Public Art Guidelines for Private Development Projects
GeneralThese guidelines are intended to assist developers, art consultants, artists, landscape architects and others in the planning of public art projects, and the selection and siting of public art in private developments which are undergoing a rezoning, development permit, subdivision, or building permit application review process.
Procedures
It is intended that applicants discuss Public Art Program objectives and requirements with City staff prior to or during the course of the development application process (i.e. rezoning, Development Permit, etc.) in order to determine the preferred strategy for satisfying site specific development and Public Art Program objectives.
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3.1 STRATEGIES FOR PRIVATE SECTOR CONTRIBUTIONS | |||
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3.1.1 City Decision-Making | |||
| a) | City decision-making within the guideline based public art program will be made by City Council, or the Urban Development Administrator, or his/her designate (e.g., Coordinator, Richmond Public Art Program, Approving Officer, or Manager, Building Approvals), as the case maybe. | ||
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3.1.2 Form of Contribution | |||
| a) | Contributions to the Public Art Reserve should be made based on the development's public art budget (e.g., see Section 3.3, Private Sector Public Art Budgets below), as determined by staff in discussion with the applicant; and/or | ||
| b) | Development applicants should support the public art program by contributing either:
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| c) | Where funds are to be contributed by the applicant, it may be provided and secured in mutually agreed upon manner (e.g., cheque, letter of credit); | ||
| d) | The designation of public art siting location(s) (as required for current and/or future installations) should be indicated on the appropriate document (e.g., Development Permit and Building Permit drawings) to the satisfaction of the Urban Development Administrator or his/her designate (see Public Art Siting). | ||
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3.1.3 Timing of Contribution | |||
| a) | Applicants will be notified of the public art program contribution details at the earliest possible time in the development review process (e.g., at the rezoning, Development Permit, subdivision or Building Permit stage); | ||
| b) | Staff will work with the applicant to secure the applicant's public art contribution at the earliest practical time (e.g., prior to the issuance of the Development Permit, rather than at the Building Permit stage); | ||
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3.1.4 Public Art Siting | |||
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Locations designated for the installation (current or future) of public art projects should meet the following criteria: | |||
| a) | Visibility for pedestrians and/or motorists; | ||
| b) | Proximity to high pedestrian activity areas (e.g. active retail areas), transit stops (especially those serving high ridership routes), places of public gathering, public open spaces, and recognized pedestrian routes; | ||
| c) | Opportunities to expand on existing or future public artworks as part of an existing or proposed multi-artwork concept; and | ||
| d) | Places of special heritage or community significance. | ||
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3.2 FLAT RATE | |||
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3.2.1 Flat Rate Percentage | |||
| The Flat Rate Percentage for private sector public art projects is 0.5% of the estimated total project development cost. (This is also called the project's public art budget.) | |||
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3.2.2 Review | |||
| The rate may be reviewed periodically. | |||
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3.3 PRIVATE SECTOR PUBLIC ART BUDGETS | |||
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3.3.1 Residential & Non-Residential Uses | |||
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Private public art program budgets are to be prepared by applicants and calculated for all eligible development projects at a rate of 0.5% of the estimated development cost as calculated at the time of the application, to be applied: | |||
| a) | For residential uses containing 20 or more units; and | ||
| b) | For non-residential uses with a total floor area of 2,000 m2 (21,528.5 ft2) or greater. | ||
| 3.3.2 Excluded Uses | |||
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For the purpose of calculating public art budgets, the following uses should be excluded: | |||
| a) | Public amenity spaces, care facility, congregate care facility, childcare facility, hospital, health care, school uses, and related uses as defined under the Zoning and Development Bylaw No. 5300; | ||
| b) | Purpose-built rental, social and/or affordable housing projects and/or units; | ||
| c) | Parking, storage, and utility areas, except where they are a primary use; and | ||
| d) | Industrial developments focusing on warehouse and storage uses. | ||
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3.3.3 Ineligible Items for Private Sector Public Art Budgets | |||
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Ineligible items for the application of private sector public art budgets should include: | |||
| a) | Maintenance costs for artwork(s) situated on private property; | ||
| b) | Artwork not provided in accordance with the "Richmond Public Art Program, Policy Plan, and Implementation Actions"; and | ||
| c) | Costs not directly related to selecting, designing, fabricating, or installing artwork(s). | ||
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3.4. ELIGIBILITY CRITERIA | |||
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Anyone involved in the development project team (e.g. architect, landscape architect, engineer) should not apply to be the artist as defined below. | |||
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3.5 DEFINITIONS | |||
| Artwork | Artist creations or collaborations in any medium, for example: sculpture, ceramic, glass, film, video, fabric, engineering work, architecture, painting, environment, landscape, photography, etc. | ||
| Artist as Maker | As creator, the artist is a catalyst and manager of a creative process resulting a finished product. This product may be transitory, or permanent in response to physical and/or social, historical and conceptual issues. | ||
| Artist as Jury or Selection Panel Member | The artist as jury or selection panel member must have an art education or apprenticing background in art making, through which a knowledge of aesthetics and technical processes would benefit a final product. Where education is undocumented, recognition by professionals in the field is essential. The artist must have had practical experience in the creation of artwork. | ||
| Art Consultant | An advisor to the developer on art siting, selection, and artist issues. Consultants should have a broad knowledge of current art-making practices and of artists able to work in public and development contexts. | ||
| Public Art Reserve | The City fund which reserves funds from public and private sources for Public Art Program purposes. | ||
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3.6 EFFECTIVE DATE | |||
| The Strategies for Private Sector Contributions to Public Art become effective on the date of this section be endorsed by City Council. | |||
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4.1 PUBLIC ART CONSULTANT | ||
| a) | Applicants for new development should identify a public art consultant to facilitate the public art process. Hiring a consultant experienced in public art is the best assurance of implementing a successful public art program. The consultant should be responsible for all aspects of the public art process, from consultation with City staff to art documentation. | |
| b) | In the case of a rezoning and/or development application, the selection of sites, artists and artworks are decided by the City and Public Art Commission and/or developer with the advice of a consultant. The consultant can advise on artist opportunities; artist resources; art and site compatibility; and on technical aspects (project viability, installation, maintenance, artists' copyright and moral rights). | |
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4.2 PUBLIC ART PLAN | ||
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The public art consultant will meet with City staff to review Public Art Program goals and advise on steps and stages of the public art process and preparation of the Public Art Plan. The Public Art Plan consists of three steps:
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4.3 RICHMOND PUBLIC ART COMMISSION | ||
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The Richmond Public Art Commission will review the Public Art Plan for proposed method of artist participation, terms of reference for artist and site selection; budget allocations to site(s); and the public consultation or participation process. The Commission will assign a subcommittee (usually three members) to each project, to enable quick and focused response to the Plan. The Commission's final recommendation will be presented for Council's consideration, if required. | ||
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4.4 LOCATION | ||
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Artwork must be located in areas offering the public a free and unobstructed experience of the work, with preference given to areas providing the greatest opportunities for interaction. Given these criteria indoor areas are usually unsuitable, but if sited indoors, the artwork must offer the general public a free and uninhibited experience during normal business hours. | ||
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4.5 MAINTENANCE | ||
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Artwork must remain accessible at no cost to the public and be maintained in good repair for the life of the development. In the event the artwork is damaged beyond repair, or becomes ineffective for reasons other than the owner's failure to maintain it, or in the event the work becomes an unreasonable burden to maintain, application to allow its removal or relocation may be made to the Commission. | ||
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4.6 ART DOCUMENTATION | ||
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The following documentation must be filed with the City at the completion of the public art project: | ||
| a) | Biographical details of the artist(s) | |
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Artist statement and specifications of the artwork | |
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Six good quality slides and four black and white prints showing the artwork in context and close-up | |
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Other related materials as needed to reveal the artwork and/or artist intentions (e.g. film, video clips, book works, etc.) | |
| e) | A copy of the artists maintenance plan | |
