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From YouTube: December 15, 2022 - Visual Arts Committee Meeting
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B
A
Absolutely
thank
you
Committee
Member
Bryant
here
many
member
Mayer
here
many
member
of
seagulls.
D
A
And
I'll
come
back
to
Committee
Member
white
bread
here,
Vice,
chair
shoe,
the
vice
chair
has
them
for
me.
She
was
not
going
to
be
able
to
make
this
evening,
so
this
will
be
an
excuse
absent
and
chair
cup.
Yes,.
C
Thank
you
Okay.
So
roll
calls
done
we'll
go
into
item
three
minutes
approval.
The
minutes
for
the
November,
9th
2022
meeting
have
been
delivered
to
committee
members
and
copies
posted
on
the
city
hall
bulletin
board.
If
there
are
no
Corrections
or
additions,
emotion
is
in
order
to
approve
these
minutes.
C
Okay,
so
I'm
motion
by
working
a
circle
second
by
Susan,
mirror
or
did
I
get
that
mixed
up.
Maybe
first
but
I,
remember
I,
followed
it
I
guess
and
let's
do
a
roll
call
of
it
absolutely.
G
G
F
C
Great,
thank
you
all
right.
So
that
passes
we
have
minutes.
Let's
go
on
to
item
four
I
believe
we
have
oral
Communications
from
the
public.
This
portion
of
the
meeting
is
reserved
for
personal
switching
to
address
the
committee
on
any
matter,
not
on
the
agenda.
If
there's
a
limited
to
three
minutes,
state
law
prohibits
the
committee
from
acting
on
non-agenda
items,
so
it
can
raise
your
hand
now
or
if
you're,
on
the
phone.
A
So
if
you'd
like
to
make
a
public
comment
at
this
point
in
time,
we
do
have
a
member
of
the
public
on
the
line.
If
you'd
like
to
speak,
please
raise
your
hand
or
hit
star
six,
so
we
know
you
would
like
to
speak.
D
C
Have
again
no
public
well
they're
here,
but
not
talking
so
I'm,
going
to
kind
of
five
upcoming
agenda
topics.
This
portion
of
the
agenda
is
reserved
for
identification
of
agenda
items
for
future
meetings,
with
some
bullet
points
here,
Place
making
opportunities
related
to
Castro,
interim
pedestrian,
Mala
and
other
long-term
capital
Improvement
CIP
projects,
but
great
strategy
discuss
how
art
placement
and
Landscaping
integration
can
be
further
explored
biodiversity
strategy,
K5
augmentations,
so
better
capture,
more
cfp
projects.
During
committee
meeting
with
the
downtown
committee
and
Evelyn
Park
project
21-16.
A
And
I
would
like
to
give
a
little
bit
of
context
just
on
the
Place
making
Landscaping.
This
topic
is
not
really
for
discussion,
but
just
to
provide
a
little
more
clarity,
so
your
staff
did
have
a
conversation
with
the
Community
Services
Department,
who
is
leading
the
biodiversity
strategy.
A
The
biodiversity
strategy
is
really
looking
about
looking
at
all
kinds
of
things
having
to
do
with
trees.
Landscaping
all
those
elements,
and
so
where
this
becomes
very
important
to
the
VAC
or
could
become
very
important
to
the
VAC,
is
how
art
could
actually
be
incorporated
into
landscaping,
and
just
so
it's
a
little
more
clear
and
we'll
be
able
to
bring
this
topic
back
as
the
biodiversity
strategy
gets
going.
It's
still
very,
it's
still
very
much.
A
In
its
kind
of
background
doing
research
we
did
provide
the
K5
policy
to
the
consultant
team,
that's
doing
the
work,
but
when
I
first
joined
the
city
a
little
over
a
year
ago,
one
of
the
Parks
K-5
projects,
you
looked
at
a
butterfly
habitat
that
was
going
to
be
artistic.
That
would
include
a
butterfly
habitat.
So
those
are
the
kinds
of
things
where
the
biodiversity
strategy
would
look
at.
A
So
this
was
something
that
was
bought
brought
up
by
a
member
of
the
public
to
consider
so
I'm
just
trying
to
put
a
little
finer
point
on
what
that
topic
is
and
what
we
plan
to
bring
back
in
the
future
to
the
committee
so
I'm
just
so,
it's
a
little
more
clear
what
that
is
really
referencing
and
what
that
means
at
this
point
in
time,
I'd
be
happy
to
take
any
additional
suggestions
for
future
topics
or
ideas
that
people
are
interested
in
having
placed
on
the
agenda.
G
I
actually
looked
at
my
notes
from
last
meeting
and
I.
Think
our
discussion
last
time
made
it
clear
to
me
that
maybe
it
would
be
good
if
we
would
have
a
discussion
about
touch
points
with
the
artists
it
it
seemed
to
me.
We
had
a
little
bit
of
a
different
strategy
each
time
you
know
how
what
do
we
expect
from
artists?
What
what
is
in
the
call
for
artists?
When
do
we
have
the
next
touch
point
with
the
artist?
How
do
we?
How
do
we
manage
that?
Do
we
go
back
to
them
or
not?
G
If
we
have
a
catalog
of
requirements,
I
just
feel
like
we
maybe
have
to
have
a
clear
understanding
what
ideally,
we
expect
also
struggled
a
little
bit
with
with
the
coffee
platform,
I,
always
struggle
with
the
coffee
platform,
but
a
bit
more
this
time,
because
I
felt
like
that
the
artist
did
many
of
the
artists
did
actually
not
respond
to
the
two
questions,
how
they
were
intended
to
respond.
G
A
And
I
I
noted
that
I
would
like
to
just
draw
your
attention
to
item
7.3.
Part
of
the
discussion
from
last
committee
meeting
had
to
do
with
that
threshold,
so
your
staff
is
put
together
a
memo
on
that.
So
this
is
one
element
of
the
things
you
talked
about,
which
we'll
be
addressing
a
little
later
this
evening,
or
at
least
having
a
conversation
on
and
I
know
that
the
two
other
aspects
for
future
items.
So
thank
you.
Thanks.
Other
topics.
H
Well,
I
just
want
to
kind
of
follow
what
Susie
was
saying
about
the
process
of
judging
the
artworks,
so
I
could
not
find
and.
H
If
anybody
managed
to
find
the
the
original
call,
so
the
I
wanted
I
was
interested
in
the
verbiage
in
the
in
the
in
the
text
that
the
artists
were
looking
at
when
they
were
submitting
the
artwork,
because
I
also
found
there
were
a
lot
of.
H
As
far
as
I
remember,
we
asked
for
local
artists
and
there
were
a
lot
of
artists
that
were
even
out
of
the
country,
not
even
in
the
country
so
and
I
just
wanted
to
kind
of
compare
what
they
were
submitting
with
what
the
actual
call
was
and
I
could
not
find
it,
and
it
could
be
maybe
good
if
you
had
a
package
next
time
like
we
have
the
original
call
and
then
the
you
know
the
artist
statements
and
then
the
the
cafe
platform,
I
love
as
much
as
Susie.
C
Also
heard
some
input
recently
from
an
artist
that
I
was
telling
you
about
and
said
you
should
apply
and
she
said,
is
it
on
the
cafe
and
I
said
yes
and
she
was
like.
Oh
no,
apparently,
a
lot
of
artists.
Don't
like
using
the
cafe
platform.
They
say
it's
difficult
on
their
end.
They
say
it
as
a
lot
of
repeat
questions
and
they
have
to
it's
hard
to
upload
information.
So
I,
don't.
D
D
G
I
saw
another
call
for
artists
that
you
use
slide
room
which
is
usually
used
by
colleges
when
students
need
to
submit
a
portfolio.
That's
how
I
know
slide
rule,
but
apparently
that
might
be
able
to
be
used
for
call
for
artists
as
well.
D
E
C
Think
Google
did
something
that
wasn't
Cafe
when
they
were
getting
artists
for
their
big
big
project
and
North
Bayshore,
with
like
an
outdoor
kind
of
Plaza
and
places
to
hang
out
and
at
least
three
different
big
pieces
of
art.
There
might
have
been
more
but
I
I
think
they
did
it
through
Google
forms
or
sheets
or
something
I'm,
not
sure
exactly,
but.
A
So
if
I
may
interject
and
what
I
heard
is,
let's
bring
back
a
conversation
and
discussion
on
the
platform.
J
Regarding
landscaping
and
art,
placement
I
want
to
draw
attention
or
the
committee's
attention
to
a
marvelous
piece
that
I
discovered
in
Palo
Alto
on
Charleston,
between
Middlefield
and
Central,
where
they
had
planted
a
medium.
So
it's
you
know,
vegetation
Etc
divide
along
Charleston
and
at
the
entrance
of
the
beginning
of
it
they
have
a
lovely
three-piece,
sculpture,
just
lovely
a
very
colorful
integrates
in
with
the
planting
very
well.
J
You
can
and
I
think
it's
a
very
nice
example
of
what
can
be
done
if
one
has
the
true
state
of
Will
and
the
money
to
do
it.
But
if
you
want
to
see
an
example
of
very
create
I
hate
to
use
the
word
creative,
but
very
lovely
integration
of
Art
and
Landscaping
on
a
public
Street
on
a
divide
on
a
road
head
over
to
the
area
on
Charleston
between
I,
think,
Middle,
Field
and
Central.
J
No,
it's
you've
gone
on
Charles
driving
along
Charleston.
If
you
go
from
Middlefield
I
think
I
was
recall.
It
was
on
the
area
between
Middlefield
and
Central
Expressway.
J
D
D
C
So
thanks
for
that,
I
wanted
to
ask
for
clarification
about
the
biodiversity
project.
Is
that
essentially
about,
like
main
maintaining
our
native
kind
of
playing
answer?
Reintroducing
them
if
they've
been
driven
out
or
something.
A
It
is,
and
I
just
want
to
caution,
we're
taking
topics
yeah.
This
is
not
it's.
D
A
A
picture
but
yes,
the
biodiversity
is
about
Native
returning
native
plant
species,
there's
also
habitat
restoration,
things
of
that
nature
as
part
of
that
process.
Okay,
great.
F
We're
running
out,
okay,
future
future
new
topic,
I
actually
talked
to
my
sounds:
Middle
School,
our
art,
art
teacher,
there's
interest
for
call
like
a
call
for
yum
artists.
F
C
H
C
But
Public
Schools
do
contract
csma
to
help
them
with
their
art
programs.
So
sometimes
they
send
teachers
to
different
public
schools
to
help,
but
it
is
a
non-profit
and
they
have
a
rotating
display.
Sometimes.
I
F
So
so
csma
has
adapt
to
these
two
locations.
What
can
what
can
Public
School?
Our
teacher
do
to
also
going
to
similar
programs
I.
E
F
A
Public
wishing
to
speak
so
I
am
going
to
allow
Mr
England
to
talk.
K
Thank
you,
John
I
will
keep
it
short
and
I'll
keep
it
on
topic,
but
I
do
have
a
question
about
scope
for
the
landscaping
and
art
yeah.
It
sounds
like
so
you
talked
to
John,
Marchant
or
others
on
his
team
over
and
Community
Services.
The
biodiversity
strategy
is
great,
totally
support
that
at
the
same
time,
I
think
that
the
art
piece
is
the
Landscaping
could
go
beyond
that
as
well.
K
So
could
support
biodiversity
strategy,
but
also
just
bread
and
butter
stuff
for
Community
Services
is
planning
Landscaping
where
it
needs
to
go
so
I
personally,
wouldn't
want
it
like
hemmed
in
by
having
to
support
the
biodiversity
strategy,
and
maybe
you're
already
thinking
about
that.
But
I
just
wanted
to
mention
that,
after
hearing
what
you
had
to
say,
I
also
want
to
mention
to
Cliff
that
the
Central
becomes
Alma
in
Palo
Alto.
K
C
You
right
we'll
go
on
to
item
six
unfinished
business:
6.1,
Capital,
Improvement
programs,
AP
public
art
project,
update
staff
will
provide
update
Sunrise
park
aquatic
center
cap
project,
1838
Fayette,
Park
cap
project
2048
and
race.
Turf,
Park
maintenance
and
Tennis
building
cap
predict
2148.
Take
it
away.
John
thank.
A
You
I'll
make
this
very
brief,
really
there's
no
substantial
change
since
your
last
meeting.
So
if
you
look
at
the
minutes
that
you
just
approved,
there's
really
no
significant
change.
The
one
thing
I
will
call
your
attention
to
is.
A
We
did
get
some
updated
insurance
requirement
insurance
documents
for
the
artists
for
rank
store
for
Park
maintenance,
so
we
should
be
able
to
move
forward
with
those
agreements
and
noted
in
the
minutes
and
just
a
refresher
for
the
committee.
We
do
intend
to
bring
those
the
the
artist's
thoughts
are
after
having
had
those
conversations
with
the
other
committees,
what
they're
thinking
about
as
a
design
concept
for
this
project,
bringing
that
back
to
this
committee.
A
But
we
need
to
get
these
agreements
executed
first
and
now
that
we
have
some
of
the
insurance
requirements,
that'll
allow
us
to
execute
the
agreements
and
then
take
the
next
steps.
So
that's
the
only
update
as
it
relates.
Everything
else
is
status
quo.
From
the
last
update,
which
was
noted
in
your
minutes
that
are
in
the
packet.
This.
C
A
C
C
All
right,
let's
see
I'm
just
unmuted,
that's
good
we're
going
to
do
6.2
Center
for
the
Performing
Arts
call
for
artists.
This
may
be
a
big
item
today,
we'll
see
how
it
goes,
discuss
results
of
featuring
for
the
call
for
artists
for
the
Center
for
the
Performing
Arts
2023
Gallery
display
it's
like
six
artists
and
up
to
three
are
alternates
for
art
displays
in
the
Center
for
the
Performing
Arts
for
2023
to
2024.,
so
I
guess
we're
going
to
see
here.
Vote
getters.
A
Yes,
thank
you
chair.
This
is
a
very
small
presentation
on
a
reflection
of
your
journey
before
I
get
into
that.
I
did
want
to
just
provide
some
high
level
comments.
A
A
So
please
note
that
the
last
time
we,
the
visual
arts
committee
in
the
city
actually
issued
a
call
for
artists
for
the
CPA
display
was
in
2019,
so
it
has
been
a
couple
years
since
we
last
did
this
call
for
artists
and
given
the
recent
staff
turnover
there,
were
we
modeled
the
call
for
artists
after
the
2019
call,
but
they're
after
reflecting
on
this
call
for
artists.
There
were
some
small
things
that
were
missed
along
the
way.
So
one
thing
I
wanted
to
address
for
the
committee
was
in
the
2019
call.
A
There
was
a
desire
in
going
back
through
the
minutes
and
notes
of
those
meetings.
There
was
a
desire
to
expand
the
call
for
artists,
so
the
call
for
artist
was
to
reflect
the
nine
County
Bay
Area
region,
so
it
was
a
bigger
call
in
seeking
artist
interest,
but
it
was
not
to
be
out
of
state
or
out
of
country.
So
we
were
looking
for
artists
to
be
within
the
Bay
Area
I.E,
the
nine
counties
that
surround
or
make
up
the
Bay
Area.
A
The
call
did
specify
it
would
be
a
limited
period
art
display
in
the
CPA.
We
did
give
the
criteria
for
what
the
hanging
systems
would
allow
and
the
number
of
art
pieces
that
could
be
accommodated
and
the
only
other
thing
we
noted
in
the
call
for
artists
was.
A
We
did
not
have
a
specific
theme,
so
it
was
an
open
call
or
whatever
kinds
of
art
that
people
wanted
to
submit
consistent
with
what
our
hanging
systems
would
allow
and
given
the
the
Contour
of
the
wall
as
the
basic
criteria
that
we
provided,
we
had
63
responses.
I
want
to
thank
the
committee
very
much
for
taking
the
time
to
review
all
of
those
and
either
comment
or
score
on
them
and
so
getting
into
it.
I
am
prepared
to
show
you
what
the
scoring
came
out.
A
A
One
of
the
things
I
did
is:
did
the
median
so
taking
all
of
your
individual
scores
and
then
taking
a
median
and
then
I
wanted
to
figure
out
the
range
kind
of
what
was
the
highest
score
that
a
particular
artist
received,
and
this
doesn't
mean
it
doesn't
necessarily
reflect
if
they
got
say
in
this
case
two
sevens
three
sevens.
It
just
represents
the
highest
score
that
was
given
was
a
seven.
A
The
minimal
score
was
a
five,
so
it
was
a
really
a
range
of
two.
So
if
you're
kind
of
looking
at
kind
of
the
range
of
Impressions
from
the
VAC
committee
members,
there
was
fairly
unanimous
kind
of
thought
on
the
artist
pieces.
So
the
range
is
really
the
difference
between
the
seven
and
the
five
you'll
notice
towards
the
number
11.
The
range
is
six,
so
the
heist
a
high
score
was
a
seven
and
the
lowest
was
the
one
which
really
reflects
kind
of
a
differing
perspective.
A
Maybe
of
the
art
that
was
being
exhibited,
the
notes
are
kind
of
what
the
exhibit
is,
as
well
as
a
comment
or
comments
that
were
may
have
been
made
by
the
VAC
I
wanted
to
provide
you,
the
location
of
where
the
artist
is
once
again
getting
to
the
context
that
this
call
was
to
represent
the
nine
Bay
Area
Counties,
and
then
whether
any
of
these
artists
have
actually
exhibited
with
the
city
before
so
I
did.
There
are
two
that
I
wanted
to
footnote.
A
The
very
first
one
is
actually
one
of
the
mirror
mirrorless
that
will
be
doing
a
mural
as
part
of
the
rank
store,
Park
on
public
art
and
then
at
the
towards
the
bottom
of
of
the
the
table
this
artist
has
submitted
for
exhibit,
but
was
not
one
of
the
fine
ended
up
not
being
one
of
the
finals
that
ended
up
displaying.
A
They
were
considered
as
an
alternate,
but
did
not
actually
display.
So
that
is
a
little
bit
of
background
in
the
scoring
I
can
go.
So
this
is
a
high
level
summary
just
to
refresh
your
memory.
These
are
in
order,
so
the
top
vote
getter
was
Martinez
and
this
was
a
sampling
of
the
art
pieces
that
were
provided
malaria.
A
One
of
the
questions
was
about
the
weight
of
these
pieces.
I
did
contact
the
artist.
The
artist
was
kind
enough
to
provide
me
the
weights
of
these
pieces.
They
will
work
with
our
hanging
systems
at
the
CPA,
so
that
should
not
be
a
challenge
in
terms
of
the
hanging
system.
A
I
do
appreciate
the
comment
and
and
the
flag
by
the
committee
to
actually
ask
that
in
advance
and
anticipating
you,
the
committee
may
ask
the
question
so
the
pieces
these
tile
pieces
are
within
the
weight
framework
of
our
hanging
system
in
the
CPA
Lima
Yoon
Bardock.
A
A
Bruckner,
courage
and
that
will
take
us
to
the
end
so
based
upon
the
way
we've
divided
up
the
year.
We
are
looking
for
six
artists
to
move
forward
as
the
primary
artist
to
display,
but
we'd
like
to
select
three
Alternatives
in
case
there
are
issues
or
conflicts.
This
did
actually
play
a
role
in
2022.
We
did
have
an
artist
that
needed
to
back
out
and
we
were
able
to
go
back
to
our
alternate
list
and
select
someone
from
our
alternate
list
to
be
able
to
fill
in
so
with
that.
A
I
will
go
back
to
the
very
first
slide,
which
was
a
summary
of
the
scoring
I
wanted
to
keep
this
up
for
a
minute
and
I
want
to
take
it
down.
So
at
least
all
of
you
can
see
each
other
and
have
a
conversation,
but
this
is
the
scoring
I'm,
not
sure
if
you
want
to
get
into
a
particular
individual
or
piece
or
if
you're
comfortable,
with
the
way
the
scoring
came
out.
A
If
you
really
don't
have
any
issues
and
you'd
like
to
move
forward
with,
say
the
top
nine
in
scoring,
you
can
certainly
direct
staff
to
do
that
and
I'm
available
to
answer
any
questions
you
may
have
related
to
the
scoring
or
if
you
want
to
see
an
imagery
of
this
again
so
I'm
going
to
stop
the
sheriff.
So
you
can
have
that
conversation.
If
you
want
me
to
put
it
back
up
just
let
me
know.
C
Thank
you.
It
was
interesting
to
see
the
breakdown
of
the
numbers
like
that,
because
it's
never
been
just
shown
to
us
like
that
before
to
see
the
difference
between
Heist
and
Elizabeth,
the
median
average.
So
thoughtful
am
I
correct
in
saying
that,
if
we
do
top
nine,
then
we
just
have
to
do
a
tie.
Breaker
for
between
butt
and
Brookner.
F
I
have
a
question
for
John
just
want
to
clarify
how
my
scores
have
been
has
been
translated
into
into
the
final
selection,
because
I
only
scored
like
maybe
11
or
12
artists,
I
left
majority
of
them
blank.
So
the
blank
in
my
in
my
dictionary
that
meant
Zero
I'm
I
like
to
clarify
with
John
if
those
are
interpreted
as
zero.
On
your
end.
A
So
the
they're
considered
blank
and
they
actually
don't,
because
it's
considered
zero,
it's
considered
null.
It's
not
actually
down
downgrading
the
score
in
any
way.
I
left
it
as
a
blank
field.
So
when
the
system
is
conducting
the
average
as
well
as
the
way
I
wrote
the
code
to
do
the
average,
if
you
left
it
blank,
it
does
not
actually
lower
the
score.
It
just
is
an
average
of
the
scores
that
were
given
so
whether
three
people
scored
it
seven
people
scored
it.
F
A
A
L
A
The
agreements
I
think
in
I
would
maybe
suggest
in
the
future
score
by
not
so
one
as
your
staff.
One
way
to
interpret
you
not
scoring
it
was
you
just
didn't
want
to
score
it
or
you
were
intentional
and
wanted
to
give
it
a
zero,
which
is,
is
certainly
your
prerogative,
but
I
would
say
in
the
future.
If
that's
the
thought,
then
I
would
say
at
a
minimum,
give
it
a
one
and
that
will
pull
down
any
average
on
any
particular
one.
You
do
not
view.
A
And
then
to
your
earlier
question
chair,
you
are
correct.
The
the
last
two
are
kind
of
neck
and
neck.
I
would
say
there
is
more
consistency
in
terms
of
range
with
the
artist
bought.
The
the
spread
on
Bruckner
is
five
meaning.
A
There
was
a
high
score
of
a
seven
and
a
low
score
of
a
two,
whereas
Bob
the
high
score
was
a
six
and
the
low
score
was
a
four
which
maze
May,
and
my
interpretation
suggests
that
there
was
a
little
more
consistency
in
the
scoring,
maybe
for
bot
and
viewing
the
art
versus
the
bigger
spread
of
a
seven
and
a
one,
and
so
the
average
came
out
to
five
yeah.
A
That
that
would
be
one
way
to
Express
this
course.
If
you
will.
C
E
C
Would
like
to
save
time
and
by
kind
of
just
focusing
on
those
last
two
of
possible,
since
nobody
above
the
score
of
five
was
disqualified
due
to
anything
like
being,
you
know,
out
of
our
region
or
being
too
heavy
or
anything
like
that,
I
think
it's
probably
fair
and
and
would
be
expedient
to
just
go
from
the
top
down
and
then
decide
now
between
button
Bruckner.
A
Well
and
keep
in
mind,
I
mean
if
you
want
to
carry
if
you
want
to
carry
it,
unless
you
want,
if
you
want
to
carry
10,
both
bot
and
Bruckner
could
be
alternates,
and
you
don't
have
to
necessarily
make
that
decision.
I.
You
know
it's
kind
of
arbitrary.
If
you
want
to
carry
four
alternates.
A
Thought,
if
you,
if
you
don't
want
to
get
into
the
nuances
of
that,
you
could
carry
for
alternates
and
if
you'd
like
to
see
their
pieces
again,
I'm
happy
to
advance
forward
to
that
if
you'd
like,
but
this
is
I
I
was
referencing
the
range
once
again,
the
range
being
between
two
and
five.
If
you
needed
to
draw
the
line
there
or
alternatively,
you
can
make
a
recommendation
to
say
we
want
to
identify
the
top
sixes
those
to
go
forward
and
we'll
bring
forward.
Four
alternates.
C
Right:
I
guess
how
to
I
don't
have
a
particular
preference,
I
guess
between
three
or
four
alternates,
so
I
don't
know
how
do
you?
How
did
the
rest
of
you
feel
my
fellow
committee
members
if.
D
C
A
Now
so
you
know
the
one
thing
I
would
say
just
making
sure
I
share
it
with
the
committee
as
well
as
any
potential
artists.
That
listen
is,
you
know
we
would
schedule
our.
You
know.
We
schedule
the
artist
for
a
particular
time.
Sometimes
things
come
up
or
maybe
they
get
a
conflict
with
the
booking
and
they
tell
us
they
can't
book.
We
can
sometimes
just
flip
with
others
in
the
future
and
they
still
can
present
just
at
a
different
time
or
in
the
case
that
happened
this
year.
A
There
was
a
conflict
that
the
person
just
had
to
withdraw
and
therefore
we
had
to
go
to
the
alternate
pool
to
fill
that
space.
So
there
are
a
different
there
can
be
different
machinations
of
what
happens
when
there's
a
conflict
or
someone.
It
is
not
necessarily
able
to
display
at
the
time
that
we
identified
for
them,
but
we
typically
will
do
our
best
to
work
with
folks
and
find
the
time
and
scheduling
that
works
for
them.
A
G
D
G
I'm
actually
really
excited
I
think
we
picked
great
ones,
all
of
them
actually
yeah
and
John.
There
was
a
range.
Would
we
have
the
opportunity
to
approve
I
I?
Remember
that
there
was
a
range
there's
many
artists,
Max
or
is
it?
Is
it
four
to
six
or
six
to
eight
or
I
mean?
Could
we
have
more
artists
showing
by
so
the
so.
A
Historically,
it's
a
great
question.
Thank
you.
Historically,
there
has
been
the
way
it
breaks
out
is
to
have
the
artists
display
for
approximately
six
to
seven
weeks
and
they
flip
out
fairly
quick,
and
so
because
there's
this
overlap
where
we
start
in
March,
and
that
goes
through
the
year
kind
of
to
the
next
march,
the
The
Sweet
Spot
has
been
around
six.
We
could
do
seven,
it
just
means
everyone
gets
a
smaller
window
to
display.
A
If
you
would
like
us
to
go
down
that
path,
I
can
work
with
the
CPA
on
figuring
out
the
dates
in
a
smaller
range.
So
you
don't
get
six
to
seven
weeks.
You
get
five
weeks
and
we
could
do
more
displays,
but
historically
it's
been
going
back
through
most
of
the
calls
for
artists.
It's
generally
been
six
with
two
alternates
a
couple
of
years.
They
brought
three
alternates
and
then
in
2019
they
identify
or
for
2019.
A
They
identified
eight
artists
to
display
with
two
alternates
and
then
because
of
covid
and
and
things
that
happened.
It
ended
up
being
basically
a
six
artists.
That's
playing
so
we.
A
So
we
we
can,
if
there's
a
desire
to
actually
have
more
people
display
than
six
I,
can
work
with
the
CPA
team
to
figure
out
that
the
timing
of
weeks
and
we
could
go
from
there.
So
if
you'd
like
to
say
instead
of
doing
six,
we
really
want
seven
and
say
have
three
alternates
or
you
want
eight
with
two
alternates
we
could.
We
could
do
that.
I
I'm,
certainly
open
to
the
committee's
recommendation
or
suggestion
and
how
you
would
like
me
to
negotiate
with
the
CPA
and
doing
these
I.
E
J
So
I
have
a
different
question
John.
Why?
And
this
may
be
historical,
why
are
we
only
displaying
one
Artist
At
A
Time?
What's
what
prevents
us
from
having
three
artists
at
a
time
four
artists
at
a
time
for
a
period
of
six
seven,
eight
weeks,
why?
Why
are
we
limiting
it
to
one
artist
at
each
time?
Is
that
is
that,
because
that's
the
way
we've
done
it
in
the
past
I.
C
D
A
I,
that's
a
great
question:
I,
don't
know
the
answer,
my
intuition,
from
what
I've
seen
in
the
conversations
I've
had
with
the
CPAs
one
there's
only
so
much
weight.
The
hanging
system
will
allow
so
I
think
there's
a
sensitivity
to
how
many
pieces
on
each
kind
of
how
that
gets.
Spaced
out
I
think
that's
one.
A
Two.
There
is
a
coordinating
event
in
terms
of
bringing
the
pieces
in
and
bringing
them
out.
So
there's
a
lot
of
Staff
work,
that's
associated
with
that
and
then,
as
the
staff
person
that
has
to
do
the
agreement,
fewer
agreements
is
personally
better
from
a
staff
perspective
than
multiple
agreements
and
I.
Don't
know
if
that's
why
it
was
historically
limited
or
not,
but
I
can
tell
you
as
the
person.
That's
now
doing
the
agreements
you
know
fewer
agreements
is
better
than
multiple
agreements.
A
Yeah
just
from
a
stop
time
perspective
as
well,
but
I
I
will
be
very
transparent.
I
do
not
know
that
I
do
not
know
the
history
of
why
it
is
that
way.
I'm
just
kind
of
extrapolating,
based
upon
different
conversations,
I've
had
and
kind
of
researching,
okay.
So.
J
A
D
A
Think
the
the
other
aspect
to
your
question,
which
is
a
very
good
one,
is
you
know
the
thinking
more
holistically
about
other
opportunities
or
locations
to
do
this.
The
CPA
is
certainly
one
venue.
Could
this
actually
be
explored
in
other
Ben
in
other
City
venues
as
a
possibility?
A
E
And
and
the
CPA,
you
know
that
space
just
cries
out
for
for
Big,
Art
yeah,
and
if
you
have
you
know,
30
inch
40
inch
pieces
of
art
on
there.
There's
there's
room
for
about
five
or
six
of
them,
maybe
unless
you're
counting
going
back
that
back
hall.
So
so
it's
even
even
as
a
single
artist.
If
you
have
a
a
20
piece
portfolio,
you
really
have
to
thin
it
down
pretty
hard,
even
just
with
one
artist
in
there.
Yeah.
C
Well,
maybe
we
can
discuss
in
the
future
about
you
know
whether
we
want
to
go
multiple
locations
or
possibly
do
two
artists
at
a
time
here
and
have
them
share
the
space,
but
either
way
we
should
probably
get
back
to
this
current
discussion.
E
C
Don't
see
a
downside
in
having
oral
tickets
really
I
think
people's
schedules
are
crazy.
Now
people
they
get
well,
especially
the
artists
that
might
not
even
be
them
being
sick.
It
might
be
like
oh
I
have
another.
You
know:
I
have
a
mural
project,
that's
taken
me
a
month
over
here
or
whatever
it
is
they're
working
at
or
another
show
all
their
work
is
out
and
not
available
to
be
displayed
here.
So
I
think
it
would
be
safe,
safer
to
have
more
Alternatives
because
they've
definitely
been
used.
C
It's
not
it's
not
at
all
rare
for
them
to
be
used.
I
think
if
not
every
year
like
at
least
every.
C
A
It's
it's
between
six
and
seven.
So
if
the
committee
wanted
to
explore
something
more
like
five.
C
Do
we
have
the
budget
for
that
because
we're
allocated
you
know.
We
chose
this
number
considering
this
diet
pinch
and
considering
our
yearly
budget.
L
A
So,
based
upon
the
budget,
the
the
set
aside,
the
VAC,
has
adding
two
potentially
two
more
artist
displays
or
three
more
artists
displays
could
be
accommodated
within
the
existing
budget.
Today,
okay,.
E
J
It
it
was
when
I,
when
I
showed
it
was
open
at
an
odd
hour
like
at
noon.
Time
has
that
changed.
A
No,
there
typically
are
some
A-frames
out
when
we
do
when
it
is
open,
because
you
do
want
dose.
You
do
want
at
least
a
docent
in
the
area
within
that,
so
it
it's
not
necessarily
open
all
the
time,
because
we
want
a
docent
in
the
area.
I
apologize,
I,
don't
know
the
frequency
of
shows
on
I'm
I.
Don't
have
an
answer
to
that
question.
C
D
D
G
C
H
J
J
I
E
So
so
there
are,
if
you,
if
you
want
to
go
see
that
thing
then
you're
going
to
see
the
art
and
generally,
if
you
have
a
kid
in
theater,
you're,
going
to
see
the
art.
So
that's
you
know
a
lot
of
the
CPA
focus.
Is
you
know
with
the
PYT
stuff.
F
C
F
It
promotes
those
every
like
summer
in
the
summer,
like
every
Thursday
or
whatever,
there's
a
city-wide
on
Castro
there,
this,
whatever
Festival
yeah
and
on
the
street,
there's
a
banner.
However,
we
did
that,
let's
we
just
that's.
C
F
C
Yeah,
that's
another
possible
advertising
method.
I,
don't
think
it
would
be
appropriate
for
me
to
go
to
the
library
and
say
please
display
this
stuff,
but
if
John
or
Steph
wanted
to
work
with
the
library
and
come
up
with
some
agreement,
there's
definitely
precedent
for
other
City
events
being
advertised
at
the
library
and
promoted
there.
Okay,.
E
So
so
one
thing
in
favor
of
shortening
the
the
time
period
on
this.
Is
that
really
you
know
if
I
remember
when
I
had
stuff
up
in
the
CPA
and
I
went
to
a
couple
of
the
shows
and
kind
of
marveled
at
how
little
time
anyone
spent
looking
at
the
art,
because
they
were
there
to
see
their
kids,
they
were
there,
you
know
they're,
it's
not
an
art
gallery,
they
didn't
go
there
to
see
art,
they
went
there
to
see
the
show
and
they
were
just
on
intermission.
E
E
Yeah,
where
they
and
there
have
been
a
couple
of
our
artists,
that
worked
it
really
hard
and
they
sat
there
with
a
table
and
they
sold
some
art.
But
if
you're
not
doing
that,
it's
just
nice
to
be
able
to
do
it.
You
know
it's
it's
an
accomplishment,
so
the
more
people
we
can
give
that
to
the
better
yeah.
J
E
H
A
A
Let's
do
a
contract
or
I'm
not
interested,
and
that's
why
you
have
alternates
so,
but
what
I'm
hearing
is
instead
of
six
I,
think
maybe
selecting
eight
or
well
Maybe.
If
you
want
my
opinion
from
what
I've
heard
I
would
say
why
don't
you
take
the
top
eight?
A
That
is
what
you
can
direct
staff
to
go
to
figure
out
contracts
with
figure
out
a
schedule
around
that
and
then
bring
three
alternates
to
that,
and
should
that
not
work
out
swap
in
the
alternates
as
need
be,
but
I
can
certainly
work
with
the
CPA
to
figure
out
a
scheduling
approach
based
upon
eight.
That
would
take
us
through
the
balance
of
2023
into
the
very
beginning
of
2024.
A
A
C
Yeah
I,
like
eight
that's
a
good
plan,
I'm
comfortable
with
the
plan
and
it
I
know.
This
is
a
separate
discussion,
but
I
kind
of
like
that
plan
more
provided
that
we
are
able
to
kind
of
not
be
so
passive
in
our
you
know,
just
kind
of
hoping
people
wander
in
and
see
the
art
while
they're
there
for
the
show,
because
that's
kind
of
in
our
default
mode.
C
So
if
we
can
do
a
little
more,
promoting
a
little
more
advertising,
maybe
work
something
out
where
if
the
artist
does
want
to
do
a
reception
and
they
Performing
Arts
Center
make
sure
that
there's
staff
there,
even
if
it's
a
little
later
because
I
remember
the
reception
I
was
at,
was
like
seven
eight
o'clock
and
there
was
it
went
well,
but
I
don't
know
if
that's
like
a
normal
hour
for
them
to
be
open
or
if
it
was
just
lucky,
because
there
was
a
show,
but
there's
probably
some
things.
G
H
I
do
a
motion
to
have
eight
artists
show
in
the
next
perform
CPA
season
of
Visual
Arts.
Instead
of
six.
J
A
Okay,
Committee
Member
Bryant.
J
A
Committee
Member
Maher,
yes,
Committee,
Member
sequels;
yes,
many
member
Thompson,
yes,
Committee,
Member,
white,
bread,
yes
Vice,
chair
shoe
and
chair
cup.
Yes,.
A
A
Okay,
I
believe.
Our
next
item
is
the
Transit
Center
Grade
separation,
members
of
our
Public
Works
team,
here
to
present
so
I
will
allow
them
to
foreign,
what's
happening
with
the
Transit
Center
Grade
separation
and
Access
Project
I'd
like
to
introduce
joy
and
Robert,
and
we
also
have
Jim
lightbody
on
as
well.
I
I
thought
I'd
start
with
this
exhibit
showing
the
existing
condition
of
Castro
Street
Moffett,
Boulevard,
Central
Expressway
and
the
Caltrain
track
intersection
currently
about
104
trains
across
Castro
Street,
and
this
equates
to
about
a
minute
of
gate
down
time
for
each
train.
This
number
is
anticipated
to
increase
in
2024
when
the
electrification
of
the
corridor
is
completed
through
the
Caltrain
modernization
program,
and
the
number
of
train
is
again
anticipated
to
increase
in
2040
to
398
trains,
trains
per
day
with
both
Caltrain
service
and
High-Speed
Rail
using
the
rail
corridor.
I
The
Transit
Center
Grade
separation
and
access
projects
started
as
part
of
the
transit
master
plan,
which
was
completed
in
2017.
in
2018
city
council
supported
the
concept
of
dividing
the
implementation
of
the
master
plan
into
two
elements.
The
first
element
is
the
Transit
Center
Grade
separation
and
Access
Project.
The
second
element
is
the
Redevelopment
of
the
transit
center
itself,
which
will
include
on-site
Vehicles
circulation
to
meet
current
and
future
demands
and
reconfiguration
of
the
Centennial
Plaza.
I
The
project
proposes
to
improve
safety
for
all
modes
of
travel,
improve
traffic
flow
and
reduce
congestion,
and
also
support
pedestrianization
of
Downtown
Mountain
View.
The
project
is
currently
in
final
design
phase,
which
is
scheduled
to
be
completed
in
July
of
2024.
Construction
phase
is
anticipated
to
begin
in
July
of
2024
and
last
through
December
of
2026..
I
This
image
here
shows
the
major
elements
of
the
project,
the
first
one
being
the
construction
of
a
new
vehicle
wrap
from
West
Evelyn
avenue,
connecting
to
Shoreline
Boulevard
to
provide
an
alternate
route
for
vehicles.
The
second
one
is
a
construction
of
a
shared
use
path,
underneath
Evelyn
avenue
and
Shoreline
Boulevard,
which
will
connect
to
the
existing
multi-use
pack
on
the
west
side
of
Shoreline
Boulevard.
D
I
This
slide
shows
the
proposed
improvements
on
the
north
side
of
Central
Expressway
at
Moffett
Boulevard
on
the
west
side
of
the
Moffett
Boulevard
at
Central.
Expressway
is
what
we
refer
to
as
the
Moffett
Plaza.
The
image
on
the
left
is
an
aerial
view
of
the
stairway
and
the
ramp
connecting
to
the
other
Crossing,
and
the
image
on
the
right
shows.
The
view
of
the
tunnel
from
the
stairway
on
the
east
side
of
this
intersection
is
what
we
refer
to
as
the
Adobe
Plaza.
I
This
slide
shows
the
existing
conditions
outside
of
Central
Expressway,
showing
the
Caltrain
tracks,
and
this
image
shows
the
proposed
improvements
on
the
south
side
of
central.
Here
you
can
see
The,
Concourse
area
ramps
and
Stairway
to
and
from
Castro
Street
to
the
under
Crossing
below
countering
tracks.
I
This
image
here
shows
The
Concourse
area
between
central
and
Caltrain.
You
can
from
here.
You
can
see
the
access
to
the
under
Crossings.
One
leads
to
the
Moffett
Plaza
another
one
leads
to
the
Adobe
Plaza
and
there
is
also
a
shorter
under
Crossing,
leading
to
Castro
history
and
Evelyn
avenue
from
The
Concourse
area,
and
this
side
here
is
a
few
of
the
under
Crossings,
underneath
the
Caltrain
tracks
from
underneath
the
California
tracks,
with
the
recent
city
council
approval
to
permanently
close,
the
first
300
blocks
of
Castro
Street
to
vehicle
traffic.
I
The
project
team
is
using
this
opportunity
to
realign
Evelyn
having
a
connection
to
provide
a
smoother
transition
where
the
two
legs
used
to
intersect
with
Castro
Street
and
provide
sort
of
an
s-curve
to
provide
a
safer
Crossing
for
bikes
and
pets,
along
with
the
completion
of
the
preliminary
engineering
and
environment.
So
Clarence
face
the
Urban
Design
guidelines
was
also
developed
for
the
project
and
Jim
lightbody
will
speak
more
about
this
yeah.
L
Thank
you,
Joy
I
I,
just
for
the
committee's
purpose,
I
I
manage
the
project
through
the
planning
and
preliminary
engineering
phase
before
we
turned
it
over
to
Caltrain
for
final
design.
So
as
part
of
that,
we
had
a
series
of
community
meetings
and
other
community
outreach
efforts
in
developing
the
project,
and
one
thing
that
was
clear
from
the
beginning.
L
There
were
concerns
about
underpasses
and
and
potential
safety
and
and
comfort
issues,
and
so
in
developing
the
plan,
we
made
sure
that
we
provided
sufficient
budget
and
Concepts
that
would
support
an
under
Crossing
that
would
be
safe,
secure,
comfortable
and
and
attractive
and
and
become
real
community
asset.
L
As
part
of
that,
we
developed
a
series
of
Urban
Design
guidelines,
and
this
is
a
document
that
we
can
provide
it's
on
the
web
cities
website
for
the
transit
center.
We
can
provide
that
to
you,
has
a
lot
of
detail
about
some
of
the
ideas
for
Urban
Design,
not
just
art,
but
for
General
Urban
Design
of
the
of
the
under
Crossings
to
meet
those
objectives.
L
D
L
That
I'll,
let
let
Joy
carry
on
I.
C
Okay,
great
because
yeah
I
think
there's
a
lot
of
room
for
that.
Enhancing
the
yeah.
I
Okay,
I'll,
let
you
continue
thanks.
Jim,
as
Jim
mentioned,
the
Urban
Design
guidelines
sets
guidelines
were
art
or
architectural
elements
can
be
incorporated
into
the
project.
There
are
many
opportunities
for
that
in
the
project
and
they
can
be
included
through
surface
treatments,
lighting
Landscaping,
signage
and
wayfinding,
and
also
through
use
of
fixtures
and
railings.
I
One
element
of
the
urban
of
the
project
where
Urban,
Design
and
or
public
art
can
be
integrated
to
is
the
under
Crossing.
This
slide
here
shows
different
examples
of
under
Crossings,
in
which
art
have
been
integrated
in
in
different
ways.
As
you
can
see
in
the
examples
here,
there's
there's
different
tile
treatments
that
can
be
applied
on
walls
also
on
the
flooring
and
art
can
also
be
integrated
or
applied
on
the
ceiling
of
the
tunnel.
I
As
you
can
see
in
the
bottom
left
image
there,
and
also
with
the
tunnels,
we
can
incorporate
lighting
that
could
be
an
architectural
element
or
a
public
art.
When
we
get
to
that
point,
the
project
team
came
up
with
these
underpass
models.
Initially,
we
are
not
tied
down
to
these
two,
but
I
just
wanted
to
show
some
examples
of
some
unique
shapes
of
the
inside
of
the
tunnel.
We
don't
have
to
be
stuck
with
the
boring,
rectangular
ones
and
and
it's
one
opportunity
where
we
can
integrate
public
art.
I
In
addition
to
the
under
Crossings,
another
opportunity
we
will
be
looking
into
is
incorporating
public
art
in
The
Concourse.
This
will
help
the
project
or
even
for
our
community,
to
create
a
sense
of
place.
The
area
between
Central,
Expressway
and
Caltrain
tracks
is
large.
I
It
creates
many
opportunities
for
us
to
apply
different
treatments
or
art
and
that
could
be
through
use
of
surface
treatments,
with
different
Pavements
for
flooring
or
different
surface
treatments
for
the
walls
of
the
structure,
but
also
with
Landscaping
railings
and
light
fixtures
to
create
bright
and
inviting
areas
leading
to
the
under
Crossings
and
then,
as
the
design
continues
to
progress
and,
except
for
the
project
team
is
to
meet
with
the
community
in
January
to
provide
a
project
update
and
also
seek
input
on
architectural
elements
that
the
community
want
to
see
included
in
the
project.
I
The
staff
class
to
go
to
council
to
provide
update
and
for
the
recommendation
from
the
BAC
and
in
Spring
stuff
will
return
to
select
an
artist
for
the
public
art
component
of
the
project,
and
once
we
have
a
selected
artist
approved
and
on
board,
we
can
have
the
artists
coordinate
with
the
design
team
to
make
sure
that,
what's
needed
to
install
the
art
gets
incorporated
into
the
design
plans,
if
needed.
If
it's
a
structural,
Foundation
or
conduits
for
electrical
work
and
other
things,
and
with
that
I'd
be
happy
to
answer
any
questions.
If.
L
Joy,
if
I
could
just
add
one
thing,
I
I
want
to
make
sure
it's
clear
to
the
the
committee
that
we're
working
hard,
we
joy
and
Robert
and
I
and
others
at
the
city
to
make
sure
that
this
the
base
design
of
this
project
is
a
high
quality
Urban
Design
that
meets
a
lot
of
the
goals
we
have.
So
the
art
element
is
sort
of
on
top
of
what
we
hope
is
a
well-designed
under
Crossing
and
other
rest
of
the
project
too.
L
Yeah
there's
an
architect
that
works
with
hntb
they're
The
Design
Consultants
under
contract
to
Caltrain.
J
D
B
Yeah
I
would
add
that
sorry
go
ahead.
Jim
no
go
ahead.
Oh
I
was
going
to
say
that,
along
with
hntb's
in-house
architect,
Gail
has
been
brought
on
to
their
team.
C
Hey
Robert
and
thank
you,
Jim
I
think
it
is
really
well
designed
I'm
impressed
some
some
cool,
looking
images
going
on
I
like
all
the
bicycle
and
Corporation,
and
how
wide
and
open
all
of
those
paths
look
even
the
underground
ones
like
like
comfortable
and
roomy
and
spacious,
so
I
think
the
public
art
can
enhance
the
the
safety,
the
feeling
of
safety
and
comfort
a
lot
and
one
one
model
I
want
to
bring
up
from
our
past
is
at
the
Community
Center,
the
architect
there
recommended
having
a
lighted
project
at
the
end
of
a
hallway
because
it
looked
kind
of
like
a
dark
cave
from
the
front.
C
If
you
look
at
the
building,
it
goes
all
the
way
back.
There's
a
dark
hallway,
he
said,
put
some
light
at
the
end.
That
was
his
recommendation
and
we
did.
It
worked
really.
Well
so
I
don't
know
if
you
know
that
piece,
it's
like
a
glass
panel
with
a
picture
of
a
path
leading
into
some
Redwood
forests
and
it's
really
evenly
backlit
with
natural
natural,
looking
LED
lighting,
it's
kind
of
like
mimics,
the
natural
wavelength
of
light.
So
it
looks
like
you
could.
Just
keep
walking
into
the
woods
at
the
end
of
the
hallway.
C
That's
that's
the
effect,
and
it's
pretty
great,
so
I
think
this.
We
have
a
good
opportunity
to
incorporate
light
into
whether
it's
a
sculpture
or
a
mural
or
some
other
art,
whether
it's
just
like
a
really
well-lit
mirror,
or
this
light
as
part
of
your
orc
itself.
That
could
help
I
think
enhance
the
feeling
of
safety,
especially
at
night
time.
D
H
There
was
on
your
examples:
there
was
one
one
was
especially
well
lit,
one
of
the
underpasses
so
as
somebody
who
walked
through
a
lot
of
train
on
the
passes
and
also
had
not
so
fun
experiences
in
between
underpasses.
It
is
you
know,
a
big
issue,
especially
as
a
woman
and
yeah.
It
could
be
a
great
opportunity
to
incorporate
into
a
well-lit,
or
you
know,
underpass
like
that.
E
Is
there
any
long-term
planning
to
to
build
up
the
area
North
on
the
north
side?
Of
that
you
know
over
on
Moffett
Boulevard,
you
know
put
in
some
housing
stuff
like
that,
so
they'll
I
mean
all
of
this
is
in
intended
for
there
to
be
a
fair
amount
of
people
going
through
there
and,
and
so
that
would
seem
to
be
an
ideal
spot.
L
There
there
already,
of
course,
is
the
100
Moffett
development
that
was
fairly
recently
built,
which
is
a
housing
project
on
the
east
side
of
Moffitt.
There's
been
long-standing
interest
from
the
city
as
I
understand
it
to
look
at
some
development
in
that
area,
but
nothing
is
is
presently
happening.
There.
C
Excited
to
see
this
on
a
schedule
set
soon,
because
that
this
whole
Transit
Center
remodel,
has
been
as
long
as
I
can
remember.
It's
always
been
years
and
years
in
the
future,
and
it's
way
down
the
line,
and
now
it's
actually
happening
so
I'm
excited.
I
C
I
C
J
D
D
J
Or
along
the
long
on
in
London,
the
the
the
South
Bank
areas
has
great
murals,
all
along
and
good
to
refresh
one's
memory
when
it's
warmer
in
London,
though,
please.
E
I
C
By
the
Light
Rail
station,
just
for
those
people,
something
by
the
train,
so
someone
rides
one
or
the
other,
they
can
get
their
own
dose
of
art,
but
I
wanted
to
also
bring
up.
Another
idea
to
just
put
in
your
heads
for
the
future.
I
was
thinking
first
about
light,
primarily
for
the
underground
and
now
another
thought
came
to
me,
which
is
plants
and
like
a
living
wall.
Something
like
that
and
the
reason
I
thought
of
that
is
not
just
because
plants
are
nice
and
it
would
be
cool
to
have
them
underground.
J
In
in
Paris,
there
are
some
very
nice
examples
of
living
walls
done
along
buildings,
spectacular
where
they
transform
a
four-story
building
with
a
living
wall
and
plants
along
and
the
infrastructure
to
water
them
is
also
built
in,
and
it
actually
is
spectacular.
So
if
one
can
have
that
as
an
idea
incorporate
in
it,
it's
it's
transformational.
Yeah.
C
H
Well,
actually,
it
was
a
kind
of
adding
to
that.
A
nice
public
toilet
will
be
good,
then
you
know
they
don't
have
to
I.
L
C
B
Yeah,
looking
forward
to
step
two,
we
have
the
we
have
the
public
art
location
recommendations,
so
we're
going
to
be
coming
back
to
you,
folks,
with
specific
locations.
So
you
know
keeping
that
in
mind
and
thinking
of
that
as
a
Next
Step,
as
well
as
the
call
for
artists.
So
going
back
to
member
Bryant's
question
about
themes
that
that's
really
where
the
themes
will
tie
in.
If
we
want
to
incorporate
that
into
the
call
for
artists.
D
A
You
so
much
actually,
your
your
staff
has
a
question
for
okay,
my
colleagues
as
there's
another
topic
on
the
agenda
later
that
the
committee
had
asked
me
to
look
into,
and
one
of
the
issues
has
been
this
kind
of
bifurcation
call
for
artists.
So
at
what
point
does
the
committee
provide
a
stipend
to
artists
to
do
a
sample
of
what
it
could
look
like,
and
so,
as
a
topic
that's
going
to
be
on
following
this
is
historically
for
projects
where
the
project
is
in
excess
of
sixty
thousand
dollars.
A
A
Right
so
my
my
my
maybe
statement
or
question
to
my
Public
Work
teammates
is
you've
outlined
the
timing
for
the
VAC
committee
and
certainly
wanting
not
to
be
the
thing
that
slows
this
project
down
understanding.
Maybe
whether
this
project
May
trigger
that
one
of
the
things
the
committee
is
looking
at
is:
should
there
be
some
basis
for
decision
when
you
know,
there's
a
significant
dollar
amount
and
so
getting
the
art
right
and
having
it
well
thought
out
and
actually
having
some
small
model
of
what
it
could
look
like.
A
But
that
takes
time
and
so
trying
to
really
understand
Robert,
Jim
and
joy,
the
timing
and
so
I
I
know
you
have
it
outlined
here.
I,
don't
know
if,
if
you
have
further
guidance
to
the
VAC
specific
to
this
project
of
like
what
that
window
is
so
if
they
do
a
call
for
artists.
Typically,
you
get
responses.
A
They
narrow
that
down
to
like
the
top
four
and
then
really
kind
of
flush
it
out
for
a
good
visual
of
what
this
could
look
like,
so
that
there's
a
better
sense
of
what
the
art
piece
is
actually
going
to
be
in
the
locations.
You
identified
sorry
long-winded
question,
but
would
appreciate
maybe
your
thoughts
because
they're
going
to
get
into
this
conversation
in
a
future
item.
B
So
my
initial
thoughts
is,
it
would
be
a
natural
place
for
that
to
land,
as
we
hone
down
the
list
of
artists
to
a
group
of
something
like
two
or
three,
and
then
we
can.
We
could
really
invest
in
those
those
models,
so
it
makes
a
lot
of
sense
for
us
to
to
get
those
get
that
list
down
as
small
as
possible.
So
in
terms
of
steps
that
we're
seeing
in
here,
we
can
talk,
Jim
and
joy
and
I
can
talk
about
it,
but
it's
probably
going
to
be.
B
You
know
between
two
and
four
you're
going
to
be
doing
that
whittling
down
process
of
evaluating
artists,
and
so
by
the
time
we
get
to
four,
we
should
have
those
models.
B
Ideally,
if
we're
going
to
do
them
in
hand,
so
policy
K5
comes
into
play
here.
This
project
has
a
total
budget
of
over
90
million
dollars.
The
city's
contribution
isn't
quite
that
high,
but
we
do
have
a
substantial
City
contribution,
so
I
believe
the
policy
caps
out
the
artists,
the
the
visual
arts
component
at
four
hundred
thousand.
So
there
will
be
some
budget
there
for
for
models,
but
I
don't
want
to
blow
the
budget
on
more
models
than
are
prudent.
So
that's
that's
really
kind
of
the
committee's
call.
A
And
just
for
edification,
typically,
the
models
have
been,
or
this
I
should
say:
stipends,
they're,
stipends,
yeah
and
there's
a
memo
in
the
packet.
If
you
wish
to
look
at
it
real
quickly,
it's
typically
been
about
two
thousand
to
five
thousand
dollars.
So
if
it's
two
or
three
artists,
a
stipend
up
between
two
and
three
thousand
sorry,
two
and
five
thousand
dollars:
okay
to
actually
develop
a
model
around
that.
So
sorry
to
ask
one
more
clarifying
question
once
again,
just
making
sure
the
committee
is
aware
of
triangulating.
A
These
conversations
is,
we
say
early
2003
and
then
spring
in
2003
and
for
our
Public
Work
teammates,
reminding
them
that
vac
does
not
have
a
meeting
in
January,
so
they're,
first
back
in
February,
so
trying
to
understand
first
meeting
in
February
spring
is
what
February
March
April
May
like
just
so
I
want
to
make
sure
you
guys
are
aware
of
that
as
well
and
certainly
at
a
staff
level
we're
in
communication,
but
one
of
the
kind
of
daylight
this
for
the
committee.
So
everyone's
aware
of
this,
maybe
quick
Sprint.
If
you
will.
L
Yeah
and
just
I
can
just
add
a
little
bit
about
the
schedule.
The
vital
design
is
underway
in
the
project
they're,
currently
aiming
for
middle
of
the
year
to
complete
the
65
design
so
as
time
goes
by,
some
of
the
options
may
get
precluded
because
of
decisions
made
about
how
the
structure
is
developed
so
forth.
We'd
hope
that
there
would
be
remaining.
You
know
substantial
number
of
remaining
opportunities
that
can
be.
You
know,
worked
out
between
65
and
100
design,
but
there
may
be,
depending
on
the
nature
of
the
proposal.
F
I
D
A
A
That's
why
I
want
to
make
sure
that
you
know
kind
of
setting
expectations
with
everyone
about
the
timing
and
and
not
having
the
Tail
Wag,
the
Dog
on
a
large
Public
Works
project,
but
just
understanding
the
timing
of
and
phasing
so
given
the
the
significance
of
this
and
I
I
think
as
a
vac
churns
on
some
ideas
and
themes
that
that
can
be
more
crystallized
as
we
move
forward
so
that
it's
very
clear
what
the
ask
would
be
in
this
kind
of
two-phased
RFP
approach
to
say
we
will
look
for
some
models,
but
we'll
isolate
down
to
two
or
three
and
then
we'll
provide
small
stipends
to
flush
that
out
a
little
bit
more
with
the
idea
that
we
would
award
at
the
subsequent
kind
of
vac
meeting
something
to
that
effect.
A
So
that's
how
we'd
want
to
scope
the
call
for
artists
going
forward.
H
Could
it
be
an
idea
to
have
one
part
of
the
area
for
public
art
to
be
like
just
be
dreams
or
showcases
that
we
could
have?
You
know
changing
exhibitions
in
you
know
people
could,
you
know,
be
like
such
lit
showcases.
That
would
also
get
light
into
the
tunnels.
C
H
Do
in
and
out
of
different
art,
yeah
yeah
right
and
then
it's
changing
all
the
time.
It's
not
like
one
mural
or
whatever,
but
it
could
be
an
opportunity
for
artists,
especially
it
could
be
the
Mountain
View
Gallery
City
Mountain
View
Gallery,
the
tunnel
from
you
know,
through
streets
Street
to
Boulevard.
C
H
C
Time
but
emissions
were
also
concurrently
working
on
the
public
art
strategy.
I,
don't
know,
maybe
it
might
be
possible
to
do
something
where
it
might
be
risky,
though,
to
say
we're
going
to
plan
for
this
space
that
has
a
rotating
to
Gallery
space,
but
then
what?
If
that
doesn't
come
through
in
the
public
strategy
later,
then
we're.
C
E
L
Other
thing
that
you
should
be
aware
of
is
that
most
likely
this
is
going
to
be
the
city's
responsibility
to
maintain
this
under
Crossing.
You
know,
and-
and
we
would
expect
to-
and
there
may
be-
some
kind
of
cost
sharing
agreement
with
Caltrain,
but
for
the
most
part
the
city
is
going
to
have
responsibility
for
all
of
the
maintenance
and
keeping
it
clean
and
yeah.
C
C
We
asked
Caltrain
to
contribute
percent
for
the
public
art
I.
C
Yeah
because
I've,
just
in
a
previous
discussion
with
someone
at
Valley
Water
talking
about
public
art,
she
mentioned
that
like
for
that
particular
organization,
not
necessarily
for
Caltrain,
but
if
we
did
have
say
a
one
percent
requirement
for
Park
in
Mountain
View
like
mckelope
Park,
then
Valley
Water
came
in.
They
provided
a
large
part
of
the
budget.
C
We
couldn't
necessarily
required
they
to
contribute
one
percent,
but
we
could
ask-
and
she
said
yeah
they
would
probably
say
yes,
because
for
them
the
budget
isn't
the
concern,
it's
that
they
don't
want
to
pick
out
the
art
they
don't
want
to
administer
it.
They
don't
want
to
do
the
generating
process.
But
if
it's
just
giving
us
money
that
would
be
easy
for
them.
So
maybe
it's
the
same
for
Caltrain.
That
would
be
great.
J
I
have
a
question
of
comparison
just
for
for
guidance.
J
The
last
time
we
had
a
major
building
event
was
the
rec
center,
the
rec
center
there
or
the
swimming
pool,
and
when
that
came
to
us
that
swimming
pool
area
was
well
designed
by
the
architect
and
they
had
guidance
for
us
of
where
art
could
go
in
that
building
and
the
succubus
firm
guidance
of
where
to
control
what
we
selected
and
how
we
selected
will
we
be
in
the
similar
situation
in
early
2023
when
you
come
back
to
us,
or
is
this
great
or
will
we
be
in
a
more
fluid
environment
at
that
time,
with
more
options
presented.
B
So
I
would
say
the
most
important
restriction
for
you.
Folks
is
going
to
be
where
you
can't
place
art,
there's
going
to
be
an
envelope
around
the
rail
operations
where
it's
it's
going
to
be
inappropriate,
so
the
the
slides
that
we
saw
today
showed
the
tunnel
areas.
B
It
also
showed
The
Concourse
areas
and
a
couple
Plaza
areas
at
the
at
at
ground
level,
so
you're
gonna,
those
are
for
those
are
for
you
to
contemplate
whether
you
think
it's
more
appropriate
to
have
art
pieces
in
the
ground
levels
or
any
of
those
spaces
below
grade
so
feel
free
to
to
think
openly
about
any
of
those
spaces
where
early
enough
in
the
design
we're
moving
towards
65.
So
we
know
we
know
the
general
geometry
of.
What's
what
it's
what's
going
to
be
in
place.
B
B
Yeah,
yes
graffiti
proof,
you
know
well
well
chosen
material.
So
it's
it's
going
to
have
some
durability.
C
Yeah
I
was
gonna
ask
earlier,
but
what
Julia
ended
up
asking,
but
almost
the
same
question
very
similar
for
John,
just
because
we
have
all
these
other
staff
members
here,
which
is
if
we
when,
if
we
and
it
sounds
like
we
are
going
to
do
the
the
extra
you
know,
mech-head
process
or
having
an
additional
stipends
to
get
more
precise,
look
at
people's
plans
for
the
art.
Then
what?
What
does
that
usually
add
to
the
timeline?
A
It
well
that's
really.
The
I'll
just
touch
on
it
briefly,
but
it
is
a
agendaized
item,
but
historically
the
the
cost
has
been
anywhere
between
a
thousand
and
five
thousand
dollars,
and
it
has
added
it's
basically
added
two
months,
so
there's
typically
a
skip
in
one
vac
meeting
with
a
vac
meeting
to
come
back.
A
So
it's
it's
only
really
two
meetings,
but
you're
kind
of
skipping,
one
so
you're,
adding
basically
two
months
to
the
process,
so
that
that
is
why
I
just
wanted
to
understand
and
have
a
public
teammates
share
kind
of
the
timing,
so
that,
as
we
work
back,
if
there's
going
to
be
this
incremental
step,
yeah
doing
a
stipend
to
really
get
a
true
sense
of
what
this
piece
could
look
like
and
modeled
appropriately
that
it's
going
to
work
from
an
engineering
perspective
and
that
it
makes
Visual
sense
and
for
the
space
we're
kind
of
looking
at
almost
like
a
in
theory,
a
three-month
process
right.
A
C
D
D
K
Thanks
John,
really
good
stuff
I've
been
following
this
under
Crossing
project
in
a
variety
of
ways
over
time
so
great
to
see
this
update
I
just
wanted
to
mention
a
couple
of
things:
I
really
like
Cliff's
idea
about
the
living
wall.
That
would
be
a
great
thing
to
do,
and
I
believe
that
green
spaces
Mountain
View,
would
advocate
for
that
not
sure
where
best
to
do
that,
but
I
could
talk
with
Robert
and
Jim
offline.
Perhaps
about
that
and
joy.
K
Maybe,
and
that's
what
I'll
plan
on
doing
and
on
the
public-facing
restrooms.
It's
interesting
Jesse
brought
that
up.
I
hadn't
thought
about
it
before
we're
definitely
advocating
for
those.
We
need
a
lot
more
of
those
around
town
and
water
fountains.
But
what
I
hadn't
considered
before
is
the
artistic
value
of
how
you
select
those
and
making
sure
that
performing
they're
not
really
ugly.
K
They
need
to
be
functional,
but
they
can
also
be
attractive
and
engaging
and
I
believe
that
San
Francisco,
even
though
they're
spending
bucket
loads
of
money
on
those
urinals
up
there,
but
they
have
gone
through
a
process
of
making
them
attractive
and
the
new
ones
that
they
placed
are
are
really
interesting.
Looking
and
they're
set
up
to
prevent
graffiti
by
using
sort
of
like
a
modeled
surface
on
them,
so
they
were
able
to
obey
graffiti,
but
they're
also
suitable
for
posting
information,
whether
it's
advertising
or
Public
Notices,
and
things
like
that.
K
So
it's
one
way
to
offset
the
cost
is
by
using
them
for
advertising,
not
that
we
want
big
public
restroom
posters
all
over
the
place.
But
you
know
it
is
one
way
to
mitigate
the
cost
so
I'm
interested
in
that,
and
if
your
committee
were
to
consider
that
the
artistic
Merit,
so
those
choices
I,
would
absolutely
want
to
advocate
for
that
from
a
public
perspective.
Thanks.
D
A
Nothing
else
we
can
probably
move
on
to
the
next
item.
If
no
other
comments
for
the
public
work
teams.
C
D
C
A
So
this
will
be
a
very
quick
update
and
this
came
about
in
November,
several
committee
members
had
been
approached
by
some
members
of
the
public,
so
in
talking
with
the
clerk's
office
on
what
should
happen
going
forward.
So
if
you
do
receive
inquiries
from
members
of
the
public,
you
know
what's
the
city's
position
on
this
or
what
does
Mountain
View
do
on
this
related
to
art.
A
If
you
would
be
so
kind
as
to
afford
that
to
me,
I
will
do
the
initial
interaction
and
then
work
with
the
clerk's
office
if
happy
to
engage
the
members
of
the
VAC,
but
the
direction
was
to
actually
forward
those
inquiries
to
staff
and
we'll
figure
out
kind
of
the
the
best
approach,
whether
it's
it
can't.
It
should
be
a
staff
response
and
or
whether
you
can
respond
directly.
A
So
if
you
do
get
inquiries
and-
and
it
will
happen,
people
look
to
as
leaders
in
this
community
and
certainly
leaders
in
the
world
of
art-
and
we
certainly
appreciate
your
service
to
this
committee.
But
if
you
do
get
those
types
of
inquiries,
if
you
can
just
forward
them
to
staff
and
we'll
work
to
address
them,
that
may
come
back
to
you
to
address
and
there
may
be
no
issue.
But
we
would
ask
that
you
first
come
to
a
staff.
A
First,
we'll
work
with
the
clerk's
office
and
figuring
out
what
the
right
solution
to
that
questionnaire
inquiry
is
and
we'll
go
forward
with
it
as
a
matter
of
practice.
So
it's
a
very
brief
update
but
wanted
to
Circle
back
as
there
have
been
some
prior
inquiries
in
November
and
there
was
confusion
on
staff
smart,
and
so
this
is
a
chance
to
provide
that
feedback
to
all
of
you.
A
Should
you
receive
those
types
of
inquiries
wanting
to
know
kind
of
the
city's
position
or
the
role
of
the
VAC
I'm
happy
to
answer
any
questions
associated
with.
B
A
C
A
So
within
your
pocket,
there
is
a
very
brief
memo.
One
page
memo
that
does
summarize
when
the
VAC
historically
has
considered
doing
a
stipend
approach
and
I
did
go
back
through
the
various
public
art
proposals
that
we
had
on
file
and
going
back
to
basically
2009
and
and
coming
forward
and
found
that
through
that
time-
and
this
is
when
the
the
K-5
policy
was
a
one
percent
fee
on
Art.
A
It
is
now
a
two
percent,
but
a
one
percent
fee
on
our
there
were
three
projects
that
actually
the
VAC
committees
at
those
times
decided
to
go
through
a
stipend
approach,
which
was
they
did
a
call
for
artists.
A
Given
the
size
and
magnitude
in
a
dollar
investment
in
the
art,
they
did
ask
for
a
follow-up
and
they
provided
a
small
stipend
to
artists,
to
a
small
stipend,
to
select
artists
to
refine
the
art
proposal
to
get
a
better
sense
of
what
it
was
going
to
be
and
those
three
projects
were
the
fire
station
number
five,
the
community
center
Remodel
and
the
rank
star
Aquatic
Center,
so
fire
station
number
five
in
2009
the
the
percent
for
art
project.
At
that
point,
time
was
sixty
seven
thousand
dollars.
A
It
was
a
one
location
and
at
the
time
the
committee
approved
a
500
stipend
for
the
art
that
was
ultimately
deployed
at
that
location
for
the
community
center,
a
very
significant
project,
very
expensive,
remodel
the
one
percent
art
for
that
project
was
a
hundred
and
forty
thousand.
A
So
there
were
four
locations
identified
for
art.
Excuse
me
so
the
for
those
four
locations
they
the
committee
at
the
time
did
offer
a
five
thousand
dollar
stipend.
So
the
art
ranges
for
the
exterior
the
pieces
range
from
anywhere
from
forty
thousand
to
sixty
thousand
dollars
and
for
the
interior.
A
The
the
value
of
the
art
was
75
000,
so
they
at
for
the
magnitude
of
art
being
offered
or
being
looked
at
for
that
project.
There
was
a
five
thousand
dollar
stipend
offered
to
our
the
selected
small
select
artists
in
refining
those
art
projects
and
then,
finally,
for
the
ring
store
for
aquatic
center.
The
one
percent
art
budget
was
180
000..
A
It
looked
at
three
locations,
both
internal
and
external
and
at
the
VAC
at
that
time,
offered
up
a
one
thousand
dollar
stipend
I.
Think
the
when
you
kind
of
do
the
math
on
all
of
it.
It
seems
as
though,
when
there
is
for
a
select
art
piece,
a
single
art
piece,
that's
in
excess
of
sixty
thousand
dollars.
A
The
VAC
has
historically
provided
some
type
of
stipend
as
low
as
500
as
high
as
five
thousand
dollars.
This
memo
was
written
really
in
response
to
the
conversation
in
a
dialogue.
At
the
last
at
the
November
vac
meeting
as
a
follow-up
to
help
guide
conversation
tonight,
the
VAC
could
go
a
couple
different
ways.
Just
have
the
conversation
and
not
decide
on
an
approach.
A
The
VAC
could
make
a
recommendation
for
projects
of
a
certain
dollar
threshold
for
art
piece
where
you'd
like
to
see
a
more
refined
approach
to
the
art
piece
and
you
think
in
order
to
get
that
better
refinement,
a
stipend
should
be
offered
so
a
small
contract
to
refine
that
art
piece.
You
could
take
that
action
this
evening
on
that,
so
it
can
be
just
discussion
only
and
if
you're
not
coming
to
consensus,
we
can
certainly
bring
it
back
in
a
more
formal
way,
as
discussed
earlier
this
evening.
A
As
of
an
item
in
the
future,
to
talk
about
was
engaging
with
artists,
so
if
you
want
to
have
that
as
a
more
holistic
conversation
at
that,
time
can
certainly
take
that
recommendation
and
bring
it
fold
it
back
into
that
future
item
that
was
referenced
earlier
in
the
agenda
staff
is
happy
to
take
that
direction
from
the
committee
as
well
or,
if
you
feel
like
you,
have
enough
information,
and
you
would
like
to
come
up
with
an
approach
for
the
time
being.
A
G
I
I
feel
like
I'm
a
little
bit
uneasy
to
decide
this
personally
kind
of
in
a
vacuum,
because
this
to
me
is
just
one
piece
because,
as
I
mentioned
earlier,
I
feel
like
we
might
have
to
have
a
closer
look
at
the
call
for
artists
like
what
what
we're
gonna
ask
the
artist
at
the
very
first
point
of
contact,
because
one
thought
that
I
had
is
Fayette,
because
artists
are
very,
the
proposals
are
very
diverse
and
some
artists,
you
can
automatically
imagine
what
they're
gonna
do
for
our
project,
like
the
Fayette
Park,
is
a
very
good
example
with
the
metal
and
animal
sculptures
right.
G
It's
less
about
what
the
art
is
going
to
give
us
it's
more
detail
what
it's
actually
going
to
do,
but
you
automatically
know
what
he's
gonna
do
for
the
part
more
or
less
versus
other
artists
that
are,
for
example,
painters,
but
they
still
put
in
a
proposal
for
a
Fayette
Park.
We
have
no
idea.
They
might
have
an
amazing
idea
for
the
parent,
but
from
their
portfolio.
We
would
have
no
idea
what
they
would
be
doing.
So
what
we're
getting
in
is
very,
very
diverse.
G
It's
Kind
artist
in
itself
are
almost
already
a
proposal
right
because
they
are
so
clear
what
they're
doing
two
like
we
would
have
have
no
idea
what
they
would
be
doing
when
if
we
selected
artist
and
I
feel
like
so
it
highly
depends
to
me.
It
highly
depends
like
the
stipend
depends
on
on
those
factors
as
well.
G
Right
do
I
would
not
have,
even
if
the
dollar
amount
would
be
higher
and
the
artists
like
the
Fayette,
Park
artist
I,
would
not
need
to
give
a
stipend
for
a
more
clear
proposal
right,
for
example,
because
I
already
get
a
pretty
good
idea,
so
I
think
to
me
it
needs
a
more
multi-step
and
more
holistic
approach
to
decide
this,
but
I
think
it's
a
very
good
guideline.
I
definitely
hope
that
at
the
end
we
get
to
a
dollar
amount
more
or
less,
or
a
questionnaire
like.
G
E
Wasn't
that
was
that
option
C
I
forget
how
many
options
there
were,
but
you
know
that
we
we
would
have
a
trigger
at
sixty
thousand
whatever,
where
we
would
have
that
discussion
and
we
wouldn't
be
required
to
do
really
anything
but
we'd,
say
okay.
This
is
the
opportunity
for
us
to
talk
about.
It
was
that
was
that
did
I
get.
A
That
right,
yeah,
so
thank
you
so
once
again,
recognizing
there's.
A
You
got
that
right,
which
is
you
know,
one
trying
to
provide
Clarity
to
everyone
not
only
to
the
artist
to
the
VAC,
so
you
could
decide
it
by
a
dollar
threshold,
and
this
was
some
of
the
background
to
tell
you
what's
been
done
in
the
past,
but
recognizing,
maybe
that's
not
recognizing
the
desire
for
more
information
about
things.
This
may
not
be
the
time
to
have
this
conversation,
and
so
it
could
just
be
about
thresholds,
no
thresholds
with
no
specific
action,
but
based
upon
the
feedback
and
reviewing
the
minutes
and
listening
the
video
again.
A
There
was
this
sense
of
like
when
have
we
done
the
stipend
like?
What
is
that
triggering
factor,
and
it
tends
to
be
for
that
bigger
piece
that
may
not
necessarily
be
so
clear
as
as
Committee
Member
May,
her
mention
it's
like
the
range
of
things
can
be
all
over
the
place
depending
on
the
scope,
but
when
it's
just
a
ten
thousand
dollar
item,
you're
gonna
be
pretty
narrow
of
what
you're
gonna
get
in
that
potential
piece
or
it
may
be
scoped
in
a
very
narrow
way.
A
Where,
when
you
do
a
much
broader
call,
the
range
of
art
pieces
can
be
all
over
the
place,
so
I'm
being
a
little
long-winded
in
in
your
answer.
But
that's
what
this
was
trying
to
solve.
Commitment
about
the
white
bread
is
addressing
that,
as
that
was
a
topic
at
the
last
meeting
of
like
at
what
point?
Should
we
even
be
entertaining
the
stipend
or
not.
C
Yeah
yeah
I
think
60
000
is
a
good
number
and
I
don't
know.
If
you
want
to
say
it
it's
required
at
that
point
or
that's
just
when
we
talk
about
it,
and
maybe
we
do
it.
Maybe
we
don't
but,
and
if
we
do
pick
a
number
though
then
I
would
want
to
have
an
inflation
adjusted
so
that
you
know
in
50
years
time
we
don't
have
a
requirement
that
every
single
art
project
that
comes
before
before
us
has
to
happen.
This
type
into
an
extra
presence
so.
E
Well,
I
certainly
think
we
ought
to
retain
the
option
to
say
no,
we
don't
need
a
stipend
this
time,
but
it's
worked
well
for
us
in
the
past
and
I.
Imagine
it'll
be
fairly
obvious
when
it's
going
to
work
well
for
us
in
the
future.
If
we're
doing
a
a
Subway
tunnel
under
cast
under
the
train,
tracks
and
I
want
to
know
what
that
thing's
going
to
look
like
yeah.
J
I
I
would
go
with
an
idea
that
we
are
going
to
give
a
Stipe
and
in
order
to
finalize
the
final
design,
because
one
the
budget's
gone
up,
it's
now
not
one
percent.
It's
two
percent
and
we're
gonna
have
major
a
couple
of
capital
work
coming
on
up
and
also
I've.
Seen
that
the
quality
of
the
resulting
work
has
been
improved
by
having
artists
have
a
stipend
to
do
some
work,
so
it
almost
for
me
it
would
be.
J
J
To
really
find
not
be
surprised,
like
I
mean
again,
I
go
back
to
Jesse
and
I
were
kind
of
surprised
at
the
result
from
the
from
the
pyramid.
Park,
and
we
don't
want
to
be
be
surprised.
So
is
that
the
stipend
helps
us
engage
with
the
artists
in
refine
and
get
the
work
and
give
feedback.
Then
great.
Let's
do
it,
but
recognizing
that
not
all
situations
require
a
stipend
like.
J
C
Of
know,
some
artists
do
the
same
type
of
sculpture
over
and
over
and
over
again,
and
you
have
a
really
good
idea.
What
they're
going
to
do?
Some
people
will
do
something
completely
different
every
time.
Are
they
just
entering
a
new
medium
for
the
first
time
for
the
submission?
And
then
we
really
don't
know.
J
But,
but
going
back
to
what
the
consultant
gave
us
feedback,
you
know
three
years
ago,
three
lifetimes
ago,
where
we're
in
we're
asking
the
artist
to
do
work.
We
should
you
know,
give
how
much
money
the
artists
usually
make.
We
should
help
them
recognize
that
they're
doing
work
and
and
pay
them
a
little
bit
as
a
model
anyway,.
H
C
D
G
G
I
I
definitely
wouldn't
want
them
to
work
for
free,
but
for
for
their
chances
to
be
considered.
If
in
the
future
we
should,
we
should
consider
telling
them
well
give
us
an
idea
of
what
you
would
be
doing
like
just
in
a
sentence
like
because
some
artists,
like
the
Fayette
Park
artist,
it's
easy
to
imagine
and
some
it's
impossible
to
imagine
I,
don't
know
if
we
can
incorporate
that
in
some
way
to
let
them
know
inwards
describe
what
you
would
be
doing
and
that
might
inform
our
decision,
who
we
want
to
invite.
G
We
would
make
a
better
decision
if
we
knew
roughly
what
they
would
be
doing,
what
idea
they
have
in
their
head.
If
they
could
just
tell
us
that,
and
then
from
that,
like
Don
said,
maybe
then
we
can
actually
select
more
artists,
then
we're
actually
going
to
select
and
get
and
and
ask
them
to
do
a
proposal,
but
from
what
we're
getting
as
info
right
now,
I
think
that's
very
hard
to
do.
G
D
H
G
E
And
maybe
it's
an
opportunity
for
newer
people
too?
If,
if
we're
looking,
you
know
150
000
for
Mosaic
to
cover
an
entire
Subway
tunnel,
you
know
under
the
not
a
Subway
tunnel,
but
you
know
a
tunnel
under
the
train
tracks.
E
We're
not
gonna,
be
in
we're
going
to
be
inclined
to
picking
some
real
pros
that
have
done
this
kind
of
thing
before
and
are
sending
us
pictures
of
their
past
work,
but
maybe
there's
some
young
artist.
That's
that's
an
upcoming
Pro
and
and
if
we
give
them
an
opportunity
to
show
us,
you
know,
and
they
do
a
really
good
job
I
mean
in
some
ways
having
the
stipend
and
and
the
you
know.
The
extra
requirements
are
a
little
darwinians
like.
C
I'm
like
how,
how
would
everyone
feel
about
saying
we're
gonna
set
like
60
000
threshold,
where
we
will
kind
of
by
default
do
a
stipend
unless
the
majority
of
this
post
otherwise
do
that
for
now
and
then
all
the
other
concerns
Susie
had
and
alterations
or
improvements
to
the
selection
process.
We
could.
We
could
address
at
a
later
date
and
try
to.
G
A
But
it's
not
really
for
me
to
I
I.
My
I,
like
that
I
I
heard
the
comment
about
kind
of
making
a
default,
and
then
it's
a
blinker
right.
It's
a
chance,
make
it
the
default,
and
you
can
always
blink
it
off.
I
got
that
and
understood
that
very
clearly
I
think
there's
some
other
questions,
not
quite
ready
to
ask
the
committee
about,
but
I
will
draft
this
up.
I.
C
A
So
if
it's
gonna
be
the
default,
and
the
committee
wants
us
as
the
default
every
time,
this
is
going
to
be
a
three-month
process
just
to
select
our
mm-hmm
right,
not
every
Project's
going
to
align
to
a
three-month
schedule.
So
I
do
think
somewhere
in
here,
and
this
is
where
I
want
to
go
back
with
the
public
works
staff
of
like
when
there's
lead
time.
I
think
this
works
yeah
when
they're
projects
that
may
not
have
as
much
lead
time
building
in
a
three-month
decision
time
and
then
execute
an
agreement
you're
now
month.
A
Four
of
just
getting
a
contract
done
to
actually
do
this
with
an
artist
that
may
be
a
problematic,
so
I
I
do
want
to
get
some
input
from
them
before.
Okay,
but
I.
What
I
definitely
hear
the
committee's
feedback
I'm
I'm
happy
to
work
through
it
and
work
with
the
public
works
team
on
figuring
out
what
the
right
approach
is.
Yeah.
C
A
I
do
want
to
go
back
to
something
Committee
Member
mayor
mentioned,
which
I
think
is
also
extremely
valuable
and
I.
Think
those
Committee
Member
Bryant
also
touched
on
this,
and
we
have
I
have
talked
the
Public
Works
about.
This
is
especially,
if
we
know
more
about,
say
it's
a
park
project
and
we
start
to
now
get
information
about
the
scoping
of
the
park
and
the
community
input
from
the
members
of
the
public
on
that
Park.
That
can
go
a
long
way
in
helping
form
and
shape
the
approach
to
the
art.
A
D
A
Just
a
matter
of
placing
it,
whereas
things,
maybe
the
community
doesn't
have
big
visions
of
what
the
art
piece
is.
They
know
they
want
the
this
playground
equipment
or
this
other
thing
here,
but
none
of
that
Community
feedback
really
addressed
art.
That's
where
it's
more
to
the
vac's
discretion
of
kind
of
figuring
out
what
is
or
should
be
the
art,
so
I
think
that
does
play
into
the
decision-making
process
as
as
already
alluded
to
by
members
of
the
committee.
A
C
E
C
Yeah,
that's
true:
okay
sounds
good,
and,
and
whatever
we
come
up
with
it,
we
should
have
done
inflation,
adjusted
according
to
the
same
rules
and
schedule
that
the
K5
policy
follows
so
that
they
bumped
up.
At
the
same
time,
I
appreciate.
A
The
feedback
awesome.
Okay,
we
still
have
a
member
of
the
public
on
the
line.
Do
you
have
any
comments
or
would
like
to
comment
on
this
agenda
item.
C
A
Your
staff
person
has
one
comment:
I
want
to
thank
the
VAC
committee
this
year,
I've
really
enjoyed
working
with
all
of
you
through
this
process.
I
hope
you
have
a
lovely
holiday
with
family
and
friends
or,
however,
you
choose
to
spend
it
and
have
a
wonderful
new
year,
but
really
thank
you
for
all
the
thoughtful
feedback.
I'm
really
enjoyed
it
this
year
and
just
really
appreciate
the
time
and
passion
you're
bringing
to
this.
A
So
thank
you
so
much
for
making
it
a
good
year
and
look
forward
to
seeing
all
of
you
in
February
of
2023.
So
thank
you
so
much.
Thank
you.
Dan.