobile Austin. These efforts are guided by Austin City Council’s Contract With Voters. $482 million of the 2016 Mobility Bond has been dedicated to the City of Austin’s Corridor Construction Program. Used for getting around, corridors are destinations for residents and visitors, as well as, home to many businesses and Austinites. The Corridor Construction Program is tasked with development, design, and construction for improvements along nine key Austin corridors. These construction projects are focused on improving mobility, safety, and connectivity for all users—whether driving, walking, biking, or taking public transit. By investing in corridors, the City of Austin seeks to positively affect both mobility and community use of these roadways. By leveraging the Mobility Bond dollars through partnerships and grants, the Corridor Program will provide additional enhancements like pocket green spaces, public artwork, and creative signage. These enhancements offer an opportunity to amplify and celebrate the communities and cultures that already exist in and around the corridors. Corridors are primary roadways that affect the overall transportation network of a city. For further information, about the Contract with the Voters and all the work of the Corridor Mobility Program, please see more information: https://data.austintexas.gov/stories/s/Corridor-Mobility- Program/gukj-e8fh/ AIPP Opportunities through the Corridor Construction Program The Art in Public Places Program will commission works of art for corridors, sidewalks and/or right-of- ways in each corridor. There will be thirteen Art in Public Places commissions funded through the Corridor Construction Program, for transportation and mobility enhancements along nine corridors covering 50 miles of roadway throughout Austin. Selected artists will be commissioned to create artwork which innovatively and thoughtfully responds to the space and community of the corridor, as well as to the overall purpose and goals of the Corridor Construction Program. Budget The funds for these projects are derived from pooling 2% AIPP public art portion of the estimated construction budget of the Slaughter Lane Corridor Construction Project budget. The total award for each of the two (2) artist contracts is $63,000, inclusive of design, fabrication and installation, including permitting fees, travel and shipping expenses, insurance and other project related costs. Public Art Intent & Goals The goals of these two (2) opportunities are to select an artist, in collaboration with project stakeholders and City staff, who will design an artwork that: » Helps connects people to nature; » Supports the vitality of the small business community; » Encourages participation of families and youths; CCP Slaughter Lane Process Summary  Integrates seamlessly into the construction of the corridor; » » Enhances the dialogue surrounding mobility and the experience of pedestrian, car, and bike travelers; Is made from durable and low maintenance materials; and » » Enriches or adds to the depth/breadth of the City of Austin’s public art collection. Selection Process A Request for Opt-in was distributed on July 16, 2021, to 115 artists in the Corridor Construction Program AIPP Artist Pool. An Artist Information Meeting was held via Zoom on July 22, 2021. 32 artists opted-in via a Microsoft Forms application by the close date of August 3, 2021. 27 of the artists who opted in were eligible. 5 artists were deemed ineligible due to currently being under contract with AIPP for a permanent commission. On June 27, 2022, city staff and the Jury met via an online Zoom meeting and reviewed applications for artists in the Pool that opted-into the two (2) Slaughter opportunities. Upon review of the applicants, the Jury recommended Yuliya Lanina to be commissioned for the Segment A (Barstow to Loop 1) Slaughter Lane opportunity, and Calder Kamin as the alternate; and Matthew Rodriguez to be commissioned for the Segment B (Menchaca Rd to West of S. Congress) Slaughter Lane opportunity, and Christine Rojek as the alternate. The selection of the artists and artist teams was based on whose qualifications best met the requirements for the project. Self-Identifying Demographics Information: Corridor Pool (114) Corridor Pool Slaughter Opt-In (32) Slaughter Finalists (4) Slaughter Finalists 16 13 2 1 2 15 42 23 47 44 2 21 2 87 25 Hispanic Black Asian Arabic Native American Mixed Race White Unknown Male Only Female or Team w/ Female Gender Queer Unknown Veteran Non-Veteran Unknown CCP Slaughter Lane Process Summary 14% 11% 2% 1% 2% 13% 37% 20% 41% 39% 2% 18% 2% 76% 22% Slaught er Opt- In 19% 3% 0% 0% 0% 13% 47% 19% 53% 41% 0% 6% 0% 97% 3% 1 0 0 0 0 0 2 1 1 3 0 0 0 4 0 6 1 0 0 0 4 15 6 17 13 0 2 0 31 1 25% 0% 0% 0% 0% 0% 50% 25% 25% 75% 0% 0% 0% 100% 0%  LGBTQIA Not-LGBTQIA Unknown Disability Not-Disability Unknown 7 81 26 3 52 59 1 24 7 1 24 7 6% 71% 23% 3% 46% 52% 3% 75% 22% 3% 75% 22% 1 2 1 0 3 1 25% 50% 25% 0% 75% 25% The Jury was made up of community stakeholders, city staff and subject matter experts. The Jury included: 1. Armin Salek, Community Member Juror 2. Dawn Hewitt, Community Member Juror 3. Tara Barton, Community Member Juror 4. Jaime Castillo, District 2 Arts Commissioner 5. Kathleen Rubin, Corridor Program Office The Jury was supported by staff Marjorie Flanagan, AIPP Acting Program Manager & Sr. Project Manager, and Alex Irrera, AIPP Project Manager. Jury Comments Slaughter Ln Segment A: Recommended Artist Yuliya Lanina: “Unique, whimsical, and captivating physical features that would bring attention to the park and enjoyment to passersby.” “They jury selected Yuliya Lanina for the western segment of Slaughter Lane because their work is playful and draws influence from nature - 2 qualities we felt were valuable given the context of the roadway and the many young families living there.” “I think this artist will be a great fit for the area. Her portfolio showed work that was colorful, whimsical and engaging, and I could see users of the corridor of all ages being intrigued by it! Her characters' unusual forms play with gender and the natural imagery they seem to be rooted in, personifying it as well, which may bring extra fun for guests of the park, who are about to go explore the local flora and fauna. Her use of a variety of media seems like a strength for this project, and I am excited to see what might result!” “Lanina's work is whimsical, and her previous work was successful in attracting families & young children. I am interested in seeing how the artist will approach the challenge of a larger budget and requirement of permanency.” “Yuliya's sense of whimsy and connection to nature through her art will work well in these green spaces. She is also an accomplished video artist and perhaps this could add an interesting element to the work if feasible in the space.” Slaughter Ln Segment A: Recommended Alternate CCP Slaughter Lane Process Summary  Calder Kamin: “Connection to the nature and rural history of South Austin.” “Like Yulila, Calder's work is playful and references the natural world. We felt she was the best alternate for this segment based on those similarities.” “This artist's use of color and connection to nature stands out. Her use of recycled materials is exciting at a time we find ourselves battling our own trash as a human species, and the fact that it is collected locally makes this artist feel rooted in Austin in a unique way. Her works' comments on the health of our waterways seem particularly appropriate for this part of the corridor, where viewers of the work will be engaging directly with the Edward's aquifer. Her colorful 3D creations seem like they would charm people of all ages.” “Kamin's work is family friendly and inspires exploration of the environment through its nature imagery and use of recycled materials.” “I believe Calder's work speaks to the environmental issues that surround this area of Austin because of springs and aquifers that are directly impacted by trash and chemicals on the surface. This work certainly address those concerns in a colorful and engaging way.” Slaughter Ln Segment B: Recommended Artist Matthew Rodriguez: “Beautiful work with steel/aluminum that captured stories with cultural references and experiences of residents in Austin.” “Matthew was selected for the eastern segment of the roadway because of his connection to that community. His work, in particular several laser cut panels, paired historical references with very Austin-specific imagery that the group felt made him the perfect fit for our east side project.” “The presence of this artist's work throughout the city and long reputation as a local artist make him a great representative for Austin culture and deserving of an opportunity to make work that lots of users will interact with at this rather busy and central part of the corridor. His work both in monochrome steel as well as in color in bold and eye catching and playful as well as recognizable and at this point maybe a bit iconic of the city. I think it will fit in this busy area and perhaps slow people down as well to take in the art as well as the easily overlooked Mary Moore Searight Park.” “Rodriguez's storytelling capabilities & playful iconography are appropriate for the neighborhoods. Excited to see what he creates.” “Matthew's work reflects Austin through its use of color and shapes. His portfolio also reflects a real thoughtfulness to creating site specific work with the metal work representing the Montopolis Rec Center nicely.” Slaughter Ln Segment B: Recommended Alternate Christine Rojek: CCP Slaughter Lane Process Summary  “Powerful aluminum structures that were interactive and visually captivating.” “Christine's sculpture work showed movement in a way that the jury felt captured the goals of the projects.” “This artist is obviously well practiced at creating art that responds to public sites, with several impressive examples in her portfolio. Her animated sculptures would, I think, manage to catch attention and draw users towards the park in this busy segment of the corridor. The kinetic element in her work seems fun and engaging for passersby traveling by various means. And I imagine this element might particularly appeal to the many young people around, with several schools in the area, and give them a great experience with public art.” “Rojeck's work is visually engaging in its mechanical properties. Her portfolio demonstrates work that is adapted to its environment.” “Christine's work is engaging through the articulation of these aluminum pieces and would hold strong presence in the space. Her eye to site specificity is exampled through her portfolio, which shows a high-level of consistent work.” ART IN PUBLIC PLACES PANEL (Comprehensive Prospectus for all Corridor Projects) On June 8, 2020, the AIPP Panel approved the Prospectus for the Comprehensive Corridor Construction Program AIPP projects. Panel Member Villanueva motioned for approval and Arts Commission Liaison Barnes seconded. (5-0-0). Panel Member Carr was absent and there was one vacancy. AUSTIN ARTS COMMISSION (Comprehensive Prospectus for all Corridor Projects) On July 20, 2020, the Arts Commission approved the Prospectus for Comprehensive Corridor Construction Program AIPP projects on consent (10-0-0). ART IN PUBLIC PLACES PANEL (Artist Selection) On July 11, 2022, Alex Irrera presented the artist selection process recommendation for the Corridor Construction Program Slaughter Lane AIPP Projects. Panel Member Carr made a motion to approve the selection process recommendation of Yuliya Lanina as the commissioned artist for the Segment A (Barstow to Loop 1) Slaughter Lane opportunity, and Calder Kamin as the alternate; and Matthew Rodriguez as the commissioned artist for the Segment B (Menchaca Rd to West of S. Congress) Slaughter Lane opportunity, and Christine Rojek as the alternate. Panel Member Muzacz seconded the motion. Motion approved (5-0-0). Panel Members Lemmo and Nolan were absent. AUSTIN ARTS COMMISSION (Artist Selection) On July 18, 2022, the Arts Commission On consent, all AIPP items, 12-16, Motion Polgar 2nd Castillo. All approved. Barnes, Garza, Flores, and Keeton were absent (check with minutes once approved) ART IN PUBLIC PLACES PANEL (Mid-Design Review) On Dec 4th, 2023, Artist Calder Kamin presented their Mid-Design to the Art in Public Places Panel via Zoom. The Panel gave feedback. No action was taken. CCP Slaughter Lane Process Summary  ART IN PUBLIC PLACES PANEL (Design Approval) AUSTIN ARTS COMMISSION (Design Approval) CCP Slaughter Lane Process Summary Prairie Grass Arch Calder Kamin 2024 Community Engagement Timeline 2023 • 3/10 Nicole Netherton, Executive Director Travis Audubon • 3/28 Jackie Davis, Travis Audubon and neighbor • 4/3 Madelyn Morgan Austin Resource Recovery Materials sourcing and possible partnership with ARR • 4/5 Kathy Robins, Resource People • 4/10 Robert Ochoa and his students, Paredes Middle School, Art Teacher • 4/11 Junnie Plumber, former COA real estate office, Facilitated the acquisition of MMS land for PARD • 4/15 Future Front X Pease Park “Squirrel Fest” Presented a reuse activity and brainstorm worksheet • 4/15 Dawn Hewitt, Formally of the Wildflower Center and former neighbor • 8/21 Sean Kelley, Zahner Metal, and Megan Oberdoerster, ARR • 9/29 Meghan Doherty Austin Resource Recovery 2024 • 5/2 Steel samples collected from Drophouse and American Recycling Research • It was Mary Moore Searight's dream from a young age to acquire land and gift a park one day • Called her land “Indiangrass Ranch” • Loved horses and the park is open to equestrians • Lived alone with one light bulb and no running water • Always kept the company of little white dogs “Searight • Loved 2’s and 4’s, died tragically on the 22, buried on the Purebreds” 24 • Hated the color yellow, it reminded her of fire • Always wore a hat, usually with a turkey feather, and never matching “earbobs” Community Engagement Report A form was created and shared with visitors to Pease Park and students from Padres Middle School. The most common memories from of the public about MMS park is its size, vibrant colors, relaxing atmosphere, and room for children and dogs to run. Colorful and Natural Forms Preferred Enthusiasm for art created out of recycled materials and holds meaning to the site Artwork Narrative Prairie Grass Arch MMS called this special land "Indiangrass Ranch". To encourage the joy of running freely through the grass at the park, I imagine a blade Sorghastrum nutans grass bent into an arch and made from post consumer steel. Artwork Form & Scale Proposed Installation Methods Stamped Engineer Drawings Site Location Timeline • Consider the following: • October: AIPP Panel / Artist Commission • November-December: Fabrication (put SRO timeline) • January : Installation & Project Closeout Cost Estimate Budget $63,000 Other costs: 25,800 Fork Rental: 1,500 Insurance: Year one: 397 Insurance: Year two: 798 Mileage: 500 Landscaping: 600 Scrap Metal: 1,200 Contingency 13.5%: 8,205 Artist Fee 20%: 12,600 Reuse Steel Materials: Post-Consumer Steel Purchased or Provided by SRO, American Recycling, and Drophouse Design  Pre-fabrication Review: Prairie Grass Arch, Calder Kamin Report Date: 24 September 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 cannot be considered to be final or comprehensive recommendations. Project Overview: Calder Kamin’s proposed sculpture, “Prairie Grass Arch” is a series of three 10’ high painted steel arches in the form of bent stalks of prairie grass creating an arched walkway on Mary Moore Searight Drive. The title is a nod to Mary Moore Searight’s original name for the site. The sculpture was developed taking into account the community’s preferences for natural forms; and utilizes reclaimed materials, the artist’s signature practice. Materials and fabrication: Calder Kamin will design the sculptures, and SRO Associates, Inc., will perform structural design, fabrication, and installation of the sculptures. In the SRO studio, 3/8” thick steel sheet (exact specifications not provided, but assumed to be carbon steel) will be laser cut into armature sections. The design incorporates intermittent ribs and structurally reinforcing gusset plates. “Mounting tabs” are also mentioned; they do not seem to be pictured in design drawings or further described. The cut sections will then be welded together into an arched form. Each end of each arch will be welded to steel (presumed carbon) base plates to be utilized during installation, presumably outfitted with drilled or cut bolt holes for that purpose (bolt holes and configurations not specified for this review). Reclaimed (carbon?) steel pieces will water cut into shapes mimicking prairie grass leaves and seed heads. The reclaimed steel has not yet been obtained, and so further metal specifications are not yet available; the exact water-cut designs of those elements have also not yet been determined. The reclaimed steel shapes will be cleaned (no further details provided). The subsequent sequence of events was not clarified for this review, but the conservation review form implies that the reclaimed steel sections will then be attached to the armature using bolts. No hardware specifications or attachment diagrams were yet available for this review, and the anticipated number and locations of the bolts were also not yet available for review. The surface of the steel structure will be prepared for painting; cleaning methods were not specifically noted. The entire sculpture will be primed with PPG Amerlock 2 VOC Epoxy Primer, believed to be a 2-part polyamide cured epoxy. The sculpture will then be painted with PPG PSX 805 Satin Gloss, a siloxane coating, custom tinted by PPG in four shades of green and brown. The artist estimates a lifespan of 10 - 15 years. Materials and fabrication comments and recommendations: The overall concept is sound and, if properly executed, will have the 10 – 15-year lifespan estimated by the artist. The two biggest concerns are corrosion prevention and coatings adhesion, concerns that are related. • The only corrosion resistance is the primer/paint system. The primer and paint coating system is critical for preventing rapid and disfiguring corrosion of the carbon steel. ALL 2401 E 6th St Ste 3037-107 Austin, TX 78702 ( +1) 512.843.2123 j.unruh@outlook.com carbon steel surfaces must be primed and painted, or otherwise protected, including interior surfaces, the undersides of the installation plates welded to the ends of the arches, interiors of bolt holes, and any carbon steel attachment hardware. • Corrosion prevention relies on good coatings adhesion, and that relies on meticulous surface preparation. Follow the manufacturer’s recommendations exactly. For both primer and paint, take particular care to ensure continuous coatings with no pinholes or uncoated edges. • The lifespan of the coating system will likely be dictated by the lifespan and adhesion of the epoxy primer rather than the siloxane paint. If properly applied, an epoxy primer under a protective siloxane coating can achieve a 10-year lifespan, with the caveat that lifespan is highly dependent on surface preparation, environmental conditions, fluctuating temperatures or freeze/thaw cycles that cause dimensional changes to the metal (with resulting cracking and delamination), physical disruption of continuous coatings through abrasion, and other factors. • Siloxane paints are relatively new, but thus far have exhibited good longevity in real-time ageing. If surfaces are properly prepared and paint is properly applied, siloxane paints would be expected to show little loss of gloss, chalking, yellowing, or loss of adhesion over the 10-year minimum lifespan estimated by the artist. • The colorfastness of the colors selected is untested in a siloxane medium. In general, browns age well, and greens may exhibit a slight color shift. That shift may or may not be apparent over the lifetime of the sculpture. Installation: Per SRO's structural engineering specifications, the city will pour reinforced concrete foundations for the arches. Each arch will be installed over a 2-foot deep rebar-reinforced sub- grade foundation. At each end of each arch, 6” high and 1-foot square concrete plinths will be cast. Six either 5” or 8” ½” diameter anchors (both are specified at different locations in the provided documents) will be embedded into the plinths using a structural epoxy, exact hardware and epoxy products not specified. The arches will be seated onto the anchors via (presumed) corresponding holes in the 3/8” steel plates welded to the ends of the arches, and bolted into position. Installation comments and recommendations: • The reclaimed steel component hardware may loosen during transport. Check all hardware prior to installation, re-tighten as necessary. Re-touch paint as necessary to insure an absolutely intact barrier against moisture and corrosion. • The carbon steel base plates are in direct contact with concrete, a porous material that holds moisture; furthermore, rainwater will be drawn underneath the plate via capillary action, creating a high-humidity microenvironment. The only corrosion prevention is the coating system. Consider whether additional corrosion protection is needed at the contact points between sculptures and concrete. • Rising damp through the concrete may exacerbate any corrosion of installation hardware or the steel plates. Maintenance: The artist recommends washing with warm soapy water only every 2 - 3 months, and further specifies, “do not use any detergents or cleaning solutions that contain ammonia, alcohol, solvents, acids, or abrasives.” Prefabrication review: Calder Kamin, Prairie Grass Arch 24 September 2024 J. Unruh Page 2 of 3 Maintenance comments and recommendations: • Determine who will be responsible for washing every 2 – 3 months, and budget for that labor and necessary materials. • All outdoor sculpture surfaces accumulate bird droppings, grime, car exhaust particulates, chewing gum and other food, and are vulnerable to vandalism including stickers, and inked and painted tags. Not all of those materials are removable with soap and water. In particular, the maintenance plan does not provide for graffiti removal. Graffiti removal often requires the use of solvents. Consult a qualified conservator as necessary. • Abrasions, scratches, and scratched graffiti are corrosion risks. Inspect regularly and repair any damage to paint surfaces as soon as possible. • The manufacturer of PPG PSX 805 notes that if repainting is needed, new paint can be applied directly over old paint after surface preparation. Consult with the manufacturer for surface preparation recommendations as needed. Note that if paint has undergone a slight color shift, touch-up paint may not exactly match. Installation hardware at the bases of the arches may loosen over time. Periodically inspect and tighten, and retouch protective coatings as needed. Additional comments: • Depending on the final configuration of the reclaimed steel elements, the sculptures may attract climbers. Climbing attempts and hanging may result in abrasion of the coatings, scratches, and breakage. If nearby landscaping watering results in regular wetting of the concrete foundation the risk of corrosion is increased. • General recommendations: • • Information that should be retained in the AIPP file includes: • Specifications for all materials used in final design, including exact configurations of reclaimed steel elements, hardware utilized for elements attachment, and exact primer and paint products and colors used. • Contact information for the fabricators and installers SRO Associates, Inc. • Specifications for all hardware, separators, and anchor epoxy used during • Detailed installation diagrams, including all dimensions, exact placement of footings and mounting hardware, sub-surface site features, and landscaping. installation. • Artist's statement re: • intended appearance: the degree of abrasion or scratches, breakage, discoloration, 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. • How to proceed if touch-up painting is needed and the originally specified paint or color is no longer available. • 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 three arches, and whether it would be permissible to install arches individually rather than as a group. Prefabrication review: Calder Kamin, Prairie Grass Arch 24 September 2024 J. Unruh Page 3 of 3 Calder Kamin MMS Corridor Project Conservator Review Reply Artist concepts call for “recycled materials TBD by Artist” and our intent is to use "reclaimed steel", 14g steel scraps provided by local architect, water and laser cutting companies. All pieces will be adequately prepared for finishing to inhibit rust and corrosion. Most of the materials will be collected after final approval, we will assess the requirements to adequately clean, seal and protect the materials on a case by case basis. Some surfaces will be sandblasted before painting. Some abrasions or scratches will occur over time. The structure is a work of art in a park, and will experience some interaction from visitors. Only if there is significant paint loss or scratches should touch ups or de-install be required. Relocation is permissible, provided few changes are made to the design of the overall sculpture. It should not be a problem to re-site the sculpture as long as proper precautions are followed to hold the “legs” in the correct orientation. All surfaces will be coated with a Direct to Rust Metal Primer on all exposed surfaces before painting the final color. We plan to prep the sculpture before final paint treatment. We will assess once we have all the pieces and paint both sides before assembling the sculpture. Product Data Sheets and Safety Data Sheets (SDS) were provided for both PSX 805 and Amerlock 2 VOC, which will be used in combination as paint treatment. Other acceptable outdoor durable paints for steel are readily available, but we do not anticipate that the paint we chose will be unavailable as it is a standard commercial product. Colors Stalk interior, Leap Frog PPG 1225-7, exterior Green pear PPG 1224-7 Seeds interior, Ginger Beer PPG 1202-7, Exterior Butterscotch Bliss PPG 1106-5 The structure of the arch will be fully assembled and welded before installation. We do not plan to use bolts on the sculpture other than the anchor bolts into the concrete. We will use Simpson Concrete Wedge anchor, 1/2” did, 5” minimum embedment into concrete. Anchor bolts will be primed and painted to match the rest of the sculpture. There will be no additional bolts. Lastly, they are still referencing 3 arches. There will be a single archway due to budget restraints and rising costs. 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! Transportation & Public Works (TPW) Department Artwork Title/Description "Indian GrassArches" - a line of 4 blades of Sorghastrum nutans as arches. Evaluation Date Evaluator’s Name October 22nd, 2024 Tyler Farrar EVALUATOR’S COMMENTS Title Capital Program Consultant SITE The site aligns with preliminary work done in determining the placemaking locations within the Corridor Program. The location affords ample space to construct corridor amenities and the inclusion of artwork. Area proposed for artwork is primarily free from dry and wet utilities and other infrastructure. INSTALLATION Access to the artwork installation will be done from Mary Moore Searight Drive. Work will be complete within 5 weeks from Notice to Proceed. The pathway to the park will be closed. Traffic control will be conducted by Transportation and Public Works Dept. including pedestrian rerouting. Heavy equipment will be used during installation. Excess soil will be removed from the premise by the contractor to their yard. Damage to existing features will be repaired to earlier conditions or better. The date of installation will be December 9 - December 20. SAFETY / LIABILI TY The property owner, PARD, will not be responsible for damages of site during installation. Safety fence will be used to keep the public out of the construction area. Traffic control measures will be undertaken to ensure the safe and efficient movement of people and vehicles while protecting workers and equipment. TPW will repair any damage to existing landscape area to existing condition before construction or better. MAINTENANCE PARD is not responsible for maintenance of the artwork. The works of art acquired through the AIPP ordinance become the property of the City of Austin and are held in trust by the User Department (TPW). Therefore, the expenses associated with routine maintenance and potential repair shall be incurred by TPW. TPW will maintain the artwork. PARD will not be responsible for routine maintenance of any artwork and art components installed on park property. OTHER COMMENTS DEPARTMENTAL APPROVALS Use this section for routing of Signatures on following page Needed Signed TPW Project Manage/Coordinator Site Manager/Supervisor - N. Thayer User Division Manager - J. Diaz Dept. AIPP SPOC - R.Hernandez PARD Director / Asst. Director X X X X X