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HomeMy WebLinkAbout2018-02-15 Public Art Commission Agenda Packet IS POSTED IN ACCORDANCE WITH GOVERNMENT CODE SECTION 54954.2(a) OR SECTION 54956 PUBLIC ART COMMISSION SPECIAL MEETING Jim Migdal, Chair Mila Zelkha, Member Ben Miyaji, Vice-Chair Amanda Ross, Member Hsinya Shen, Member Nia Taylor, Member Loren Gordon, Member City Council Liaison: Liz Kniss Elise DeMarzo: Public Art Program Director Nadya Chuprina: Public Art Program Coordinator Rhyena Halpern: CSD Assistant Director http://www.cityofpaloalto.org/publicart Thursday, February 15, 2018 Mitchell Park Library, Midtown Room 3800 Middlefield Rd, Palo Alto 7:00 p.m. AGENDA ROLL CALL AGENDA CHANGES, REQUESTS, DELETIONS ORAL COMMUNICATIONS (Members of the public are invited to address the commission on any subject not on the agenda. A reasonable time restriction may be imposed at the discretion of the Chair. Materials related to an item on this agenda submitted to the Public Art Commission after distribution of the agenda packet are available for public inspection in the City Hall Council Chambers during normal business hour.) APPROVAL OF MINUTES: PAC Regular Meeting – January 18, 2018 ATTACHMENT FINANCIAL REPORT - CIP BUDGET MAINTENANCE BUDGET STAFF COMMENTS ACTION: 1. Public Safety Building – Approval of artist Peter Wegner as the project artist for the Public Safety Building. 2. NON-ACTION: 3223 Hanover Street - Initial Review of Phase 2 of the project at 3223 Hanover Street in the Stanford Research Park. ATTACHMENT ATTACHMENT ANNOUNCEMENTS FOR YOUR CALENDAR: Next PAC Regular Meeting – March 15, 2018 at 7 p.m. MINUTES PUBLIC ART COMMISSION REGULAR MEETING Thursday, January 18, 2018 City Hall Community Meeting Room 250 Hamilton Ave 7:00 p.m. Commissioners Present: Jim Migdal, Ben Miyaji, Loren Gordon, Hsinya Shen, Nia Taylor, Amanda Ross, Commissioners Absent: Mila Zelkha Staff Present: Elise DeMarzo, Public Art Program Director Rhyena Halpern, CSD Assistant Director Nadya Chuprina, Public Art Program Coordinator CALL TO ORDER: Chair Migdal called the meeting to order at 7:20 p.m. AGENDA CHANGES, REQUESTS, DELETIONS – None. ORAL COMMUNICATIONS – None. APPROVAL OF MINUTES: November 16, 2017 PAC Regular Meeting Minutes Moved: Ben Miyaji; Second: Jim Migdal. All in favor. STAFF COMMENTS: Staff announced that Joyce Hsu’s sculpture Birdie was successfully installed on at the Palo Alto Municipal Golf Course in the end of December 2017. The golf course is scheduled to reopen to the public in Spring 2018, but the sculpture is accessible to the public now. Staff also reminded the Commissioners about the approaching artist selection panel meeting for the new Public Safety Building on January 29, from 1 – 4 PM and invited the public to attend the meeting to view artists’ presentations and interviews. Staff provided a brief summary of the selection process to-date and shared the names of the panelists. The panel will recommend one finalist to be approved by the PAC for the project. ACTION: 1. Election of Officers – Chair Migdal opened the discussion by summarizing roles and responsibilities of the Commission Chair and Vice Chair in addition to those related to the Public Art Commission meeting, and then briefed the Commissioners on the elections protocol and procedures. Chair Migdal opened the floor for the elections of officers. Vice Chair Miyaji nominated Jim Migdal to Chair. Migdal accepted. No other nominations for Chair were proposed. Migdal closed nominations for the vote. Voting took place and Commissioner Migdal was unanimously elected to another term as Chair of the Public Art Commission. All in Favor. Chair Migdal opened the nominations for Vice Chair and nominated Ben Miyaji for Vice Chair. Ben Miyaji accepted. No other nominations followed. Chair Migdal closed the nominations for the vote. A vote was conducted and Commissioner Miyaji was unanimously elected to another term as Vice Chair of the Public Art Commission. All in Favor. 2. Deaccession of Artwork - Staff provided a summary of the project background, key elements that comprise the permanent installation, detailed history of maintenance and replacement treatments, and associated costs. Staff demonstrated the visuals of the artwork throughout years 1997 to 2016 to demonstrate many changes to the streetscape of California Avenue and how it affected the integrity of the artwork. The alterations to the artwork included: the boulders in the median and sidewalks were relocated to new sites; the three banners in the entry median remain displayed, but now on a single flagpole (instead of three flagpoles) all of the one hundred bricks were re-fabricated and installed in a different orientation as part of the new slightly shifted crosswalks that are ADA compliant; the median landscape includes California native plants as recommended by the artist, however the new narrower median and the new irrigation boxes installed within the median severely impacted the amount of space available for plants and grasses. Staff then provided the following considerations for deaccession as outlined in the Deaccession Policy: the condition or security of the artwork cannot be reasonably guaranteed; the artwork is not, or is only rarely on display because the City lacks location for its display; no suitable site is available for relocation or exhibition, or significant changes in the use, character, or design of the site have occurred which affect the integrity of the artwork. Staff also noted that no public letters received regarding the deaccession of the artwork. Should the Commission vote to approve the deaccession of California Avenue; California Native, staff will notify the artist of the PAC’s decision and coordinate the removal of existing banners and art plaque. Staff made a recommendation that PAC approve the deaccession of California Avenue, California Native by Susan Leibovitz Steinman from the City’s permanent collection of public art. Vice Chair Miyaji commented that permanently-sited environmental public art projects are challenging to maintain after a time, and the extended drought played a major role. Commissioner Taylor noted that the artwork no longer looks cohesive and recommended that the Commission take the changing nature of environmental projects into consideration with future commissions. Moved: Commissioner Gordon moved to deaccession of California Avenue; California Native by Susan Leibovitz Steinman from the City’s permanent collection of public art. Second: Chair Migdal. All in Favor. 3. Allocation of funds for Baylands AIR – Staff provided the rational for the allocation of funds for Artist-in-Residence at the Baylands: as part of the PAMP, the creation of a public art plan for the Embarcadero corridor east of the 101 and Baylands was identified as a short term priority. Shortly after the adoption of the PAMP staff learned of an upcoming opportunity through Parks and Open Space to participate in the Baylands Comprehensive Conservation Plan. Staff listed the goals of the BCCP and informed the PAC that staff is working with the BCCP consultant to include public art as part of their planning process. Staff wishes to engage an artist to work with the BCCP stakeholders to help broaden Baylands stakeholders’ and the public’s understanding of the definitions of public art through a social practice-based projects; engage the public in a temporary artmaking process, aligned with the programming and educational initiatives of the Baylands; and provide public input to AECOM and City staff to inform the BCCP on public art opportunities at the Baylands. Staff then demonstrated a number of examples of environmental social practice-based projects. Commissioner Ross welcomed this Artist in Residence opportunity and shared that she wants to see an impactful project to educate the public on environmental and conservation issues at large. Vice Chair Miyaji added that this is a forward-looking and meaningful project opportunity. Chair Migdal clarified with staff what would be a potential scope of work and timing for the AIR project. Moved: Vice Chair Miyaji moved to allocate funding in the amount of $10,000 for the Artist-in-Residence at the Baylands project. Second: Commissioner Ross. All in Favor. NON-ACTION: 4. Joint Meeting with Council – Staff and Commissioners discussed the summary of the Public Art Commission presentation to Council scheduled that took place on December 4, 2017 and shared some of the highlights and feedback from Council Members. ANNOUNCEMENTS – None. CALENDAR: Next PAC Regular Meeting – February 15, 2018 at 7 p.m. at Mitchell Park Library located at 3800 Middlefield Rd. MEETING ADJOURNED at 8:11 PM by Chair Migdal. City of Palo Alto Staff Report to Public Art Commission Title: Approval of artist Peter Wegner as the project artist for the new Public Safety Building. Background The City intends to construct a new Public Safety Building at 250 Sherman Avenue and a new California Avenue Area Parking Garage on 350 Sherman Avenue. Under the California Environmental Quality Act, these are considered as a single project as the garage will mitigate the loss of approximately 310 existing public surface parking spaces on both sites. On April 3, 2017, Council directed staff to proceed with full preliminary design of a new 636-space parking garage concept with four levels of above-ground parking, two levels of basement parking and no retail space, and to design enhancements to the Birch Street frontage, creating an appealing interface between the garage and pedestrian sidewalk. Council discussion served to prescreen preliminary review and direct staff to prepare revisions to the Public Facility zoning ordinance to specifically accommodate public parking garages (Staff Report #7738). The proposed design of the PSB is a 3-story structure over an operational basement per previous Council direction (Staff Report #6069). Discussion On April 18, 2017, staff submitted a preliminary application to the Architectural Review Board (ARB) for the project. Because the project is comprised of two physically separate properties, two applications were required. Application number 17PLN-00136 was for the PSB at 250 Sherman Avenue, and application number 17PLN-00135 was for the new garage at 350 Sherman Avenue. Additional application information is available through the “Building Eye” website at https://paloalto.buildingeye.com/planning. Art Budget and Art Selection Process The current budgeted amount Public Safety Building is $55.5M, yielding an art budget of $555,000. Due to the specialized nature of the facility, staff launched an open call for artists for this particular opportunity, highlighting several potential opportunities for art integration. Sixty-three artists submitted their qualifications for consideration. Staff pared the list down to twenty-two potential artists for the commission. The selection panel made up of key stakeholders and arts professionals included: Colette Chew – Engineer, Public Works Geoffrey Blackshire – Deputy Fire Chief, PAFD Kenneth Dueker – Director, Emergency Services (OES Chief) Loren Gordon – Public Art Commissioner Mallory Cusenbery - Principal Architect, RossDrulisCusenbery Architecture Michael Ekwall - La Bodeguita del Medio owner, California Ave Patty Lum – Assistant Police Chief, PAPD Rhyena Halpern – Director, Arts & Sciences Division / Assistant Director, CSD Shelly Willis – Public Art Consultant Yoriko Kishimito – Former Palo Alto Mayor, Artist, Palo Alto Resident The selection panel convened December 18th and selected four finalists for the project. Those artists traveled to Palo Alto to give public presentations about their work January 29th at the Community Room of City Hall. Based on the presentations and interviews, the panel selected Peter Wegner as the project artist for the Public Safety Building. As stated on his website: Peter Wegner is an American artist and graduate of Yale University. Wegner’s practice focuses on systems – of color, language, architecture and mapping. For Wegner, systems are rarely systematic. They are contingent, ad hoc, incomplete. Hence his paradoxical artwork: walls made of paper, buildings made of sky, monuments to the process of change itself. His CV and artist statement he submitted with his application are attached to this report (ATTACHMENT A). His works are in prestigious private collections and museums worldwide, including The Museum of Modern Art, New York, the Guggenheim Museum, The Museum of Modern Art, San Francisco, the Los Angeles County Museum of Art, and the J. Paul Getty Museum. Timeline The Parking structure must be completed prior to beginning construction on the new Public Safety Building. The tentative timeline for the parking structure is to begin construction in summer 2018 and construction lasting approximately one year. The new Public Safety Building is expected to begin construction immediately following completion of the garage and is anticipated to be complete in 2021. If approved as the project artist, Peter Wegner will enter into a design contract with the City and begin meeting with key stakeholders and the design team in the coming weeks. Staff plans to return to the Public Art Commission once there is a conceptual design for approval prior to entering the detailed design phase. Current Resume PETER WEGNER 1986 BA Yale University PUBLIC COLLECTIONS (SELECTED) The Albright-Knox Gallery, Buffalo NY The Folkwang Museum, Essen DE The J. Paul Getty Museum, Los Angeles CA The Solomon R. Guggenheim Museum, New York NY The Henry Art Gallery, Seattle WA The Los Angeles County Museum of Art, Los Angeles CA The Museum of Contemporary Art, Los Angeles CA The Museum der bildenden Kunste Leipzig, Leipzig DE The Museum of Modern Art, New York NY The Phoenix Art Museum, Phoenix AZ The San Francisco Museum of Modern Art, San Francisco CA The San Jose Museum of Art, San Jose CA The Santa Barbara Museum of Art, Santa Barbara CA The United States State Department, Kabul AF The Yale University Art Gallery, New Haven CT The Yale University Sterling Library Special Collection, New Haven CT PRIVATE COLLECTIONS (SELECTED) Sammlung Rosenkranz, Berlin DE The Lever House Collection, New York NY The Panza Collection, Varese IT COMMISSIONS 2018 PERPETUALLY PERPLEXINGLY, private residence, Ross CA (March) 2014 HELL-WHISKEY-GUNS-MUD-MICHIGAN, MSU, East Lansing MI 2014 SPECTRUM STADIUM, SJ Earthquakes MLS (proposed), San Jose CA 2013 RED ROOMS, Hall Wines, Napa CA 2011 MONUMENT TO CHANGE AS IT CHANGES, Stanford Univ., Palo Alto CA 2011 MONUMENT TO CHANGE AS A VERB, Stanford Univ., Palo Alto CA 2011 MONUMENT TO THE UNKNOWN VARIABLES, Stanford Univ., Palo Alto CA 2011 MONUMENT TO THE FUTURE OF DREAMS, Stanford Univ., Palo Alto CA 2010 IN [ ] VERITAS, SFMOMA, San Francisco CA 2010 WALL-TO-WALL-TO-WALL, CUAM, Boulder CO 2010 BRAVE W [THE WINNEBAGO PROJECT], CUAM, Boulder CO 2009 DAY FOR NITE, NITE FOR DAY, MGM City Center, Las Vegas NV 2007 TERRA FIRMA INCOGNITA, Dunedin Public Art Gallery, Dunedin NZ 2005 LEVER LABYRINTH, Lever House, New York NY 2005 SHADES OF GREY (DEWEY DECIMAL) private residence, Los Angeles CA 2004 LABYRINTH OF RED, The Bohen Foundation, New York NY 2004 SPACE, TIME & THE WEATHER, The Bohen Foundation, New York NY 2004 WALL-TO-WALL REDS, The Bohen Foundation, New York NY 2004 FLOOR-TO-CEILING BLUES, The Bohen Foundation, New York NY 2004 A,N,S,W,E,R,S,&,Q,U,E,S,T,I,O,N,S, The Bohen Foundation, New York NY 2002 96 GREENS, private residence, San Francisco CA SOLO EXHIBITIONS & PROJECTS (SELECTED) 2018 Galerie m, COLOR CORRECTIONS, Bochum DE (February) 2015 Galerie m, COLOR WHEELS, Bochum DE 2012 Galerie m, IF & WHEN, Bochum DE 2012 Museum der bildenden Kunste Leipzig, PETER WEGNER, Leipzig DE 2012 Kayne Griffin Corcoran, BUILDINGS MADE OF SKY, Los Angeles CA 2010 SFMOMA, THE UNITED STATES OF NOTHING, San Francisco CA 2010 Griffin, ABSENCE OF FIELD, Los Angeles CA 2009 Griffin, TERRA FIRMA INCOGNITA, Los Angeles CA 2009 Galerie m, P,E,T,E,R,W,E,G,N,E,R, Bochum DE 2008 Akira Ikeda Gallery, AN EMPTY SPACE, New York NY 2007 Griffin, THE UNITED STATES OF NOTHING, Los Angeles CA 2006 Griffin, WHAT & WHERE, Los Angeles CA 2006 Akira Ikeda Gallery, WHY + BECAUSE + WHY, Taura JP 2005 Griffin, WALL: PAPER: WALL, Los Angeles CA 2005 Akira Ikeda Gallery, PETER WEGNER: NEW WORK, Berlin DE 2004 Griffin, A,N,S,W,E,R,S,&,Q,U,E,S,T,I,O,N,S, Los Angeles CA 2004 Henry Urbach Architecture, COLOR & OTHER CONTINGENCIES, NY NY 2003 Griffin, WALL WORKS & COLOR BARS, Los Angeles CA 2003 Baldwin Gallery, 300 SUNSETS & OTHER WORKS, Aspen CO 2002 Rhona Hoffman Gallery, PETER WEGNER: NEW WORK, Chicago IL 2002 Printed Matter, PETER WEGNER: FIVE YEARS/FIVE BOOKS, New York NY 2001 Griffin, PETER WEGNER, Los Angeles CA 2001 Mary Boone Gallery, PETER WEGNER: GRIDS, New York NY 2000 Griffin, PETER WEGNER: THE SECURITY SERIES, Los Angeles CA 2000 Mary Boone Gallery, PETER WEGNER: CLEAR BLUE SKY, New York NY 1999 Griffin, PETER WEGNER: REMARKS ON COLOR, Los Angeles CA 1998 Mary Boone Gallery, BLUES, New York NY 1998 C/R/G, PETER WEGNER: REMARKS ON COLOR, New York NY GROUP EXHIBITIONS (SELECTED) 2013 "Focus: Architecture," The J. Paul Getty Museum, Los Angeles CA 2012 "Skyscraper: Art & Architecture Against Gravity," MCA, Chicago IL? 2012 "Liminality, Luminosity & the Everyday," CUAM, Boulder CO? 2011 "ParaDesign," SFMOMA, San Francisco CA? 2010 "The More Things Change," SFMOMA, San Francisco CA 2010 "When Wine Became Modern," SFMOMA, San Francisco CA 2010 "archiTECHtonica," CUAM, Boulder CO? 2008 "Cut: Revealing the Section," SFMOMA, San Francisco CA 2008 "Machine for Living Color," The Museum of Modern Art, New York NY 2006 "Selections from Permanent Collection," Yale University Art Gallery, CT? 2005 "Extreme Abstraction," Albright-Knox Art Gallery, Buffalo NY 2003 "Crosscurrents," Henry Art Gallery, Seattle WA (traveling)? 2002 "Amerika-Europa Dialog," Von der Heydt-Museum, Wuppertal DE? 2001 "Objective Color," Yale University Art Gallery, New Haven CT? 2000 "Of the Moment," SFMOMA, San Francisco CA 2000 "On Language," Sean Kelly Gallery, New York NY 1998 "Four Decades," SFMOMA, San Francisco CA 1998 "Then & Now/Now & Later," Yale University Art Gallery, New Haven CT ARTIST'S PUBLICATIONS 2012 BUILDINGS MADE OF SKY 2010 ON, OFF, VIA, VERSUS, BESIDE, BEYOND... & UP AGAINST: THE WALL 2009 TERRA FIRMA INCOGNITA 2007 P,E,T,E,R,W,E,G,N,E,R, 2005 LEVER LABYRINTH 2004 A,N,S,W,E,R,S,&,Q,U,E,S,T,I,O,N,S, 2002 THE OTHER TODAY 2001 PETER WEGNER, 11" x 8 1/2" x 3/8” 1998 THE BLUE BOOKS 1998 REMARKS ON COLOR 1997 AMERICAN TYPES LECTURES (SELECTED) 2013 Stanford University, Palo Alto CA? 2012 TEDxEast, New York NY 2012 The Museum of Contemporary Art, Chicago IL 2011 Stanford University, Palo Alto CA? 2010 The Phoenix Art Museum, Phoenix AZ? 2010 The University of Colorado Art Museum, Boulder CO 2007 The Dunedin Public Art Gallery, Dunedin NZ 2005 The American Academy in Berlin, Berlin DE 2004 The Bohen Foundation, New York NY 2002 Printed Matter, New York NY? 2000 The Cooper Union, New York NY? 1999 Art In General, New York NY ARTICLES & REVIEWS (SELECTED) 2014 M. Mai, "Peter Wegner, Buildings Made of Sky," Suddeutsche Zeitung, DE 2014 "Buildings Made of Sky: Peter Wegner InvertsSkyline," HuffPost UK 2011 J. Finkel, "Peter Wegner/Stanford: The Art of Innovation," LA Times, May 2 2008 A.H. Merjian, "Cut: Revealing the Section," ArtForum, April 2008 C. Huong, "10 Questions for Peter Wegner," KQED Interview, May 30 2005 K. Johnson, "Peter Wegner: 'Lever Labyrinth,'" NYT, September 2 2005 S. Cross, "Peter Wegner at Lever House," The New Yorker, August 8-15 2005 N. Chasin, "Reading Room," ArtReview, July 2004 A.Scott, "Peter Wegner at Henry Urbach Architecture," The New Yorker 2004 M. Nichols, "Peter Wegner at The Bohen Foundation," Art in Am, Oct 2004 C. Knight, "Mass, Volume and Air, by Wegner," LA Times, May 14 2004 K. Levin, "Peter Wegner at The Bohen Foundation," Village Voice, May 6 2004 C. Lang Ho, "Color-Coded," The Architect's Newspaper, April 6 2002 E. Meltzer, "Peter Wegner," Frieze, September Artist Statement Although I create abstract art, I feel that it must deeply engage the values central to the commissioning entity. I have a responsibility to the people who wil l work in this building every day, and to all those elsewhere in the community who benefit from their dedication to the greater good of public safety. It's always a distinct pleasure – and a privilege – to create artwork that will live in the public space. The work I’ve made most directly relevant to this RFQ came to me from close by. Stanford’s GSB (Graduate School of Business) asked me to create permanent artworks for their new business school campus. They had in mind a history walk with engraved plaque s of illustrious alumni. My intuition pointed me in the opposite direction: I proposed a series of monuments to the future. But what, exactly would that look like? My signature work for Stanford goes to the heart of this paradox. It's entitled “Monument to Change as it Changes.” Before I started thinking about the art, I thought a lot about GSB. I talked to the dean, the administrators, the professors, the students. I hung around campus, attending lectures and seminars. I looked at how GSB positioned itself within its competitive set. In short, I thought about them. (That’s not to say I ignored artistic considerations, but as the artist, that part of the equation is always known to me.) So instead I focused on the people who would live and work in the immediate vicinity of my artwork. That’s where I began; that remained the focus of my process; and inevitably, that’s where I ended up. To begin with, I imagine a given opportunity as a series of questions. By the time I’ve worked my way through the list, I’ll have a few approaches in mind. Then it’s a matter of figuring out the fit between my initial conception of the piece and what the conditions will allow. During this interval, my artistic inspiration functions as a kind of hypothesis tested by the site an d programmatic concerns. So my working method is dialogue. With the commissioning entity; with the site; with other professionals working on other parts of the project; with functional considerations; and finally, with my own desire to make work that, while institutional, is never less than personal. As a result, my work fits naturally into a broad range of environments; it’s how I understand the world. Of course, some approaches instinctively make more sense to me than others, but I find there’s no one way my art has to look. Often color is the most immediate visual response, but sometimes it's architecture or language. My work adapts, translating easily from one medium, and one kind of space, to another. And if it does so while eliciting interest and delight from passersby – if the folks who see it every day continue to take pleasure in it – then (and only then) do I feel I’ve done my job. Peter Wegner Palo Alto Staff Report to Public Art Commission February 8, 2018 RE: 3223 Hanover, Initial Review by PAC for Phase II SUMMARY Steep Slope Property, LLC is submitting the attached packet for Initial review by the Public Art Commission for the integration of artwork for Phase II construction at 3223 Hanover Street. Phase I artwork titled Aperture by artist Gordon Huether with an estimated artwork budget of $204,800 was approved in September 2016. Phase II will have a smaller estimated art budget of $137,000. BACKGROUND Steep Slope Property, LLC has contracted with City Public Art Program staff for the project management of the artwork to be incorporated on site. When Phase I came to the Public Art Commission in March 2016 to solicit input regarding the artist selection and types of work that may be appropriate. Among the suggestions were:  Locate the artwork along Hanover Street for maximum public accessibility  Be mindful that the art will be experienced primarily from a vehicle or bike  Consider playing off of the iconic “butterfly” rooflines of the buildings  Consider utilizing the slope of the property in design development  Explore playing with color  Consider playing with scale Taking the input from the Public Art Commission and Steep Slope, LLC, staff evaluated more than 300 artists and selected 14 to bring to Steep Slope for consideration. Of those, two artists were selected as finalists. After further discussion, Napa, CA based artist Gordon Huether was selected to join the team as the project artist. Huether presented three concept proposals in June 2016, and Aperture (see attachment A) was selected as the appropriate concept. Aperture responds to the slope of the property, mirroring the incline of the property and taking inspiration from the butterfly roof geometry of the buildings. The location of the piece, between the vehicular entrance to the site and the bike path, will act as a wayfinding marker to cyclists who may be looking for the entrance to the bike path from Hanover, as well as mark the driveway entrance to 3223 Hanover. Set back from the street approximately 37 feet, the piece will be a safe distance away from vehicular and bike traffic, but offer a dynamic visual experience. The artwork will be constructed of a steel wedge shape, a dichroic glass wedge shape and an etched glass wedge shape with 1 foot spacing between each component. As such, the color and play of light between the various elements will fluctuate depending on time of day, lighting, and perspective. There will be subtle lighting integrated into the concrete foundation for an evening presence. An identification plaque will be integrated into the site adjacent to the sidewalk along Hanover. DISCUSSION AND TIMELINE: Phase I construction is well underway and expected for completion in Spring/Summer 2019. Phase II is going through the entitlement approval process currently. The approved existing Phase 1 project includes Building 1, the below-grade garage, and stair & elevator pavilion in the courtyard, trash enclosure and the garage portals. Phase 2 includes Building 2, a second trash enclosure, and surface parking on the east lower tier of the property. It is important to Steep Slope, LLC that the architecture for phase 2 match phase 1 for a cohesive look and feel to the campus. ARTWORK FOR PHASE II: Given the cohesive visual vocabulary of the architecture at the site for both phases, as well as the intent to maximize the impact of the public art, the design team plans to re-engage Gordon Huether to make a companion piece to the original Aperture sculpture along Hanover Street. ATTACHMENTS: ATTACHMENT A: Aperture schematic design, rendering and artist statement from Gordon Huether 60’ 7’ 18” 60’ 7’ 18” JULY 2016 © Gordon Huether + Partners, inc. STANFORD RESEARCH PARK1”= 1’ SCHEMATIC VIEW PALO ALTO, CA GORDON HUETHER, ARTIST 1821 Monticello Road Napa, CA Phone: 707.255.5954 FAX: 707.255.5991 gordonhuether.com ECTHED GLASS IN FRONT STAINLESS STEEL IN FRONT AUGUST 2015 © Gordon Huether + Partners, inc. Stanford Research ParkPUBLIC ART INSTALLATION LOCATION- PHASE I Palo Alto, Ca GORDON HUETHER, ARTIST 1821 Monticello Road Napa, CA Phone: 707.255.5954 FAX: 707.255.5991 gordonhuether.com A B C MH5.7 4 CB 3.74 MH 5.84 CB1. 15 CB 7.56 5.1 7 9.17 1. 2 7 9.27 2.46 6. 17 9.0 7 7.1 7 9.1 7 9.17 8.17 8.17 9.1 7 6.1 7 6. 1 7 4. 1 7 8. 95 CB51 . 1 2.4 5 4.94 3.84 9.7 4 1.842.8 4 5.84 8.8 4 1.9 4 4.942.0 5 3. 15 9. 2 5 6. 4 5 5.75 5.0 6 5.36 4.6 6 2.84 2.8 4 4.45 6.45 7. 74 7.74 1.8 4 4.8 4 7.8 4 3.94 3.0 5 6.94 3.84 2.8 4 2.55 9.55 5. 6 5 2.5 5 1. 75 4.7 5 7.6 5 1.6 5 5.55 5. 4 5 9.5 5 9.4 5 9.45 1. 8 4 SE E R T E S N E D SE E R T E S N E D SE E R T E S N E D 70 65 YB D E R U C S B O D N U O R G SE E R T E S N E D 60 55 50 50 55 CB 3. 74 LOCATION JULY 2015 © Gordon Huether + Partners, inc. Stanford Research ParkPUBLIC ART INSTALLATION - PHASE I Palo Alto, Ca GORDON HUETHER, ARTIST 1821 Monticello Road Napa, CA Phone: 707.255.5954 FAX: 707.255.5991 gordonhuether.com GORDON HUETHER | ARTIST NARRATIVE art matters       Aperture       2016,  Sand  Hill,  Palo  Alto,  CA     An  aperture  is  a  hole  or  an  opening  through  which  light  travels.  More  specifically,  the  aperture   and  focal  length  of  an  optical  system  determine  the  cone  angle  of  a  bundle  of  rays  that  come  to   a  focus  in  the  image  plane.     My  creative  objectives  for  the  sculpture  installation  Aperture  were  multifold.       My   first   objective   was   to   create   an   installation   that   was  fully  integrated   into  a  relatively   complex  landscape  plan.  Through  its  multi-­‐layered  and  angled  wedge  shape,  Aperture  appears   to   emerge  organically  from   the   landscape.  In   addition,   the   form  of   the   work  acts  as   an   introduction  to  and  complements  the  angled  planes  of  the  site’s  architecture.       My  second  objective  was  to  create  a  sculptural  installation  that  actively  engages  the  cyclists,   pedestrians  and   motorists   who   will   experience   the   work   on   a   daily   basis   and  consider  the   movement   and   speeds   at   which   they   will   view   the   work.  Aperture  has   depth,   size   and   complexity   of   design   that   will  elicit  an   enduring  interest  and   excitement.  Because   of   the   materials,  the  work  will  never  be  experienced  the  same  way  twice.     The  materials  for  this  work,  brushed  aluminum,  acid  etched  glass  and  dichroic  glass  are  rich  and   elegant.  The  aperture  created  in  the  aluminum  layer  will  enable  more  light  to  engage  with  and   activate  the  dichroic  glass,  which  will  change  in  color  depending  on  the  angle  of  viewing  and   ambient  light.  The  use  of  acid  etched  glass  in  front  of  the  dichroic  glass  further  enhances  the   visual  dynamic  and  creates  a  compelling  complexity.       These  materials  and  they  way  in  which  they  are  layered  will  be  particularly  effective  at  night,   when  the  integrated  lighting  will  produce  an  enchanting  and  lovely  glow.           Gordon  Huether   Artist   11  August  2016