►
Description
San Bruno City Council Meeting April 8, 2014
10c. Apporve Centennial Art Project
A
Item
c
adopt
a
resolution
approving
designed
recommendation
for
the
culture
and
arts
commission
for
a
centennial
art
project
authorizing
the
city
manager
to
execute
a
contract
with
margarita
soy,
a
fair
test
in
the
amount
of
seventy
five
thousand
dollars
in
designated
five
thousand
dollars
of
the
city.
Art
fund,
as
a
reserve
fund
for
art
maintenance.
John.
B
I
just
want
to
acknowledge
the
members
of
the
culture
and
arts
commission
that
are
here
tonight,
chairperson
Tammy
Parker,
commissioner
melody
Tobin
Commissioner,
Carolyn,
Livengood
and
Commissioner
Pamela
gamble.
The
artist
is
also
here
with
us
tonight
and
after
the
presentation
and
the
commissioners
few
words
we
will
be
able
to
have
her
talk
a
little
bit
more
in
depth
about
the
concept
and
just
for
the
audience's.
Some
knowledge
there
is
a
concept
drawing
to
the
side
of
the
dais,
as
well
as
a
tile
sample
of
the
mosaic
work
that
that
is
being
proposed.
B
This
item
first
came
to
the
council
in
April
of
2013,
when
you
approved
a
project
concept
of
a
centennial
art
project
and
a
site
location
for
that
project,
that
site
location
is
on
sneath
lane
and
initially
identified
for
retaining
walls
along
the
north
side
of
Smith
between
the
two
entrances
of
clairemont.
Dr,
the
project,
though,
has
really
devolved
down
to
two
of
the
wall
segments
which
are
on
the
map
and
circled
for
your
for
ease
of
understanding.
Those
are
the
only
two
of
the
four
that
are
being
considered
for
the
project.
The
council.
B
After
that,
RFQ
approval,
the
Commission
advertised,
the
RFQ
for
a
period
of
about
six
weeks,
solicited
applications
from
all
over
the
country
by
the
end
of
that
process.
74
applications
had
been
received.
There
was
also
a
site
visit
for
any
interested
artists
to
look
at
the
site
prior
to
the
application
deadline
and
to
speak
with
staff
or
the
commissioners
more
about
what
what
their
intention
was.
B
The
projects
were,
applications
were
measured
against
the
basic
criteria,
31
met
that
criteria
and
then
were
brought
to
the
Commission
for
their
review.
Those
were
then
whittled
down
to
a
pool
of
about
nine
semi-finalists
interviews
were
conducted
with
them
and
of
those
nine.
There
were
two
that
were
felt
to
be
closest
in
concept
and
idea
to
what
the
Commission
was
was
seeking.
Those
two
artists
were
asked
to
complete
a
scale
model
and
drawing
of
their
proposed
idea,
and
when
I
came
back
to
the
Commission
for
evaluation
and
after
that
process,
the
commissioners
selected
margarita.
B
The
physical
impact
of
the
project,
as
I
mentioned,
there
was
seventy
five
thousand
dollars.
That's
been
approved
in
the
2013-14
operating
budget
for
the
project
that
money
would
be
expended
from
the
city's
public
art
fund,
like
maybe
a
little
explanation
for
the
public,
is
always
helpful.
The
city
art
fund
is
actually
created
by
a
small
percentage
of
permit
fees
that
are
pulled
and
they
go
into
a
fund
that
then
bills
and
is
used
to
to
create
a
tip-up
great
public
art.
B
So
the
the
fiscal
impact
is
that
expenditure
and
right
now
the
city
art
fund,
currently
has
a
balance
of
one
hundred
and
fifty
one
thousand
dollars.
So
the
staff
is
asking
for
you
to
consider
adopting
that
resolution
and
I
would
like
this
time
to
ask
Commissioner
melody,
Tobin
and
charity
partner
to
come
up
and
talk
to
you
a
little
bit.
C
C
It
has
been
a
tremendous
undertaking.
The
staff
has
just
helped
us
in
every
possible
way
and
to
put
this
project
together.
We're
very
excited
about
it,
and
I
would
like
to
pay
tribute
if
you
will
to
our
commissioners
in
this
journey
journey,
because
it
has
been
challenging
and
we
certainly
hope
we've
done
our
job
right
as
I
would
like
to
have
melody.
Commissioner
Tobin
scuze
me
say
a
few
words
because
she
was
chair
and
head
of
this
project
from
the
start,
so
Mel.
D
Thank
you
and
good
evening.
I
can't
believe
it's
been
a
year
since
we
started
this
project
and
we
are
close
to
the
finish
line.
Hope
that
you
will
approve
the
project
and
the
artists
that
we
have
selected
and
endorsed.
As
John
outlined.
We
had
a
tremendous
responsible
for
70
artists
that
were
interested
in
working
with
San
Bruno
on
this
project.
So
it's
been
an
exciting
journey.
D
We
John
has
done
a
tremendous
amount
of
work,
honing
down
that
list
to
the
30
most
qualified
that
the
subcommittee
went
through
and
hone
down
to
10
that
we
did
interviews
with.
We
have
unanimously
picked
margarita
for
our
endorsements,
and
her
project
has
been
working
in
progress
since
December
she's
been
very
good
about
working
with
us
on
changes
and
transitions
and
how
we
see
it
evolving.
The
good
news
is
she's,
very
local.
D
She
is
very
flexible
and
she's
taken
all
our
input
with
a
lot
of
grace
and
always
set
her
own
priorities
aside
to
fulfill
our
dream,
and
so
this
is
a
hundred
years
of
San
Bruno
the
progress
of
San
Bruno
in
the
past
hundred
years.
It
begins
at
the
turn
of
the
century.
It
begins
actually
with
the
eloni
Indians
and
moves
on
to
the
turn
of
the
century
into
the
progress
of
automobiles
and
airports,
starting
with
tan
Fran
on
to
the
race
tracks
onto
the
San
Francisco
International
Airport.
D
A
Margarita
be
great,
but
I
think
what
we
need.
The
vice
mayor
and
I
have
have
been
kind
of
in
depth
with
this
on
the
subcommittee,
so
we're
pretty
familiar
but
I,
don't
think
the
rest
of
the
council
is
that
the
opportunity
to
really
see
this
so
okay
is
there
a
way
we
can
also
the
public
we
could
get.
This
may
be
brought
up
to
show
and
have
a
little
explanation
so
that
it
can
be.
E
E
D
This
work
to,
let
you
know
a
little
bit
of
a
medium
of
this
work,
is
that
this
is
a
tile
project
that
is
going
to
be
created
off-site,
and
here
is
a
representation
of
the
tile.
This
is
one
of
the
figures
from
the
turn
of
the
century.
These
are
individual
tiles.
Just
like
you
would
see
tiling
a
bathroom
and
we
some
examples
of
what
the
art
is.
D
D
So
you
will
see
on
the
wall,
there's
going
to
be
tiles
and
when
we
say
negative
space,
there's
area
that
will
not
be
tiled,
it
will
be
painted,
in
contrast,
so
that
it
still
is
part
of
the
art
project
and
doesn't
look
like
something:
that's
unfinished.
It
will
the
entire
two
retaining
walls
that
we
are
completing
will
look
like
for
a
finished
project.
D
The
other
item
that
we're
bringing
before
you
is
in
anticipation,
because
this
is
a
public
road
and
we
know,
as
the
chief
pointed
out
last
year,
people
do
have
a
tendency
to
you
know
swerve,
especially
if
you're
looking
at
some
art.
We
want
to
set
aside
some
money
in
a
budget
so
that
if
there
is
a
little
fender,
bender
or
a
little
accident
up
here
or
to
any
piece
of
our
art
in
the
city
that
we
can
repair
it
in
timely
fashion,
so
that
it
does
not
become
a
flight
to
the
city.
Just.
D
These
drawings
will
be
made
out
of
tile
again.
They
will
be
done
off-site,
so
they
will
be
done
on
big
boards
and
then
they
will
be
anchored
and
mounted
to
the
walls.
We
are
also
going
to
be
installing
some
lights
so
that
there
will
be
lighting
coming
from
the
top
looking
down
very
much
like
a
picture
light
and
a
very
nice
picture
on
your
wall
of
painting
so
that
they
will
be
lit
in
the
evenings.
D
E
F
D
You
prove
this
the
CD.
Luckily,
the
artist
again
is
local
and
we
plan
to
have
installation
in
October
and
dedication
November,
so
well
in
time,
the
anniversary
again,
if
it
wasn't
for
Jon
and
carry
on
our
staff,
you
know
this
project
could
have
been
installed
as
long
as
it
took
us
to
put
the
signs
in
the
median
on
el
camino.
It.
A
E
D
B
I
could
interrupt
for
a
moment,
sorry
ability.
This
is
an
item
where,
where
we
will
be
returning
to
council
on
this
specific
issue,
staff
did
meet
early
on
from
various
departments
to
discuss
what
additions
might
be
me
need
to
be
made
to
the
project
for
safety
reasons
and,
for
you
know,
anti
vandals
and
measures,
and
so
one
of
the
things
I
did
bubble
up
to
the
surface
was
lighting,
so
I'm
I
have
been
working
with
engineering
staff
on
what
exists
at
that
site
and
how?
B
What
might
be
involved
in
drawing
down
power
if
necessary,
to
do
that,
we're
still
in
the
phase
of
exploring
and
finding
out
what
exactly
we
need
so
we're.
What
I
can
tell
you
now
is
that
we
will
be
having
a
more
concrete
picture
of
what
actually
exists
out
there
and
then
be
able
to
come
back
to
the
council
with
some
options
for
what
might
what
might
be
feasible
and
also
with
some
cost
estimates
for
that.
D
G
G
Also
images
on
my
cell
has
a
tendency
to
help
anime
animated
animated
effect
when
you're
passing
by
in
the
car
or
walking
by
any
bicycle
your
sight,
our
vision,
regístrate
the
figures
which
all
moving
along
the
road
I
don't
know.
If
I'm
clear
on
explanation,
please
feel
free
to
ask
questions
and
mark
major
historical
events
during
the
past
hundred
years.
G
The
texture,
as
you
could
see,
on
the
samples
again
it's
some
colors,
which
will
highlight
the
area
but
not
again,
not
distracting
organically
moving
into
environment,
which
is
earthy,
colors
and
greens,
and
if
you
remember
the
area,
it's
it's
very
green
and
park
like
area
and
I.
Try
to
do
the
shapes
and
images
the
way
they
will
be
organically.
Moving
in
in
this
environment,.
G
A
H
Fearne
le
plymouth
way-
and
my
concern
is
more
with
the
area
you're
putting
it
in
understand.
This
has
been
going
on
for
a
year,
and
this
is
the
first
I've
heard
of
it.
I
live
in
that
neighborhood
thinking
that
it's
not
really
the
place
to
put
something
that
should
be
public
art.
It's
pretty
much.
The
entrance
to
a
neighborhood
doesn't
fit
the
character
in
the
neighborhood.
H
There
isn't
really
any
physical
place.
You
could
stop
and
view
that
you're
just
driving
by
in
your
car,
there's
no
sidewalk
there.
Wouldn't
this
really
be
something
that's
more
appropriate,
maybe
downtown,
which
is
the
historical
area
City
Hall
the
park,
or
maybe
even
the
bart
station
where
people
are
coming
into.
You
know
san
bruno,
and
this
is
our
history
and
that's
pretty
much
all
I
had
to
say
thank
you.
Thank.
D
Did
actually
when
we
started
the
Commission
ten
years
ago,
one
of
the
first
thing
we
did.
We
did
as
a
group
as
we
went
out
and
found
areas
that
we
could
designate
for
public
art.
It's
a
challenge
to
find
areas
that
the
city
owns
and
has
control
over,
that
we
can
put
our
art
mount
our
art
and
have
control
over
our
art,
as
we
learned
very
early
on
and
working
with
Caltrans
in
putting
something
as
simple
as
City
markers
at
the
beginning
and
the
end
of
el
camino
san
bruno.
D
It
is
a
challenge
to
work
with
another
entity,
so
we
targeted
this
retaining
wall
area
specifically
because
of
the
the
city
owns
it
it's
in
good
shape.
It
is
a
well-traveled
area
and
it
is
right
now
filled
with
graffiti.
So
we
want
to
one
target
that
and
by
putting
in
public
art,
it
is
a
known
factor
that
the
graffiti
artists
will
respect
the
art
and
move
on
to
another
place.
We
also
are
going
to
be
put
at
graffiti
proofing,
the
art,
so
that,
if
it
is
tagged
at
some
point,
it
will
be
easily
removed.
D
D
That
is
going
to
be
something
pleasant
that
you
see
as
you're
driving
along
very
much
like
other
cities
have
done
and
underpasses,
but
this
is
going
to
blend
more
with
the
scenery
and
the
colors
will
not
be
shocking,
bright
primary
colors,
as
you
see
some
Thai
and
other
cities
where
they
do
the
underpass
and
bright
yellows
bright
reds.
This
will
blend
with
the
environments
and
not
stand
out
like
a
sore
thumb.
Thank.
A
You
I
just
want
to
mention,
too,
that
this
has
been
under
discussion
for
a
long
time
on
the
Cultural,
Arts
Commission
meetings
and
they're
noticed
just
as
all
of
our
city.
Commission's
are
so
you
know
it's
not
it's
not
the
nothing
done
behind
closed
doors
has
been
talked
about
for
many
many
months.
I
just
want
to
make
that
clear.
Any
other
discussion.
Okay,.
I
I
You
might
want
to
stop
and
read,
or
something
so
I
think
it's
very
appropriate
I
think
it's
a
public
art
is
an
amenity,
it's
an
enhancement,
so
it's
better
than
nothing
there
and
it's
I
and
I
think
it's
appropriate
because
it
is
a
well-traveled
street
that
connects
detached,
neighborhoods
and
so
other
than
say.
Maybe
san
bruno
avenue.
What?
Where
we've
spent
a
lot
of
money-
and
you
know
in
landscaping
here
we
don't
have
the
ability
to
do
that
and
I
think
public
art
is.
It
is
a
nice
nice
backdrop
for
that.
We.
D
Anticipate
and
we
hope
that,
as
it
is
a
busy
thoroughfare
that
every
time
you
drive
through
it,
you'll
discover
something
new
in
the
art,
because
you're
certainly
not
going
to
go
15
miles
an
hour
and
see
everything
one
time.
We
hope
that
every
time
you
drive
up
or
down
sneath
lane
that
you
notice
something
extra
or
something
special
or
something
else
jumps
out
at
you.
Oh
there's
suppose
eep
rate
is
represented
in
this.
D
Oh,
the
tanforan
is
represented
in
this
when
it
was
not
only
when
it
was
an
airport,
but
also
when
it
was
a
racetrack.
So
it's
an
evolution
of
the
city.
The
other
reason
that
we
selected
this
area
is,
we
have
not
done
any
art
projects
up
in
this
area
on
the
west
side
of
280
as
of
yet
so.
This
is
our
first
project
on
this
side
of
san
bruno
and
we
certainly
thought
it
was
a
good
landscape
to
to
apply
the
Centennial
mural.
G
D
F
You
I'm
so
proud
of
all
of
your
commissioners.
This
is
not
easy
to
to
propose
public
art
and
it's
always
controversy.
That's
part
of
why
we
gave
it
to
you
guys
to
do
so.
I
appreciate
all
your
efforts.
I
know:
Carolyn
living
goods.
Who's
here
has
been
a
champion
of
bringing
public
art
up
to
the
west
side
of
280
for
a
lot
of
years.
So
congratulations
that
you're
getting
it
done
and
for
the
centennial.
So
that's
a
double
a
double
whammy
for
you,
but
for
all
the
commissioners.
F
It's
it's
really
wonderful
that
you
volunteer
your
time
for
this
and
it's
a
it's
a
dream
of
mine
that
they'll
be
public
art
everywhere
and
we'll
have
lots
of
controversy,
because
that
means
people
are
paying
attention.
So,
with
that
I'd
like
to
introduce
a
resolution-
oh
and
I'm,
sorry
and
I
just
want
to
say,
I-
think
it's
very
commendable
of
you
to
put
the
5,000
suggest
that
you
put
the
five
thousand
dollars
aside
and
that's
very
foresight.
Full.