WSCC ADDITION ART FRAMEWORK
WSCC ADDITION ART WORKSHOP October 23, 2017 Seattle Design Commission 1
• Clarify WSCC Addition Art Vision
• Engage WSCC Art Advisors, WSCC Board Art Committee, 4Culture on proposed art plans
• Explain proposal to meet SDC policy on public art for vacations with a framework plan
• Clarify artwork budgets for Public Benefit, Urban Design Merit, WSCC Addition Artworks
• Outline clear processes and selection criteria for Public Benefit Art, Urban Design Merit items, WSCC Addition Artworks
• Provide clear timelines for Public Benefit Art, Urban Design Merit items, WSCC Addition Artworks
• Provide further detail on Public Benefit Art goals, site conditions, and requirements
• Update the SDC on progress of the Urban Design Merit items
• Address questions on Artist-in-Residence programming
• Address questions on Registration Lobby Digital Media visibility and timing
• Clarify process for CPS Artworks Presentation and Relocated CPS Artworks
SDC ART WORKSHOP SUMMARY July 11, 2017
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Surrounded by water and mountains, Seattle is a place with incomparable
natural beauty among the finest urban centers in the world. It is a former
frontier town with a bright future, a rapidly growing metropolis with diverse
and eclectic businesses, where arts and culture thrive and are integrated into
the fabric of its varied and colorful neighborhoods.
Drawing inspiration from the region’s unique cultures and artistic expressions,
the WSCC Addition art program will offer opportunities for creative place
making by artists which will enrich and enliven the area, encouraging a
dialogue and an exchange of ideas where distinctive neighborhoods intersect.
With the Northwest’s exceptional natural and urban environments as their
foundation and context, working as “translators,” artists from the Pacific
Northwest, including Washington, Oregon, Idaho and British Columbia, will
share creative visions drawn from these surroundings.
WSCC ADDITION ART VISION
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Feedback from Presentation to WSCC Art Advisors: July 27, 2017 and OngoingSUGGESTIONS
Boren Avenue Sculptures• Be cognizant of the relationship between the garage door design and the
sculptures. Can they relate to one another? Be careful they don’t compete; maintain consistency.
Olive Way Artworks• Asked for specifics about site, maintenance, and canopy design.
9th Avenue + Pike Street Artwork• Idea is to select an artwork that enriches the neighborhood, creates an
“urban room” and provides illumination in the area.
• Bring to artist as an open opportunity, structure the call so that artists can have the option to use smaller space or the entire area.
Process Comments• Establish selection panels with members from each group, to include: WSCC
Art Advisors, WSCC Art Committee, community art professionals and the project design team.
• Panels for public art typically include 3 to 7 people, plus an engineer. Different panelists for each of 3 project calls; diversity is desirable, include specific project partners (architect, landscape architect). Some panelists should be on each panel for consistency.
• Tap into Seattle Office of Arts and Culture, 4Culture, and Washington State Arts Commission resources.
Art Vision and Plan• Work with the Art Advisors to refine the Art Vision and plan.
RESPONSES
Boren Avenue Sculptures• The design brief for both the garage doors and the
Boren Avenue Sculptures includes adherence to the art vision. Adjacency and context of artworks is made clear and the two artworks will be coordinated in their design to respect one another.
Olive Way Artworks• Detailing of canopy may adjust to accommodate
artwork design as needed. 2D graphic, glass etching, or integrated lighting treatment may be considered to extend artwork to canopy glass.
9th Avenue + Pike Street Artwork
• Open call includes these three goals and ideas.
Process Comments
• The open call selection process incorporates these suggestions.
Art Vision and Plan
• We continue to refine the Art Vision and plan with feedback from Art Advisors, Board Art Committee and others.
OUTREACH to Art Advisors
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Feedback from Presentations to WSCC Board Art Committee: July 24 and October 12, 2017• Enthusiastic support for the Art Vision.
• Acceptance of the general process for artist selections.
• What is scale for Boren sculptures? Make appropriate for pedestrians.
• 9th Avenue + Pike Artwork site concerns include: homeless presence, messy area. Area is dark, illumination could help. Will city allow movement in the artwork?
• Make good use of the Art Advisors, as they have great experience in the public realm with understanding of specifics related to WSCC.
• WSCC Art Program can collaborate with WSCC Board in outreach efforts.
Feedback from Presentation to 4Culture PAAC: July 20, 2017• Discussion of process for creating CPS artworks presentation.
• CPS project history and documentation will be provided by 4Culture.
• Project design team will engage an exhibition or graphic designer to create presentation about CPS project.
• The project plans to place the CPS artworks presentation on 9th Avenue in a highly visible public location.
OUTREACH
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PUBLIC BENEFITARTWORKS
Artwork Budget: $1,850,000
$600,000 $4,500,000
$100,000
Other Budgets: Other Budgets: Other Budgets:
$1,000,000
$250,000
Boren Avenue Sculptures WSCC Addition Artworks
CPS Art Presentation
Honoraria
Dedicated Maintenance
Dedicated Maintenance Dedicated Maintenance
Operations
9th Avenue + Pike Street Artwork
Olive Way Artworks
Budget includes artist fees, design, fabrication, materials, labor, transportation, insurance, installation, and lighting
Budget includes artist and graphic design fees, design, fabrication, materials, labor, transportation, insurance, installation, and lighting
Budget includes artist fees, design, fabrication, materials, labor, transportation, insurance, installation, casework, and lighting
Artwork Budget: $4,600,000Artwork Budget: Included in building construction budget
URBAN DESIGN MERIT
WSCC ADDITION ARTWORKS
Sites A, B, + C Garage Doors
Site C Garage Wall Graphics
Site C Glass Wall at Truck Ramp
WSCC ADDITION ART FRAMEWORK BUDGETS*All three categories of artworks fall under the umbrella of the WSCC Addition Art Vision
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PUBLIC BENEFIT ARTWORKS
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SDC Policy for Public Art included in a Public Benefits Package
1. Scaled site plan showing proposed location(s) of artwork, either on- or off-site
2. Minimum 1/4” scale drawings of the art concept or art component, including at
least one elevation
3. Context drawings illustrating the art in context of the project
4. Material and color samples
5. Lighting strategy
6. Location of proposed art in context with any other existing artwork in an
adjacent right-of-way or public place within 800 feet of the project site
7. A written narrative describing the conceptual approach and how the art and its
proposed siting enhance the public realm and its relationship to the place
where it is located
8. Artist’s resume/background with visual examples of previously completed work
9. Information on durability and constructibility of the proposed work, including
methods of affixing of the artwork or integrating the artwork in its context
10. A maintenance and conservation plan
= Fulfilled = Partially fulfilled with Framework; will be
completely fulfilled when artist is selected
and final artwork developed
= Included in RFP requirements; will
be completely fulfilled when artist is
selected and final artwork developed
SDC Policy for Public Benefit Art
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Request to accept a Framework for delay of items 2, 4, and 8
The Project Art Advisor has been working with WSCC and the project team for more than two years to identify opportunities for artworks. LMN has provided flexibility to accommodate the selected artists’ needs.
1. The project needs sufficient time to execute a robust open-call process. Our Art Advisors recently advised us to lengthen the time frame which has affected our schedules.
2. This is an open call process to allow emerging, mid-career, established and culturally diverse artists to apply for these opportunities.
3. The Project Design Team and the Collaborating Artist will work with the selected Pacific Northwest artist to integrate their artworks with the site, the building and the landscape design.
4. The art vision and category for each category of art has been developed to address the SDC art policies. We have included these policies in our RFQ and will use them in selecting artists for the project.
5. SDC has the ability to modify the art policy guidelines and used this approach for the Arena and 2+U projects.
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• Scale of the art in relation to its site• Does the art support the place it is located• Quality of demonstrated craftsmanship• Artist’s ability to execute work in the public realm
• Promoting the use and function of the pedestrian environment• Bridging the scale between the building and person• Engaging the public or inviting them into a space
• Durability of artwork• Details of color, material, and lighting are adequately considered• Meeting SDOT’s ‘Right-of-Way Improvements Manual’
Artwork Proposals will be evaluated on the following SDC criteria (among others):
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RFQ released 3 finalists per project selected
Informational Meeting
Artists selected
Artist/artist teams develop artwork integrated with the
building design, context, and art vision--working with Project Design Team and Collaborating
Artist
Architecture Team works with artist to integrate
art, building, and landscape design
Collaborating Artist works with
artists to integrate with Art Vision and
other artworks
RFP distributed Interviews
Approval by WSCC Board Art Committee and WSCC Board of
Directors
Artists notified
Administrative review of final artwork by Seattle Design Commission
PROCESS FLOW CHART - Public Benefit Artworks
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PUBLIC BENEFIT ARTWORKS
WSCC Art Advisors
WSCC Board Art Committee
Project Art Advisor
Collaborating Artist
SELECTION PROCESS
Open-call artist selection process for each artwork
• Open call RFQ and RFP developed by Project Art Advisor and Collaborating Artist • RFQ released • Selection Panel awards 3 finalists for each call with honorarium to complete RFP • Final award made by Selection Panel after interviews and review of proposals
Selection Panels for each artwork will include:
• Project Art Advisor • Collaborating Artist • WSCC Art Advisors • 1 WSCC Board Art Committee member • 1 Project architect • Art professionals from the community
Followed with approval and review by:
• Approval by WSCC Board Art Committee • Approval by WSCC Board of Directors • Administrative Review by Seattle Design Commission
Greg Bell, Vulcan Inc. Art Curator
Heather Dwyer, 4Culture
Vicki Halper, Independent Curator
Janae Huber, WA State Arts Commission
Jim McDonald, Grant Makers in the Arts
Deborah Paine, City Office of Arts & Culture
Tim Purtill, Atomic Art Services
Tracey Wickersham, Visit Seattle
Susana Gonzalez-Murillo, Chair
Nicole GrantDenise Moriguchi
Margery Aronson, Independent Curator /
Professional Art Advisor
Cathy McClure, Visual Artist
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PROCESS TIMELINE - Public Benefit Artworks
November, 2017RFQ Released
November, 2017Artist Informational Meeting
November, 2017RFQ Submission Deadline
November/December, 2017Selection Panel reviews artists/artist teams; selects three finalists for each project
December, 2017RFP released, Honoraria awarded to three finalists for each project to complete RFP
February, 2018Interview and review proposals of three finalists for each project
March, 2018Selected proposals presented to WSCC Board Art Committee and WSCC Board for approval
March, 2018Selected artists notified
Beginning April, 2018Artists to work with Design Team and Collaborating Artist to integrate artwork with building, landscape design, and art vision
TBD, 2018Proposals presented to SDC for administrative review
Building Opening, 2021Artworks completed and installed prior to building opening
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Seating design and planting shown are representative - to be further developed with selected artist
BOREN AVENUE SCULPTURES SITE
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Opportunities
• Artist/artist team will work with project architects and landscape architects to site artwork(s) within planting and/or seating areas. Seating and/or display pedestals will be developed with input from artist/artist team.
• Artworks to be located within a 12’6” by 158’ setback along Boren Avenue.
Goals
• Change the dynamic of Boren Avenue between Olive Way and Pine Street by integrating an art experience into a vehicular-heavy and steep pedestrian corridor. Invite the public to both seek and discover art integrated into landscaped spaces that spatially mark a unique urban art experience while offering respite within the city.
• Embrace the WSCC Addition Art Vision.
Details
• Artworks should be made of long lasting, low or no-maintenance materials suitable for the outdoors.
• Integrated lighting will be incorporated into the design.
• The scale of the artworks should appeal to those seated by the sculptures, to pedestrians walking by and to drivers on Boren Avenue.
• The selected artist/artist team will work with project managers to ensure that the artworks are engineered in accordance with all relevant regulations and/or codes.
BOREN AVENUE SCULPTURES
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26' - 10 7/8" 25' - 4" 49' - 3 7/8" 77' - 0"
6' - 1
1"
24' -
2 3/8"
16' -
10 3/
8"8'
- 0"
30' -
0"
6' - 0"
8' - 0
"
PINE STREET
OLIVE WAY
BOREN AVENUEGARAGEDOOR
RETAIL
BAKERYEXIT DOORS
EXIT DOOR26' - 0"
10' - 0"
3'
5'
54' - 0"13' - 6"77' - 0"26' - 0"49' - 4"25' - 3 1/2"26' - 10 1/2"73' - 11"
12' - 5"
PINE STREET
BOREN AVENUE
OLIVE WAY
BOREN AVENUE ELEVATION
BOREN AVENUE SITE PLAN
BOREN AVENUE SCULPTURES SITE
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OLIVE WAY ARTWORKS SITE
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Opportunities
• One of the Addition frontages is on Olive Way between Ninth Avenue and Boren Avenue. Toward the east end of the north facing Olive Way frontage, a bank of elevators runs inside the building and the motion of these elevators will be visible through exterior glass panels.
• Within this area are five interior spaces each measuring 35’ x 4’ x 2’ 6” where artworks will be sited to enliven the streetscape.
Goals
• Integrate art with building function and architecture in a harmonious way to create visual interest in a busy street-scape, activating an area horizontally and vertically, en-hancing the pedestrian experience.
• Embrace the WSCC Addition Art Vision.
Details
• The site includes 5 glass vitrines, each of which measures 35’ x 4’ x 2’ 6”.
• Detailing modifications to the canopy will be considered to accommodate artwork visibility. Extension of the artwork expression to the canopy glass in the form of 2D graphic, etched glass or integrated lighting will be considered.
• Artworks may be abstract or representational.
• The artworks must be made of any material with high standards of durability suitable for this location and designed to address safety issues.
• The selected artist/artist team will work with project managers to ensure that the artworks are engineered in accordance with all relevant regulations and/or codes.
OLIVE WAY ARTWORKS
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OLIVE WAY
BOREN AVENUE
4' - 1"
2' - 3
"
BAKERY EXIT STAIRS
PARKING ENTRY
EMPLOYEE ENTRY
FREIGHT ELEVATORSSERVICE ELEVATORS
BOREN AVENUE
OLIVE WAY
52' - 0"
4' - 0"
5' - 0"
4' - 0"
6' - 0"
4' - 0"
10' - 0"
4' - 0"
10' - 0"
4' - 0"
16' - 0" 18' - 0" 17' - 0" 19' - 0" 22' - 0"
OPERABLE PANEL FOR ACCESS TO
INTERIOR
TRANSLUCENT GLASS
GLASS AND STEEL CANOPY
METAL PANEL WALL
BAKERY
GARAGE DOOR
EXIT STAIR DOORS
EMPLOYEE ENTRY
14' -
5 3/4"
19' -
3 1/4"
15' -
10 3/
4"19
' - 3 1
/4"
OLIVE WAY ELEVATION
OLIVE WAY SITE PLAN
OLIVE WAY ARTWORKS SITE
CLEAR GLASS
BOREN AVENUE
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VIEW FROM NINTH AVENUE
VIEW FROM PIKE STREET AND NINTH AVENUE VIEW FROM PIKE STREET AND NINTH AVENUE
A
B C
EXISTING WSCC
WSCC CONFERENCE
CENTER
PIKE ST
TE
RR
Y A
VE
BO
RE
N A
VE
HU
BBELL
PL
I-59
TH
AV
E
N
A
BC
9TH AVENUE + PIKE STREET ARTWORK EXISTING CONDITION
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Details
• The site for the artwork is approximately 70’ tall x 140’ wide. If an artist chooses to design inside or outside of these dimensions, concepts will be considered.
• Artwork may be abstract or representational.
• Artwork may be three-dimensional within the property lines and designed to cast shadows.
• Artwork should include an integrated lighting concept.
• Artwork must be made of long-lasting, low or no-maintenance materials suitable for the outdoors.
• The selected artist/artist team will work with project managers to ensure that artworks are engineered in accordance with relevant regulations and/or codes.
Opportunities
• At the intersection of Pike Street and Ninth Avenue, the artwork site is a 70’ tall x 140’ wide wall of the existing Washington State Convention Center.
• An opportunity exists to create a high-impact artwork that will improve the existing site.
• Artwork may be three-dimensional within the property lines.
• If an artist chooses to design inside or outside of the specified dimensions, concepts will be considered.
Goals
• Mark and celebrate the beginning of the Ninth Avenue Green Street with an exciting art experience. Potential to visually connect with Freeway Park.
• Spatially create an urban area and pedestrian experience on Ninth Avenue and Pike Street by developing a visual that is artistic, imaginative and memorable.
• Embrace the WSCC Addition Art Vision.
9TH AVENUE + PIKE STREET ARTWORK
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WSCC NORTH ELEVATION
SITE PLAN
N
PIKE ST
9T
H A
VE
LIN
E O
F FA
CA
DE
S O
N 9
TH
AV
E
LIN
E O
F FA
CA
DE
S O
N 9
TH
AV
E
WSCC CONFERENCE CENTER
EXISTING WSCCEXISTING WSCC
1
1
2
9TH AVENUE + PIKE STREET ARTWORK SITE
0 10’ 20’ 40’
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URBAN DESIGN MERIT
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PROCESS FLOW CHART - Urban Design Merit
Shortlist: Artists meeting
technical requirements and Art
Vision
Preferred artists/artist teams selected by:
Collaborating ArtistArchitecture Team
Graphic Design Team
Artists/artist teams engaged
Graphic Design Team + Artists/artist teams:
Artworks translated to custom surfaces
Artworks createdwith guidance from Graphic Design
Team Architecture Team:
Aids integration with building and landscape design;
provides technical assistance
Collaborating Artist:
Aids integration of Art Vision +
Coordinates with adjacent artworks
Artists/artist teams approved
by WSCC
Administrative review by:Seattle Design Commission
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SELECTION + DESIGN PROCESSURBAN DESIGN MERIT ITEMS
Graphic Design Team
Architecture Team
Collaborating Artist
Studio Matthews
LMN Architects
Cathy McClure, Visual Artist
Collaboration between artists/artist teams, collaborating artist, graphic designer, and architect
An invitation will be extended to one or more artists/artist teams in adherence to the Art Vision, selected together by:
• Collaborating Artist • Graphic Design Team • Architecture Team
Selected artists/artist teams will work with Project Design Team to produce content translated into the fabrication of garage doors and walls in accordance with the Art Vision principles.
Designs presented for administrative review by:
• Seattle Design Commission
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PROCESS TIMELINE - Urban Design Merit
March, 2017Conditional approval of Urban Design Merit with review of 5 garage doors, loading dock return wall and truck ramp glass wall design
October, 2017Proposed designs, materials, and technique included in MUP submittal #4
December / January, 2017Proposed designs, materials, and technique presented to DRB
October, 2017Collaborating Artist, Design Team + Studio Matthews will issue invitation to artists/artist teams to collaborate on designs
August, 2017Art Team finalizes art plan vision and conceptual framework
TBD, 2018Designs presented to SDC for administrative review
Building Opening, 2021 Artworks completed and installed prior to building opening
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Olive Way WSCC GarageVertical lift door
Boren Avenue WSCC GarageVertical lift door
Howell Street Residential Loading DockFour-panel folding door
Howell Street WSCC Loading Dock Glass WallCustom painted or etched glass
Site C Loading Dock interior wall
Terry Avenue Loading Dock ExitVertical bi-folding door
All perforated surfaces and adjacent loading dock wall to be completed with a single artist/artist team + project team collaboration
Glass wall to be completed with a second artist/artist team + project team collaboration
Boren Avenue Loading Dock EntryThree-panel sliding door
BOREN AVE / OLIVE WAY / TERRY AVE / HOWELL ST GRAPHIC DOORS AND WALLS
A1
A1
A2
A2
SITE A
SITE C
SITE B
B1
B1
C2
C2
C1
C1
C3
C3
C4
C4
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Scale: 5 doors, 1 graphic wall, 1 glass wall
Medium: Perforated metal panels, painted wall, painted or etched glass
Time Range: Permanent
Public Access: Visible at sidewalks and streets
Details
• Imagery will be translated to a perforation pattern, and cut into custom fabricated garage door panels.
• Glass wall treatment may utilize paint, texture, or etching on the glass surface.
• Artists/artist teams must engage in a collaborative process with members of the Project Design Team to produce works that satisfy and conform with the Art Vision.
• Artist/artist teams must respond to adjacent artworks.
• Scales of artwork must integrate with the architecture.
• The Project Design Team will ensure that artworks are engineered in accordance with relevant regulations and/or codes.
Opportunities
• Potential to create a meaningful series of artworks responding to the site, city, and the region.
• Artists/artist teams’ designs will respond to and artistically interpret Seattle’s diverse neighborhoods.
• Artwork may include interpretive text
Goals
• Improve the pedestrian experience by creating textural and graphic surfaces that can be interpreted at various distances.
• At loading dock interior wall, create a graphic with visual interest integrated with the adjacent garage doors, but does not encourage the public to enter the dock.
• Embrace the WSCC Addition Art Vision.
BOREN AVENUE / OLIVE WAY / TERRY AVENUE / HOWELL STREET GARAGE DOORS
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RETAIL
EMPLOYEE
ENTRANCE
PARKING
ENTRY
22’
18’ 7”
11’
OLIVE WAY GARAGE DOOR
OLIVE
A1
29
Parking Access on Olive Way
BEACON
BAKERY
BOREN AVE
FLEX HALLSHOP SHOP
PARKING
ENTRY
25’
27’
BOREN AVENUE GARAGE DOOR
A2
30
Parking Access on Boren Avenue
18’
15’
HOWELL STREET LOADING DOCK DOOR
AMENITYSTREET LEVEL USEDAYCARE/
PRESCHOOL
*GARAGE DOOR IS MOST FREQUENTLY IN CLOSED POSITION
STREET LEVEL USE
B1
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Residential Loading Dock on Howell Street
HOWELL ST.
TRUCK STAGING
OFFICELOADING
HO
WE
LL ST.
OL
IVE
WA
Y
BOREN AVE.60’50’
12’ 3”
17’
BOREN AVENUE LOADING DOCK DOOR
Washington State Convention Center 08.03.2017 Studio Matthews 8
Neighborhoods Illustrated - Neighborhoods by PeopleRendering
Washington State Convention Center 08.03.2017 Studio Matthews 8
Neighborhoods Illustrated - Neighborhoods by PeopleRendering
C1
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Truck Ingress Door on Boren Avenue
BOREN AVENUE LOADING DOCK DOOR
C1
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3 Door Opening Positions
• 3-panel sliding door • Panels stack and overlap, providing opportunity for a secondary overlay effect
to be explored by artist/artist team• Panels operated according to scale of traffic--3 panels will not open when just
one is sufficient• Door perforation and interior wall graphic will be developed in tandem, by a
single artist/artist team and should complement one another
20’
16’
40’
26’6”
TERRY AVENUE LOADING DOCK DOOR
LOBBY
STREET LEVEL USE
HO
WE
LL ST.
TERRY AVE.
OL
IVE
WA
Y
C2
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Truck Egress Door on Terry Avenue
Scale: 235 linear feet
Medium: 2D Graphic, Paint
Time Range: Permanent
Public Access: Visible at sidewalks and street
SITE C LOADING DOCK GRAPHIC WALL
C335
Loading Dock Wall between Boren Avenue and Terry Avenue
HOWELL STREET / BOREN AVENUEOFFICE
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Scale: Approximately 550 sf
Medium: Silkscreen or etching on glass
Time Range: Permanent
Public Access: Visible at sidewalks and street
Urban Design Merit Scope
21’ - 0”
Potential Expanded Artist Scope
RETAILRETAILTRUCK RAMP
HOWELL STREET
22’ 8”
HOWELL STREET TRUCK RAMP GLASS WALL
C436
Glass Wall at Truck Ramp on Howell Street
WSCC ADDITION ARTWORKS
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PROCESS FLOW CHART - WSCC Addition Artworks
Potential artwork types and
locations identified by Project Art Advisor and
Collaborating Artist, coordinated
with Project Design Team and
WSCC Operations
Artist or artwork is selected
Artist or artworks approved by
WSCC Board Art Committee and WSCC Board of
Directors
Input from Art Advisors and professional
partners from the art community
Input from Project Art Advisor and
Collaborating Artist
Open Call
Invitation
Direct Acquisition
Gifted Artwork
Loaned Artwork
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WSCC ADDITION ARTWORKS
WSCC Art Advisors
WSCC Board Art Committee
Project Art Team
SELECTION PROCESS
Artworks will be acquired using the following processes:
• Open calls • Invitations • Direct acquisitions • Gifts • Loans
Selection criteria of artists and artworks:
• Artistic excellence • Embrace the WSCC Addition Art Vision • Preference for PNW artists, particularly Seattle, King County and Washington state • Inclusion of established, mid-career and emerging artists • Inclusion of culturally diverse artists • Broad range of media and scale • Suitability for site
All followed with approval by:
• WSCC Board Art Committee • WSCC Board of Directors
Susana Gonzalez-Murillo, Chair
Nicole GrantDenise Moriguchi
Margery Aronson, Project Art Advisor
Cathy McClure, Collaborating Artist
LMN Architects, Project Architects
GGN, Landscape Architects
PSG, Project Manager
Greg Bell, Vulcan Inc. Art Curator
Heather Dwyer, 4Culture
Vicki Halper, Independent Curator
Janae Huber, WA State Arts Commission
Jim McDonald, Grant Makers in the Arts
Deborah Paine, City Office of Arts & Culture
Tim Purtill, Atomic Art Services
Tracey Wickersham, Visit Seattle
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PROCESS TIMELINE - WSCC Addition Artworks
July, 2017CPS purchase includes designation of $4,500,000 for WSCC Addition Artworks and an additional $100,000 for CPS Art presentation
2016/2017Art plan vision and framework established. Project Art Advisor and Collaborating Artist on board. WSCC Art Advisors and WSCC Board Art Committee engaged
Fall, 2017Refinement of opportunities and general locations for artworks. Refinement of Artist-in-Residence program.
Post-start of constructionExecute the plan Building Completion, 2021
Artworks completed and installed prior to building opening
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2D and 3D Artworks throughout Addition
Signature Artworks
CPS Artworks Presentation
Relocated CPS Artworks
Pine Street Sun Garden Artwork
Artworks at Pine Street and Olive Way entrances
Registration Lobby Digital Media
Gifted Artworks
Loaned Artworks
Rotating Art Exhibitions
Artist-in-Residence Studio Space
POTENTIAL LOCATIONS / ARTWORKS - WSCC Addition Artworks
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Scope: A publicly accessible space where artists work and
engage with the community.
GOALS• Design the space for variable usage to connect artists and the art
community with the public in a dynamic way• Special public events–artist talks, etc. Encourage artists to
propose events related to their work.• Artists can exhibit and sell work from the space.• Encourage cross-pollination of ideas. If space allows, consider a
collaborative residency, which could involve multiple artists.• Collaborate with community partners including Pratt, Cornish,
MadArt, UW and others.• Preference for artists from Seattle, King County, and Washington
state.
Time Range: Multiple residencies, year-round
Public Access: 400-800sf of artist studio space located
in the 9th Avenue Market
9th AVENUE MARKET ARTIST-IN-RESIDENCE PROGRAM
Proposed Artist in Residence Studio Space located within 9th Avenue Market
John Grade Middle Fork at MadArt, South Lake Union, Seattle, WAZha Sai printmaking demonstration at Pratt Fine Arts Center, Seattle, WA
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Scale: 10’ to 60’ x 30’ wall display
Time Range: Permanent
Public Access: Located in high-profile, public area at 9th Avenue Market entry visible from sidewalk
Scope: 7 relocated works
Medium: 5 cast metal tree grates, 2 inlaid profiles. Street tree
selection changed to correspond to tree grates.
Time Range: Permanent
Public Access: Exterior access at 9th Avenue
9TH AVENUE MARKET CPS ARTWORK PRESENTATION | RELOCATED CPS ARTWORKSART PROGRAM9TH AVE - DEACCESSIONED CPS ART INCORPORATION
9TH AVENUE
dESCRiPTiOn OF ExiSTinG aRTThe Tree Grate Museum, Garth Edwards, Maren Hassinger, Virginia Paquette, Susan Point and Dyan Rey, (plaque design by Jack Mackie), cast ironNinth Avenue streetscape
layout location 4
Five varieties of trees – Norway Maple, Little Leaf Linden, Northern Red Oak, Zelkova and Ginko – were originally planted in a small grove at the station, and these species were also planted along alternating streetscapes throughout the city – marking the alignment of the tunnel. Each tree was surrounded with a five-foot square, artist-designed tree grate. This artwork marked a unique collabo-ration between visual artists and a custom manufacturer. Urban Accessories fabricated the custom designs and ultimately offered the tree grates through its catalogue to other developers in the city. Various configurations of the custom tree grates show up at all of the Seattle Transit Tunnel stations. Susan Point’s grates were also used at the football/soccer stadium development. The Tree Grate Mu-seum at Convention Place Station is the only place to see all five designs together. Plaques, designed by lead artist Jack Mackie, are located at each grate and show the name of the artist, the tree species, the tree profile and leaf shape and note the location of the tree along the tunnel route.
CuRREnT COndiTiOn OF THE aRTwORKThe cast iron grates and plaques that remain on site are in good condition, but have acquired a patina of age and need cleaning. Three of the tree grate varieties are missing: Norway Maple, Little Leaf Linden and Northern Red Oak. The grates for Zelkova (by Virgina Paquette) and Ginko (by Dyan Rey) and the plaques for all five varieties (by Jack Mackie) remain in place. In addition to the Tree Grate Museum, artist-designed tree grates by Virginia Paquette also sur-rounded five Zelkova trees planted along Pine Street. These grates have been removed by 4Culture and are stored in a County warehouse.
REPORT COMMuNiTY & COllabORaTiON: The investment in Public artwork at Convention Place Station | 10
aRTiST biOSGarth Edwards has been making public artwork since his first project for the Oregon Arts Commis-sion in 1975. His public projects now number over 50 and are located in 10 states. The artist lives in Seattle, Washington. He is a past recipient of a Na-tional Endowment for the Arts Artists Fellowship for his work in contemporary glass.
Virginia Paquette has a graduate degree in painting from the University of Washington and has worked and exhibited internationally. Winner of numerous public art commissions, Ms. Paquette’s artwork is incorporated into the halls of the Issaquah District Court, the new Redmond campus of Lake Washing-ton Technical College and the Weatherwax High School in Aberdeen, WA. She continues to explore new media forms and develop performance-instal-lations with her husband, clarinetist and composer William O. Smith (Bill Smith). The artist lives in Se-attle, Washington.
Susan Point is a descendant of the Musqueam peo-ple. Ms. Point has used her artistic practice to create a greater awareness of the heritage and artforms of the Coast Salish peoples while continuing to expand the vocabulary of those traditional forms in a con-temporary direction. An Officer of the Order of Can-ada, she has been presented with the Queen Eliza-beth II Diamond Jubilee Medal for her contributions to the country. She has been recognized with numer-ous other awards including lifetime appointment to the Royal Canadian Academy of Arts and a desig-nation as one of B.C’s 100 most influential women. Ms. Point has Honorary Doctorates from the Univer-sity of Victoria, Simon Fraser University, University of B.C. and Emily Carr University of Art and Design. She lives in Vancouver, British Columbia.
Dyan Rey has exhibited her artwork both locally and nationally for over 25 years in many solo shows and group exhibitions. Her works are held in private and public collections including Microsoft Corporation, SAFECO Insurance Company, Tacoma Art Museum, City of Seattle, and the Washington State Arts Col-lection. The artist lives in Grand Forks, North Dakota.
| 9KinG COunTy PERCEnT FOR aRT
dESCRiPTiOn OF ExiSTinG aRTThe Tree Grate Museum, Garth Edwards, Maren Hassinger, Virginia Paquette, Susan Point and Dyan Rey, (plaque design by Jack Mackie), cast ironNinth Avenue streetscape
layout location 4
Five varieties of trees – Norway Maple, Little Leaf Linden, Northern Red Oak, Zelkova and Ginko – were originally planted in a small grove at the station, and these species were also planted along alternating streetscapes throughout the city – marking the alignment of the tunnel. Each tree was surrounded with a five-foot square, artist-designed tree grate. This artwork marked a unique collabo-ration between visual artists and a custom manufacturer. Urban Accessories fabricated the custom designs and ultimately offered the tree grates through its catalogue to other developers in the city. Various configurations of the custom tree grates show up at all of the Seattle Transit Tunnel stations. Susan Point’s grates were also used at the football/soccer stadium development. The Tree Grate Mu-seum at Convention Place Station is the only place to see all five designs together. Plaques, designed by lead artist Jack Mackie, are located at each grate and show the name of the artist, the tree species, the tree profile and leaf shape and note the location of the tree along the tunnel route.
CuRREnT COndiTiOn OF THE aRTwORKThe cast iron grates and plaques that remain on site are in good condition, but have acquired a patina of age and need cleaning. Three of the tree grate varieties are missing: Norway Maple, Little Leaf Linden and Northern Red Oak. The grates for Zelkova (by Virgina Paquette) and Ginko (by Dyan Rey) and the plaques for all five varieties (by Jack Mackie) remain in place. In addition to the Tree Grate Museum, artist-designed tree grates by Virginia Paquette also sur-rounded five Zelkova trees planted along Pine Street. These grates have been removed by 4Culture and are stored in a County warehouse.
REPORT COMMuNiTY & COllabORaTiON: The investment in Public artwork at Convention Place Station | 10
aRTiST biOSGarth Edwards has been making public artwork since his first project for the Oregon Arts Commis-sion in 1975. His public projects now number over 50 and are located in 10 states. The artist lives in Seattle, Washington. He is a past recipient of a Na-tional Endowment for the Arts Artists Fellowship for his work in contemporary glass.
Virginia Paquette has a graduate degree in painting from the University of Washington and has worked and exhibited internationally. Winner of numerous public art commissions, Ms. Paquette’s artwork is incorporated into the halls of the Issaquah District Court, the new Redmond campus of Lake Washing-ton Technical College and the Weatherwax High School in Aberdeen, WA. She continues to explore new media forms and develop performance-instal-lations with her husband, clarinetist and composer William O. Smith (Bill Smith). The artist lives in Se-attle, Washington.
Susan Point is a descendant of the Musqueam peo-ple. Ms. Point has used her artistic practice to create a greater awareness of the heritage and artforms of the Coast Salish peoples while continuing to expand the vocabulary of those traditional forms in a con-temporary direction. An Officer of the Order of Can-ada, she has been presented with the Queen Eliza-beth II Diamond Jubilee Medal for her contributions to the country. She has been recognized with numer-ous other awards including lifetime appointment to the Royal Canadian Academy of Arts and a desig-nation as one of B.C’s 100 most influential women. Ms. Point has Honorary Doctorates from the Univer-sity of Victoria, Simon Fraser University, University of B.C. and Emily Carr University of Art and Design. She lives in Vancouver, British Columbia.
Dyan Rey has exhibited her artwork both locally and nationally for over 25 years in many solo shows and group exhibitions. Her works are held in private and public collections including Microsoft Corporation, SAFECO Insurance Company, Tacoma Art Museum, City of Seattle, and the Washington State Arts Col-lection. The artist lives in Grand Forks, North Dakota.
| 9KinG COunTy PERCEnT FOR aRT
dESCRiPTiOn OF ExiSTinG aRTThe Tree Grate Museum, Garth Edwards, Maren Hassinger, Virginia Paquette, Susan Point and Dyan Rey, (plaque design by Jack Mackie), cast ironNinth Avenue streetscape
layout location 4
Five varieties of trees – Norway Maple, Little Leaf Linden, Northern Red Oak, Zelkova and Ginko – were originally planted in a small grove at the station, and these species were also planted along alternating streetscapes throughout the city – marking the alignment of the tunnel. Each tree was surrounded with a five-foot square, artist-designed tree grate. This artwork marked a unique collabo-ration between visual artists and a custom manufacturer. Urban Accessories fabricated the custom designs and ultimately offered the tree grates through its catalogue to other developers in the city. Various configurations of the custom tree grates show up at all of the Seattle Transit Tunnel stations. Susan Point’s grates were also used at the football/soccer stadium development. The Tree Grate Mu-seum at Convention Place Station is the only place to see all five designs together. Plaques, designed by lead artist Jack Mackie, are located at each grate and show the name of the artist, the tree species, the tree profile and leaf shape and note the location of the tree along the tunnel route.
CuRREnT COndiTiOn OF THE aRTwORKThe cast iron grates and plaques that remain on site are in good condition, but have acquired a patina of age and need cleaning. Three of the tree grate varieties are missing: Norway Maple, Little Leaf Linden and Northern Red Oak. The grates for Zelkova (by Virgina Paquette) and Ginko (by Dyan Rey) and the plaques for all five varieties (by Jack Mackie) remain in place. In addition to the Tree Grate Museum, artist-designed tree grates by Virginia Paquette also sur-rounded five Zelkova trees planted along Pine Street. These grates have been removed by 4Culture and are stored in a County warehouse.
REPORT COMMuNiTY & COllabORaTiON: The investment in Public artwork at Convention Place Station | 10
aRTiST biOSGarth Edwards has been making public artwork since his first project for the Oregon Arts Commis-sion in 1975. His public projects now number over 50 and are located in 10 states. The artist lives in Seattle, Washington. He is a past recipient of a Na-tional Endowment for the Arts Artists Fellowship for his work in contemporary glass.
Virginia Paquette has a graduate degree in painting from the University of Washington and has worked and exhibited internationally. Winner of numerous public art commissions, Ms. Paquette’s artwork is incorporated into the halls of the Issaquah District Court, the new Redmond campus of Lake Washing-ton Technical College and the Weatherwax High School in Aberdeen, WA. She continues to explore new media forms and develop performance-instal-lations with her husband, clarinetist and composer William O. Smith (Bill Smith). The artist lives in Se-attle, Washington.
Susan Point is a descendant of the Musqueam peo-ple. Ms. Point has used her artistic practice to create a greater awareness of the heritage and artforms of the Coast Salish peoples while continuing to expand the vocabulary of those traditional forms in a con-temporary direction. An Officer of the Order of Can-ada, she has been presented with the Queen Eliza-beth II Diamond Jubilee Medal for her contributions to the country. She has been recognized with numer-ous other awards including lifetime appointment to the Royal Canadian Academy of Arts and a desig-nation as one of B.C’s 100 most influential women. Ms. Point has Honorary Doctorates from the Univer-sity of Victoria, Simon Fraser University, University of B.C. and Emily Carr University of Art and Design. She lives in Vancouver, British Columbia.
Dyan Rey has exhibited her artwork both locally and nationally for over 25 years in many solo shows and group exhibitions. Her works are held in private and public collections including Microsoft Corporation, SAFECO Insurance Company, Tacoma Art Museum, City of Seattle, and the Washington State Arts Col-lection. The artist lives in Grand Forks, North Dakota.
| 9KinG COunTy PERCEnT FOR aRT
dESCRiPTiOn OF ExiSTinG aRTThe Tree Grate Museum, Garth Edwards, Maren Hassinger, Virginia Paquette, Susan Point and Dyan Rey, (plaque design by Jack Mackie), cast ironNinth Avenue streetscape
layout location 4
Five varieties of trees – Norway Maple, Little Leaf Linden, Northern Red Oak, Zelkova and Ginko – were originally planted in a small grove at the station, and these species were also planted along alternating streetscapes throughout the city – marking the alignment of the tunnel. Each tree was surrounded with a five-foot square, artist-designed tree grate. This artwork marked a unique collabo-ration between visual artists and a custom manufacturer. Urban Accessories fabricated the custom designs and ultimately offered the tree grates through its catalogue to other developers in the city. Various configurations of the custom tree grates show up at all of the Seattle Transit Tunnel stations. Susan Point’s grates were also used at the football/soccer stadium development. The Tree Grate Mu-seum at Convention Place Station is the only place to see all five designs together. Plaques, designed by lead artist Jack Mackie, are located at each grate and show the name of the artist, the tree species, the tree profile and leaf shape and note the location of the tree along the tunnel route.
CuRREnT COndiTiOn OF THE aRTwORKThe cast iron grates and plaques that remain on site are in good condition, but have acquired a patina of age and need cleaning. Three of the tree grate varieties are missing: Norway Maple, Little Leaf Linden and Northern Red Oak. The grates for Zelkova (by Virgina Paquette) and Ginko (by Dyan Rey) and the plaques for all five varieties (by Jack Mackie) remain in place. In addition to the Tree Grate Museum, artist-designed tree grates by Virginia Paquette also sur-rounded five Zelkova trees planted along Pine Street. These grates have been removed by 4Culture and are stored in a County warehouse.
REPORT COMMuNiTY & COllabORaTiON: The investment in Public artwork at Convention Place Station | 10
aRTiST biOSGarth Edwards has been making public artwork since his first project for the Oregon Arts Commis-sion in 1975. His public projects now number over 50 and are located in 10 states. The artist lives in Seattle, Washington. He is a past recipient of a Na-tional Endowment for the Arts Artists Fellowship for his work in contemporary glass.
Virginia Paquette has a graduate degree in painting from the University of Washington and has worked and exhibited internationally. Winner of numerous public art commissions, Ms. Paquette’s artwork is incorporated into the halls of the Issaquah District Court, the new Redmond campus of Lake Washing-ton Technical College and the Weatherwax High School in Aberdeen, WA. She continues to explore new media forms and develop performance-instal-lations with her husband, clarinetist and composer William O. Smith (Bill Smith). The artist lives in Se-attle, Washington.
Susan Point is a descendant of the Musqueam peo-ple. Ms. Point has used her artistic practice to create a greater awareness of the heritage and artforms of the Coast Salish peoples while continuing to expand the vocabulary of those traditional forms in a con-temporary direction. An Officer of the Order of Can-ada, she has been presented with the Queen Eliza-beth II Diamond Jubilee Medal for her contributions to the country. She has been recognized with numer-ous other awards including lifetime appointment to the Royal Canadian Academy of Arts and a desig-nation as one of B.C’s 100 most influential women. Ms. Point has Honorary Doctorates from the Univer-sity of Victoria, Simon Fraser University, University of B.C. and Emily Carr University of Art and Design. She lives in Vancouver, British Columbia.
Dyan Rey has exhibited her artwork both locally and nationally for over 25 years in many solo shows and group exhibitions. Her works are held in private and public collections including Microsoft Corporation, SAFECO Insurance Company, Tacoma Art Museum, City of Seattle, and the Washington State Arts Col-lection. The artist lives in Grand Forks, North Dakota.
| 9KinG COunTy PERCEnT FOR aRT
Existing CPS art to be incorporated in 9th Avenue streetscape:
The Tree Grate Museum, Garth Edwards, Maren Hassinger, Virginia Paquette, Susan Point and Dyan Rey, (plaque design by Jack Mackie), cast iron, 5 total
Traveling Stories, Kate Ericson and Mel Ziegler, cut and sand-blasted granite
FLEX SPACE
DISPLAY AREA
843
Scale: 550 linear feet
Medium: Digital media presentations
Time Range: Variable, between convention events
Public Access: Visible from public Mixing Zone,
Registration Lobby, and Pine Street sidewalk
Areas from which Digital Media Presentations are visible by the pubic
Area of Digital Media Presentations
REGISTRATION LOBBY DIGITAL MEDIA PRESENTATIONS
44
Surrounded by water and mountains, Seattle is a place with incomparable
natural beauty among the finest urban centers in the world. It is a former
frontier town with a bright future, a rapidly growing metropolis with diverse
and eclectic businesses, where arts and culture thrive and are integrated into
the fabric of its varied and colorful neighborhoods.
Drawing inspiration from the region’s unique cultures and artistic expressions,
the WSCC Addition art program will offer opportunities for creative place
making by artists which will enrich and enliven the area, encouraging a
dialogue and an exchange of ideas where distinctive neighborhoods intersect.
With the Northwest’s exceptional natural and urban environments as their
foundation and context, working as “translators,” artists from the Pacific
Northwest, including Washington, Oregon, Idaho and British Columbia, will
share creative visions drawn from these surroundings.
WSCC ADDITION ART VISION
45