►
From YouTube: National Building Museum: Considering Public Art
Description
Washington Project for the Arts, in collaboration with Arlington Public Art, presented this participatory lecture as part of their 2012-2013 Professional Practices series, for artists and project sponsors interested in sharpening their skills preparing for public art commissions. St. Louis-based artist and Washington University Sam Fox School of Architecture Professor Ben Fehrmann, who recently completed a public artwork ballston*substation in Arlington County, presented Where to Start: Site Analysis and Design Thinking for Public Art. In this talk, Fehrmann discusses what it takes to begin a public work and the processes taken and mindsets engaged when diving into the realm of public art. Fehrmann was introduced by Scott Kratz, Vice President for Education, National Building Museum; Lisa Gold, Executive Director, Washington Project for the Arts; and Angela Adams, Arlington County Public Art Administrator. For more info on Arlington Public Art see http://arlingtonarts.org/cultural-affairs/public-art-in-arlington.aspx
A
Good
afternoon,
everyone
welcome
to
the
national
building
museum.
My
name
is
scott
kratz,
I'm
the
vice
president
for
education
here
at
the
museum.
It's
a
pleasure
to
welcome
you
today's
event
for
those
of
you
who
are
joining
us
for
the
first
time.
Let
me
just
say
a
couple
words
about
the
national
building
museum.
A
We
were
we're
a
private
institution,
but
we
were
founded
by
an
act
of
congress.
The
museum
advances
the
quality
of
the
built
environment
by
educating
people
about
its
impact
on
people's
lives.
We
do
that
through
programs
such
as
this
afternoons,
please
come
on
in
I'm
just
starting
in
meshech,
I'm
getting
a
little
bit
of
a
feedback
a
little
there.
We
go
through
our
family
and
youth
and
outreach
programs
and
through
programs
such
as
this
afternoons.
A
Our
program
today,
where
to
start
site,
analysis
and
design
thinking
for
public
art
is
in
partnership
with
the
washington
project
for
the
arts
in
arlington
public
art.
Today's
topic
is
particularly
intriguing,
as
cities
are
increasingly
defined
by
their
public
realm.
Think
of
new
york's
highline
project
that
work
to
redesign
spaces
led
by
the
trust
for
the
national
mall
or
even
ideas,
to
transform
the
spaces
under
dupont
circle
here
locally.
A
Just
last
week
we
had
the
firm
west
8
discussing
their
amazing
designs
for
the
miami
beach
soundscape
in
governor's
island.
The
this
exploration
continues
with
two
programs
coming
up
over
the
next
couple
weeks.
On
monday
october,
29th
we'll
hold
a
panel
examining
plans
to
redeck
over
the
395
freeway,
just
a
few
blocks
east
of
here
the
to
stitch
together
lawn
fawn's
original
plan
for
the
city
and
on
tuesday
october
30th
will
feature
the
madrid-based
firm
abelos
sent
kewitz
in
partnership
with
the
embassy
of
spain.
A
A
We
look
forward
to
future
collaborations
with
wpa
and
arlington's
public
art,
as
one
of
the
things
that
makes
this
museum
unique.
Is
that
we
take
an
interdisciplinary
examination
into
the
built
environment,
including
planning,
art,
landscape
architecture,
construction,
design
and
many
other
fields?
With
that,
let
me
introduce
two
folks
that
will
then
in
turn
introduce
our
panelists
lisa
gold.
The
executive
director
at
washington
project
for
the
arts
will
be
followed
by
angela
anderson
adams,
public
art
administrator
at
arlington
economic
development,
lisa.
B
I
don't
know
how
I
guess
most
of
you
are
familiar
with
wpa,
but
we
do
a
lot
of
work
to
support
contemporary
artists
and
art
in
the
region
and
as
well
as
presenting
exhibitions,
we
do
a
lot
of
support
workshops
and
things
to
help
artists
better
their
practice.
So,
in
keeping
with
that,
we
have
another
workshop
coming
up
in
november,
8th
on
cataloging
your
work
and
estate
planning
so
best
practices
for
cataloging
your
work.
B
B
B
Sorry
we
have
an
exhibition
opening
this
thursday
night,
the
25th
at
the
art,
museum
of
the
americas,
and
it's
called
the
ripple
effect
and
it's
an
exhibition
about
social
justice,
social
practice,
and
there
are
a
lot
of
projects
there,
where
artists
directly
engage
with
the
community
in
a
form
of
public
art
and
working
with
the
community,
and
I
think
it's
really
an
inspirational
exhibition,
local
artist
and
international
artist.
So
I
hope
you'll
come
out
and
check
it
out
on
thursday
from
six
to
eight
at
the
national
building
museum.
B
C
C
It's
really
been
it's
an
honor
to
be
here
and
it's
honored
to
be
presenting
one
of
our
programs
who,
I
believe,
really
is
best
presented
here.
Arlington
public
art
began
in
the
late
70s
as
a
development
proffer
program,
we've
grown
we've
formalized
in
2000,
where
we
were
able
to
get
a
public
art
policy
passed
by
our
county
board.
2004,
we
wrote
a
master
plan.
We
actually
helped
coach
dc
to
write
a
master
plan.
C
C
We
were
delighted
to
talk
dominion
virginia
power
about
six
years
ago
into
supporting
this
project
that
you're
going
to
see
presented
today
and
even
more
delighted
to
find
ben
fairman.
Who
is
a
bit
unusual
for
the
field
of
public
art?
He
was
a
practicing
architect
for
12
years
and
made
a
very,
I
think,
very.
C
C
He
also
continues
to
teach
architecture
as
a
senior
lecturer
at
the
you
know,
washington,
university
in
st
louis,
but
I
I
really
do
believe
that
public
art
is
as
much
about
civic
design
as
it
is
about
art
and
I'm
hoping
that
the
the
outcome
of
this
program
is
that
those
of
you
who
are
artists-
or
those
of
you
who
are
design
professionals,
will
learn
a
little
bit
more
about
the
other
side
and
how
important
it
is
to
bring
that
that
group
of
skill
sets
to
any
public
art
project.
You
would
ever
attempt.
C
D
Thank
you,
scott
lisa,
angela.
I
have
nothing
to
plug
today,
so
I
will
just
get
straight
to
the
program.
First,
thank
you
all
for
being
here.
I
know
you
have
much
nicer
environments
to
be
in
outdoors
and
to
be
here.
Well,
I
don't
understand
your
choice,
but
it's.
It
would
be
weird
without
you
here.
So
the
stated
purpose
of
this
talk
was
site,
analysis
and
design.
D
D
D
So
the
thing
you
start
with
in
a
building
project
is
that
you
kind
of
know
you're
going
to
make
a
building
which
makes
this
quite
a
lot
simpler
in
art.
We
don't
really
know
what
we're
going
to
do.
Maybe
that's
why
I
don't
design
a
lot
of
buildings
anymore.
Maybe
it's
because
no
one's
asking
so
let's
see
this
project
to
give
you
an
idea
of
where
I
started.
This
was
the
first
thing
I
ever
did
when
I
was
a
professional
and
I
wasn't
supposed
to
be
working
on
it.
D
D
The
first
things
they
went
into
with
were
summarily
rejected
by
the
city
architect
as
not
architectural
enough.
So
I
was
sitting
there
picking
up
red
lines
of
you,
know,
door,
details
and
whatnot,
and
I
watched
everybody
else
in
the
office
having
a
really
good
time,
trying
to
design
a
garage
that
was
going
to
live
up
to
the
city
architect's
expectations.
D
But
what
I
saw
was
everybody
doing
their
best
to
design
garages
that
looked
nothing
like
garages.
It
was.
There
was
one
that
was
a
village
one
that
looked
like
a
row
of
books
because
there
was
a
library
it
was.
You
know
some
of
the
strangest
stuff
I'd
seen
since
1980,
and
so
I
just
took
it
upon
myself
to
say
what
happens
if
you
make
a
garage,
that's
more
like
a
garage
than
any
other
garage
in
history,
and
what
you
see
here
is
the
outcome
of
that
research.
D
The
garage
have
one
thousand
one
hundred
and
twenty
eight
spaces.
I
just
divided
the
facade
into
1128
rectangles
and
then,
let's
see
made
it
so
that
every
time
a
car
pulled
in
one
of
them
opened-
and
this
was
you
know-
that's
not
a
very
sophisticated
thing,
but
it
had
this
magical
effect
that,
as
people
occupied
the
thing,
it
communicated
something
about
how
it
was
being
used
back
to
the
city
and
the
problem
was.
I
had
no
idea
where
the
hell
this
came
from.
D
At
one
point,
the
operator
of
the
garage
said:
well,
I'm
not
going
to
operate
a
garage
with
moving
parts,
and
so
they
said
we'll
just
make
them
fixed
in
a
pattern,
and
I
said
well
that
that's
not
good,
but
I
couldn't
tell
them
why
it
wasn't
good,
and
so
after
this,
this
project
haunted
me
for
the
better
part
of
a
decade,
because
it
was
something
magical
had
happened.
I
think-
and
I
didn't
understand
exactly
where
it
came
from,
and
I
didn't
understand
how
to
do
it
again.
D
So
I
began
to
dissect
it
and
really
think
about
what
it
was
that
I
had
done
here
and
what
about
it
was
magical
and
what
could
I
repeat
and
in
simplest
terms,
it
was
just
that
I
took
something
that
was
happening
and
made
it
visible,
which
again
I
thought
boy,
that's
something
I
can
do.
But
how
do
I
communicate
the
importance
of
that
to
someone
else
so
that
they
want
to
do
it
too,
because
you
know
architecture,
we've
got
these
things
are
expensive.
You
know
I
can't
pay
for
this
out
of
my
pocket.
D
So
what
you
know
I
took
away
from
this
that
you
know
I
needed
to
develop
mechanisms
to
start
that
were
going
to
get
me
somewhere
and
but
more
importantly,
that
would
I
could
share
with
someone
what
it
is.
Why
we're
there
and
why
we
make
the
choices
we
make,
and
so
today,
I'm
going
to
show
you
an
architecture
project
that
I
did
really
my
swan
song
as
an
architect
and
a
public
art
project.
D
So
the
first
project
is
a
headquarters
for
a
company
called
novus
international,
and
what
you
see
here
in
this
very
uninspiring
landscape
of
a
corporate
office
park
in
saint
charles
missouri,
is
a
research
building
that
they
had
built.
The
new
ceo
of
the
company
wanted
all
the
people
who
work
in
the
corporate
side
and
the
research
side
to
be
together
in
one
place.
Well,
the
corporate
offices
were
about
12
miles
further
east
or
off
the
right
side
of
the
slide
and
the
research
people
were
out
here.
D
The
corporate
offices
were
in
a
really
nice
environment
that
everybody
liked,
and
so
he
said,
let's
move
the
research
facility
over
to
where
we
are
here,
and
it
turned
out
that
was
extraordinarily
expensive,
that
people
and
desks
are
cheaper
to
move
than
all
this
lab
equipment
so
quickly.
The
project
changed
to
relocating
the
corporate
office.
D
Well,
you
have
to
have
access
to
light
and
you
need
to
be
able
to
open
the
windows,
particularly
for
platinum.
These
white
stacks
you
see
coming
out
of
the
top
they're.
Not
you
know
there
aren't
roses
underneath
them,
so
we
need
to
consider
lots
of
things
and
also
you
know,
to
create
a
quality
environment
for
people.
D
D
So
the
reason
I
was
hired
away
from
hok
to
design
this
building
is
that
my
predecessor
produced
this
diagram
that
apparently
he
thought
explained
everything
you
needed
to
know
about
the
land
you'll
see
that
the
noise
from
highway
traffic
is,
I
don't
know
what
that
symbol
is,
but
that
for
future
reference
means
noise
from
highway
traffic.
You
know
summer
breezes
and
the
sun's
in
the
sky.
To
me,
this
just
said
this:
this
is
a
place
that
exists
on
earth
and
and
what
we
take
from
that
is
really
nothing
vis-a-vis.
D
D
The
fact
is,
we
would
have
had
to
launch
a
camera
four
and
a
half
million
years
ago
and
who
knows
what
it's
going
to
encounter
on
its
way
out
of
the
galaxy
and
we'd
wait:
another
four
and
a
half
million
years
for
the
picture
to
get
back.
The
fact
is,
we
put
this
together
by
assembling
discrete
pieces
of
information
and
understanding
how
they
relate
to
each
other,
it's
incredibly
complex,
but
by
going
through
it
methodically,
we
can
in
fact
understand
something
about
where
we
are
so.
I
started
over
which
pleased
everyone
again.
D
D
We
need
to
know
how
big
a
problem
that
water
is
and
how
much
there
is
and
when
it
falls
because
we're
going
to
be
treating
that
storm
water
with
plants.
So
I
need
to
know
when
we're
going
to
have
more
rain,
so
I
can
make
sure
we've
got
the
right
plants
and
you
know
things
of
that
nature.
I
need
to
know
where
the
trees
are
and
what's
better,
to
look
at
it's.
D
D
We
need
to
be
prepared
for
this
wind,
but
we
do
have
predominant
directions,
and
we
can
see
here
that
the
you
know
from
the
south
and
south
west
is
where
our
primary
winds
are
in
the
seasons
when
you
want
to
be
opening
the
windows.
Anyway,
all
those
data
points
are
really
easy
to
collect
at
a
scale.
That's
sufficient,
I
think
more
than
sufficient
for
design
for
constructing
a
building.
D
You
need
a
lot
more
information
about
soils
and
and
winds
and
specific
energy
data
points,
but
really
what
was
important
for
locating
the
building
was
just
understanding
the
big
picture
of
how
those
things
interacted
with
one
another.
So
I
don't
know
can
is
that
legible
yeah?
It's
that's
pretty
good
if
you've
got
really
good
eyes.
D
D
This
was
more
of
a
tool
of
how
to
communicate
to
the
client
how
I
was
using
that
information
to
determine
where
we
were
going
to
place
their
building,
and
so
here
you'll
see
on
the
on
the
right
of
the
slide
three
options.
You
could
put
it
out
to
the
west
up
to
the
north
or
down
to
the
south,
and
each
of
those
has
different
different
influences
on
on
these
criteria,
and
so,
if
I
look
at
you
know
the
the
quantity
of
construction
necessary.
D
That's
just
simply
saying.
If
I
build
a
building
here,
I
have
to
build
more
building
to
reach
the
old
building.
These
are
things
that
individually,
don't
mean
that
much,
but
when
you
accumulate
them-
and
you
start
to
understand
that
you
know
these
facilities
have
different
a
choice.
To
put
something
here
has
a
different
impact
on
what
the
eventual
thing
is
going
to
be
and
how
hard
a
problem
we're
making
for
ourselves.
Then
things
start
to
add
up
so
these
numbers
at
the
bottom.
D
You
know
they,
they
add
up,
I'm
pretty
sure,
they're,
really
just
there
to
communicate
to
my
client
that
you
know
this
one
is
slightly
better
than
the
last
one.
It's
you
know,
vis-a-vis
all
these
points,
and
so
you
know
we
looked
at
the
building
on
the
north
and
and
it
had
some
good
points
and
some
bad
points,
the
biggest
one
and
the
killer
really
was
that
you
couldn't
expand
it,
and
then
we
looked
at
a
building
to
the
south
of
the
existing
facility
and
it
scored
higher.
This
is
this
is
an
answer.
D
As
far
as
my
client
was
concerned,
they
they
took
away
from
this-
that
I
had
researched
their
problem
carefully
and
understood
the
implications
of
the
choices
we
make
at
this
scale.
So
in
a
building,
it's
really
a
lot
of
it
is
about
mechanical
data,
but
it
did
get.
You
know
the
the
paper
filled
up
with
something.
This
is
not
like
something
I
would
condone
to
people
as
this
is
a
recipe
for
how
to
analyze
a
site
and
make
choices.
I
would
say
that
you
know
instinctively.
D
You
almost
knew
the
answer
to
this
before
you
started
any
of
it,
but
it's
not
good
enough
for
me
to
know
it.
I
need
somebody
else
to
get
it
too,
and
that's
the
thing
I
think,
where
that's
the
biggest
takeaway,
I
think
for
artists
working
in
public.
Maybe
for
the
first
time
is
that's
an
unusual
thing
and
it's
a
it
is
a
pain
in
the
ass,
but
it's
the
world
we
live
in.
So
this
is
a
plan
of
the
building
that
we
eventually
built
and
you'll
see.
D
That's
the
new
building
we
built
and
it
was
located
in
this
position
based
on
all
those
criteria.
We
made
some
other
choices
through
design.
We
pulled
it
back
so
that
we
would
have
better
views,
but
you'll
see
some
things
in
the
in
the
slides
of
the
building
that
this
building
works
very
well
with
the
building.
D
Next
to
it,
and
also
with
all
kinds
of
other
things,
we
spent
a
lot
of
energy
trying
to
make
a
a
single
place
out
of
a
two-story
building,
rather
than
having
one
floor
and
people
on
the
second
floor
and
people
on
the
first
floor
have
everybody
together.
It
was
very
important
to
the
the
ceo
and
the
executive
vice
president
that
there
really
not
be
a
hierarchy
in
the
way
they
officed.
D
Here
you
see
the
completed
project.
Everyone
did
a
lovely
job,
the
and
going
from
the
left
you'll
see.
This
is
the
office
wing
with
the
sun
shade.
The
glass
that
returns
back
is
a
series
of
conference
rooms
that
connect
it
back
to
the
existing
facility
and
you'll,
see
a
trellis
coming
out
on
the
right.
That
trellis
exists
only
to
shade
the
existing
laboratory
wing
from
the
setting
sun.
D
I
think
we're
always
in
daylight
savings
time
now
and
the
ceo
called
me,
and
he
said:
we've
got
a
problem,
there's
sun
on
people's
desks
and
it
took
me
a
minute
to
put
it
together
what
had
happened
and
then
I
called
him
back
in
the
style
of
frank,
lloyd,
wright
and
said.
You
need
to
start
the
work
day
later,
because.
D
They
ended
up
buying
shades,
but-
and
you
know
to
that
end
of
nobody
being
on
one
floor
of
another-
the
building
is
a
sprit
split
level,
so
I
got
this
picture
of
a
woman
that
could
have
come
right
out
of
the
brady
bunch.
I
think,
and
you
either
go
up
or
down
extremely
short
people
hate
the
stare,
because
it's
an
unusual
dimension,
but
the
idea
was
that
it
was
a
more
graceful
ramp
up
or
down.
D
Most
people
find
it
very
comfortable,
and
what
you
see
in
the
section
is
just
how
you
know
this.
This
research,
I
did,
is
still
informing
how
this
thing
works.
We're
we're
bringing
air
and
low
and
exhausting
it
high.
Where
we've
got
windows,
where
the
views
are
on
the
other
side
of
the
building,
where
there
aren't
views,
we
have
fewer
windows.
These
are
things
that
continuously
inform
the
work,
although
not
in
a
direct
way.
It
wasn't.
You
know
that
there
was
the
answer
to
this.
In
our
analysis,
it
was
just
that
doing
that
analysis.
D
I
think
trained
my
instincts
when
it
came
to
operating
in
this
place
and
that's
something
I
I
talk
to
students
a
lot
about,
but
I
know
have
only
recently
because
of
my
german
heritage
come
to
trust,
but
I
think
we
can
train
our
instincts
by
doing
this
research
anyway,
this
you
know
this
went.
This
project
went
very
smoothly.
They
still
talked
to
me.
I
still
design
buildings
for
them.
They
don't
build
them
anymore.
D
But
in
art
everything
is
a
bit
different
one.
I've
never
had
a
budget
like
that.
That
analysis
took
a
team
of
people
three
weeks
to
do
cost
about
seventy
thousand
dollars.
That
would
exceed
the
budget
of
most
of
the
work
I
do,
but
I've
also
never
encountered
something
in
art
where
the
depth
of
information
that
ended
up
costing,
that
much
was
really
that
valuable.
As
I
said
before,
it
was
really
the
at
the
global
scale,
the
macro
scale.
D
What
this
stuff
told
me
was
what
was
important,
and
so
I'm
going
to
show
you
now
this
project
I
just
completed
in
arlington
around
the
dominion
virginia
power
substation,
with
the
help
of
angela
who
you
all
met
earlier
and
an
army
of
other
people,
but
I'll
get
to
that
in
a
minute.
First,
let
me
just
introduce
the
project
briefly.
This
was
apparently
unsatisfactory
to
the
people
of
arlington
virginia.
D
And
so
they
talked
dominion,
I
think
into
saying
you
know
somehow
you
convinced
dominion
that
this
was
unsatisfactory
and
they
agreed
which
that
was
all
before
my
time.
So
I
take
this.
I
take
you
at
your
word,
but
there
were
two
parties
at
work
here.
One
was
dominion,
virginia
power
who
owned
this
substation
and
built
it,
and
the
other
were
the
people
of
arlington
who
were
less
than
happy
with
the
conditions
this
created
for
them
on
the
street.
D
The
thing
is,
I
had
to
work
with
both
of
these
groups
of
people
and
their
motivations
were
very
different,
and
it
wasn't
that
dominion
didn't
give
a
damn
about
the
city.
Dominion
did,
but
it
was
that
dominion
didn't
want
to
just
cover
it
up,
because
they
were
very
proud
of
it
and
didn't
feel
like
they
should
be
apologizing
for
building
this
piece
of
infrastructure
that
served
all
the
people
of
of
arlington,
and
I
think
at
one
point
actually
powered
dick
cheney
directly.
D
But
I
think
this
conversation
which
took
place
between
those
two
parties
was
ideal,
ideally
moderated
by
an
artist
because
it
didn't
need
to
be
about
compromise.
I
was,
I
was
invested
in
trying
to
find
the
question
that
both
of
these
groups
were
asking
and
to
do
that,
you
need
to
talk
to
a
lot
of
people
more
people
than
this.
D
If
you
can
believe
that
so
before
I
ever
put
pen
to
paper
on
the
project
I
set
about
listening
to
people-
and
I
didn't
do
this
in
a
public
forum
where
we'd
have
a
meeting
like
this-
and
I
would
present
an
idea
and
take
questions.
I
had
meetings
coffee
with
probably
about
30
35
meetings
with
groups
of
between
one
and
three
people
and
listened
to
everybody.
These
were
people
from
dominion,
virginia
power.
There
were
people
from
the
county
government.
D
D
If
I
could
in
fact
understand
what
these
things
were,
so
you
can
think
about
the
attitudes
and
information
I
gathered
from
these
people
and
more
as
a
kind
of
material
that
I
started
working
with
initially
and
my
takeaway
was
you
know
again,
it
sounds
very
unsophisticated
and
you'd
think.
Well,
you
could
tell
that
right
away.
It
was
that
this
place
is
an
eyesore,
and
the
thing
I
noticed,
though,
is
that
it
wasn't
an
eyesore
because
of
the
substation.
D
D
D
Arlington
builds
density
in
this
line,
and
that
goes
from
you
know
the
bridge
and
the
malls
over
here.
Here's
the
cemetery-
and
so
it
made
sense
to
me
that
primary
movements
of
people
would
be
along
that
line
zooming
in
closer.
You
can
see
that
the
line
has
a
gap
in
it
right
here
where
this
density
that
you
see
just
takes
a
break,
and
this
is
where
we
have
substations
and
used
car
lots
and
and
the
urban
design
disaster
that
had
happened
quite
by
accident.
D
There
was
no
reason
to
stop
there.
Substation
is
not
going
to
be
a
coffee
shop.
It's
not
going
to
give
life
to
the
street
in
the
way
that
retail
can,
and
so
the
basic
idea
that
I
took
from
this
very
cursory
analysis
of
the
place
is
that
what
this
project
had
to
do
was
form
a
bridge
from
this
button
from
here
to
here.
D
We
actually
had
a
22
inch
wide
sidewalk
right
here
with
traffic
moving
at
35
miles
an
hour
right
here.
You
know
this
was
a.
It
was
dangerous,
so
I
made
this
incredibly
complicated
diagram
with
three
circles
and
two
arrows
which,
but
it
communicated
very
succinctly
to
the
people
I
was
working
with
and
working
for,
if
we're
honest,
what
the
real
objective
of
the
work
was,
and
it
was
that
we
have
lots
of
people
over
here.
D
So
the
first
step
in
the
project
was
pretty
simple,
which
was
to
describe
a
boundary
that
could
accomplish
these
things,
as
well
as
some
other
technical
requirements
from
dominion
we'll
go
through
those
really
quickly.
So
this
piece
of
equipment
will
kill
you,
so
you
have
to
stay.
You
can't
have
anybody
within
10
feet
of
it.
So
we
also
have
the
historic,
kirby
garage
right
here,
which,
if
you
tear
it
down,
somebody
will
kill.
You
is
going
to
stay
there
forever.
So
this
is
always
going
to
be
the
line
of
the
sidewalk
right
here.
D
You
can't
get
any
closer
than
this
to
that
and
they
needed
gates,
but
so
really
as
soon
as
I
could.
Let's
take
this
thing
in
and
make
the
sidewalk
wider.
This
is
not
a
complicated
thing
to
do,
but
it
was
something
that
began
to
give
form
to
the
work.
So
I
take
that
as
a
as
a
beginning
point-
and
I
know
that
I've
got
an
outline
for
this
thing
and
then
I
think
about
my
objective
and
I
start
thinking
about
systems
or
ideas
that
can
reward
people's
forward
movement
across
the
site.
D
This
is
what
I'm
trying
to
encourage
with
the
piece.
So
again,
this
sounds
less
sophisticated
now
than
it
did
earlier,
but
I
was
commissioned
to
build
a
fence,
so
I
started
thinking
about
fences
and,
if
you're
familiar
with
the
phenomenon
of
driving
past
a
privacy
fence
when
you
drive
by
it,
you
can
kind
of
see
through
it,
even
though
it's
only
five
percent
open
area,
but
when
you're
stationary,
you
can't
see
through
it,
so
I
set
about
recreating
that
phenomenon
in
a
way
that
would
work
at
the
pace
of
a
pedestrian.
D
D
So
back
in
the
old
studio,
my
old
studio
was
a
place
where
they
manufacture
box
cars
for
a
brewery.
We
built
some
full-scale
mock-ups
really
to
study.
You
know
lots
of
precise
things
about
how
big
are
these
things?
How
far
apart?
Should
they
be?
What
are
the
visual
effects?
This
is
my
old
assistant
matt,
who
was
generally
sitting
in
that
chair
with
wine
staring
as
he
is
here,
but
I
thought
this
picture
was
good
because
it
made
it
look
like
what
we
were
doing
was
really
interesting,
but
it
turned
out.
D
We
discovered
lots
of
things
about
that
and
the
biggest
one
for
me
and
you'll
see
this
later
is
how
the
shadows
were
working
on
this
surface
from
behind.
This
is
a
shadow
of
obviously
somebody
else
because
they're
standing
up,
but
we
we
take
those
ideas
and
we
we
put
them
together
into
this.
You
know
quick
digital
model
just
to
communicate
how
this
works
as
you
move
along.
So
you
can
see
this
forms
a
gradient
where
we've
got
an
opaque
section
that
renders
to
almost
transparent
and
back
to
opaque,
but
that
follows
you.
D
D
You
know
not
in
the
sense
of
you
know,
an
architect
who
says
this
building's
built
out
of
brick
and
this
one's
built
out
of
brick.
So
I
bet
I'm
going
to
build
this
one
out
of
brick,
but
rather
to
understand
what
really
was
already
ordering
itself
on
this
site,
because
this
is
something
I
saw
as
an
opportunity
really
to
bring
order
to
people's
experience
of
this
particular
event.
And
what
I
noticed
really
was.
The
only
thing
that
consistently
showed
up
was
the
the
raw
wood
from
the
utility
poles,
which
didn't
dispose
itself
that
gracefully.
D
The
problem
is
that
wood
has
a
tendency
to
burn
and
is
therefore
illegal,
around
equipment
that
can
kill
you.
So
I
found
one
species
of
wood.
As
far
as
I
know,
it's
the
only
one
ipe
which
is
a
fire
rated
the
same
as
steel
and
concrete,
and
and
also
has
a
really
nice
characteristic
of
aging,
quite
gracefully
over
time.
D
So
you
know
now,
there's
a
geometry,
a
primary
system
in
a
material,
but
I
still
wanted
to
project
something
about
the
use
of
this
substation
back
to
the
community.
Somehow
this
isn't
an
easy
thing
to
do,
because
the
substation
always
looks
the
same,
even
though
it's
doing
a
different
amount
of
work
every
day
the
equipment
doesn't
change.
D
So
you
know
I,
I
could
simply
hook
some
electronics
up
to
a
database
somewhere
and
flash
a
light
that
tells
you
but
whatever
it
is
about
me
that
decides
to
torture,
myself
decided
that
would
be
cheating.
So
instead
I
started
to
study
really
directly
what
the
energy
consumption
of
northern
virginia
was.
D
These
are
heating
and
cooling
degree
days
for
the
2201
zip
code.
This
is
from
a
software
called
ecotect,
which
is
above
my
pay
grade,
but
turns
out
everyone
under
21
years
old
can
use
it
just
brilliantly,
and
it
tells
me
this,
which
is,
I
know
how
much
a
heating
degree
day
and
a
cooling
degree
day
means
in
terms
of
electricity
use,
and
I
also
know
that
it
corresponds
directly
to
temperature.
D
It
simply
tells
you
that
it's
hotter
in
the
middle
of
the
day
than
it
is
overnight,
and
it's
hotter
in
july
than
january,
but
the
thing
about
it
is
that
this
correlates
directly
to
those
heating
and
cooling
degree
days.
Therefore,
electricity
use.
So
I
said
we
need
to
find
something
that
can
respond
to
temperature
and
then
do
what
with
it.
We
don't
know
exactly,
but
we'll
cross
that
bridge
when
we
come
to
it
and
the
thing
is
again
right
there
at
the
site
we
are
surrounded
by
this.
D
All
the
time
we
have
most
of
the
complexity
of
the
utility
grid
is
built
to
accommodate
the
expansion
contraction
of
the
aluminum
cables
over
great
distances,
because
they
do
so
with
enormous
force,
and
would
you
know
just
shred
themselves
without
it,
and
so
I
started
thinking
about
thermal
actuators,
which
are
in
their
simplest
form.
If
you,
google,
greenhouse
event
operator,
they're
just
little
pistons
that
when
they
get
hot,
they
push
a
thing
and
it
opens
up.
D
I
got
five
dollars
from
a
friend
for
having
said
that
here
today
that
expanded
and
contracted
in
temperature
shifts
and
then
drove
a
linkage
which
produced
an
exaggerated
movement
from
that
we
were
in
the
middle
of
the
summer,
taking
this
into
and
out
of
the
the
walk-in
cooler
at
a
friend's
restaurant
and
recording
data,
basically
to
understand
what
we
were
working
with
and
then
had
to
answer.
Well,
what
are
we
going
to
do
with
that,
and
so
now
ideas
start
coming.
D
Basically
out
of
the
work,
that's
already
been
done
on
the
piece,
so
we've
already
got
a
field
of
vertical
lines
by
the
nature
of
this
field.
We've
created
and
an
array
field
is
simply
taking
another
field
of
vertical
lines
and
rotating
it
relative
to
that
one
and
as
the
rotation
this
sometimes
doesn't
come
across,
but
as
the
rotation
of
those
second
layer
of
lines
relative
to
the
first
increases,
you
get
a
pattern
of
increasing
intensity.
D
D
But
you
know
so
we
spent
time
studying
how
these
angles
work
and
and
how
these
patterns
work
and
and
the
problem
was
we
did
it
inside
lesson
learned,
but
it
still
works
in
certain
kinds
of
light,
so
not
a
complete
failure.
But
at
this
point
we
have
everything:
we've
we've
got
our
our
piece.
This
is
it
and
it
is
an
accumulation
of
ideas
that
were
drawn
from
an
understanding
of
this
situation.
D
D
And
the
beauty
of
working
this
way
for
me
is
that
the
thing
that
you
eventually
build
is
continually
surprising
you.
These
are
pictures
right
after
the
new
sidewalks
went
in,
you
can
see
where
we
used
to
have
the
22
inches
wide.
We
now
have
eight
feet.
It's
like
a
park
we're
going
to
call
that
lisa
gold,
angela
adams
park,
if
you'd
like.
D
Is
that
right,
there's
a
death
requirement
for
a
park
to
be
named
after
you?
Is
that
just
virginia
okay?
But
you
know
you
begin
to
see
how
you
know
the
light
moves
through
this
filter
in
certain
ways
and
how
the
the
scale
of
the
details
relates
to
things
that
are
directly
around
it.
This
is
another
thing
which
I'll
ask
you
to
notice,
because
it
was
really
hard.
Every
board
points
exactly
the
same
direction.
D
But
it's
one
thing
to
say:
you
know
the
sidewalk
is
going
to
be
a
nicer
space,
it's
another
to
actually
walk
down
that
space
and
really
understand
how
much
better
it
is,
and
to
begin
to
see
these
ideas
working
together
to
create
an
environment.
Here,
you
can
start
to
see
the
shadows
from
this
is
a
an
air
bushing
array
that
I
know
what
all
this
stuff
is.
Now
that's
casting
a
shadow
on
here
and
you
can
see
it
better.
D
I
think
in
this
slide
and
to
discover
surprises,
you
know
in
september
the
sun
was
setting
far
enough
north
that
we
started
to
get
shadows
from
a
tree
over
on
the
used
car
lot.
That's
right
there's
a
tree
on
the
used
car
lot,
but
this
was
something
that
was
completely
unprepared
for,
and
you
can
see
how
now
this
equipment
starts
to
paint
this
place
in
a
way
that
you
know
is
really
intriguing.
Brings
the
scale
of
this
equipment
directly
out
to
the
street.
D
And
then
these
shadows,
because
the
sun's
rays
are
parallel
and
the
equipment
is
different
distances
from
the
enclosure.
They
move
up
at
different
rates,
and
so
the
composition
is
continuously
changing
all
afternoon
and
this
time
of
year
it
happens
in
the
morning
on
the
other
side
of
the
enclosure
which
I'll
show
you
in
a
little
while,
but
to
actually
see
all
these
relationships
manifesting
themselves
as
something
that
works
in
the
city.
D
One
to
get
as
tall
as
the
tallest
structure
would
be
twice
as
tall,
which
I
think
would
have
crushed
the
scale
of
street,
but
the
primary
reason
was
to
create
a
relationship
to
this
corner
of
the
existing
facility,
because
this
had
this
site
had
an
obligation
in
the
master
plan
for
the
area
that
it
needed
to
behave
like
a
street.
Their
plans
to
move
the
whole
street
different
place
and
all
this,
but
really
it
was
to
try
to
build
some
continuity
of
that
street
edge
was
the
height
on
this
side.
D
F
D
D
So
you
know
just
to
kind
of
wrap
this
up
site,
analysis
and
design.
Thinking,
for
me
are
really
not
mechanics,
it's
just
about
studying
conditions
on
the
ground
and
I
think
public
art
has
more
dimensions
that
can
work
with
that
than
architecture
does,
because
we
don't
know
what
we're
making
when
we
start.
D
If
I
were
making
a
building
on
this
site,
I
would
have
started
much
further
ahead
of
where
I
was,
but
many
fewer
things
would
have
been
possible
and
I
think,
being
able
to
interface
with
cities
with
things
that
are
not
predicated
to
be.
A
certain
way
is
an
opportunity
that
we
have
that
no
other
practice
of
art
and
history
really
has
had
the
opportunity
to
engage.
D
You
know
there
was,
I
think,
youtube,
probably
got
it.
There
was
this
email
from
the
public
art
network
circulating
that
asked
people,
what
is
public
art
and
then
people
would
respond
and
then
their
criticism.
You
know
everybody
would
criticize
that
response,
and-
and
it
was
you
know,
people
said
things
like
well,
it
has
to
be
purchased
by
a
public
entity
or
it
has
to
be
on
public
property,
and
for
me
I
don't
think
any
of
that
matters.
I
think
public
art
is
anything
that
engages
people
on
their
turf.
D
We
don't
have
an
audience
who
has
chosen
to
go
and
see
art,
but
we
also
have
a
much
bigger
audience.
My
back
of
the
napkin
estimates
are
that
we
will
have
something
like
a
million
and
a
half
people
a
year
that
see
this
substation
or
unique
views
of
the
substations.
A
lot
of
those
are
the
same
people
every
day.
D
I
don't
know
that
I've
ever
had
that
kind
of
audience
for
an
idea.
I'm
glad
I
didn't
think
of
that
when
I
started
it
probably
would
have.
You
know
froze
me
up
a
little
bit,
but
I
think
because
of
that,
we
as
artists
are
obligated
to
think
about
this
place,
we're
operating,
because
this
is
the
new
material.
As
far
as
I
can
see
it.
D
I
love
art
in
public.
You
know
michelangelo's
david,
it
is
art
in
public,
but
the
difference
for
me
between
the
two
is
that
public
art
really
capitalizes
on
the
opportunity
to
do
what
it
can
do
and
what
only
what
it
can
do.
I
think
you
can
do
things
with
this,
that
you
could
never
do
with
architecture
that
you
couldn't
do
with
urban
planning
that
you
couldn't
do
with
anything
else,
because
there
is
no
prescription
for
what
it's
going
to
be.
What
it
can
be
can
be
drawn
from
that
place
uniquely
every
time.
D
So
with
that
I'll
say,
I'm
sorry
about
the
baseball
last
week.
Thank
you
very
much.
Oh.
I
did
want
to
share
the
first
proposal,
which
angela
summarily
rejected,
still
not
clear
on
that
you'll
see
the
lightning
bolts
to
symbolize
the
awesome
power
of
electricity
and
the
flowers
to
mitigate
the
fear,
instilled
by
the
awesome
power
of
the
lightning
bolts
if
anyone's
in
the
market,
for
something
like
this
I've
got
a
design
prepared.
So
thank
you
very
much.
D
Well,
my
position
on
it
would
be
that
the
shadows
paint
a
mural
every
day,
and
so
obviously
I
would
be
opposed
to
it,
but
I
was
trained
as
an
architect
and
I'm
against
intervention.
So,
but
if
somebody
decided
to
do
that,
I'm
sure
it
would
be
wonderful,
it's
you
know.
Really
the
thing
now
it
doesn't
belong
to
me
anymore,
belongs
to
that
place.
It
belongs
to
the
city
and
whatever
anyone
decides
to
do
is
part
of
its
life.
F
In
that
hey,
hey,
it
works
now.
In
that
regard,
there
are
some
artists
who
will
take
a
series
of
slats
and
paint
one
side,
one
color
or
one
design,
the
other
side,
another
color
and
something
on
the
background.
And
as
you
move
past
it,
you
see
a
picture
shifting
from
one
thing
to
another.
So
if
this
form
would
lend
itself
to
that
treatment.
D
D
If
you
go
there
today,
it's
already
mellowed
quite
a
bit
and
over
the
next
five
years,
it'll
actually
become
quite
bright,
a
bright
gray,
that's
not
an
oxymoron,
is
it
a
bright
gray,
and
what
I
found
was
that
the
the
light
actually
does
that
that,
when
the
lighter
the
material
becomes
over
time,
the
side
that
is
being
illuminated
is
quite
bright
and
the
side
that
is
in
the
shade
becomes
quite
dark.
And
again
you
see
that,
but
it's
a
very
interesting
phenom,
I
think
you
know,
felice
varini
is
one
that
does
work
like
that.
D
G
H
D
I
think
correct
me:
if
I'm
wrong,
there
was
never
an
open
call.
There
was
a
call
five
years
ago,
maybe
that
was
issued
by
dominion,
which
was
unsuccessful
in
identifying
an
artist
and
then
a
second
call
after
they
hired
meredith
mckinley
who's.
A
public
art
consultant
ran
a
call
where
I
think
40
qualified
artists
were
invited
to
submit
qualifications
and
from
that
three
were
selected
as
finalists,
and
I
tricked
them
into
hiring
me
from
that.
So.
H
D
I
I
C
C
We
are
also
in
the
process
of
joining
something
called
the
public
art,
archives
and
culture
in
action.
Eliza
culture
now
museum
without
walls,
culture
now
and
that
various
cities
around
the
country
participate
in
that
and
put
their
collections
online,
so
we're
working
with
the
best
technology
that
we're
aware
of
to
get
the
word
out.
Also,
if
you're
interested
in
knowing
more
about
arlington
public
art.
D
J
Thank
you.
It's
nice
to
know
that
arlington
is
doing
public
art
and
it's
nice
to
know
that
every
city
in
the
in
the
country
should
be
doing
much
more
public
art.
You
come
from
st
louis
and
I
was
very
very
impressed
with
the
public
art
I
saw
there.
I
was
hoping
you
would
show
a
little
bit
and
talk
a
little
bit
about
the
new
public
art
that
is
in
st
louis,
which
I
think
is
I,
as
a
washingtonian,
was
incredibly
envious
of
and
the
the
art
center.
D
Yeah,
st
louis
for
those
of
you
who
would
like
to
come
and
visit,
I
have
an
extra
bedroom
and
my
rates
are
reasonable.
We
do
have
a
very
impressive
collection
of
public
art.
There
are
there's,
not
one
umbrella
agency,
as
there
is
in
arlington.
We
have
several
agencies
which
do
it
as
a
part
of
their
own
initiative.
D
What
was
the
budget
for
this
project
is
that
okay,
sure
yeah
the
budget
was
five
hundred
thousand
dollars,
so
it
was
over
and
above
the
for
comparison
purposes
to
put
a
brick
wall
around
the
substation
would
have
been
about
500
000,
so
the
cost,
the
the
delta
and
the
cost
to
dominion
was
really
well.
It
was
more
than
a
chain-link
fence,
but
about
the
same
as
what
they
would
typically
do
to.
You
know
pretty
up
a
substation.
L
L
L
K
D
D
But
you
know
that
also
is
an
area
where
I
would
encourage
artists
who
are
working
in
public
for
the
first
time
to
really
seek
assistance.
There
are
people
who
will
gladly
help
you
understand
what
it's
going
to
cost
to
do
things
and
where
that
money
goes
is
sometimes
surprising,
and
you
know.
Fortunately,
I
have
a
background
where
I
can
track
those
things
and
predict
them,
probably
a
little
bit
better
than
someone
who
didn't
throw
10
years
of
their
life
away,
practicing
architecture
but
hey.
If
I
got
that
out
of
it.
D
There
was
one
change
order
which
exceeded
the
budget
because
of
unforeseen
obstructions.
When
we
were
digging,
it
wasn't
actually
an
unforeseen
obstruction.
It
was
an
unforeseen
rule
that
the
first
four
feet
of
every
hall
had
to
be
dug
by
hand,
because
while
they
have
really
precise
looking
documentation
of
where
all
the
stuff
that
will
kill
you
is,
they
say
well,
that's
just
probably
where
it
is.
D
Did
I
bring
any
other
work
to
show
you
I'm
afraid
I
did
not.
I
mean
I
could
dig
around
in
my
computer.
Maybe
show
you
some
stuff,
after
as
for
getting
architects
to
work
for
free
the
ease
of
doing.
That
is
another
reason
I
don't
work
in
architecture
anymore.
As
for
working
with
an
architect,
I
think
you'd
find
the
profession
of
architecture
is
very
generous
with
its.
D
The
existing
sidewalk
was
on
the
public
easement
of
dominion,
property,
so
dominion,
virginia
power
owned
the
property
that
the
sidewalk
was
on,
but
the
county
owned,
the
sidewalk
one
thing
the
county
did
throw
in
was
that
they
were
going
to
replace
that
sidewalk
anyway,
because
it
was
a
threat
to
public
safety.
Was
that
when
we
widened
the
sidewalk
which
benefited
them
they
paid
for
the
not
just
the
sidewalk
on
their
right-of-way,
but
also
on
the
dominion
property
and
they
modified
the
easement.
M
D
Yeah,
there's
in
fact
an
entire
standard
operating
procedures,
document
that
was
delivered
to
dominion,
personnel
and
developed
in
concert
with
them.
We've
got
gates
that
are
different
to
operate
than
standard
gates.
We
worked
with
them
to
determine
how
they
would
operate
with
the
tools
they
had
in
their
trucks.
D
Anyway,
you
know
real
estate
people,
I
don't
know,
I
mean,
there's
no
real
property,
but
you
know
obviously
engine
there's
a
structural
engineer
involved
and
then
a
little
consulting
with
a
mechanical
engineer
to
determine
the
the
precise
relationship
between
the
heating
and
cooling
degree
days
and
electricity
usage.
So
yeah
I
mean
whatever
consultants
are
required.
Basically
to
get
your
permits
on
a
building
are
required
here
so
but
yeah
we
absolutely
worked
with
the
people
who
work
at
the
substation
to
determine.
M
N
And
the
relationship
between
differences
between
design
and
art,
design
that
the
definition
is
you
know
it
presents
a
solution
to
a
problem
art
then
we
normally
think
of
it
is
art
for
art's
sake
and
yet
there's
plenty
of
art.
That
is
also
a
solution
to
a
problem
and
functions
as
an
instrument
for
other
in
other
ways.
N
N
Versus
art,
public
art
that
might
function
purely
as
art
for
art's
sake
and
the
funding
of
those
things.
If
you
have,
I
mean,
if
ideally,
there's
plenty
of
funding
to
go
around
to
public,
to
fund
all
kinds
of
public
art
to
enhance
the
quality
of
all
of
our
lives.
Although
it
is
limited
and
just
whether
you
had
any
opinions
about
public
art
that
seeks
to
transform
and
public
art
that
might
exist
purely
as
art
for
art's
sake,.
D
D
So
what
most
of
the
material
of
this
work
as
it
related
to
influencing
the
city
was
part
of
what
I
was
trying
to
create
as
a
series
of
experiences
that
would
put
put
a
person
in
a
position
to
receive
something
primarily
the
you
know,
the
shadows
as
they're
projected
onto
this
thing,
and
you
know
beyond
that
art
for
art's
sake.
I
think
also
it
plays
a
role
in
the
city,
whether
it
likes
it
or
not,
when
it's
in
public
and
just
like
design
needs
to
be
conscious
of
those
things.
I
think
you
know.
D
If
somebody
puts
a
sculpture
in
a
plaza
on
a
pedestal,
they
need
to
be
conscious
not
just
of
how
that
influences
the
city
but
aware
of
those
things
so
that
they
understand
how
this
is
going
to
be
received.
How
is
it
going
to
be
presented
to
people
so
in
my
own
practice,
there's
no
line
between
them.
I
you
know,
I
practice.
Architecture
also,
do
some
engineering
work
in
fluid
dynamics,
and
you
know
mechanical
work,
we're
building
a
giant
clock
which,
if
anybody
has
a
big
checkbook,
but
you
know
these
things
to
me.
C
C
C
We
will
pay
the
fee.
We
will
host
the
conversation
we'll
all
tune
in
together
on
the
webinar
and
then
hopefully,
we're
going
to
have
actually
some
of
the
presenters
of
the
webinar
themselves,
presenting
in
situ
and
then
after
they
present
to
the
who's
ever
signed
up
for
the
webinar
can
turn
around
and
actually
have
a
conversation
with
you.
Whoever
has
come
to
actually
attend
the
webinar
in
person.
So
we're
going
to
continue
this.
C
If
you
have
ideas
about
areas
where
you'd
like
more
information,
arlington's
public
art
program,
as
I
mentioned,
is
quite
old,
we
started
as
more
of
a
art
in
public
places
versus
a
public
art
program.
We've
learned
what
the
differences
are
over
the
years
and
I
would
say
actually,
pursuant
to
the
last
question,
there
is
no
real
leadership
around
civic
design
in
arlington,
so
that
has
de
facto
come
to
us.
C
So
we
do
a
lot
of
processes
where
artists
are
members
of
design
teams
and
that's
that's
our
most
typical
way
of
approaching
a
problem,
but
that
is
just
sort
of
taken
form
based
on
who
arlington
is
you'll,
see
public
arts
different
in
every
program
around
the
country
based
on
what
the
needs
and
the
tolerances
are
there
seattle,
you
know
they
can
afford
frankly
to
decorate
with
pomegranate,
because
the
design
is
so
good
and
there's
so
much
good
civic
awareness
about
what
is
good
design.
So
ours
is
a
little
different.
C
C
Frankly,
so
you'll
see,
public
art
takes
different,
has
different
flavor
wherever
you
go,
but
again
as
artists
practicing
or
design
professionals
practicing
here,
please
let
us
know
what
you'd
like
to
know
more
about
and
we'll
make
sure
to
work
with
washington
project
for
the
arts,
building
museum,
other
partners
to
give
you
that
kind
of
information,
because
we've
been
around
long
enough,
we
really
want
to
cultivate
more
of
you
all
doing
this
sort
of
work.
That's
really
our
our
front
and
center
goal.
C
I
do
want
to
just
do
a
shout
out
to
elizabeth
morton,
who
we
had
the
privilege
of
working
with
this
past
spring
at
virginia
tech,
a
program
on
public
art
evaluation
and
this.
This
idea
for
this
training
came
directly
out
of
working
with
elizabeth
students
and
some
of
her
students
are
here
today.
Thank
you.
You
had
the
good
idea
to
tell
us
that
artists
need
to
learn
some
of
the
tools
that
design
professionals
have
in
going
about
and
planning
and
developing
their
projects.
C
So
if
it
hadn't
been
for
you
all,
we
wouldn't
be
doing
this.
So
thank
you
for
launching
us
on
this
path
so
I'll
be
around.
After
the
lecture,
if
you
want
to
come
talk
to
me
again,
please
make
sure
you're
signed
up
for
future
programs.
Knowing
about
what
we're
doing,
we
really
do
want
to
encourage
you
to
participate
with
arlington
public
art.
Thank
you.