Item 4H4H - 1
M E M O R A N D U M
November 29, 2011
To:
Shana Yelverton, City Manager
From:
Jim C. Blagg, Assistant City Manager/Director of Public Safety
Subject:
Approveproposal fromHines Group for art workin Carillon development
Action
Requested:
City Council approval ofthe proposal by developer, Hines Group,
for art sculpture in dedicated public space in the Carillon
development.
Background
Information:
In line with the proposed Southlake Public Art Master Plan which
will be considered for City Council approval as Ordinance No. 1016
in Agenda 6E, the developer of Carillon has proposed a sculpture
piece for Carillon Enclave Park public area. Art work was
designated as an amenity in the 380 Agreement that Hines Group
has with the City of Southlake.
Opportunities for developersto commission public art for a
development is provided in the proposed Public Art Master Plan,
provided that the art work beat the developer’s expense, for a
development in a public space or publicly accessible outdoor space
and meetthe City’s principles and guidelines found in the
Southlake 2030 Plan and the Public Art Master Plan. An excerpt
from the proposed Plan pertaining to public art commissioned by
developers is attached to this memo for your reference.
The Carillon developer, Hines Group, is proposing a Renaissance
sculpture,St. Georgeby Donatello, for placement in the public
space located in Enclave Park. The sculptureis a cream color
marble statute on a 6-foot tall cast limestone, buff colorpedestal.
The overall height of the sculpture isapproximately 12 ½-feet tall.
All cost for the sculpture, including purchase cost, installation and
maintenance, to be borneby the developer.
City of Southlake Values:
Integrity
4H - 2
Shana Yelverton, City Manager
Meeting Date– December 6, 2011
Page 2 of 2
The Southlake Arts Council recommended approval (3-2) of the
proposed sculpture for placement in the Carillon development
November 22, 2011. The Arts Selection Committee, comprised of
City Council members Al Zito, Carolyn Morris and Pamela A. Muller
and Southlake Arts Council members Terri Messing, Leslie Bartlett,
Merlene Ingraham and staff Jim Blagg and Kerry McGeath, also
reviewed and approved(4-1)the proposal at their November 16,
2011 meeting.
A copy of the proposal is attached for your consideration.
Financial
Considerations:
N/A. All expenses to be borne by the developer, Hines Group.
Strategic Link:
This Permitis linked to the City Council Focus Areas of Quality
Development and Partnerships and Volunteerism. The Permitalso
addresses the corporate objectives of providing attractive and
unique spaces for enjoyment of personal interests and providing
opportunities for partnerships and volunteer involvement.
Citizen Input/
Board Review:
Southlake Arts Councilrecommendedapproval (3-2) November
22, 2011
Arts Selection Committee approved (4-1) the proposal
November 16, 2011.
Legal Review:
N/A
Alternatives:
Alternatives may include the following:
City approve as presented
Council
City Council approve with input as desired
City Council decision notto approve
Supporting
Documents:•
Hines Group proposal
Excerpt from proposed Public Art Master Plan pertaining to
developer commission art work
Recommendation:
City Council approval ofthe proposal by Hines Group forsculpture
in Carillon development
City of Southlake Values:
Integrity
4H - 3
Proposal for Art
in dedicated public spaces
OCTOBER 31, 2011
4H - 4
Selection Guidelines
Select pieces that represent the European Renaissance period, 1400s - 1600s.
Review the works of the sculpted masterpieces produced during the Renaissance period.
Eliminate pieces with nudity or excessive violence or works that would be offensive
Petential Art Reproductions
ArtistName of Masterpiece
MichelangeloMoses
MichelangeloPeita
DonatelloSt. George
BerniniDavid
StatiSampson and the Lion
da Vincida Vinci’s Horse
Artists Summary
Michelangelo (1475 – 1564) A Florentine “Renaissance man” also known for
architecture (the dome of St. Peter’s Basilica), painting (The Last Judgment and the
Sistine Chapel ceiling), poetry, and military engineering. His sculpted masterpieces
include David, a , Bacchus, and a number of pieces for the tomb of Pope Julius
II (including Dying Slave and Moses). He preferred to work in Carraran marble.
Donatello
sculpture as distinct from that of the Gothic period. He is known for St. Mark
and St. George in the Or San Michele [(OR SAHN mee-KAY-lay] (a Florentine
church), the bald Zuccone (which means “pumpkin-head,” though it depicts the
the Gattamelata in Padua. He is also known for mastering the low relief form of
schiacciato.
Gina Lorenzo Bernini (1598 – 1680) A Roman who, with the rarely asked-about
principally known for his freestanding works including David and The Ecstasy of
4H - 5
Artists Summary
(
continued)
St. Theresa. Bernini’s David differs from that of Michelangelo in that the hero is
shown “ín motion,” having twisted his body to sling the rock. Bernini is also known
for his massive fountains in Rome including the Triton and the Fountain of the Four
Rivers. Lorenzo Ghiberti (1378 – 1455) A Florentine sculptor and goldsmith who
taught both Donatello and Filippo Brunelleschi. He is best known for two pairs of
bronze doors on the Florence Baptistery (associated with the Duomo, or Florentine
Cathedral). He produced a single, low-relief panel to win a 1401 competition
(defeating Brunelleschi) for the commission to design the 28 panels for the north
doors.
Cristoforo Stati (1556 – 1619) A lesser known Italian sculptor and restorer, Stati
worked on the restoration of marble works excavated from archaeological sites.
During his time in Florence, between 1604 and October 1607, he carved the fountain
with Samson and the Lion. This formed a pair with another group, by Giambologna
(Samson and a Philistine, 1565-70; London, V&A; base, Aranjuez, Pal. Real), which
the same period he carved the group of Venus and Adonis (Bracciano, Pal. Com.
compositions of the works of Giambologna.
Leonardo da Vinci (1452 – 1519) The archetypal “Renaissance Man,” Leonardo
artists in history. His most famous paintings are The Last Supper and Mona Lisa. In
to honor Gian Giacomo Trivulzio, the French military commander of Milan. He
completed the horse in clay, but it was destroyed by French soldiers. His drawings
sculpted.
Selected Art for Submittal
Area 1: Donnatello’s St. George
Area 2: Bernini’s David
Area 3: da Vinci’s Horse (1/3 Scale)
4H - 6
Location MapLocation MapLocation MapLocation MapLocation MapLocation MapLocation Map
4H - 7
Location MapLocation MapLocation MapLocation MapLocation MapLocation Map
Location Map
Location Map
Location Map
Location Map
Location Map
Location Map
Location Map
Location MapLocation Map
Location MapLocation MapLocation Map
Location MapLocation Map
Location Map
Location MapLocation Map
Location MapLocation Map
Location Map
Location MapLocation MapLocation MapLocation MapLocation MapLocation MapLocation MapLocation MapLocation MapLocation Map
4H - 8
St.GeorgeSt.GeorgeSt.George
4H - 9
St.GeorgeSt.GeorgeSt.George
St.George
St.George
St.GeorgeSt.GeorgeSt.George
St.GeorgeSt.George
St.George
St.George
St.George
St.GeorgeSt.GeorgeSt.GeorgeSt.George
St.George
St.GeorgeSt.GeorgeSt.George
St.George
Donatello
(c. 1415-17)
Location and Presentation:
Material:
Marble (Cream color)
Location:
Enclave Park (Area 1)
Pedestal:
Cast Limestone (Buff Color), 6’-0” ht.
Overall Height:
12’-6” ht.
4H - 10
SUBMITTED
TO
4H - 11
3.3
Principles
The City of Southlake’s process for asking private developers to commission public art as a public amenity
or benefit related to their developments should be guided by the following principles.
Projects should be linked to overall goals for public art in Southlake, and guidelines for public art in
private development, as expressed in this plan.
Projects should be linked to public goals for the design and appearance of the city overall, and the area
of the city where the development is located, as expressed in relevant, approved Southlake 2030
documents, including this Public Art Master plan.
Projects should be in an appropriate setting. Their locations should have a high degree of public
visibility, accessibility and use, so that the artworks can ordinarily be experienced by a cross-section of
the Southlake community. Theoverall site design or area urban design create an appropriate visual
environment for public art?
Project Plans, Artist Selection and Artist Concepts should be subject to staff review, Southlake Arts
Councilreview, and City Councilapproval, following the criteria expressed below.
The developer is responsible for allcosts related to the commissioning of the artwork, including the
cost of consultants, site preparation and maintenance.
The City should maintain a sense of proportionality between the public benefit sought, and the private
value conferred by any particular entitlement.
Process for Planning and Implementing Projects
Refer to “Table 6: Proposed Review Process for Public Art in Private Development,”below.
Guidelines for Public Art in Private Development
The following considerations articulate the City of Southlake’s expectations regarding public art projects
commissioned by private developers on their development site to provide a public benefit or amenity.
1. Artist-Created. The artworks must be created by an artist, which is defined as a practitioner in thevisual
arts generally recognized by critics and peers as a professional of serious intent and recognized ability who
produces artworks. The members of the architectural, engineering, design, or landscaping firms retained for
the design and construction ofa development project covered by this definitionshall not be considered
Artists for the purposes of this definition.
2. Quality. Public art created as part of a development project should have a clear, positive impact on the
quality of public places. Theartist should, whether working independently or collaboratively with other
designers, help conceptualize and produce a project of artistic and visual distinction.
3. Duration. Public art created as a part of a development project should be permanent. Conversely, a
developer can create a permanent location for changing art, and endow or provide ongoing funding to a
cultural institution to program that location with changing artworks.
4. Architectural Integration. Public art can be integrated into the architectural design or ornamentation of a
building. In all cases, architecturally integrated art should be visible to the public, generally by
incorporation into facades visible from major streets or public spaces, or at public entryways.
5. Landscape or Plaza Integration. In the event that a development project includes a publicly accessible
outdoor space, public art can be incorporated into the design of that space. The goal should be to integrate
the public spaces (visually, functionally, or through programming) into the broader public realm, and for
the public art to support that. The art project must be visible and easily accessible from a public street not
behind or between buildings or in semi-private areas like courtyards or upper-level spaces. The space,and
the art, must be designed to provide full benefit to the entire community, not just the users of the property.
Southlake Public Art Master Plan • Revised Draft 11/29/11 33
4H - 12
6. Streetscape Integration. Public art integrated with streetscape design should be encouraged only to the
extent that it supports the goalsand recommendations of area-wide planning efforts that relate to that
section of the city.
7. Siting and Visibility. Artwork should be on the ground-level of a site or façade of a building. Artwork on
the top of a building is discouraged, except for sitesdesigned in the Urban Design Plan as locations for
major visual elements, particularly to be viewed from SH114. The location of the artwork should consider
important sightlines, such as those created by the intersection of major arterials, or areas recommended in
various city plans for urban design features.
8. Indoor Art. Interior art in private buildings, even in semi-public gathering places like atria or lobbies,
should not be construed as fulfilling any agreement for providing public art as a benefit or amenity.
9. Commercial Expression. Projects that seek to promote the private nature of a development, by promoting
commercial expression or creating a signature marking element, including projects that include icons or
color schemes that are part of a company’s or a development’s branding, should not be construed as
fulfilling any agreement for providing public art as a benefit or amenity.
Criteria for Evaluating ArtistQualifications
The Southlake Arts Council should use the following criteria to approve the artist selected for a private
development public art project:
Meets the definition of Artist, as defined in this Public Art Master Plan.
Demonstrates artistic excellence, innovation and originality as represented in past work.
Demonstrates capacity for working in media and with concepts appropriate to the project goals and site.
Demonstrates experience insuccessfully completing works of similar scope, scale, budget and
complexity, or ability to articulate how he or she would be able to bring the necessary artistic and
technical skills to this project.
Criteria for Evaluating Artist Concepts
The Southlake Arts Councilshould use the following criteria to approve the Artist Concept for a private
development public art project:
Follows the principles and guidelines articulated above.
Demonstrates excellence in aesthetic quality, workmanship, innovation and creativity.
Demonstrates appropriateness in scale, form and is of materials/mediasuitable for the site.
Miscellaneous Policies for Developer-Commissioned Public Art
The following provisions should be incorporated into any agreement by which a developer provides public
art as a public benefit or amenity.
1.The property owner retains title to artworks that are placed on their property; the City retainstitle to
artworks placed in public rightof way.
2.The property owner is responsible for maintenance of artworks that they own. The artist shouldsupply
the property owner with a materials list and maintenance protocol.
3.If a property is sold after an entitlement is approved, and the new owner develops under that
entitlement, the public art agreement shall be binding on the new owner. This provision should be
recorded in any development approval concerning public art.
4.If a property owner removes from view an artwork provided as a public amenity, the property owner
must make a payment equal to the amount of the original artwork into the Public Art Fund.
Southlake Public Art Master Plan • Revised Draft 11/29/11 34
4H - 13
5.If a property is sold after the artwork is installed, the obligations regarding public art must be
transferred to the subsequent property owner.
Table 6: Proposed Review Process for Public Art in Private Development
StepWho is responsible
Review project with developer (preferably before developer has Community Services staff (Public Art
agreement with City) to explore options for incorporating public art. Program Manager), with DPS staff
Incorporate public art commitment into developer agreement.DPS staff, with Community Services staff
Develop a project plan that includes goals, artist scope, selection Developer
method, budget and timeline.
Review and approve developer project plan.Community Services staff (Public Art
Program Manager), Southlake Arts Council
Initiate artist selection according to approved project plan. Present Developer
recommended artist to Southlake Arts Council.
Approve selection.Southlake Arts Council
Selected artist develops concept proposal.Artist
Review and approve concept. Submit for review to Southlake Arts Developer
Council.
Review and recommend concept.Southlake Arts Council
Review and approve concept.City Council
Southlake Public Art Master Plan • Revised Draft 11/29/11 35