PUBLIC ART MASTERPLAN GRANT dub I Ae.+
A
ART WORKS.
arts.gov
JUN 2 9 2012
Honorable Kimberley Driscoll
Mayor
City of Salem, Massachusetts
120 Washington St
Third Floor
Salem, MA 01970-3545
Dear Madam Mayor Driscoll:
On behalf of the National Endowment for the Arts, it is a pleasure to inform you teat your organization has been
awarded a grant.
Grantee: City of Salem, Massachusetts
Grant#: 12-4200-7023 CFDA#: 45.024
Grant Amount: $25,000 Outcome: Livability
Period of Support: June 1, 2012 to May 31, 2013
Discipline/Program: Design
Grant Project: To support development of a city-wide master plan for public art in downtown
Salem, Massachusetts, as described in your application (A11-934654) and the
enclosed project budget.
Award materials are available online at www.arts.gov/manageaward. The General Terms & Conditions provide
detailed information concerning the Endowment's regulations and procedures, the administrative requirements
that apply to your grant, and your responsibilities as a grantee. Instructions for requesting grant funds and
reporting on your project are also online. General information about this award can be found at
www.arts.gov/mvgrant.
If you have any questions regarding the administrative requirements of this grant, our Grants& Contracts Office
staff will be happy to assist you. They may be reached at(202)682-5403.
Congratulations on your grant award!
Sincerely,
Rocco Landesman
Chairman
Enclosures
National Endowment for the Arts
The Nancy Hanks Center
1100 Pennsylvania Avenue NW
Washington DC 20506-0001
NEA Application Read the OMB No.3135-0112
instructions for Expires 11/30/2013
Project Budget, Page 1 of 2 this form before
you start.
Applicant(official IRS name): City Of Salem, Massachusetts
INCOME
1. Amount requested from the Arts Endowment: $ 60,000
2. Total match for this project Be as specific as possible. Asterisk(*)those funds that are committed or secured.
Cash(Refers to the cash donations,grants,and revenues that are expected or received for this AMOUNT
project)
*City of Salem committed $40,000 cash plus $15,000 in salaries/fringe 55,000
*Peabody Essex Museum committed 4% of total (salaries/fringe) 4,800
*The Salem Partnership committed 5% of total (salaries/fringe) 6,300
Total cash a. $ 66.100
In-kind: Donated space,supplies,volunteer services(These same items also must be listed as direct costs
under"Expenses"below or in Page 2 of the Project Budget form;identify sources)
Total donations b.$ n
Total match for this project(2a.cash+2b.donations)$ 66,100
3. Total project income(1 +2) $ 126.100
EXPENSES
1. Direct costs: Salaries and wages
TITLE AND/OR TYPE NUMBER OF ANNUAL OR AVERAGE %OF TIME DEVOTED AMOUNT
OF PERSONNEL PERSONNEL SALARY RANGE TO THIS PROJECT
Mayor (City) 1 $100,000 1% 1,000
Planning Staff(City) 3 45,000-85,000 5%-10% 14,000
Exec Director&
President (TSP) 2 NA 5% 6,300
Chief Curator & Dir
Educ & Trng (PEM) 2 A 1% 4,800
Total salaries and wages a.$ 213 100
Fringe benefits Total fringe benefits b.$
Total salaries,wages,and fringe benefits(a.+b.)$ 9R Inn
ti
NEA Application Read the OMB No.3135-0112
Instructions for Expires 11/30/2013
Project Budget, Page 2 of 2 this form before
you start.
Applicant(official IRS name): City Of Salem, Massachusetts
EXPENSES,CONTINUED
2. Direct costs: Travel(Include subsistence)
#OF TRAVELERS FROM TO AMOUNT
Total travel$ 0
3. Direct costs: Other expenses(Include consultant and artist fees,contractual services,promotion,acquisition fees,
rights,evaluation and assessment fees,access accommodations,telephone, photocopying, postage,supplies and
materials,publication,distribution,translation,transportation of items other than perscnnel,rental of space or
equipment,and other project-specific costs)
AMOUNT
Urban design and landscape architecture 50,000
Multi-modal transportation planning 20,000
Civil engineering 15,000
Public art consultant 10,000
Lighting design 5,000
Total other expenses$ 100,000
4. Total direct costs(1.from Project Budget, Page 1 +2,+3.) $ 126,100
5. Indirect costs(if applicable)
Federal Rate(.0000) x Base = $ 0
Agency:
6. Total project costs(4.+5.) $ 126,100
Must equal total project income(3. From Project Budget,Page 1)
,til �,p�1:cc�.a-;ovl
c,'RANTS.Qov- Grant Application Package
Opportunity Title: NEA GAP: Art Works 2, FY2012
Offering Agency: National Endowment for the Arts This electronic grants application is intended to
he used to apply for the specific Federal funding
CFDA Number: 145.024 opportunity referenced here.
CFDA Description: promotion of the Arts Grants to Organizations and Indio If the Federal funding opportunity listed is not
Opportunity Number: 2011NEAOlAW2 the opportunity forwhich you want to apply,
Competition ID: NONe close this application package by clicking on the
"Cancel"button at the top of this screen.You
Opportunity Open Date: Ofi/01/2011 will then need to locate the correct Federal
Opportunity Close Date: funding opportunity,download its application
08/11/2011 and then apply.
Agency Contact: Literature, Arts Education: 202/682-5707
Artist Communities, Folk 6 Traditional Arts,
Presenting: 202/682-5428
Local Arts Agencies: 202/682-5097
Dance, Music, Opera, Musical Theater, Theater:
� 7_5
This opportunity is only open to organizations,applicants who are submitting grant applications on behalf of a company,state,local or
tribal government,academia,or other type of organization.
Application Filing Name: Integrating Public Art in Downtwn Salem
Manclatory Documents Move Formlo Mandatory Documents for Submission
complete Application for Federal Domestic Assistance-Sho
Pro' in Site Location(s)
NEA Organization 6 Project Profile
Move Farm to Attachments
Delete
O tional Documents Move Form to Optional Documents for Submission
SubmISSlan List
Move Form to
Delete
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' OMB Number:4040-0003
Expiration Date:7/30/2011
APPLICATION FOR FEDERAL DOMESTIC ASSISTANCE•Short Organizational
'1.NAME OF FEDERAL AGENCY:
National Endowment for the Arts
-2.CATALOG OF FEDERAL DOMESTIC ASSISTANCE NUMBER:
95.024
CFDA TITLE:
Promotion of the Arts Grants to Organizations and Individuals
'3.DATE RECEIVED: Campieted upon Submission to Grants.gov SYSTEM USE ONLY
'4.FUNDING OPPORTUNITY NUMBER:
2011NEAOIAW2
*.TITLE:
NEA GAP: Art Works 2, FY2012
5.APPLICANT INFORMATION
a.Legal Name:
City of Salem, Massachusetts _
b.Address:
Streett: Street2:
120 Washington St Third Floor
City: County/Parish:
Salem I lEssex
'State: Province:
MA: Massachusetts
Country: 'Zi (Postal Cade:
USA: UNITED STATES 01970-3545
c.web Address:
hftp:// www.sale,.cam
4
' .Type of Applicant: Select Applicant Type Code(s): 'e.Employer/Taxpayer Identification Number(EINrfIN):
C: City or Township Government 04-6001413
Type of Applicant: 'L Organizational DUNS:
1567710240000
Type of Applicant:
I . `g.Congressional District of Applicant:
`.Other(specify): NA-006
6.PROJECT INFORMATION
a.Project Tide:
Integrating Public Art in Downtown Salem
b.Project Description:
To support creative place-making by Integrating Public Art in Downtown Salem, as well as excellence in urban
design. A Schematic Design plan will introduce public art, including performance art and art installations, into
Salem's Essex Street Pedestrian Mall. The project will be a key component of downtown revitalization and will
increase access to art by local residents and millions of visitors.
r
c.Proposed Project: "Start Date: 06/01/2012 'End Dare: 05/31/2013
APPLICATION FOR FEDERAL DOMESTIC ASSISTANCE-Short Organizational
7.PROJECT DIRECTOR
Prefix: 'First Name: Middle Name:
Ms. Lynn
Last Name: Suffix:
Duncan F
Title: 'Email:
Dir, Dpt of Planning 6 Conmmnitylduncan@salem.com
Development
Telephone Number: Fax Number:
978-619-5685 978-740-0404
Stmetl: Street2:
120 Washington St Third Floor
CRY: County/Parish:
Salem iEssex
State: Province:
MA: Massachusetts
'Country: 'Zip/Postal Code:
USA: UNITED STATES 01970-3595
8.PRIMARY CONTACT/GRANTS ADMINISTRATOR
QX Same as Project Director(skip to item 9):
Prefix: 'First Name: Middle Name:
Ms. Lynn
'Last Name: Suffix:
Duncan I
Title: 'Email:
Dir, Dpt of Planning s Community lduncan@salem.com
Development
'Telephone Number: Fax Number.
978-619-5685 978-740-0404
Streett: Street2:
120 Washington St Third Flooz
City: County/Parish:
Salem Essex
State: Province:
MA: Massachusetts
Country: 'Zip/Postal Code:
USA: UNITED STATES 01970-3545
APPLICATION FOR FEDERAL DOMESTIC ASSISTANCE-Short Organizational
9.'By signing this application,I certify(1)to the statements contained in the list of certifications—and(2)that the statements herein are true,complete and
-accurate to the best of my knowledge. I also provide the required assurances"and agree to comply with any resulting terms if I accept an award. I am aware
that any false,fictitious,or fraudulent statements or claims may subject me to criminal,civil,or administrative penalties(U.S.Code,Title 218,Section 1001)
I Agree ❑X
"The list of certifications and assurances,or an Internet site where you may obtain this list,is contained in the announcement or agency specific instructions.
AUTHORIZED REPRESENTATIVE
Prefix: 'First Name: Middle Name:
Ms. Kimberley
Last Name: Suffix:
Driscoll
Title: 'Email:
Mayor, city of Salem kdriscoll@salem.com
'Telephone Number: Fax Number:
978-745-5600
Signature of Authorized Representative: 'Date Signed:
Completed by Grants.gov upon submission. I iCompleted by Grants.gov upon submission.
OMB Number.4040-0010
Project/Performance Site Location(s) Expiration Date:08/31/2011
am submitting an application as an individual,and not on behalf of a company,state,
Project/Performance Site Primary Location ❑ local or tribal government,academia,or other type of organization.
Organization Name: City of Salem, Massachusetts
DUNS Number: 1567710240000
'Streetl: Essex Street Pedestrian Mall
Streetl:
'City: Salem County: Essex
'State: MA: Massachusetts
Province:
'Country: USA: UNITED STATES
*ZIP/Postal Code: 01970-3705 'Project/Performance Site Congressional District: MH-006
Project/Performance Site Location 1 ❑ I am submitting an application as an individual,and not on behalf of a company,state,
local or tribal government,academia,or other type of organization.
Organization Name:
DUNS Number:
Streetl:
Streetl:
'City: County:
•State:
Province:
'Country: USA: UNITED STATES
`ZIP/Postal Code: 'Project/Performance Site Congressional District
Additional Location(s)
National Endowment for the Arts OMB Number:3135.0112
Expiration Date:11/30/2013
Organization & Project Profile Form
PART 1:APPLICANT
Legal Name: City of Salem, Massachusetts
Popular name(if different):
Total organizational operating expenses for the most recently completed fiscal year: $ 1 124,161,502.00
For year ending(MonthNear,e.g.,00/0000): 06/2010
For this application,the applicant is serving as a: NA: Not Applicable
For:
APPLICANT ORGANIZATION STATUS:
Select the one item which best describes the legal status of the organization.
❑ 02:Nonprofit organization ❑ 05:State government ❑ 07: County government
❑x 08: Municipal government ❑ 09:Tribal government ❑ 99: None of the above
APPLICANT ORGANIZATION DESCRIPTION:
The following codes work in conjunction with the Organization Discipline codes below(e.g.,select"Performing Group"here and
"Theater"below to indicate that your organization is a theater company). Select the one item which best describes the organization:
❑ 49:Artists'Community,Arts ❑ 28: Historical Society/ ❑ 07: Performance Facility
Institute,or Camp Commission
F] 15:Arts Center ❑ 29: Humanities Council or ❑ 03:Performing Group
Agency ❑ 47:Presenter/Cultural Series
❑ 16:Arts Council or Agency Organization
E] 12: Independent Press
❑ 17:Arts Service Organization ❑ 35: Religious Organization
❑ 27:Library ❑ 19: School District
❑ 26:College or University ❑ 13: Literary Magazine
F] 32: Community Service ❑ 48: School of the Arts
Organization E] 11:Media-Film ❑ 50: Social Service
❑ 14: Fair or Festival ❑ 98: Media-Internet Organization
❑ 45: Media-Radio ❑ 18: Union or Professional
❑ 30: Foundation Association
❑
F1 10: Gallery/Exhibition Space 46: Media-Television E] 99: None of the above/
❑ 08:Museum-Art Please specify:
❑X 38: Government
❑ 09:Museum-Other
Legal Name: city of Salem, Massachusetts
APPLICANT ORGANIZATION DISCIPLINE:
Select the one discipline that is most relevant to your organization.
❑ 72:Artist Communities ❑ 52: Literature ❑ 26: Musical Theater
❑ 51:Arts Education ❑ 62: Local Arts Agencies ❑ 36:Opera
❑ 33: Dance ❑ 34: Media Arts ❑ 54: Presenting
❑X 42: Design ❑ 44:Museums ❑ 32:Theater
❑ 55: Folk&Traditional Arts ❑ 31:Music ❑ 41:Visual Arts
❑ 99:None of the above/
Please specify:
PART 2: PROJECT
PROJECT FIELD I DISCIPLINE:
42: Design
CATEGORY:
01: Art Works
INTENDED OUTCOME:
Primary Outcome:
H: American Communities are Strengthened Through the Arts
Secondary Outcome:
PROJECT BUDGET SUMMARY:
Amount Requested: $1 60,000.00
+Total Match for this Project: $1 66,100.00
=Total Project Costs: $1 126,100.00
Legal Name: city of Salem, Massachusetts
PROJECT ACTIVITY TYPE:
Primary Activity Type: Secondary Activity Type:
04: Artwork Creation
25 Apprenticeship 06 Exhibition 18 Repair/Restoration/
12 Arts Instruction Includes visual arts,media Conservation
Includes lessons,classes arts,design,and exhibition
and other means t l teach development 19 Research/Planning
ad other
knowledge of and/or skills Includes program evaluation,
08 Fair/Festival strategic planning,and
in the arts establishing partnerships
04 Artwork Creation 09 Identification/
Includes media arts,design Documentation 20 Residency-School
projects,and commissions (e.g.,for archival or Artist activities in an
educational purposes) educational setting
02 Audience Services
(e.g.,ticket subsidies) 13 Marketing 21 Residency-Other
Artist activities in a non-
36 Broadcasting 96 Presenting/Touring school setting
via TV,cable,radio,the
Web,or other digital 29 Professional Development/ 22 Seminar/Conference
networks Training
33 Building Public Awareness Activities enhancing career 30 Student Assessment
Activities designed to advancement
increase public 34 Technical Assistance
14 Professional Support: with technical/administrative
understanding of the arts or
to build public support for the Administrative Includes
ns functions
arts Includes consultant fees
35 Web Sitellnternet
05 Concert/Performance/ 15 Professional Support: Development
Reading Artistic Includes the creation or
Includes production (e.g.,artists'fees,payments expansion of Web sites,the
development for artistic services) development of digital art
collections,interactive
31 Curriculum Development/ 17 Publication services delivered via the
Implementation (e.g., books,manuals) Internet,etc.
Includes the design and
distribution of instructional 16 Recording/Filming/Taping 28 Writing About Art/Criticism
materials,methods, (e.g.,to extend the audience
evaluation criteria,etc. for a performance through 99 None of the above/Please
24 Distribution of Art film/tape;do not include specify
(e.g.,films, books,prints; archival projects)
do not include
broadcasting)
Legal Name: city of Salem, Massachusetts
INDIVIDUALS BENEFITING:
Provide data for individuals expected to directly benefit from the project.Leave blank any items that are not applicable or for which
supportable estimates do not exist.
Individuals to bg Compensated from the Project Budget
In completing this section,refer to your project budget(which should include both Federal and non- Number
Federal matching funds). Count only those individuals who will be compensated from the project
budget,whether in whole or in part,and whether engaged as an employee or contractor. Do not
double-count.Audience/Attendees/Participants/Learners should be accounted for in the next table.
Artists
Teachers
Others 14
TOTAL 14
Audiences/Attendees/Participants/Leamers If you intend to use social and/or
Enter the number of people you anticipate reaching through each method as applicable. Do not other new media to reach people,
double-count. please check the appropriate
column.
"Live"Arts Ex ep rience Broadcast Distribution of Social Media Other New Media
(where people visit a venue- (TV,radio,cable) Physical Materials (e.g., Facebook, (e.g.,websites,
whether alone or in a group-to view (e.g.,CDs,DVDs, Twitter,wikis) webcasts,eBooks
or participate in an arts activity. books) and other
Includes exhibits,performances,and downloads,
film screenings before an audience: streaming,mobile
excludes audiences that view or phone apps)
participate through transmission.)
Adults 1,000,000
ChildrenNouth
(younger than 18)
TOTALS 1,000,000 OX QX
Legal Name: city of Salem, Massachusetts
POPULATION DESCRIPTORS
From each section,select the one descriptor that best describes the primary population expected to benefit from the project during the
period of support. These responses should refer to populations reached directly, rather than through broadcasts or Internet
programming.
Race/Ethnicity: Age(Range):
❑ N:American Indian/Alaska ❑ 2:Pre-Kindergarten(0-5 years)
Native
❑ 3:K-12(6-18 years)
❑ A:Asian ❑ 4:Young Adults(19-24 years)
❑ B:Black/African American ❑ 5:Adults(25-64 years)
❑ H:Hispanic/Latino
❑ ❑ 6:Older Adults(65+years)
0:Native Hawaiian/Other
Pacific Islander Q 1:No Single Group
❑ W:White
❑X G: No Single Group
Geography: Communities:
❑ 2:International ❑ 2:Urban
Q 3:Multiple States ❑ 3:Rural
❑ 4:Statewide ❑ 4:Suburban
❑ 5:City/CountyX❑ 1:No Single Group
From the section below,select all of the descriptors that best describe the primary population erected to benefit from the project during
the period of support. These responses should refer to populations reached directly,rather than through broadcasts or Internet
programming.
Underserved/Distinct Groups:
❑ Individuals with Disabilities
❑ Individuals in Institutions(include people living in hospitals,hospices,nursing homes,assisted care
facilities,correctional facilities,and homeless shelters)
❑ Individuals with Low Income
❑ Individuals with Limited English Proficiency
❑ Military Veterans/Active Personnel
0 None of the Above
• ATTACHMENTS FORM
Instructions: On this form.you will attach the various files that make up your grant application.Please consult with the appropriate
Agency Guidelines for more information about each needed file.Please remember that any files you attach must be in the document format
and named as specified in the Guidelines.
Important: Please attach your files in the proper sequence.Seethe appropriate Agency Guidelines for details.
1)Please attach Attachment 1 SalemOrgBackground.pdf .Delete Attachment View Attachment
2)Please attach Attachment 2 SalemDetailsofProject.pdf Delete Attachment View Attachment
3)Please attach Attachment 3 SalemProjectBudget.pdf Delete Attachment View Attachment
4)Please attach Attachment SalemFinancialinfo.pdf Delete Attachment View Attachment
5)Please attach Attachments iSalemBios.pdf . Delete Attachment View Attachment
6)Please attach Attachment 6 SalemBoardList.pdf Delete Attachment View Attachment
7)Please attach Attachment 7 Add Attachment
8)Please attach Attachment 8 Add Attachment
9)Please attach Attachment 9 SalemprogActivities.pdf Delete Attachment View Attachment
10)Please attach Attachment 10 9a1emSpecBegs.pdf Delete Attachment View Attachment
11)Please attach Attachment 11 SalemworkSampleindex.pdf Delete Attachment View Attachment
12)Please attach Attachment 12 Add Attachment
13)Please attach Attachment 13 AddAttachment
14)Please attach Attachment 14 Add Attachment
15)Please attach Attachment 15 Add Attachment
NEA Application Read the OMS No.3135-0112
Instructions for Pres 11130P2013
Financial Information this form before
you start.
If you are a parent organization,this information should refer to the component on whose behalf you are applying.
Applicant(official IRS name):
OPERATING BUDGET MOST RECENTLY COMPLETED CURRENT FISCAL YEAR NEXT FISCAL YEAR
FISCAL YEAR (ESTIMATED) (PROJECTED)
0701 /09--06/30/10) (07/01110-06/30/11) (07 01/11 --0680/12)
START DATE END DATE START DATE END DATE START DATE END DATE
Income:
Earned $ 124,161,502 $ 127,418,495 $ 130,057,422
Contributed $ $ $
Total Income $ 124,161,502 $ 127,418,495 $ 130,057,422
Expenses:
Artistic salaries and fees $ $ $
Production/exhibition/ $ $ $
service expenses
Administrative expenses $ 124,161,502 $ 127,418,495 $ 130,057,422
Total Expenses $ 124,161,502 $ 127,418,495 $ 130,057,422
Operating surplus/(deficit)$ 0 $ 0 $ 0
In the space below,discuss the fiscal health of your organization. You must explain 1)any changes of 15%or
more in either your income or expenses from one year to the next,and 2)plans for reducing any deficit(include
the factors that contributed to the deficit and its amount):
The City of Salem's fiscal health is excellent, as indicated by the strong, favorable bond
rating of"AA-" long-term rating from Standard & Poor's. In fiscal 2010, despite having to
manage in a difficult budgetary environment, the City's unaudited staements report an
unreserved general fund balance of$1.2 million, an increase of $461,000 from 2009, and a
stabilization fund balance of$1.9 million, an increase of roughly $427,000. The balance of
both funds combined is estimated to total $3.1 million, its highest point in five fiscal years.
NEPA and NHPA Compliance- City of Salem, Massachusetts
NHPA
The City of Salem is applying for funds to create a schematic design for the Essex Street
Pedestrian Mall.The current phase of this project does not include construction, but is being undertaken in
anticipation of future construction.The project site is located on Essex Street between Washington Street
and New Liberty Street.The Pedestrian Mall was constructed in 1976 on a portion of Essex Street formerly
open to traffic.
The Pedestrian Mall is not a landmarked site and is not located within any Local Historic Districts.
However, it is located partially within three National Register Districts: Old Town Hall, Peabody Museum,
and Downtown Salem. Based on correspondence from the Massachusetts Historical Commission (which is
attached),we anticipate the construction phase will require review under NHPA Section 106 and/or
Massachusetts General Laws Chapter 9, sections 26-27C.The project's schematic design plans will be
based on the conceptual design plan consisting of streetscape and aesthetic improvements, including
street furniture,art installations, lighting,and changes to paving materials. No construction or alteration of
buildings is proposed.The City will follow any and all procedures required under the appropriate statutes
prior to commencement of construction and will ensure the project is fully compliant.
The project is located within Salem's Urban Renewal area,and would be subject to review anc
approval by the Salem Redevelopment Authority with an advisory recommendation from their Design
Review Board. However, the City does not anticipate review would be needed under the Massachusetts
Environmental Policy Act(MEPA), which would be triggered by a"new urban renewal plan or a major
modification of an existing urban renewal plan,"since the new design would not change Salem's urban
renewal plan. However, if the state determined that MEPA review was required,the City would submit an
Environmental Notification Form and meet any other requirements of the Secretary of Energy and
Environmental Affairs.
NEPA
The City of Salem believes that, based on the nature and scope of the proposed changes to the
Pedestrian Mall, as described above,the work would be categorically excluded under the National
Environmental Policy Act.23 CFR 771.117(a)states:
"Categorical exclusions(CEs)are actions which meet the definition contained in 40 CFR 1508.4,
and, based on past experience with similar actions, do not involve significant environmental
impacts.They are actions which: do not induce significant impacts to planned growth or land use
for the area, do not require the relocation of significant numbers of people;do not have a significant
impact on any natural, cultural, recreational,historic or other resource; do not involve significart air,
noise,or water quality impacts;do not have significant impacts on travel patterns; and do not
otherwise,either individually or cumulatively, have any significant environmental impacts."
We believe that the work proposed would not surpass any of the above thresholds to trigger NEPA review.
We placed a call to the Environmental Protection Agency Region t (New England)office call center on April
4, 2011 to try to confirm this. We were referred to the Massachusetts Department of Environmental
Protection. DEP believed the project would not trigger NEPA review, but as a state agency,was unable to
definitively confirm this. Based on our review of NEPA and our discussions with Massachusetts DEP, the
City of Salem does not believe NEPA review would be required. However, if it is determined that such
review is required, the City will follow any and all procedures necessary to ensure the project is fully
compliant.
1
1d CITY OF SALEM, MASSACHUSETTS
DEPARTMENT OF PLANNING AND
COMMUNITY DEVELOPMENT
KINIaERLRY Datscot.L,
MAYOR 120 WASHINGPON STREL"r ♦ SALEM,MASSACHUSB'l'I'S 01970
LY'NNGOONIN DLINCAN,A[CP TELE:978-619-368g ♦ FAX:978-740-0404
Dimi-TOR
May 9, 2011
Ms. Bruna Simon
State Historic Preservation Officer
Executive Director
Massachusetts Historical Commission
220 Morrissey Boulevard
Boston, MA 02125-3314
Dear Ms. Simon:
I am writing to follow up on your letter dated May 2,2011 regarding the City of Salem's
application for grant funds from the National Endowment for the Arts(NEA) Our Town grant
program for a proposed design and public art master plan for the Essex Street Pedestrian Mall.
We also received further clarification from Michaela Jergensen on your staff over the phone
today. We now understand that if the funds we are pursuing from NEA are awarded, Section 106
review would be triggered for construction.
Because the grant funds we have requested from NEA are intended for creation of a design plan,
we do not currently have design plans available for review, as requested in your letter. However,
design plans will be submitted to Massachusetts Historical Commission for review after theyare
completed. 'rhe City of Salem intends to filly comply with any and all requirements of Secti
106 for this project. on
Thank you for your clarification and guidance pertaining to this matter,
g
rely,GlilLt,l lfVDuncan, AlC'P
Director, Department of Planning and Community Development
CU: Rocco Landesman. Chair
National Endowment for the Arts
MAY 05 2011
DEPT.OF PLANNING&
COMMUtaIN'J;.'.'As.YME.IJI
The Commonwealth of Massachusetts
William Francis Galvin, Secretary of the Commonwealth
May 2.2011 Massachusetts Historical Commission
Lynn Duncan.ACIP
Director.Department of Planning and Community Development
City of Salem
120 Washington Street
Salem,MA.01970
RE: Essex Street Pedestrian Mall,Essex Street,Salem,MA:RC.50568
Dear Ms. Duncan:
Thank you for your submission regarding the above referenced project, received April 19, 2011. The staff of the
Massachusetts Historical Commission (MHC) has reviewed the information submitted and has the following
comments.
The proposed project involves using National Endowment for the Arts funds(NEA)to create a public art master plan
for the downtown Essex Street Pedestrian Mall.There are several historic properties and areas in the vicinity of the
project.They include Peabody Museum of Salem-East India Marine Hall(SAL.2473)which is a National Historic
Landmark,the Old Town Hall Historic District(SAL.HV)which is listed in the National Register of Historic Places
and the Downtown Salem Historic District(SAL.HD)also listed in the National Register of Historic Places.
The City of Salem indicated in a letter to our office that they feel that their project is exempt from review because it is a
project on an existing streetscape.
MHC respectfully disagrees with the City of Salem and considers this project to be an"undertaking"because it is being
federally funded. According the National Historic Preservation Act of 1966 Section 106 Section 800.16(y)
'-Undertaking means any project activity or program funded in whole or in part under the direct or indirect jurisdiction
of a Federal agency, including those carried out by or on behalf of a Federal agency:Noose carried out with Federal
financial assistance;and those requiring a Federal permit, license or approval." There are no exemptions listed in
the Section 106 regulations(see 36 CFR 8W).
The MHC. looks forward to receipt of the results of NEA's identification efforts and fincing of effect.
Also please submit a copy of the project plans and specifications to the Salem Historica Commission for their review
as they are a consulting party on this project.
These comments are offered to assist in compliance with Section 106 of the National Historic Preservation Act of 1966
(36 CFR 800)and M.G.L.Chapter 9. Section 26-27C,(950 CMR 71.00). Please do not hesitate to contact Michaela
Jergwsen of my Stan'if you have any questions.
Sincerely.
Brona Simon
State Historic Preservation Officer
Executive Director
Massachusetts I listorical Commission
Xc: National Fndowmenl for the Arts
Salem Hktorical Commission
Salcm Inc.
I lisloric Salem
220 Morrissey Boulevard, Boston, Massachusetts 02125
(617) 727-8470 • Fax: (617) 727-5 128
www.sec.state.ma.us/inhc
! t
Biographies of Key Project Personnel—City of Salem, Massachusetts
Kimberley Driscoll currently serves as the Mayor for the City of Salem. She is the former Deputy City
Manager for the City of Chelsea, Massachusetts. Prior to being named to that position, Ms. Driscoll spent
four years as Corporation Counsel to the City. Kim has an extensive background in planning and land use
development, having worked as a real estate and commercial development attorney in private practice, as
well as serving as the Community Development Director for the City of Beve1y and as an Assistant Planner
for the City of Salem. In addition to her appoirtive posts, Kim also served two terms as the Ward Five
representative to the Salem City Council.
Lynn Goonin Duncan,AICP has over 25 years'experience in planning and community development in
both the public and private sector. For the past seven years she has been the Director of Planning &
Community Development for the City of Salem Massachusetts. In that capac ty she is responsible for
community development,economic development, housing initiatives, land use, historic preservation,
transportation, and environmental issues. Prior to her current position she was the Planning Director for the
Town of Wilmington, Massachusetts and a partner with the consulting firm Community Opportunities
Group, Inc. Lynn is a member of the American Institute of Certified Planners iAICP)and has a master's
degree in landscape architecture from the University of Massachusetts.
Tom Daniel,AICP is the Economic Development Manger for the City of Salem, Massachusetts.Tom's
work is focused on continuing to support the vibrancy of Salem with its diverse economy and numerous
amenities. He is the City's point person on the North Shore's creative economy regional initiative. Prior to
working in Salem, Tom was the Economic Development Manger for the City cf Minneapolis, Minnesota
where he specialized in cultural facilities development and management including the Target Center,the
Historic Hennepin Avenue Theatres,the Guthrie Theater, and the MacPhail Center for Music. As a member
of the Minneapolis Public Art Working Committee,Tom developed polices and procedures for Minneapolis'
public art program. He served as a public art champion within the city's real estate development
department and hosted Seitu Jones as the department's first artist-in-residence.Tom is a graduate of
Grinnell College and has a Master's degree in Urban and Regional Planning from the University of
Minnesota.
Danielle McKnight serves as a Staff Planner for the City of Salem's Department of Planning and
Community Development. In that capacity, she supports the Planning Board aid Zoning Board of Appeals,
and manages selected community development projects. She is a graduate of Smith College and holds a
Master's degree in Urban and Environmental Policy and Planning from Tufts Lniversity.
Lynda Roscoe Hartigan,the James B.and Mary Lou Hawkes Chief Curator will serve as part of the team.
Before joining the PEM, she was chief curator for the Smithsonian American A-t Museum(SAAM). Her
expertise is in modem and contemporary art, especially American art,American folk art and African-
American art. Her recent exhibition and publicat on, Joseph Comell.Navigating the Imagination was
critically acclaimed and traveled to excellent rev;ews nationally.
Dr. Juliette Fritsch has recently joined PEM as Director of Education and Inte-pretation. She arrives from
the Victoria and Albert Museum in London where she was Head of Gallery Inte-pretation, Resources and
Evaluation, with the responsibility for working with artists, curators, educators and others to develop the
interpretation of new galleries, in addition to leading the artist-in-residence program. She is active in
professional circles in both Europe and the United States and often presents papers. In addition, she has
curated a number of exhibitions and has edited or provided chapters for four professional publications.
Biographies of Key Project Personnel-City of Salem,Massachusetts(cont.)
Patricia H. Zaido has been the Executive Director of The Salem Partnership for over seven years.
Previously, she was a faculty member and arts administrator at Salem State College for 37 years. In 2009
she was awarded the 1st annual Harbor Arts Award given by the Salem Arts Association and the
Marblehead Arts Association. Her passions are to the growth of the Creative Economy in the region and the
continued revitalization of the great City of Salem.
George W.Atkins, Chairman of The Salem Partnership, has been a practicing attorney in Salem for 40
years and is a partner in the law firm of Ronan, Segal and Harrington. Mr.Atkins is committed to the City of
Salem through his role as chair of The Salem Partnership but also as a former City Councilor and member
of various community-based organizations.
Proposed Urban Design Consultant Team-Key Members
Tim Love is the founding principal of Utile,an 18-person architecture and urban design practice. Recent
and on-going assignments include a redesign of City Hall Plaza for the Greering America's Capitals
initiative of the U.S. EPA-HUD-DOT Partnership for Sustainable Communities, a planning study for the Mill
River District in New Haven,the City of Boston's Complete Streets initiative (with Toole Design), and the
Boston Harbor Islands Pavilion for the National Park Service and the Boston Harbor Island Alliance. All four
projects integrate public art into the overall design framework. Prior to foundirg Utile, Love was a Vice
President at Machado&Silvetti Associates where he was the project director of the Getty Villa in Los
Angeles,the Master Plan for the Isabella Stewart Gardner Museum, and the Honan-Allston Library in
Boston,the winner of a 2003 National AIA Design Award. Love is also a tenured Associate Professor at the
Northeastern University School of Architecture where he teaches housing, urban design, and architectural
theory. In the fall of 2011, he will be directing a series of urban design workshops at the University of
Toronto. Love received his undergraduate degree in architecture from the University of Virginia and a
Masters in Architecture from the Harvard Graduate School of Design.
Michael Blier is a registered landscape architect and founding principal of the critically recognized design
group, Landworks Studio Inc., in Boston. In 1986, Michael received a Bachelor of Fine Arts and a Bachelor
of Landscape Architecture from the Rhode Island School of Design. In 1994, he received a Master of
Landscape Architecture from Harvard's Graduate School of Design. For three years as a Senior Designer
at Martha Schwartz Inc., he worked on a series of art-based urban public and urban private projects such
as the Javitz Plaza, H.U.D. Headquarters in Washington DC,the Davis Residence and others before
establishing his current practice in 1997. From 1997 to 2010, Blier lead design studios and taught
representation courses at Harvard's Graduate School of Design. He has also been a visiting critic at the
Rhode Island School of Design since 1991. Blier has lectured extensively throughout the US at universities
including: Penn State University, Rhode Island School of Design, University of Colorado in Fort Collins, The
Taubman School at the University of Michigan, The University of Illinois C/U and Harvard University.
Michele Cohen, Principal, Michele Cohen Art. Ms. Cohen is an arts administrator/academic/curator with
broad experience in public art, art conservation, and arts education. She has expertise in public art artist
selection process and project management, gallery management, program development,teaching,
curating, research, and writing. From 1989-2009, she was the founding director of Public Art for Public
Schools,the NYC Dept.of Education's first comprehensive art acquisition,conservation, and maintenance
program of over 1,500 artworks in school buildings.
2
City of Salem, Massachusetts - Work Sample Index
1) Charles Sandison, digital artist. Madrid, Spain. Sandison is internationallq known for his unique digital
projections of words and images on building exteriors; one of many Sandison commissions of outdoor
installations (such as also the Grand Palais de Justice and I'Arc de Triompl-e in Paris), this represents the
type of external installation PEM may consider for future commissions. Sucn work would be projected
against the fagade(s) of the Peabody Essex Museum's contemporary and historic buildings which line the
Pedestrian Mall at the East India Square end.
2)Artist: Rob Lorenson, X's#10. The sculpture is currently on temporary display on the pedestrian mall in
downtown Salem, along with two other Lorenson sculptures. The public response has been enthusiastic,
and the city hopes to obtain other temporary and permanent works such as this one for exhibit along the
newly redesigned mall.
3)Artist: James Jankowiak, displayed in Chicago's Morton School. This mural was created with community
members' participation and exemplifies the hoped-for opportunities for Salem's diverse community
members to engage with creating temporary and permanent public art pieces. The conceptual plan for the
Pedestrian Mall shows vertical surfaces that lend themselves to mural installations.
4)This image shows existing conditions of the Essex Street Pedestrian Mall which the City plans to
transform through excellent urban design. The newly designed space will incorporate public art and will be
more inviting to the public.
5) East India Square is the area directly across the Pedestrian Mall from PeFbody Essex Museum. While
often underutilized, it is an ideal space for public art installations and outdoor programming by the Museum
and other nearby cultural institutions (it serves as the main venue for the anrual Salem Arts Festival).
6) Designer: Utile, Inc.Architecture+ Planning (award-winning urban design and architectural firm). The
City of Salem held four public forums to identify a preferred design scenario for the Pedestrian Mall, which
will form the basis for the design plans to be developed through this project. This rendering shows the
preferred scenario—a flexible"shared street"that would be closed to vehicular traffic when desired such as
during events and high pedestrian season (summer through October).
7) Designer: Utile, Inc. Architecture + Planning. This rendering shows a nighttime image of the mall, as
visualized by Utile and the public during design forums, and shows the "shared street"design that would
open the mall to traffic at certain times and locations for increased visibility and enhanced public use. The
image emphasizes the versatility, activity, and social nature essential to a great urban place, and the
"floating" lighting draws the user to public art and performance locations along the mall.
8) Designer: Utile, Inc. Architecture + Planning. This rendering shows the Pecestrian Mall divided into areas
for leisure and rest, gateways to where the mall ends and the city street begirs, and zones for various
forms of public art: active play and public events,engaging vertical surfaces (such as green/living walls,
lighting exhibitions or murals), and for art/great design within the everyday urban experience. These zones
would be further defined and expanded through the grant project via a new Master Plan for public art.
Y a
City of Salem, Massachusetts - Work Sample Index (Cont.)
9) Designer: Utile, Inc. Architecture + Planning. This rendering shows examoles of the kind of striking,
interactive public art envisioned for selected spaces along the mall. The"magnifying glass"in the lower
right area shows East India Square, which would be a flexible space for passive leisure that could be easily
converted into a performance, display and seating area.
10) Designer: Utile, Inc.Architecture+ Planning. This rendering shows further examples of the kind of
public art installations the City envisions along the mall. In certain areas, the street furniture, lighting,
bollards or other elements could be designed as objects of public art that are fully incorporated into the
everyday life of the mall.
11) Designer: Tim Love [project director at Machado and Silvetti for Dewey Square in Boston, and
continued the work of phase 2 of the Dewey Square master plan at Utile]. Dewey Square, Boston, MA. The
paving patterns reflect the large scale of the plaza, and can be read at different scales. The glass-louvered
headhouses, also designed by Machado and Silvetti and led by Tim Love, lead to the underground subway,
give the area a distinctive identity, and serve as beacons at night[included as an example of work by a
designer interested in working on the Pedestrian Mall].
12) Designer: Tim Love. South Boston Maritime Park cafe and South Boston Maritime Park trellis, Boston,
MA. Working closely with a prominent local landscape architecture firm, Tim Love, then with Machado and
Silvetti, led the design of two large pergolas on the park's edge. The process included selection of an artist
and the incorporation of a public art installation into the design of the park [included as an example of work
by a designer interested in working on the Pedestrian Mall].
13) Designer: Landworks Studio, Inc. (an award-winning landscape architectural firm). Opened 2008,
University of Pittsburgh. This light feature, fountain and reflecting pool act as both sculpture and security
device to keep vehicles away from the biomedical facility, and the plaza in front of the building keeps
pedestrians safe from an adjacent busy intersection.The image shows an elegant solution to a complex
problem in a pedestrian-oriented urban locus [included as an example of Landworks Studio's work, a firm
interested in collaborating with Utile, Inc. on the Pedestrian Mall].
14) Designer: Landworks Studio, Inc. Park opened July 15, 2010. The Peabody Street Park, a former
brownfield site located in a racially diverse, low-income, environmental justice neighborhood, is an example
of an urban design project undertaken by the City. The park's design was the result of extensive civic
engagement, and local children designed and painted the tiles set into the background wall.
15) Designers: Vine Associates (a division of GZA GeoEnvironmental) desigred the Harborwalk, which
interfaces with Peabody Street Park, designed by Landworks Studio, Inc. This image shows the property
prior to its redevelopment into a harborwalk and park; the canopy was constructed as a performance area.
16) Performers: Bridges of Glory Dance Ministry. This Latina dance group performed July 15, 2010 at the
opening celebration for the Peabody Street Park and the Harborwalk. The canopy pictured was
incorporated into the Park design to encourage and enable performances such as this one.
a
City of Salem, Massachusetts— Work Sample Index(Cont)
17)Artist: Fernando Botero, EI Gato, Barcelona. This image is included as an "aspirational"work—an
example of the caliber of work the City aspires to obtain for the pedestrian nail.
18) Artist: Eric Stephenson, Emergence#11, Grand Rapids, MI. This image is included as an "aspirational"
work—an example of the caliber of work the City aspires to obtain for the pedestrian mall.
19)Artist:Anish Kapoor, Halo. The sculpture is currently on temporary display at Peabody Essex Museum
in Salem. This image is included as an "aspirational"work—an example of the caliber of work the City
aspires to obtain for the pedestrian mall, and as an example of an exhibition by a partner.
20) Charles Sandison, digital artist. Commissioned work opened at Peabody Essex Museum, October 2,
2010. Figurehead is Sandison's first creation indoors. Using actual script and images from the museum
collection of more than 3,000 ship's logs and sailors'journals, Sandison's work is projected in algorithms
connected to NOAA weather reports onto the walls, floor, and ceiling of the museum's original East India
Marine Hall which houses some of its earliest maritime collections [included as a past exhibition by a
partner organization and as an illustration of the City's aspiration to obtaining great work by prominent
artists].
Organizational Background Statement-City of Salem,Massachusetts
Date organization was incorporated: 1626. Mission: Municipal functions.
Organizational overview:
(a)The City undertakes community development, including urban design projects,through its Department
of Planning &Community Development,with an experienced staff of 13.
(b) Recent urban design projects include development of the Peabody Street Park, which incorporated
significant neighborhood involvement, including artwork by children, and development of a Harbonwalk.The
City also manages the Artists' Row program,which gives local artists the opportunity to occupy City-owned
incubation space in the downtown, rent-free,for the summer season.Artists use their stalls as shops and
studios, and enjoy high public visibility. Public workshops are an essential component of the program.
Other city-sponsored public art and activities include an annual Arts Festival and Film Festival,a yearly ice
sculpture display, and utility boxes enhanced with public art in the downtown.The City and its partners
completed an intensive,four-month public process in the Spring of 2011 to develop a preferred design
scenario for the Essex St. Pedestrian Mall toward the objective of creating a great urban place with
excellent design. Public art is a key component of the preferred scenario. Salem is also currently applying
to the state for designation of the downtown as a Cultural District in order to support the local creative
sector and further integrate art and cultural activities into the City's daily life anj economy.
While the City actively pursues opportunities such as these to engage the publ'c in art and urban design,
the Planning Department also plays a less central, but nevertheless important -ole in providing input into
private and state-funded development projects so that they make use of high-quality design to the greatest
extent feasible.The City maintains a high level of participation in state building and infrastructure projects
located in Salem(including a new courthouse and reconstruction of several major roadways), and works to
ensure they serve to strengthen the downtown, improve the pedestrian experience, increase economic
activity, and enhance connections to our waterfront,wherever possible.Throuch the Salem Redevelopment
Authority and its Design Review Board, private sector projects located downtown are subject to meticulous
review to ensure they achieve the highest possible standards for design. Salem has a long, rich history of
great architecture that has been woven into the fabric of the City—from the many late 18111 and early 19th
century structures of architect Samuel McIntire to Moshe Safdie's 2003 addition to the Peabody Essex
Museum—and the City strives to maintain a high aesthetic value in our built environment and public
spaces.The Pedestrian Mall,a space that has fallen below the City's standards for urban design and user
experience, will be redesigned in keeping with our traditionally high standards.
(c) Demographics—With a total population of 41,340, Salem is a multicultural and mixed-income
community. Five census block groups qualify for designation as Environmental Justice Populations due to
their minority,foreign-bom and low-income population.While the population is xedominantly white, non-
Hispanic(76%), Hispanics represent the largest minority group with 16%of the population. From 2000 to
the 2005-2009 American Community Survey estimate period,the African-American population(now 5%)
grew by 57%. Median household income($56,782) and rate of attainment of a Bachelors degree are both
lower than the state average. Median age is 36.9 years.
(d) Special outreach efforts: We will identify specific stakeholders, including the arts and cultural
community, and work with them throughout the design process. Engaging the )ublic will take various
forms, including using web-based technology to reach a diverse audience,organizing forums and focus
groups, and meeting with various organizations and associations.
t
City of Salem,Massachusetts Pro rammatic Activities
Year Title Description Location Designer Comments
2009- Peabody Urban Former Award Urban design process with
2010 Street Park design brownfield in winning extensive civic engagement.
project environmental urban Park includes harbonvalk,
justice design firm, outdoor seating, playground
neighborhood. Landworks equipment, and other
Studio, Inc. amenities.
2009 Ward Street Urban Environmental Landworks Roadway redesign and creation
design justice Studio, Inc. of small pedestrian plaza/park
project neighborhood and
adjacent to engineering
downtown. consultant
2009- Harborwalk Urban Along Salem Vine Provides access to the
2010 walkway waterfront Associates waterfront and connection to
and the the downtown.
Cecil Group
2009, Film, Ice Indoor/ Downtown, Various Five of the many annual
2010, Sculpture, outdoor various artists festivals, most of which have a
2011 MA Poetry, visual, locations strong relationship to the
(some Jazz& performing including Pedestrian Mall.Attended by
since Soul,and and literary Pedestrian more than 15,000 people.
2001) Literary, arts Mall
Festivals
2009, Salem Arts Indoor/ Downtown, Various 22 artists, 30 performances and
2010& Festival outdoor various artists 25 meet-the-artist events in
2011 visual and locations 2010
(annual) performing including East
arts India Square
2009, Artists' Row Seasonal art Derby Square Various Annual competition:
2010, studio and (downtown) artists artstslperformers also conduct
2011 gallery public workshops
(since space
2003
2010& Utility Utilizes utility Downtown Various Cit zen/city collaboration
2011 Boxes boxes as artists
canvases
The Salem Partnership Programmatic Activities
Year Title Description Location Comments
2008- Creative Market Analysis/action plan North Shore furded $50,000 study
2009 Econom `
2009- Creative Action Plan implemented 10 cities and towns 27 presentations
2010 Economy "Toolkit"created 10 cities and towns Promote creative businesses
"Teams"formed 10 cities and towns Ran networking events to
Industry"clusters"formed North Shore identify needs
1
C
Post event surveys North Shore 90%found events beneficial
Signature Event Endicott College 350 in attendance
2010- Creative April 2010 reception Peabody
2011 Economy Nov. 2010 networking event Salem 120 in attendance
Feb. 2011 panel discussion Salem 70 in attendance
Newsletters—ongoing
'The Creative Economy Initiative and The Creative Economy Association of the North Shore(CEANS)
were co-founded by Patricia Zaido, Executive Director of The Salem Partnership.
Peabody Essex Museum Pro rammatic Activities
Title/Creator Key Artists Location Dates/ A.tendancel Fees
# %Capacity (FwA=free
perils. w/admission)
rr
Rare Bird of Fashion:The Irreverent Iris A fel-Organized by PEM
Golden Age of Dutch Seascapes: 17th Century Dutch Painting from the National Maritime Museum
Mahon : Contemporary Chinese Art from the Sigg Collection
Valerie Belin: Made Up: First Solo Exhibition by Contemporary French Photographer Belin
ECHO Performing Arts Festival
Storytelling, musicians, Candida Rose, PEM Mar 3 1000160% FwA
performing artists Nit ana Hicks,Alan
Hayton, Others
Sensational India
Musical Performance Camatic Ensemble PEM A r 4, 5 1000/90% FwA
Nrityagran Dance PEM Apr 4, 5 1000/90% FwA
Ens.
KrishnaRasi Group PEM A r 4, 5 1000/80% FwA
Bangalore PEM Apr4, 5 1000/90% FwA
Ensemble
Dance Boston Bhan ra PEM A r4, 5 1000/90% UFwA
Art Warli Paintin PEM A r4, 5 500/80%
Artist Lecture James Ivo PEM Apr 11 180/100%Concert Boston Ensemble PEM A r9 180/50%Interactive 0 sect Theatre Kathleen Jacobs PEM A r 19 50/100%
rr
Fiery Pool:The Maya and the Mystic Sea-Organized by PEM
Other Venues: Kimball Art Museum; St. Louis Art Museum
Atrium Alive Events
Maya Dugouts Wade Smith PEM May 22&23 1000/50% FwA
Guatemala May Sawdust Ubaldo Sanchez PEM May 22&23 1000/80% FwA
Carpet
Dance Grupo Awal PEM Ma 22&23 500/50% FwA
Puppet Theatre Gustavo Boada PEM May 22&23 1000/70% FwA
Figurehead: Digital Light Installation by Charles Sandison in East India Marine Hall
The Emperor's Private Paradise: Treasures from the Forbidden City- Organized by PEM
Other Venues:The Metropolitan Museum of Art;Milwaukee Art Museum
2
Related Atrium Alive Events
Demo, Traditional Chinese Yahong Shen PEM Nov 6 500/60% FwA
Painting
Traditional Chinese Yahong Shen PEM Nov 7 40/100% FwA
Painting Adult Workshop
Chinese Bamboos Flute Tai-Chun Pan PEM Nov 6 195/80% FwA
Performance
Demo,Chinese Landscape PEM Nov 6&7 500/75% FwA
Design
i
Golden: 17th Century Masterworks from Van Otterloo Collection-Organized by PEM
Other Venues: Fine Arts Museums of San Francisco; Museum of Fine Arts,Houston
Any House is a Home. Object,Video and Photographic installation by Swiss Artist Marianne
Mueller
Sound Installation, East India Marine Hall by 2010 Turner Prize Winner, Susan Philli sz(May 2011)
Painting the American Vision.Hudson River School Paintings from the New York Historical
Society
3
City of Salem, Massachusetts
Board List(Salem City Council)
Salem CitV Council
Jerry L. Ryan, President
Ward 4 Councillor
4 Nichols Street
Robert K. McCarthy,Ward 1 Councillor
153 Bay View Avenue
Michael Sosnowski, Ward 2 Councillor
17 Collins Street
Jean M. Pelletier, Ward 3 Councillor
7 Lawrence Street
John H. Ronan,Ward 5, Councillor
274 Lafayette Street
Paul C. Prevey, Ward 6 Councillor
26 Tremont Street
Joseph A. O'Keefe, SR., Ward 7 Councillor
28 Surrey Road
Steven A. Pinto, Councillor At Large
55 Columbus Avenue
Thomas H Furey, Councillor At Large
77 Linden Street
Joan B. Lovely, Councillor At Large
14 Story Street
Arthur C. Sargent, 111, Councillor At Large
8 Maple Avenue
City of Salem, Massachusetts—Details of Project Narrative
a. Major project activities.The proposed project is Phase 2 of the redesign of the Essex Street
Pedestrian Mall in downtown Salem. The multi-phased project has the goal of creating a great urban place
through excellence in urban design, engaging public art, and active street life. Phase 1, an initial conceptual
design scenario, was completed by Utile, Inc. in April 2011 based on research on other similar urban
spaces, an analysis of great public spaces from around the world, and feedback from a series of
community meetings. Phase 2 consists of developing the schematic design level (25%of design) and
elaborating on the public art program that was outlined in the concept phase. Utile has confirmed their
strong interest in continuing to work with the City on this project as the urban design consultant, project
manager and strategic design lead.
The development of the schematic design also involves civil engineering, landscape architecture,
transportation planning, lighting, and public art. Our goal is to have a schematic design for a shared green
street that functions for vehicles and pedestrians while creating a connective cultural corridor. Public art will
be woven into the surface treatment, landscaping, street furniture, and lighting of the redesigned corridor.
The schematic design will also identify locations for permanent and temporary public art installations and
performance spaces.
Active community engagement was an essential component of the conceptual design phase. The
schematic design phase will continue and build upon that engagement. We will solicit input from artists, arts
organizations, merchants, property owners, residents and other stakeholders through a series of public
meetings during which the urban design team (including the public art consultant)will collaborate directly
with the community on the corridor design and the opportunities for incorporating art.
Civil engineering work will be required to understand surface and subsurface conditions as they
affect redesign (e.g., grade changes, existing utility locations).An engineering approach to support
development of the mall as a shared green street, with environmentally responsible stormwater
management,will also be created. Landscape architecture will inform the stormwater management
elements, overall planting approach, and street furniture. Multi-modal transportation planning will be
required to examine lane widths, direction of vehicular travel, and to develop a plan for use by cars,
bicycles and pedestrians.A lighting consultant will provide criteria and guidelines for lighting levels and
recommend street lighting approaches. Integrated with this multi-disciplinary team led by Utile will be a
public art consultant to focus on opportunities for incorporation of public art in the design work, develop
placement and design guidelines for public art, and provide recommendations for an artist selection
process and on-going art program management and maintenance.
Through Utile's work with the community during the conceptual design phase, the incorporation of.
public art into the redesign was identified as an important element to transforming the corridor into a great
urban place. Existing liabilities such as large expanses of empty wall space and visually disconnected
spaces along the corridor can be recast as public art opportunities for civic storytelling and celebration.
Integrating public art into the mall was suggested as a means of providing zones for active play, events and
public leisure; engaging underutilized vertical spaces as backdrops for activity; highlighting gateways and
connection points between the mall and the rest of downtown; and enhancing the character of the mall.
To respond to the public desire for public art, this spring the City worked with former Chicago public
art director Mike Lash (now a Salem resident) to install three sculptures on the mall. The pieces are by
Massachusetts sculptor Rob Lorenson and will remain on display until November 2011. The community
response has been very enthusiastic; they are a popular local attraction, and their installation has sparked
new arts-focused discussions within the community.The installation has also highlighted the challenge of
installing pieces in spaces that weren't designed for them. This has been a valuable learning experience
and will further inform the public art element in the schematic design work. Several of the slides included in
1
City of Salem, Massachusetts- Details of Project Narrative
this application are example images of the media and caliber of public art the City aspires to obtain for the
redesigned mall. We hope to create a great urban place that more ideally showcases art so that pieces are
viewed not as"decoration"or disconnected displays, but as expressions of our community's identity that
inspire conversation, provoke thought and emotion, and enhance the public's aesthetic experience.
b. Outcomes and Measurements.The project is undertaken in pursuit of the Arts Endowment's outcome,
"Livability: Strengthening communities through the arts."In the long term, the completed final project will
produce numerous measurable community benefits including strengthened economic development activity,
more creative utilization of the space, increased community access to art, more year-round businesses, an
enhanced sense of place, and an improved quality of life. In the short term, we will measure this phase of
the project's success by achieving consensus for a design plan and positioning ourselves to secure funding
for the next phase of the project-75%design. Subsequent phases will include creating a public art master
plan for the entire city, and construction of the redesigned mall. The civic engagement process will include
input from artists, local and regional arts organizations, merchants, property owners, residents and other
stakeholders.
c. Schedule. Project Start:June 1, 2012 Tasks: 1) Civic engagement through various forums to finalize
project design completed November 1, 2012; 2) Civil engineering work completed December 1, 2012; multi-
modal transportation planning completed by January 1, 2012; 3) Receiving recommendations from public
art consultant, including placement and design guidelines for public art defining an artist selection process
completed by February 1, 2012;4) schematic design plans, including urban design, landscape architecture
and lighting completed June 30, 2012.
d. Key individuals, organizations, and works of art
City and partnerships:As the lead entity, the City of Salem will coordinate the partner organizations and be
responsible for grant administration, as well as participate in all project activities. Resources include
$40,000 cash in matching funds and highly qualified planning staff with significant experience in
revitalization efforts and grant administration.
The Peabody Essex Museum (PEM) is committed to participating as a key partner. Incorporated in
1799, PEM's mission is to celebrate outstanding artistic and cultural creativity by collecting, stewarding, and
interpreting objects of art and culture in ways that increase knowledge, enrich the spirit, engage the mind,
and stimulate the senses. The museum offers hundreds of public programs each year that connect diverse
audiences to its exhibitions and collections and foster direct engagement with art and artists. PEM has
extensive experience with urban design and planning in relation to its 2003 expansion, which restructured
Salem's point of arrival for visitors, and created a new public park space and new pedestrian connections
between the downtown and waterfront. PEM's experience in arts programming across cultures and
centuries will be an invaluable resource as we pursue a public art presence on the mall. PEM will also
contribute to the grant match through staff expertise.
The third committed partner is The Salem Partnership, an organization that facilitates collaboration
between businesses, non-profit organizations and government agencies. Its focus is on major economic
and cultural projects related to the revitalization of the City of Salem, with a specific focus on downtown.
The Partnership's match includes coordination with the private sector, as well as creative economy
businesses. It is noted that the Executive Director is the co-founder of The Creative Economy Initiative and
the Creative Economy Association of the North Shore(CEANS), and is a member of the Commonwealth of
Massachusetts Creative Economy Council.
2
a
City of Salem, Massachusetts—Details of Project Narrative
Urban design team: Utile, Inc. has expressed a strong interest in continuing to work with the City
through this phase as urban designer, project manager and strategic design lead. Tim Love, Principal, has
worked with us to develop a proposed project team consisting of(in addition to Utile's services): a
landscape architect(Landworks Studio); a transportation planning firm (Nelson Nygaard); Civil Engineer
(HDR, Inc.); and lighting designer(LAM).A public art consultant would also be a key member of Utile's
urban design team. Utile has met with and received feedback from Michele Cohen, who has expressed
interest in working on this project. Ms. Cohen is the former director of Public Art for Public Schools, New
York City's art acquisition, conservation, and maintenance program for over 1,500 artworks in school
buildings. Utile has recommended Ms. Cohen not only for her many years of experience and
accomplishments, but because she has a unique ability to balance an understanding of art and the art
world with the perceptions of a public audience.
e. Target population.The target community is extensive. Salem is a tourist destination with approximately
1 million visitors a year, and it is the center for art and culture north of Boston. The city has approximately
41,000 residents, including an underserved environmental justice neighborhood adjacent to downtown. In
addition, Salem State University has 3,000 resident students. The redesign of the mall will produce a more
functional and aesthetic place, will improve economic activity and provide additional, exciting opportunities
to participate in arts and cultural activities.The target community is north of Boston and beyond.
f. and g. Plans for promoting, publicizing,andlor disseminating/Plans for documenting, evaluating
and disseminating the project results.The City will publicize the project through its web-based posting
and communication system, as well as through other outreach methods. We will work closely with our
partners to reach the public through their technology;the PEM website, for example, receives more than
600,000 unique visitors per year. We will also engage specific stakeholders such the local arts community,
the Chamber of Commerce, Destination Salem, Main Streets, and art and neighborhood associations, in
our outreach efforts.
h. Plans for making the project accessible. One of the goals of redesigning the pedestrian mall is to
make it physically more accessible to the entire community. Improving the street surface was by far the
most common complaint about the mall during the public meetings of Phase 1. Traveling on the mall is
somewhat difficult for everyone, and presents serious challenges to those with physical disabilities. New
surface materials and design will make access easier and safer for all users to access the mall, and careful
accommodations will be made to ensure appropriate access to leisure areas, locations of public art and
other features.
L Budget The grant request is $60,000, with a local match of$40,000 in cash and $26,100 in in-kind
services. The total project cost is $126,100 for schematic design plans(including lighting, urban design and
landscaping), transportation planning, engineering, public art and public engagement. While $60,000 is
greater than the average Artworks grant awarded, engineering work and transportation planning are
required prior to further developing the design (we must understand the subsurface conditions and traffic
circulation since these will directly influence the rest of the design process), and so we are unable to reduce
the project budget to below$126,100. If granted less than $60,000, we would put those funds toward the
civil engineering and transportation planning work, and then pursue funding from other sources (possibly
including future NEA grants)for the remainder. However,we believe the integration of all the required
disciplines at the same time would be the most efficient and effective approach.
3
Revised Project Budget OMB No Expires I 3135/4112I
1
11-934654
1.Applicant(official IRS name/mailing address): 2.Period of Support Requested
(Use 2-digit numerals,Start^01 /O6 for Jan.1,2006):
City of Salem, Massachusetts
06 01 12
Endin
3.Revised Project Description. If it is necessary to revise your project,clearly describe how the recommended grant and matching
funds would be spent. Give a justification for the change(e.g.,reduced amount of funding recommended as conveyed by the
Endowment).
We propose focusing on the public art aspect of our original plan, creating a city-wide
master plan for public art, of which the pedestrian mall will be a focal point. A public art
consultant will develop the master plan, focusing on opportunities for incorporation of
public art in the design work, developing placement and design guidelines for public art,
and recommending processes for artist selection and on-goinc maintenance.
4.Project Budget Summary:
Amount Recommended Plus"Total match for this project" Must equal"Total project costs"
see accompanying
77n25,000 +$ 27,900 -$ 52,900
5.Authorizing Official(Last,first):Driscoll, Kimberley (Check one) ❑ Mr. ❑� Ms.
Title: Mayor
Telephone: (9781 745-9595 ext Fax: (978) 744-9327 E-Mail:kdriscoll@salem.com
Signature of Authorizina Official:X Date:
6.Project Director(Last.first): Duncan, Lynn (Che-k one) ❑ Mr. ❑ Ms.
Title: Director, Department of Planning &Community Development
Telephone: (978) 619-5685 ext Fax: (978) 740-0404 E-Mail:iduncan@salem.com
Project Budget
Income
7.Total match for this project. Be as specific as possible. Asterisk(*)those funds that are committed or secured-
Cash(refers to the cash donations,grants,and revenues that are expected or received for this project.) Amount
'City of Salem committed $5,000 cash plus$11,800 in staff salaries $16,800
'Peabody Essex Museum committed $4,800 in staff salaries $4,800
`The Salem Partnership committed $6,300 in staff salaries $6,300
Total cash a.$ $27 900
In-kind(these same items also must be listed as direct costs under"Expenses"below.)
Total in-kind b.$
Total match for this project(e+b.)$
Revised Project Budget OMB No3,354)112
Expires 11/30110
Expenses
8. Direct costs: Salaries and wages(Do not include salaries associated with fund raising.)
Title and/or type of personnel Number of Annual or average salary %of time devoted to Amount
personnel range this project
Mayor(City) 1 $100,000 1% 1,000
Planning Staff(City) 3 $45,000-85,000 4%-7% 10,800
Exec Dir& Pres(TSP) 2 NA 5% 6,300
PEM Curator, Educ Dir 2 NA 1% 4,800
Total salaries and wages a.$ 22,900
Fringe benefits Total fringe benefits b.$
Total salaries,wages,and fringe benefits(a.+b.)$ 22,900
9. Direct costs: Travel(Include subsistence.)
#of travelers From To Amount
Total travel$
10. Direct costs: Other expenses(such as consultant and artist fees,contractual services,telephone,utilities,photocopying,
postage,supplies and materials,publication,distribution,transportation of Items other thar personnel,rental of space or
equipment,etc.)
Amount
Public art consultant $30,000
Total other expenses$ $30.000
11. Total direct costs(8.+9.+10.) $ $52,900
12. Indirect costs(if applicable.attach federal rate negotiation agreement):
Federal Agency: Rate(%) x Base = $
13. Total project costs(11.+12.) $ $52,900
NATIONAL ENDOWMENT FOR THE ARTS
PROJECT BUDGET
Grantee: City of Salem, Massachusetts
Grant#: 12-4200-7023
Important Information:
This budget is derived from your application, revised budget, and/or other communication as noted below.
Expenditures on your project should be in general agreement with this budge.. Deviation without prior NFA
approval will be limited to the standards outlined in the General Terms & Conditions and the provisions of
circulars A-11 0 orA-102, whichever is applicable It is understood that costs included below maybe estimates
and that actuals will be reported on all payments requests and financial reports.
All costs must be incurred within the project period specified in your award letter. Unallowable project costs
cannot be supported by either federal or non-federal funds. This budget canrot include overlapping project
costs with any other Federal grant(direct or indirect). Proper documentation must be maintained for any
In-Kind contributions claimed. Unless otherwise indicated in your award letter, this grant must be matched
dollar for dollar.
INCOME
Cash: $ 27,900
In-Kind: $ 0
Total Contributions: $ 27,900
NEAGrant: $ 25,000
Total NEA Grant: $ 25,000
TOTAL PROJECT INCOME: $ 52,900
EXPENSES
Direct Costs:
Salaries and Wages: $ 22,900
Fringe Benefits: $ 0
Travel: $ 0
Other: $ 30,000
Total Direct Costs: $ 52,900
Indirect Costs: $ 0
TOTAL PROJECT EXPENSES: $ 52,900
Revised Budget/Application Update Date: 04/11/2012
JOHN KERRY WI 11 1
United ;&atta nate
S114F
VVASH1fq-,T0N,DC?G510 2102
One Bowdoin Square
Tenth Floor
Boston, MA 02114
August 10, 2011
Mr. Rocco Landesman, Chairman
National Endowment for the Arts
1100 Pennsylvania Ave. NW
Washington, DC 20506
Dear Mr. Landesman:
I am writing in support of the application recently submitted by the City of Salem,
Massachusetts for the NEA Artworks grant program. With the funding, the City of
Salem will reinvigorate the downtown district by continuing improvements to the public
art located in and around the Essex Street Pedestrian Mall.
In the last decade, the City and its partners have striven to improve the downtown,
working to attract positive development for the benefit of its residents and visitors. These
efforts have resulted in an exciting transformation which has included the redevelopment
of several underutilized former industrial properties, the introduction of hundreds of new
housing units into the downtown, and an expansion of retail stores and restaurants. This
increase in activity has brought a sense of liveliness and vibrancy the City had lacked for
many years- The Pedestrian Mall has the potential to become a grea-. public space and an
asset to the community with the benefit of high-quality urban design and the addition of
public art.
The City of Salem's proposal aims to define and express the commu-iity's identity
through public art while supporting community revitalization and economic development.
The project is an excellent example of the kind of public/private collaboration we
encourage among Massachusetts municipalities, businesses and cultural institutions.
Sqrely,
d' 6r
JFK,!cr/pd
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C�Con�reoo
of file
United otatts
August 9, 2011 pouse of RP}iPP PItfM iltP
JOHN F. TIERNEY
MASSACHUSETTS
Mr. Rocco LandesnTan
SIXTH DISTRICT
Chairman
National Endowment Of The Arts
1100 Pennsylvania Avenue
Washington, District of Columbia 20506
Dear Mr. Landesman:
I am writing to express my support for the application submitted by the City of Salem under the
National Endowment for the Arts,Art Works program.
The proposed funding would support Phase II of the redesign of the Essex Street Pedestrian Mall
in downtown Salem. The multi-phase project aims to enhance a great urban place through
excellence in urban design,engaging public art,and an active street life. The redesign of the mall
would produce a more functional and aesthetic place,improve econonuc activity, and provide
the public with more accessibility to the arts and cultural activities.
As set forth in its application, the City has engaged artists,designers and ail organizations to
improve community livability and enhance the unique characteristics of the pedestrian mall. The
City of Salem, along with the Peabody Essex Museum,The Salem Partnership, and Salem State
University are collaborating in pursuit of the Arts.Endowment's outcome, "Livability:
Sir•engthening communities through the arts."Public art will be woven into the surface treatment,
landscaping, street furniture,and lighting of the redesigned corridor. The schematic design will
also identify locations for permanent and temporary public art installations and performance
spaces. The transformation of this corridor will provide local artists with an opportunity to
exhibit their work in a new setting that celebrates artistic excellence and connects the area with
the rest of downtown Salem, The Pedestrian Mall has the potential tc become a great public
space and an asset to the community with the benefit of high-quality urban design and the
addition of public art.
The City of Salem's proposal aims to define and express the community's identity though public
art while supporting community revitalization and economic development. The project is an
excellent example of the kind of public/private collaboration we encourage among
Massachusetts municipalities, businesses and cultural institutions.
I
COMMITTEES
EDUCATION &WORKFORCE
SUBC ON HIGHER EDUCATION AND WORKFORCE TRAINING
SUBC ON HEALTH, EMPLOYMENT, LABOR, AND PENSIONS
OVERSIGHT&GOVERNMENT REFORM
SUBC ON NATIONAL SECURITY, HOMELAND DEFENSE AND FOREIGN OPERATIONS (RANKING MINORITY MEMBER)
2238 RAYBURN HOUSE OFFICE BUILDING 17 PEABODY SQUARE
WASHINGTON, D.C. 20616 PEABODY, MA 01980
12021 2268020 (878) 631-1669
hup:/hvvnadiemey.hpuse,Bpv Priwa on,ecytle0 papm. LYNN 17811 686-7376
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I trust that the application submitted by the City of Salem will receive the careful consideration it
deserves.Thank you for taking the time to consider my thoughts on this matter.
j�/mc
ohn F. Tie�y
Member of Congress
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Danielle McKnight
From: support@grants.gov
Sent: Thursday, August 04, 2011 6:01 PM
To: Danielle McKnight
Subject: GRANT10938004 Grants.gov Grantor Agency Retrieval Receipt for Application
Your application has been retrieved by the Grantor agency and is currently being reviewed.
Type: GRANT
Grants.gov Tracking Number: GRANT10938004
We will notify you via email when your Grantor agency has assigned an Agency Tracking
Number to your application.
Thank you,
Grants.gov Customer Support
www.support@grants.gov
600-518-4726 (7 a.m. - 9 p.m. ET)
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email for any purpose.
bttp: //trapply.grants.gov
1
Danielle McKnight
From: support@grants.gov
Sent: Friday, August 05, 2011 1:02 AM
To: Danielle McKnight
Subject: GRANT10938004 Grants.gov Agency Tracking Number Assignment for Application
Your application has been reviewed by the Grantor agency and assigned an Agency Tracking
Number.
You will need the Agency Tracking Number when corresponding with the Grantor agency about
your application.
?Use the Grants.gov Tracking Number at Grants.gov to check your application's status and to
obtain your Agency Tracking Number.
Type: GRANT
Grants.gov Tracking Number:GRANT1093800L
1'hatnk you,
Grants.gov Customer Support
www.support@grants.gov
800-518-4726 (7 a.m. - 9 p.m. ET)
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Danielle McKnight
From: support@grants.gov
Sent: Thursday, August 04, 2011 5:56 PM
To: Danielle McKnight
Subject: GRANT10938004 Grants.gov Submission Validation Receipt for Application
Your application has been received and validated by Grants.gcv and is being prepared for
Grantor agency retrieval and review.
Type: GRANT
Grants.gov Tracking Number: GRANT10938004
You will be notified via email when your application has been retrieved by Grantor agency.
Thank you.
Grants.gov
mailto:support@grants.gov
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Danielle McKnight
From: support@grants.gov
Sent: Thursday, August 04, 2011 5:55 PM
To: Danielle McKnight
Subject: GRANT10938004 Grants.gov Submission Receipt
Your application has been received by Grants.gov, and is currently being validated.
Your submission was received at 04-Aug-11 05:54:5.1 PM ET
Validation may take up to 2 business days.To check the status of your application please
click here https://apply07.grants.gov/apply/checkSingleApplStatus.faces?
tracking num=GRANT10938004
Type: GRANT
Grants.gov Tracking Number: GRANT10938004
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ready for the Grantor agency to retrieve and review.
,: r. DUNS Number: 1567710240000
AOR name: Danielle McKnight
Application Name: Integrating Public Art in Downtwn Salem
Opportunity Number: 2011NEAO1AW2
Opportunity Name: NEA GAP: Art Works 2, FY2012
https: //apply07.grants.gov/apply/login.faces?cleanSession=l&userType=applicant
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The following application tracking information was generated by the system:
Grants.gov Tracking GRANT10938004
Number :
Applicant DUNS: 15-677-1024
Submitter's Name: Danielle McKnight
CFDA Number: 45.024
CFDA Description: Promotion of the Arts Grants to Organizations and Inc
Funding Opportunity 2011NEA01AW2
Number :
Funding Opportunity NEA GAP:Art Works 2, FY2012
Description
Agency Name : National Endowment for the Arts
Application Name of Integrating Public Art in Downtwn Salem
this Submission :
Date/Time of Receipt : 2011.08.04 5:54 PM, EDT
TRACK MY APPLICATION —To check the status of this application, please click the link below:
https://apply07.grants^gov/ap_ply/checkSingIgApp 5tatus.;f4_q s?tr ckin.g_num GRANT10938004
It is suggested you Save and/or Print this response for your records.
e
Essex Street Shared Street Initiative
Salem, Massachusetts
Design approach,team,and fee distribution
July 21, 2011
A team of designers, planners,and engineers-led by Utile, Inc.—proposes to further develop a concept
for the redesign of the Essex Street Pedestrian Mall as a shared street. The initial concept was designed
by Utile, Inc. in the winter of 2010-11 based on research on other similar urban spaces,an analysis of
great public spaces from around the world,and feedback the firm received during a series of monthly
community meetings. Utile and team proposes to further develop the concept to a Schematic Design
level(25%of design)and elaborate on the public art program that was outlined in the concept phase.
The deliverable of this work will include a full description of the scope of the project, including notated
plans,cross-sections,typical details,and outline specifications of materials and street furniture,thus
providing information for a robust cost estimate. In addition, illustrative plans and renderings will be
prepared to be used for both community outreach and capital project funding submissions. In addition,
Utile and team will provide an implementation plan for both the streetscape project and the associated
public art program.
The following list outlines the fees, responsibilities,and tasks of each of the team members for a project
scope with total fees of$100K:
$50K Urban design and landscape architecture(Utile/Landworks Studio):
Utile- Project management/strategic design lead
Landworks Studio- Paving, landscape, and street furniture selection/design
$20K Multi-modal Transportation Planning(Nelson Nygaard)
Verify lane widths and direction of travel of the revised street design (using existing data and
knowledge of Salem), help plan for shared mode street(car, bicycle, pedestrian), provide design
crits on the evolving design
$15K Civil Engineering(HDR)
Due diligence understanding of subsurface conditions as they affect redesign—such as existing
utility locations,etc., existing conditions drawing,engineering approach for green stormwater
strategy, new street lighting, etc.,subsurface detailing concept for pavement and landscape
areas
$10K A Public Art Consultant(TBD)
Consult with urban design/landscape team on placement and design guidelines for public art,
provide a list of relevant artists and photographs of relevant art installations, provide
recommendations for artist selection process and on-going art program managementand
maintenance
$5K Lighting(LAM)
Provide criteria and guidelines for lighting levels(typical conditions and for events), recommend
street lighting approaches that may include street light fixtures, bollard-scale fixtures, light
installations(tied to public art program),etc.
Page 1 of 2
Danielle McKnight
From: Tim Love[love@utiledesign.com]
Sent: Friday, July 22, 2011 5:59 PM
To: Tom Daniel; Danielle McKnight
Cc: 'Elizabeth Christoforetti'; Lynn Duncan
Subject: Draft Essex Street design approach
Attachments: Essex Street—NEA grant design approach_2011-07-21_TL.docx
Toni and Danielle:
Please see the attached draft project approach and fee distribution—based on feedback from Jason Schrieber
(Nelson Nygaard —transportation ) and Jerry Friedman (HDR—civil engineering).
I am hoping to fill in the one missing team member(public art consulting) wit-i Michele Cohen—see below. But
.it. v+anted to interview her first to make sure she is a good fit for this assignment (and our personalities!). At our
planned Wednesday meeting with her, we are going to learn about Michele's focus and expertise—but are also
going to discuss both your project and our City Hall Plaza initiative.
Please let us know if you are interested in attending the meeting too.
Best,
Tim
From: Tim Love [mailto:love@utiledesign.com]
Sent: Friday, July 22, 20115:45 PM
To: 'Michele Cohen'
Cc: 'Meera Deean'; 'Elizabeth Christoforetti'
Subject: RE: Public art consulting
Michele:
Let's meet at loam on Wednesday (July 27) at Uti e. We are located at 50 Sun-mer Street at Downtown Crossing.
If you are driving in, the garage at the Hyatt Hotel (on Avenue Lafayette) is the most convenient to our office.
Meera Deean and Elizabeth Christoforetti will be joining me for our discussion (both copied here). Meera is
working with me on City Hall Plaza and Elizabeth is managing the Salem project.
TI
From: Michele Cohen [mailto:mcohen.art@gmail.com]
Sent: Friday, July 22, 20119:16 AM
To: Tim Love
Subject: Re: Public art consulting
Tim,
Thank you for contacting me. I am, indeed, very interested in potential callaborations. I spent twenty
years working with architects and artists implementing public art projects in New York, and I would love
the opportunity to explore comparable projects in Boston.
7/25/2011
Page 2 of 2
I am familiar with your Boston Harbor Islands Pavilion, as I attended the opening. Congratulations on
such a well conceived and executed project.
I look forward to talking with you. I am available next Tuesday, Wednesday, or Thursday. Let me know
what day/time would work for you. In the meantime,please feel free tc review my Linked In Profile:
http://www.linkedin.com/pub/micliele-coherL/19/a58/81 1.
Best,
Michele
Michele Cohen, Ph.D.
Michele Cohen Art
41 Whittemore Road
Newton, MA 02458
Tel: 917-710-6176
On Thu, Jul 21, 2011 at 8:13 PM, Tim Love <loverutiledesign.com> wrote:
Michele:
Nick Capasso at the DeCordova Museum suggested that I reach out to you to discuss potential
collaborations. I am a principal at an architecture and planning firm that leads teams focused on the
redesign of urban spaces—either as master planning projects or building/landscape commissions. Many,
if not most, of these projects either include (or have aspirations to include) public art.
Our most recently completed project in this vein is the Boston Harbor Islands Pavilion on the Greenway
in Downtown Boston. We were the architects and exhibition designers and invited the DeCordova to join
the team to curate the first exhibition displayed on the two LED video panels at the Pavilion (Nature
Special, curated by Dina Dietsch).
We are working on two other projects that may be of interest: City Hall Plaza(Boston) and the redesign
of the pedestrian mall in Downtown Salem. Both projects will require some input from a public art
consultant—and we are preparing proposals for the next stages of the design of both initiatives.
Let me know if you are interested in getting together to discuss these projects and your background in
public art.
Best,
Tim
'_tilr hrc 4hlnte_,u¢ i'Lnnrne
h¢pa'�reti.ut i I cdcsi Fn:cam
617.43.3,7200
it
617,3 067900
-, htto://utile.uostcrous.coni/
7/25/2011
e
* Page 1 of 3
Danielle McKnight
From: Tim Love [love@utiledesign.com]
Sent: Tuesday, July 19, 2011 5:59 PM
To: 'Patricia Zaido'; Lynn Duncan; Tom Dariel; Danielle McKnight
Cc: 'Elizabeth Christoforetti'; 'Mike Blier'
Subject: RE: Art Works NEA
Patricia, Tom, Danielle,and Lynn:
Some feedback to your questions and comments:
Scope and fee for future NEA grant and other funding sources
Mike Blier and I are available for a conference cal at 2pm on Friday—if that works for you.
Some thoughts/agenda items for our discussion:
$100K is enough fee to develop the overall design to a Design Development level for paving, landscape, and
street furniture (lighting, benches, etc.)—the scope/fee for a Utile/Landworks Studio design team - but may not
be enough fee for adequate transportation planning and engineering to inform design decisions and line-item
budgets (such as sustainable stormwater strategies, existing utility locations as they affect grading approaches
and tree locations, traffic analysis to confirm lane direction decisions, etc.).
Mike Blier and I would prefer to fold engineering and transportation planning into Design Development—
suggesting that we may want to focus on one section of the Mall for more detailed development.
It seems that the first$30-40 NEA grant request should be focused specifically on the public art program—
including
a) the location of permanent and temporary insta lations
b) a revision to/enhancement of the Essex Street Shared Street concept design to accommodate the artwork
(elevate the proposal from a Concept Design level to a Schematic Design level;
c) design guidelines for each proposed artwork location establishing the view corridors, scale/size, thernes, and
functional requirements(provide shade, lighting,and/or seating, etc.)
d)the development of a sustainable on-going program and schedule for artist selection, funding, and
management
e)the creation of a governance structure that establishes and maintains the overall quality of the program (role
of PEM, City staff, business and community leaders, outside public art experts, etc.).
This scope will riot make much of a dent in the S100K Design Development fees/scope outlined above—the art
program is really a different value-added aspect of the street design (and the NEA will see it that way).
Public Art Consultant
I have worked with Roberto BarretD at the Urban Arts Institute on several projects— I found him to be
knowledgeable, professional, and easy to work with. He did tell me that he was leaving UAI to become an
independent consultant(and is thus still available) I have reached out to the DeCordova Museum for other
names (FYI —the DeCordova, as an arts institution, has much more interest in and experience with public art
than PEM). Perhaps PEM can recommend names too.
7/20/2011
Page 2 of 3
You may know that I recently took the lead bringing public art to the Boston Harbor Island Pavilion on the
Greenway- by teaming with the DeCordova Museum and helping to frame the parameters and theme for a
video art installation.The exhibition—which opened June 16 and runs through the end of October- was very
well reviewed in the Boston Globe as part of a larger review of public art on the Rose Kennedy Greenway; see
the second item on the splash page of our website: http://www.utiledesign.ccm/
Perhaps our role bringing public art to the Greenway should be included in the upcoming NEA proposal. We can
provide more information on the project and our role—please let us know.
Let me know if you are available at 2pm on Friday and I will let you know if I get feedback on the best art
consultant for this project.
Tim
From: Patricia Zaido [mailto:pzaido@salempartnership.org]
Sent: Tuesday, July 19, 20119:45 AM
To: Tim Love'; 'Lynn Duncan'
Cc: 'Elizabeth Christoforetti'; 'Danielle McKnight'; Tom Daniel'
Subject: RE: Art Works NEA
Another country heard from!
Tim
Don't forget a public art consultant. In our two conversations with NRA, this was a big issue with them
Thanks,
Patricia Zaido
-----Original Message-----
From:Tim Love [mailto:love@utiledesign.com]
Sent: Tuesday, July 19, 20119:10 AM
To: 'Lynn Duncan'
Cc: 'Elizabeth Christoforetti'; 'Danielle McKnight'; Tom Daniel'; pzaido@salempartnership.org
Subject: RE: Art Works NEA
Lynn, Tom, and Danielle:
Good timing—I am scheduled to talk to Michael Blier this afternoon. He is going to help me frame the
scope and fee (considering your fee budgets).We'll throw the phasing below into the mix.
I'll report back by e-mail (to all) later this afternoon or tomorrow morring.
Tim
From: Lynn Duncan [mailto:LDuncan@Salem.com]
Sent: Tuesday, July 19, 20118:11 AM
To: Tim Love
Cc: Elizabeth Christoforetti; Danielle McKnight; Tom Daniel; pzaido@salempartnership.org
7/20/2011
• Page 3 of 3
Subject: Art Works NEA
Hi Tim,
We have another opportunity to apply for grant funding from NEA through ti-eir Art Works program
Deadline is August 11.
Unfortunately, the average grant is only$35,000 to$40,000, althougn we can apply for$100,000. Last
year, over 2/3 of the awards were for$25,000 or less.
Jason Schupbach, Director, recommended that we phase our project. Is there a way to phase our
project, either geographically (i.e. East India Square) or by discipline? If not, then we need to explain
clearly why not and apply for the full $100,000. We need to breakdown the $175,000 total budget
(including the City's cash match) into clearly defined components. One of the shortfalls of our previous
application was that the budget was too general.
The other way that we can improve our application is to identify the pjblic art consultant with whom we
would like to work. Do you have the name of someone that you were considering for your team? Do you
think s/he would be willing to speak with us in regard to the application?
I will be out of the office starting tomorrow 7/20 for the rest of the week., but given the tight timeframe,
please coordinate with Tom or Danielle. Thanks,
Lynn
Lynn Goonin Duncan, AICP
Director
Department of Planning &Community Development
City of Salem
120 Washington Street
Salem, MA 01970
V „
T: 978-619-5685
F 978-740-0404
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Checked by AVG -www.avg.com
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i
Massachusetts Office Inspector General
ProcurementVolume 16,Issue 4
Bulletin
December,2010
THE ARCHITECT, ENGINEER INSIDE THIS ISSUE i
AND RELATED PROFESSIONAL EXEMPTION: Establishing a Massachusetts Preference Page 2
WHAT IT MEANS FOR LOCAL GOVERNMENTAL BODIES Prevailing Wage for School Bus Contracts:
Prevailing Wage Updates Required For Option Years Page 3
In June, 2009, M.G.L. c.308 was amended by adding {
M.G.L. c.308, §1(b)(32A), which exempts contracts with DHCD Requires MCPPO Certification Page 4
I
architects, engineers and related professionals. In addi- Operational Services Division offers"One-Stop Link" I
tion, definitions were added to M.G.L. c.30B, §2, to assist to Debarment Lists Page 4 it
in the interpretation of the exemption as to which services
are considered exempt. If a given service is not listed in MCPPO Designations Page 5
the definitions, it is this Office's opinion that such service is
subject to M.G.L.c.30B. MCPPO Registration Form Page 6
But, keep in mind that just because a contract is exempt ARRA Newsletter Page 7
from M.G.L. c.30B, it may still be subject to other laws. For
example, the designer selection law, M.G.L. c.7, §§38AY2 - supervision or administration of a construction contract,
380, will apply to certain contracts,such as hiring an archi- construction management or scheduling, and preparation
tect, engineer or owner's project manager for building con- of operation and maintenance manuals and other related
struction services if the estimated design services cost is services.
$10,000 or more and the estimated cost of construction is CONTRACTS WITH RELATED PROFESSIONALS
$100,000 or more. In addition to exempting services provided by architects
CONTRACTS WITH ARCHITECTS AND ENGINEERS and engineers, the services of"related professionals" are
"Architect and engineer" is defined in M.G.L. c.30B, §2 as also exempt from M.G.L. c.30B. "Related professionals"
"a person performing professional services of an architec- are professionals engaged in providing services that may
tural or engineering nature, as defined by law, which are include land surveying, landscape architecture, environ-
required to be performed or approved by [an architect or mental science, planning and licensed site professionals.
engineer] licensed, registered or certified to provide such In order for a contract to be exempt as a contract with a
services." related professional, the professional must be licensed,
registered or certified to perform or approve services that
If a contract requires professional services of an architec- are associated with research, planning, development,
tural or engineering nature, and the work is associated with design, investigations, inspections, surveying and map-
research, planning, development, design, investigations, ping, tests, evaluations, consultations, comprehensive
inspections, tests, evaluations, consultations, program planning, program management, value engineering, con-
management, value engineering, construction, alteration, struction, or alteration or repair of real property.
or repair of real property, the contract is exempt from
M.G.L. c.30B. "Real property" includes land and all things Also,the following services are exempt from M.G.L. c.30B
that may be attached or within it, , e.g. buildings, roadways when they can logically or justifiably be performed by re-
and sewers, or fixtures permanently attached to the land or lated professionals or by individuals in their employ: mas-
a structure on it. ter plans, studies, surveys, soil tests, cost estimates or
programs, preparation of drawings, plans or specifica-
Other contracts with architects and engineers that are ex- tions, supervision or administration of a construction con-
empt from M.G.L. c.30B include contracts for services that tract, construction management or scheduling, concep-
can be logically or justifiably performed by an architect, en- tual designs, plans and specifications, construction
gineer or individuals commonly employed by architects and phbse services, soils engineering, drawing reviews, cost
engineers. M.G.L. c.30B, §2 provides the following list of estimating, preparation of operation and maintenance
exempt services: studies, investigations, surveying and manuals, and other related services.
mapping, soil tests, construction phase services, drawing
reviews, evaluations, consultations, comprehensive plan- If you are unsure whether a specific contract with an ar-
ning, program management, conceptual designs, plans and chitect, engineer or related professional is exempt from
specifications, soils engineering, cost estimates or pro- M.G.L.c.30B, please contact the Chapter 30B line at 617
grams, preparation of drawings, plans, or specifications, -722-8838•
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Via Partnership,LLP P.O.Box 23167 SL Lours,MO 63156 tel:314-664-5902 email:an0viaparmership.mm
Danielle McKnight
City of Salem
Office of the City Purchasing Agent
120 Washington Street, 3rd floor
Salem, MA 01970
November 3, 2012 Dear Ms. McKnight: ,
We are pleased to submit our qualifications to develop a public art master plan for the City of
Salem, Massachusetts.With offices in St. Louis and the New York area,we are ideally
positioned to help you with your project.
Since 1999,Via Partnership has worked with communities to develop and implement public
art strategies.We have helped cities launch public art programs,and we have also assisted
communities that have established public art programs that are in need of a fresh vision and
administrative re-tooling.Sometimes our planning focuses on an entire city or county,other
times we are asked to look at a specific geographic area (downtowns,trails)or work with a
special purpose agency(transportation,utilities and environmental protection).
Part of what sets us apart is that we have practical experience managing public art programs
and commissions,giving us knowledge about how to create plans that are effective tools for
the staff,committees and elected officials that are responsible for implementing them.The
public art projects we have helped to commission range from small-scale temporary projects,
including several projects for the City of Vancouver Olympic and Paralympic Public Art
Program, to large-scale, iconic works for cities, stadiums and private developers.
We understand your goals for the master planning process. We have will study your previous
visioning processes as well as continue stakeholder engagement to identify locations for
public art,we will produce a relevant curatorial vision for the public art program, provide
criteria for art and artist selection, outline policies for ongoing maintenance, and provide
guidance for incorporating art into projects throughout the city,with a specific focus on the
redesign of the Pedestrian Mall.
Because of our past planning experiences,we think we can help you develop a plan that is
visionary,yet focused and implementable. We believe that public art and cultural programs
can be a powerful tool in the social,cultural and economic development of communities, and
are an essential ingredient in creating a vibrant public realm.
We look forward to discussing our qualifications with you in more detail.
Sincerely,
Emily Blumenfeld Meridith McKinley
New York St. Louis
QUALIFICATIONS AND EXPERIENCE
a. Names and Addresses of Firms Involved on the Project
Via Partnership
PO Box 23167
St. Louis, MO 63156
314-664-5902
314-721-8141(fax)
and
YI^•-J
199 Mamaroneck Road
Scarsdale, NY 10583
314-603-8671
rac q-;9 oz
art@viapartnership.com
www.viar)artnership.com
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
b. History,Size and Structure of Firm
Via Partnership is a public art consulting practice which generates innovative master plans, provides strong project
management and creative programming.Our approach emphasizes collaboration and imaginative community
engagement, and is always grounded in strong policies and procedures. Emily Blumenfeld and Meridith McKinley
started Via Partnership, LLP in 1999 and are the two sole principals in the firm. Together, they bring more than
thirty years of experience working in the evolving field of public art and design.
Via Partnership has developed public art plans for cities, large and small, across the U.S. and Canada.Via manages
projects with a broad range of budgets from project inception through dedication.Our team is always focused our
client's objectives,and we strive to maximize engagement from key stakeholders and creativity from artists. Via
does not represent particular artists, allowing us to continuously seek the best talent for each particular project.
During the course of our work,we have established strong relationships with leading artists and dealers,and have
a strong sense of the ever-changing field of talent.
In our experience,artists bring a valuable added dimension to the built environment when collaboratively engaged
in the design process. In our most successful projects our clients have welcomed artists into the conversation as
early as passible, broadening opportunities for compelling results and producing integrated solutions that impact
the project well beyond the entry plaza.
Our Services
Since its founding,Via Partnership has been retained to design and implement a wide variety of public art-related
projects utilizing their skills and capabilities that include:
Master Planning
• Develop mission,vision and aesthetic criteria
• Involve community in the"imagining" process
• Establish operating policies and procedures
• Create an inventory of art opportunities
• Outline staffing needs
• Research and evaluate funding options
Project Management
• Research and guide artist selection processes
• Develop and manage budgets and timelines
• Assist with additional funding opportunities
• Liaison between artist,client and community
• Guide legal and financial contracts
Program Support
• Organize exhibitions
• Arrange seminars and symposia and artist development workshops
• Coordinate project documentation
• Organize public meetings
• Assist with media relations
• Write and manage the production of collateral materials
• Facilitate development of public art curricula
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
Selected Clients
Master Planning
• City of Clayton,MO
• City of Frisco,TX
• City of Allen,TX
• City of Calgary,AS
• City of San Jose,CA
• City of Clearwater, FL
• Pinellas County, FL
• City of Vancouver, BC
• Downtown San Jose,CA
• Lambert-St.Louis International Airport,St. Louis, MO
• Reston,VA
• Kettler Properties,Arlington,VA
• District of Columbia
• City of Coral Gables,FL
• City of Chesterfield, MO
• Port of San Diego,CA
• City of Southlake,TX
• City of St.Louis, M0
• Grand Center,Inc.
Project Management
• City of Clayton,MO
• City of St. Louis, MO
• City of Frisco,TX
• Trailnet Inc.,St. Louis, MO
• General Growth Properties,St. Louis,MO
• Kansas City Municipal Arts Commission,Kansas City, MO
• City of Calgary,AS
• City of Vancouver, BC
• Arlington County,Virginia
• Monday Properties,Arlington,VA
• EnCana Corporation,Calgary,AS
• Brookfield Properties,Calgary,AS
• District of Columbia
• Regional Arts Commission,St. Louis, MO
• Dominion Virginia Power,Arlington,VA
• Grand Center,Inc.,St. Louis, MO
Program Support
• Pulitzer Foundation for the Arts
• St. Louis Public Art Consortium
• Trailnet Inc.,St. Louis, MO
• Americans for the Arts,Washington, DC
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
C
c. Names of Principals of Firm
Emily Blumenfeld
i
Meridith McKinley
d. Identification of Principal in Charge and Project Manager
Emily Blumenfeld
Via Partnership, LLP
199 Mamaroneck Road
Scarsdale, NY 10583
314-603-8671
blumenfeldC)viaoartnershio.com
i
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
e. Experience with Similar Projects
f. Contact Information for References from Similar Projects
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
F
Via Partnership,LLP P.O.Box 23167 St.Louis,MO 63156 tel:314664-5902 email:art@napartnership.com �� � ..
BANKERS COURT DEVELOPMENT i
Brookfield Properties and GWL
Bankers Court is a distinctively designed addition to the Bankers Hall complex.It offers premium office space in the heart
of downtown Calgary.The base of the 15-storey building includes a palette of black pebbled granite,travertine and
frameless,2-storey clear glazing. The tower is a simple expression of clear anodized aluminum framing,aluminum
louvers and high performance clear glazing and glass spandrels. The roofline creates a unique signature on Calgary's
skyline,defined by the required sun angles to Stephen's Avenue Mall. The exterior public space is defined by a strong
interior/exterior relationship between the lobby and 91"Avenue and by a major public art installation.
Via worked with the project team of Brookfield,GWL and Cohos Evamy Architects to develop a public art project plan,
organize and facilitate a selection jury and invite artists to submit qualifications for review.The artists included
internationally-known sculptors and locally represented painters to exhibit a broad range of talent and style.Beverly
Pepper has created a new iron piece,Nuovo Twist for the front entry and Bryan Ryley of Vernon,BC has created two 40'
x 10'canvases for the entry arcade.Together,these works speak to the developer's commitment to the arts and support
of Calgary's cultural goals.
Reference:
Ian Parker I ;
Senior Vice President,
Asset Manager i
Brookfield Properties
335—81"Avenue SW,Suite 1700 , 1
Calgary,AB T2P 1C9 `
+1403770-7072 Tt;,. ;3
ioarker@brookfieldorooerties.com r «
i
I
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
Via Partnership,LLP 0 C 3on 23167 St.Louis,M0 63156 tel:314.661-5902 email,art@viapam ership.ccm v., ?Sw' '
i
D.C.CREATES!PUBLIC ART MASTER PLAN
D.C.Commission on the Arts and Humanities(DCCAH)
The D.C.Creates! Public Art Master Plan,developed by Via,in collaboration with urban planner and designer Todd.W.
Bressi,describes how artworks can be related to the ways in which the District envisions its future:weaving a new fabric
of neighborhood anchors,building a green and sustainable city,and stimulating the Creative Capital. The plan outlines
opportunities for projects that can achieve these goals,sets out criteria for prioritizing projects,and outlines strategies
for the ongoing partnerships and operational changes that will catalyze this new generation of artworks.
During the planning process,Via and Bressi worked extensively with the staff of DC Creates and a steering committee
made up of representatives from the commission on the arts.In addition,the team hosted multiple planning sessions
with specific constituent groups to get a better understanding of the types of projects and locations that will have the
biggest impact—increasing,when possible,project budgets and scopes.
The 5X5 Project,a new temporary public art initiative,among many other permanent artworks are projects resulting
from the planning process conducted by Via and Bressi.
Reference:
Lionel Thomas
Executive Director
DC Commission on the Arts and Humanities
200 1(Eye)Street SE,Suite 1400
Washington, DC 20003
Phone:+1202 724-5613
Fax:+1202 727-4135
r t
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
Via Partnership,LLP P.O.Box 23167 St.Loris,MO 63156 tel:314664-5902 email:art®viapartnership.com
THE BOW PUBLIC ART PROJECTS
EnCana Corporation
The Bow,designed by the internationally recognized architectural firm Foster+partners,will be the new headquarters
for the EnCana Corporation and the first significant mixed-use development east of Centre Street in downtown Calgary.
The two-building,1.7 million square foot development is owned by H&R REIT and is set to regenerate this area of
downtown Calgary.Construction on The Bow is scheduled for completion and occupancy in early 2013.
I
Via was hired to work with The Bow project team to assist with artist selection and project management of two
significant public art opportunities,with budgets totaling more than$1.6 million.The goal for the public artwork is to
ensure that the public spaces of the Bow are exciting gathering places during the business day and bolster the cultural
revival of the area after dark. Via designed an invitational selection process with a jury made up of project design team
members,project stakeholders,local artists and internationally respected arts professionals.Via worked with the
selected artist,Jaume Plensa to assist with project coordination,design development and review,and fabrication.
Reference: _
Mary Ann Blackman, 3'
Lead,Project Relations,THE BOW ]
Encana Corporation
Ph: +1403 645-4700 7 ��
Fax: +1403 716-2071 a `
marvann.blackman c@encana.com
x
Rendering by Jaume Plensa of Wonderland,
30 meter bent wire sculpture.
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
Via Fartnership,LLP P.O.Boz 23167 Sc Ln:is.roIC 33'56 tel 3:4-664-590` email:arr&naparne>eip.,-om '�. r,t
; ?
RESTON COMMUNITY PUBLIC ART MASTER PLAN
Reston,VA 2008
In early 2008,the Initiative for Public Art Reston(IPAR)hired Via Partnership working with Todd W.Bressi to create a
Public Art Master Plan for Reston,a community in Fairfax County,Va.The plan and planning process follow on a long
tradition of internationally recognized planning excellence first initiated by Reston's founder Robert E.Simon.
Reston's public art initiative is unique because it is sponsored by a coalition of civic organizations.Since Reston is not a
municipality,and since no one civic entity in Reston has the resources to facilitate a community-wide public art initiative
on its own,the community will depend on a set of partnerships to advance the vision of the Master Plan.
The Master Plan,approved by IPAR in October,2008,and the boards of the six partner organizations,outlines important
locations and artistic opportunities that should be priorities for the community s shared resources for public art.They
are described generically as"working zones,"which allow partner organizations to identify specific projects that fit their
own organizational needs.The recommendations were based on many community discussions about the kinds of
artworks that are most appropriate for Reston,as weL as an assessment of what locations and strategies would have the
most visual impact.
The plan also outlines clear roles for IPAR as the leade-in developing resources and supporting art projects,roles for
individual civic organizations in implementing public art projects,as well as the mechanisms that will foster collaboration
among Reston's civic organizations.The Master Plan a so creates mechanisms for private developers to partner with
IPAR to realize Reston's public art vision—mechanisrrs that have since been implemented throughout Fairfax County.
Reference:
Joseph L Ritchey
Chair,Initiative for Public Art Reston
+1703 904 0700 _ t
ioe@prosoectiveinc.com I'
i
During the planning process,Bressi and McKinley held
numerous roundtable discussions and facilitated a
community charrette,pictured above.
Salem,Massachusetts Public Art Master Plan
Qualifications forvia Partnership
Via'artr:ersh F,LLP P.Q Box 23167 St.Louis,MO 63156 tel:314-664-5902 email ar:rlpnapannership.com ' h
.V
VANCOUVER PUBLIC ART PROGRAM REVIEW,2010
MAPP.'NG AND MARKING 1010,VANCOUVER OLYMPIC&PARALYMPIC PUBLIC ART PROGRAM
City of'Vancouve 3ritish Columbia,Canada
Vanco:ver's pu'olic art program has been considered to be one of tie most successful in North America. But with the
2010 Winter Olympics around the corner,and increased public interest in attracting significant artworks to the
VancoLve's major parks and civic spaces,the city sought a top to bottom review of the public art program as well as a
new"design framewo•k"for commissioning new artworks throug-tout the city. For this project,Via tackled the project in
co.laboration Todd W. Bressi and artist Valerie Otani.
The team worked extensively with numerous constituencies—city departments,artists and curators,and community
leaders—-c understand the successes,challenges and expectations for the program,and to learn about how the public
spaces of t)is rapidly growing city would be likely to transform in tie future.Key recommendations included creating
opportun ties for artist-initiated projects,as well as incorporating public art thinking into ongoing public realm planning
processes,aid forging stronger,forward-looking links between the public art program and the city's engineering and
fa=ilities c epartmei-s.
As.a result of the Pub is Art Review,the City decided to kick-off an artist-initiated public art commissioning process as
part cl the City's Olympic and Paralympic Public Art Program for-he 2010 Winter Games. In 2008,the City hired Via to
lead a teen that inc:uded Vancouver-based curator Karen Henry and urban planner Joost Bakker of Hotson, Bakker,
Boniface -♦aider to develop and manage the program.Because of the event's global attention,artists were asked to
respond tc the brcad concepts of mapping and marking,particula-ly as ways of encouraging exploration and
involvemai-.with the city,its inhabitants and the ecological,economic,and social processes that shape Vancouver.
NcKinley and Hen-y managed the commissioning of eight establisied and emerging Vancouver artists and artist teams
(selected from a pool of over 120)who created both temporary and permanent works for Mapping and Marking 2010.
Reference;
Bryan Newson
Publi:Art Program Manager
City o=Vancouver
453 W. 12th Avenue
Vance uv=_r 3.C.VSY_V4
+1604 8716002
bryan.newson C'vancouver.ca
1 ,
�lAh�. r►x 1
f
Pictured,from left to right:Kingsway Luminaires,David Mac William;Vancouver Vancouver Vancouver,Vanessa Kwan;5,Paul Wong;
Monument for East Vancoc ver,Ken Lum.
Salem,MassachLsetts Public Art Master Plan
Quallficat ons Ior Via Partnership
Via Partnership.LLP P.C.3oa 233161 5L-suis MO 58156 :el.3'I4- -5762 email:ar:aviapar mership.wim ^
4
CITY OF CALGARY
Utilities and Environmental Protection Department
Via Partnership worked with the City of Calgary Public Art Program to develop a public art plan for their Utilities and
Environmental Protection Department(UEP). Working in partnership with artist Cliff Garten and urban planner Mark
Crisp from CH2MHil1 Canada Ltd.,the Via team proposed to focus the UEP public art dollars to develop a world-class
collection of public art throughout the metropolitan area that highlights the unique relationship between Calgary and
the Bow River watershed. This public art plan,completed in January 2007,is the first of its kind to focus on an ecological
system as the nexus for commissioning public art and will potentially become a model for partnering with utilities
departments in the commissioning of artwork that forwards the mission of both the utilities department and the public
art program.
Projects resulting from the plan include Beverly Pepper's Sentineis at Ralph Klein Legacy Park,Lorna Jordan's Harvie
Passage project,Brian Tolle's Landscape of Memory,and Sans Facon's projects in Laycock Park and Watershed+. In
addition,the City's public art program hosted the first biennial summer temporary public art festival,Celebration of the
Bow River 2010:S&Artists.One River.
The UEP Public Art Plan was awarded a 2008 Consulting Eng:neer's of Alberta award.
Reference:
Heather Aitken
Project Coordinator,Public Art Program P
Box 2100,Station M,Location#63
Calgary,Alberta T2P 2M5
+1403 268-5270
Heather.Aitken(dCALGARY.CA
The Via team hosted an Imagine Art Here workshop for key
civicand institutional members to discuss goals for artwork
within the Bow River Watershed.
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
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Salem,Massachusetts Public Art Master Plan
Qualifications for Ya Partnership
h. Resumes for All Personnel Assigned to the Project
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
Via Partnership,LLP P.O.Box 23167 St.Louis,MO 63156 tel:314-6645902 email:art@viapartnership.com
I1ea�
MERIDITH MCKINLEY
EXPERIENCE Via Partnership,LLP,St.Louis,Missouri(1999•present]
Partner.Founder of Via Partnership,LLP,a leading consulting group in the United States that facilitates
public art projects.Working with public agencies,developers,cultural organizations and community
groups,Via plans,curates and produces public art throughout the United States and Canada.
Featured projects:
Clayton,Missouri[1001 •1007,1011 •present]Crafted an invitational process to select an artist for a
large-scale commission to commemorate Clayton's centennial in 2013.Facilitated selection panel and
organized artist site visits and concept presentations.Ongoing coordination with artist,landscape
architect,City of Clayton and Clayton Century Foundation stakeholders and private funders.Facilitated
the selection of an internationally recognized artist for a site-specific installation at the Center of Clayton
and managed the project through completion.
Arlington County, Virginia[1007•present]Developed scope for and facilitated selection of artists for
three Arlington County public art projects through an invitational process.Drafted artist contracts and
organized artist site visits and concept reviews.Currently working with two private developers to
commission artworks through the County's private development policy and guiding an initiative with
Dominion Virginia Power,in collaboration with Arlington County,to commission artist-designed enclosure
for a power substation in pedestrian-oriented Clarendon.
Lambert International Airport St.Louis,Missouri[2006 •present]Defined scope of art-glass screen public
art project and facilitated the AAACs selection of nine St.Louis-based artists to create two-dimensional
works of art that were translated into permanent,architectural art-glass.Researched and advised the
selection of a glass fabricator for the project and negotiated their scope of work,including a method for
the nine selected artists to effectively interface and collaborate with the fabricator in the interpretation of
their work.
I
Grand Center,Inc.,St.Louis,Missouri[1011•2012]Developed a plan for temporary public art in Grand
Center,St.Louis'arts and entertainment district. Led an invitational artist selection process with the
abovementioned committee for a pilot temporary public art project installed in the spring of 2012.
Vancouver,British Columbia[2006.2010]Worked with the City of Vancouver to commission eight artist-
initiated,permanent and temporary public artworks,unveiled during the 2010 Olympic Games.
Arts In Transit,St.Louis,Missouri(1997.1999]
Project Manager.Provided ongoing support for public art and transit-oriented development efforts at the
Wellston,Delmar,and Forest Park Metro Link stations;including grant writing,coordinating artist
involvement in community planning efforts,and developing outreach materials and reports.
PRESENTATIONS The Power of PublicArt:Artists and the Environment, presentation with Todd W.Bressi for the Chez Nous
Salon,Reston,Virginia,June 23,2010
Public Art Master Planning:Developing a Plan for Your Community,organized and presented with Todd
W.Bressi,Americans for the Arts Knowledge Exchange,Arlington and Reston,Virginia,December 4-6,
2008
So You Think You Need a PublicArt Master Plan,Americans for the Arts Annual Convention,organized and
presented with Todd W.Bressi,Philadelphia,Pennsylvania,June 17,2008
PublicArt on Trails,presentation with Emily Blumenfeld for the Missouri Trails Summit,Powder Valley
Conservation Area,St.Louis,Missouri,October 26,2007
PublicArt and the Environment,Lunch and Learn presentation with Emily Blumenfeld at the
Contemporary Art Museum,St.Louis,Missouri,October 17,2007
PUBLICATIONS Who Are Wel Where Do We Sit?Reflections on Public Art on the New American Frontier,by Todd W.
Bressi and Meridith McKinley,Public Art Review fall/winter 2008 j
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
Via Partnership,LLP P.O.Box 23167 St.Louis,MO 63156 tel:314-664-5932 email:art@viapartnership.com
EMILY A.BLUMENFELD
Experience Via Partnership,LLP,New York,Octobe•[1999-present)
Partner.Joint responsibility for the operation of Via Partnership,LLP,a consulting group which works with
public agencies,developers and community groups to realize the potential for integrating the work of
artists into a project.Via Partnership contributes to innovative public art master plans,develops project
opportunities,works with community groups to identify the best qualified artists for each project,
coordinates the work of artists from corception through completion and guides crganizations in
developing exciting public art programs that have a positive impact within communities.Blumenfeld will
move back to the States in August,2012.
Arts in Transit,St.Louis,Missouri,November[1993.1999]
Community Art Manager. Commissioned temporary,site-specific installations establishing links within
and to communities served by the Bi-State Development Agency.Wrote and administrated grants,
organized symposia and artist selections. Presented MetroLines,a public poetry program on Metro Link
and in buses.Wrote press and media releases for all Arts in Transit activities and presented public lectures
and alignment tours.
The Brooklyn Museum,Brooklyn,New York,[1989.1990]
Researcher. Taught in the Egyptian and Native American collections to primary and secondary school
children.Researched and prepared curriculum geared for different age levels and abilities along with
gallery and studio activities.Studied hieroglyphics with museum epigrapher.
Education Washington University,St. Louis,MiSSOLri,Graduate School of Arts&Sciences.
Masters of Arts in Art History and Archaeology:[May 19921
Masters thesis:"Botticelli's Birth of Venus and the Courtly Love Tradition in the Circle of Lorenzo de'
Medici."
Trinity College, Hartford,Connecticut
Bachelor of Arts-Art History Major.[May 19891
Internship with the Connecticut Commission on the Arts.
Affiliations Mildred Lane Kemper Art Museum,St.Louis,MO,Advisory Council[2004-2010]
Center of Creative Arts,St.Louis,MO,Visual Arts Committee[2008-2010]
Southbank International School,London,England,School Board[2011-2012]
Presentations Transportation Research Board,Public Transportation as Community Art:Metrolink,St.Louis,
Washington,DC, 1996
Art in Transit,led panel discussion at the Americans for the Arts Public Art Network conference,Santa
Monica,2000
Can Public Art Save the Watershed?,co-presentation of the UEP Public Art Plan with co-author,Cliff
Garten at the Americans for the Arts Conference,2007.
Public Art and The Environment,Lunch and Learn presentation with Meridith McKinley at the
Contemporary Museum,St.Louis,Missou-i,October 17,2007
Public Art on Trails,presentation with Meridith McKinley for the Missouri Trails Summit,Powder Valley
Conservation Area,October 26,2007
Public Art and the Media,presentation with Judie Gilmore of the Mural Arts Program in Philadelphia for
the Americans for the Arts Conference,Philadelphia,PA,June 17,2008
Public Art and Water Infrastructure:Design+Logic,panel member,ACSA/NCAA Joint Administrators
Conference,St.Louis, MO,November 5,2009
Public Art Indoors,guest lecturer,St.John's,Newfoundland,October 20,2012
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
h. Listing of Any Actions Taken by Any Regulatory Agency or Litigation Involving the Firm or Its Employees or
Agents with Respect to Any Work Performed.
Not applicable
i. Any applicable insurance
Via currently holds a general liability policy from Zurich. Our coverage is as follows.
General Aggregate $4,000,000
Each Occurrence $2,000,000
Products Complete $4,000,000
Medical Expense $10,000
Damages to Rented Premises $1,000,000
Auto Liability, Hired&Non-owned $1,000,000
Via will provide a certificate of general liability insurance if selected for the project.
Salem,Massachusetts Public ArtMaster Plan
Qualifications for Via Partnership
. I
APPROACH TO PROJECT AND PROPOSED SCOPE OF SERVICES
Throughout world history, arts and culture has always been a key ingredient in developing the identity of any
community.Today, it is clear that public art is an important aspect of creating a unique and vibrant public realm.
Arts and cultural programming can also be a powerful tool for binding a community together,socially,culturally
and in terms of creating a shared history and identity.And the creative sector is an increasingly important aspect
of the economic development of a community,from promoting tourism to building a grassroots economy.
The goals,objectives and scope of services outlined in the RFP document indicate a focused result:a Public Art
Master Plan that focuses specifically on a set of va ues to guide the public art program,recommendations for
specific public art opportunities on the Pedestrian Mall as well as throughout the City,and sound policies and
procedures such as an artist selection process that includes criteria for selecting artists and artwork,and policies
that will guide the stewardship of the public art co lection.
We look forward to working with you in the following way to achieve this project.
Getting Started:Confirming the Scope,Schedule,Deliverables,Approvals,Communications
We will confer with staff to confirm the parameters of the project—the key players and constituencies,the goals
and objectives of the plan,the details of our approach,the deliverables and the schedule. We would commence
this work by telephone upon notice to proceed,and,if necessary,make it the focus of our first visit.
The initial Project management tasks would include:
• Finalize the scope of work and deliverables for the plan.To do this we will confirm the City's goals and desired
outcomes for the plan,as well as key issues tha:the panning process should address.We will refine our
research approaches,community engagement strategies and schedule of deliverables.
Clarify lines of communication for project management anc establish ongoing reporting requirements. In our
experience,weekly or bi-weekly conference calls between our team and staff leadership allow for us to work
out important issues or plan logistics for site visits.
Clarify what the process will be for reviewing deliverables,and for reviewing and approving the final draft of
the plan.
• Discuss the establishment of a small advisory committee,which will provide access to internal and external
stakeholders and resources,and serve as sounding board for our findings and recommendations.An advisory
committee can serve as a resource in several ways—a leadership team whose members provide entree into
important constituencies,a sounding board that helps is"test the waters"for our findings and
recommendations,and an advocacy group whose members promote the plan once it is completed.We will
discuss with staff early on what approach to having an advisory committee would be best.
Information Gathering:Establishing a Context for Salem's Public Art Program
The proposed scope of work outlines several researcF tasks that will help set the context for Salem's public art
program.We consider research to be a means to an end.Our research will be attentive to addressing key policy
questions,and to the need to provide usable, relevant findirgs that will inform decisions about Salem's public art
program.
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
We will ask the following questions in an effort to build our research.
What have previous planning initiatives suggested in regards to public art in Salem?
• How can the public art program support the Salem's urban design goals and other city planning initiatives?
What capital projects are being planned by the city that would provide potential opportunities for the
incorporation of public art?
Information Gathering: Community and Stakeholder Input
Public participation is a core emphasis of our approach. It helps us understand the community's vision and to set
priorities. We would work with the City of Salem to craft a community engagement Master Plan that is tailored to
the situation at hand.
Some techniques we use include:
Stakeholder Meetings and Roundtables:Conversations with key stakeholders are always an important form of
outreach.This includes the Salem Cultural Council, City Boards and Commissions,City staff and City residents.
These meetings can be one-on-one,or they can be small "roundtables"that foster discussion on special topics with
special constituencies— helping us gather information,and helping inform the public.
Imagine Art Here: A public art visioning workshop attended by key stakeholders and community members from
the groups listed about will inform the planning process by connecting with various constituencies in an impactful
and interactive brainstorm. Participants will be asked to help identify sites for public art,creative goals for sites,
and potential partnerships.Workshop attendees consider how art can support a vibrant community. Maps,
drawing materials and images will be provided for participants to put together a visual presentation of their
findings which they will share at the end of the workshop.The results of the workshop will inform
recommendations for short,intermediate and long-term project recommendations.
Development of Public Art Master Plan
This is the most critical phase of the planning process — the point at which our consulting team synthesizes its
findings, prepares recommendations and discusses them with City leadership and key stakeholders.
Our team will review all of our research findings and community input to develop a recommended scenario for
public art programming for Salem. Our report will include two sections—programmatic and administrative
recommendations.These findings will serve as the basis for the final Public Art Master Plan.
Draft Programmatic Recommendations
During this phase our team synthesizes its findings, prepares programmatic recommendations and discusses them
with City leadership,the advisory committee and key stakeholders.
The draft program recommendations may include an outline of the following:
A clearly articulated vision,goals and objectives for public art in Salem.
Criteria for the evaluation of public art opportunities.
Criteria for site selection.
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
• Recommendations for prioritized art commissions,including the identification of priority locations or types of
places,goals for art at those locations,types or approaches to commissioning artwork for those locations,
timeframe,and recommended budget.
• The appropriate level of funding to support the programmatic recommendations.
Draft Administrative Recommendations
In order to fully realize the programmatic recommendations tie City will require a strong Public Art Policy.We will
work with the City to develop, as requested in the scope of work,administrative recommendations.
Deliverable:
The administrative recommendations could includ=-, but not be limited to:
• Recommendations regarding current roles and responsibilities for City Council,and City staff related to the
commissioning,acquisition and long-term stewardship and maintenance of public art.
• The project development process.
• Funding options(public,private and developer).
How public art planning interfaces with City planning and capital project management.
Full Draft and Final Master Plan
A master plan is not only a product of research,analysis,synthesis and professional guidance, but also a tool for
communication.As we finalize the outline and the content of the master plan,we will work with the project
leadership to finalize the format of the materials that best suits the program's needs.The final plan will include, at
a minimum,the following information embedded within the fol owing chapters:
I. Executive Summary
II. Context for Public Art in Salem
a. History
b. Analysis of existing public art
c. Population and demographics
III. A Curatorial Vision for Public Art in Salem
a. Vision
b. Goals
c. Objectives
IV. Programmatic Recommendations
a. Criteria for evaluation of public art opportunities and site selection
b. Inventory of recommended public art opporturities!including description,goals and budget)
C. Location maps
d. Project prioritization
e. Action plan for implementation
V. Administrative Recommendations
a. Artist Selection polity
b. Project management
c. Insurance and liability considerations
VI. Appendices
a. Imagine Art Here report(community preference)
b. Definitions
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
Work Products
• Twenty-five(25)color copies of the final report and one(1) unbound and reproducible master hard copy
including maps and graphics
• One(1)copy of the final report in digital format(Word or PDF).
II
I
Ali
it
Salem,Massachusetts Public Art Master Plan
Qualifications for Via Partnership
TIMEFRAME
ESTIMATED HOURS
n a _
a N t
> N O
d
c : c c a
E m Y t= 01
m u m m
q 2 q E
Phase Title
1 Getting Started 10 5 15
2 Information Gathering: Establishing a Context for Salem's Public Art Program 20 5 25
3 Information Gathering:Community and Stakeholder Input 35 20 55
4 Development of Public Art Master Plan 45 20 65
5 Full Draft and Final Master Plan 25 10 35
TOTAL 135 60 195
ESTIMATED TIMEFRAME
Week 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23
Trips 1 2 3 4 5
Getting Started 1 2 3 4 5
Research/Context `"""" ` "t""- 2 3 4 5
Community Engagement 1' 2 3 4 S
Programmatic Recommendations 1 2 3 4 5
Administrative Recommendations 1 2 3 4 5
Full Draft 1 2 3 4 5
Final Plan 1 2 1 3 4
Weeks for trips are tentative based upon availability of consultant,client and meeting participants.
Timeline is based upon timely review of interim deliverables. More time may be necessary,especially in the review of the full draft.
ATTACHMENT
CERTIFICATE OF NON-COLLUSION AND TAXATION ATTESTATION CLAUSE
As required under Chapter 233 and 701 of the Massachusetts Acts and Resolves of
1983, all bidders must certify to the following, by signing this page in the space
indicated below.
1. The undersigned certifies under penalties of perjury that this bid or proposal has been
made and submitted in good faith and without collusion of fraud with any other person.
As used in this certification, the word "person" shall mean any natural person, business,
partnership, corporation, union committee, club, or other organization, unity or group or
individuals.
2. 'Pursuant to M.G.L. Ch 62C, sec. 49A, I certify under the penalties of perjury that I, to
my best knowledge and belief, have filed all state tax returns and paid all state taxes
required under law".
NAME OF BUSINESS:
SOCIAL SECURITY # OR FEDERAL ID #: `7 0 q 3
AUTHORIZED OFFICER (PRINT):
AUTHORIZED SIGNATURE:
18
APA Mobile Workshop
1. Waterfront
(At Salem maritime site]
While the City of Salem has long been known as the Witch City due to the notable Witch Trials
of 1692, Salem was one of the most important ports in North America from the 17th through
the early 19th centuries.
The redevelopment of the waterfront is now a key economic development initiative. The
Salem Harbor Plan is the guiding policy document for implementation of improvements to the
waterfront. The goals of the plan are to increase utilization of the harbor for commerce,
transportation and recreation; activate the waterfront; and create visual and physical
connections between downtown and the harbor.
Use of the harbor includes a strong recreational component w th over 1600 permitted boats in
Salem waters. Dominion Energy Power Plant, a coal-based facility dependent on water
transportation, is the primary industrial use in the Designated Port Area. The City is currently
undertaking a feasibility study for re-use of this 60-acre site. (see smokestacks in distance?)
Key current projects are:
- Salem Ferry
- Salem Wharf
- Harborwalk
- Peabody Street Park
[Point out location of Salem Ferry and new Wharf]
The Salem Ferry was launched in 2007 and has been tremendously successful, providing
alternative access to Salem. While public transit is excellent, roadway access is poor. The
ferry provides an alternative for both commuters and tourists. ridership has increased each
season with 100,000 people using it last year. The ferry is owned by the City and operated by
Boston's Best Cruises. (The cost to purchase the ferry was $3 million—$2.3 million was a
grant from the Executive Office of Transportation and $700,000 was bonded by the City.) The
Ferry is part of the MBTA's public transit system and the partnership with the MBTA allows rail
pass riders to use the ferry (which gives a lot of flexibility).
The Salem Wharf is an $18-$20 million project that will increase commercial use of the harbor
and allow for increased cruise ship activity. The project includes a concrete and steel pier with
utilities and amenities for a variety of commercial vessels including the Salem Ferry, cruise
ships, excursion boats, LNG offshore supply boat, and commercial fishing boats, as well as a
multi-use terminal building. It is estimated that the project will have an economic benefit of
$60m in direct spending impacts for the region and will provide a substantial increase for the
tourism industry.
The project went through extensive environmental permitting, including an Order of Conditions
from the Salem Conservation Commission; the water quality certification from DEP; the
Chapter 91 license for development on filled tidelands, and an Army Corps permit. The Army
Corps permit required an archaeological underwater study.
The City recently received $2.5 m in funding from the US Executive Office of Transportation for
construction of the first 260 feet of the new wharf, installation of floating docks, gangways and
associated dredging, which is very exciting. We also received funding from the State Seaport
Advisory Council for the necessary landside improvements, including rebuilding the seawall,
paving the parking lot, and constructing a small terminal building. The site is currently under
construction with a tight deadline of completing all work before the ferry starts operations mid-
May. The site for the wharf landing was acquired from Dominion Energy with funding from the
Seaport Council. We operated the ferry for several years on a lease basis.
Salem Maritime Historic Site
We are at the Salem Maritime Historic site, where there were once dozens of wharves that
held ships, warehouses and workers. It is owned and managed by the National Park Service
with its emphasis on cultural tourism. The Friendship is a replica of a tall ship representing
Salem's maritime history.
Walk to Harborwalk
The public portion of the Harborwalk was completed last year. There were significant
challenges, including working with National Grid, the electric company, over a 7-year period to
develop a pile-supported Harborwalk adjacent to their substation and on property that it leases
to Beverly Cooperative Bank and operators of the parking lot, who own Pickering Wharf. One
of the objectives of the Harborwalk is to connect the waterfront with the downtown; to establish
a stronger sense of place for the City. The public plaza on New Derby Street with the flagpole
and ship pennants is the focal point and connecting link. The long-term goal is to have a
continuous Harborwalk along the Harbor's edge. The walk already exists along Pickering
Wharf. The Hess gas station across the basin was required to construct the walkway on their
property in accordance with the design specifications established by the City as part of their C.
91 license approval process and in accordance with our Harbor Plan. Other private property
owners will have to construct a walkway as they redevelop their property.
A small, but meaningful, project that the City has undertaken is to develop a walking map of
the Point neighborhood that will show the connections between the Point neighborhood and
other destinations, such as the downtown via the Harborwalk and Peabody Street park.
Peabody Street Park - The first walking tour we did in 2009 highlighted a large pile of dirt on
the site of what is now Peabody Street park. This creates new access to the water for our
lowest income neighborhood known as The Point, as well as provide other amenities such as
tables and chairs, a tot lot, a canopy, and green space in a very dense neighborhood. A
group of planning students from Tufts developed the initial park concept plan, which won an
APA award. There was extensive public engagement with the neighborhood during the park
design and neighborhood children painted the tiles that are incorporated into the seating wall.
Funding came from a brownfields cleanup grant, a State park grant, and CDBG funding.
Construction had just started when asbestos was discovered on site. Despite extensive
environmental testing for petroleum products, the asbestos was a new problem. The City was
able to get the EPA disposal division to come in and actually undertake the clean up work.
Watersheet activation is an important component of the Harbor Plan. Any development on a
parcel of land abutting the South River, which triggers a C. 91 Waterway License, is required
to make a monetary contribution to the South River Watersheet Activation Fund. This fund
2
was established to implement activities that enliven and activate the watersheet consistent with
the City's Harbor Plan. The payment schedule is based on the square footage of the proposed
project, ranging from $5000 to $20,000. To date the City has received 3 payments totaling
$25,000. Ideas for use of the fund include adding a floating dock to the Harborwalk/Peabody
Street Park once the South River basin is dredged. We are currently in the permitting process
for dredging of the South River basin.
2. Derby Lofts
A key ingredient of downtown revitalization has been the addition of new housing downtown,
all of which is within walking distance of the MBTA multi-modal station. Nearly 500 units have
been added since 2000. This housing adds vibrancy and 24-hour life to the downtown, which
has been a catalyst for our emerging retail and dining.
The Derby Lofts project includes the renovation of the 100 year old, four-story industrial
building, known as the Laundry Building, into a mixed-use residential and retail development.
The project consist of 14,000 square feet of first floor retail and fifty-four residential units on the
upper floors. Originally sold as condominiums there is a mix of rental housing within the
building. This was RCG's first development project in Salem; they have continued to work with
the City and have invested significant dollars in the downtowr. It often takes new investors
with a vision to initiate positive change. We have worked closely with RCG as they continue to
invest in other properties.
City policy supports TOD by encouraging housing downtown. Our zoning ordinance
encourages the redevelopment of downtown buildings through the flexible parking
requirements. For existing structures, one parking space per unit is required; however, this
parking can be provided off site within 1,000 feet of the development. This provision allowed
the development of Derby Lofts with no parking on site due to the nearby municipal parking
garage. I note that there is one councilor who continually raises the issue of increasing the
parking requirement to 2 parking spaces per urit on site and we have to be vigilant not to take
a step backward on this issue. However, there are times in Salem when there is a severe
parking crunch, notably October 315` and during snow emergencies.
Housing downtown does bring issues; there are conflicts between night life noise and
residential living. The City continues to try to find the right balance.
3. Washington and New Derby
This project was completed in 2009. It is a 24-unit building wit'l the ground floor restaurant.
The development proceeded despite the economic downturn—a testament to the strength of
the market in Salem. The project was originally going to be condominiums and it was expected
there would be multiple commercial tenants like at Derby Lofts, However, the project switched
to apartments (rents run from $1,500 to $2,500 a month) and the restaurant wanted to take the
entire first floor. It was fully leased in a matter of weeks. This project includes 36 parking
spaces on site, which are required for the new construction.
The prominent corner was run down—the building, which had been the headquarters of the
Salem News, was vacant and dilapidated. It was in bad enough condition that during the site
visit for the waiver of demolition delay, commissioners didn't want to enter the building. The
corner building was demolished, but the adjacent building, the Central House, was preserved
3
and renovated. In addition to the ground floor restaurants that were already there, there are
now seven apartments upstairs—all of which have been rented. No parking was required for
the renovated housing units.
The developer's original vision from a few years ago was for the entire block to be redeveloped
with housing, retail and underground parking. There was community concern about the scale
of the plans, and an extensive public engagement process was initiated including the
establishment of a Marketplace Redevelopment Committee and a peer review process. As a
result of that process, a less intensive phased development approach was developed.
The restaurant was the first of a series of new restaurants to cpen, and Salem now has a
bustling dining scene. It is the North Shore's dining destination. This paved area is an outdoor
cafe with approximately 20 tables. The cafe and associated improvements were approved by
the Salem Redevelopment Authority in accordance with a City ordinance that gives the SRA
the authority to grant outdoor cafe permits in the urban renewal area, as opposed to the City
Council. However, it has turned out to be controversial. Some have complained that the
restaurant uses too much parking, others that the open space and 3 trees should have been
preserved, Of the 3 trees, one was diseased and needed to be taken down in any event. The
grassy area was neither well-maintained nor of open space benefit. The planning board
originally proposed the idea for an outdoor patio area during the site plan review for the
project.
Many restaurants along Washington Street already have outdoor dining and others will be
adding it. Up to this point, the City has been very supportive of increasing outdoor dining
options—people love it and it enlivens the streetscape. Approximately 25 restaurants and
cafes have received permits since 2001 .
[Optional mention of the MBTA train running underground in a tunnel, Riley Plaza used to be
the train station location, and there used to be a rotary there. Context is continuous work on
improving infrastructure.]
4. Old Town Hall/Derby Square/Artists' Row
These lovely buildings on Front Street are here today thanks to a change in the urban renewal
plan in the early 1970s. An area of downtown we'll see later was part of the earlier demolition
phase of urban renewal. As with other communities, the change from demolition to
preservation marked a critical turning point for the city.
Many of the Front Street commercial properties have a single owner, Goldberg Properties. As
is the case with RCG, Goldberg Properties has been very supportive of the City's goals to
bring year round retail to downtown. The owner has worked carefully with tenants to get a mix
of businesses that support one another.
Across the street is Artists' Row. The City leases five stalls seasonally to artists to display and
sell their work at no cost, in exchange for demonstrations for the public. In front of us is Derby
Square.
Derby Square and Old Town Hall are important gathering places and are the heart of
downtown. There are events throughout the year and the two newest ones have been
4
developed by the Salem Main Streets program, an important partner with the City working with
downtown businesses. Among other activities, Main Streets develops promotions and events
to draw customers into downtown. Main Streets launched the farmers' market at the end of
June 2009 - 375 years after the first farmers' market was held in Salem in this same location.
A new annual Arts Festival in Old Town Hall was also launched by Main Streets in 2009. This
is one more addition to the many festivals Salem has throughout the year (Film, Poetry,
Literary, Jazz and Soul, Heritage Days, Haunted Happenings, Holiday Happenings, Salem's
So Sweet).
The City installed these tables and chairs two years ago—another way to activate the
cityscape and give people an opportunity to enjoy being downtown.
Enter Building
Old Town Hall is the earliest surviving municipal structure in Salem (dating from 1816-17) and
an outstanding Federal Style building. The second floor of the building, Great Hall, has always
been used as a public hall, and contained Town offices until 1837. The first floor, originally
designed as a public market, is now being used for a variety of events and functions. The
building contains elements attributed to both Charles Bulfinch and Samuel McIntire, Salem's
renowned architect and woodcarver. The structure was saved from demolition by Salem
preservation architect Philip Horton Smith in the 1930s and underwent a partial restoration in
the 1970s.
The City had been maintaining the building and programming it as best as it could but was
hoping to accomplish much more. Again, the goal was to activate the building so more people
would be coming downtown, having a positive experience, and hopefully spending a little
money in the process. In an effort to increase programming and secure funding for building
repairs, the City issued an RFP to manage the building in 2008. The process concluded with
the City entering into a five-year lease with Gordon College in 2009.
Gordon's Institute for Public History had been a long time renter of the building for
performances of Cry Innocent about the Salem Witch Trials. Under the terms of the
agreement, Gordon is responsible for maintaining and programming the building and
collaborating with the City to secure grant funds for additional building improvements. Gordon
will also be installing a Museum of Salem next year on the first floor. (Gordon is also leasing
Pioneer Village and will be able to maximize programming between the two sites.)
The partnership has been off to a great start. The building was selected to be one of 25 sites to
participate in the 2009 Partners in Preservation grant program—a kind of American Idol
version of historic preservation grants. During a five week online voting period, the site that
received the most votes was guaranteed $100,000. Another $900,000 will be distributed to a
subset of the remaining 24 sites. Old Town Hall came in with a strong second place finish
during the online voting phase and received $75,000. The building also received $174,000 in
Massachusetts Cultural Facilities Funding last month. The funding was used to replace the
heating system, repair the bathrooms, and make some interior improvements.
Through our partnership with Gordon College, the building has been eligible for these and
other grant programs that it wouldn't otherwise have been eligible for. In addition, there is an
on-site manager monitoring the building, and there is more programming than what the City
5
was able to do. Gordon College made immediate improvements to the building—including
removing asbestos and making numerous repairs to windows, doors, and stairs.
5. Essex at Washington
Part of the city's broader sustainability work is looking at what opportunities there are for
alternative energy production. The focus of that work is outside of downtown—photovoltaics at
the high school and a possible wind turbine. Other sustainability efforts that impact downtown
include switching to LED lights in the traffic signals, expanding the recycling program, installing
bicycle racks throughout downtown, and adding solar powered trash compactors and recycling
kiosks which you can see over there.
A sustainable community is a complete community. It isn't just a single use center—be it
housing, commerce, or employment. And that is true of downtown Salem. In addition to being
the judicial center of the North Shore (we'll be seeing the court complex at our next stop)
Salem is an important tourism destination.
Destination Salem is the City's tourism office. The City is rich with points of interest—
architectural treasures, museums, beautiful public spaces, maritime history, witch trial history
and related attractions, numerous festivals, and Halloween—and each has a different niche to
market to. Early in her term, Mayor Driscoll brought disparate perspectives together to
reinvigorate Destination Salem. The Mayor's efforts have been tremendously successful, and
tourism remains strong. Destination Salem has adopted a new tag line, "Salem. Still Making
History," which seems to be working for all.
Although nearly 1 million visitors come to Salem each year, in fact it is the economic impact of
the local trade area that is more significant to downtown retailers and restaurants.
For both tourists and trade area residents, the City has been working to make their experience
downtown easier. We have a comprehensive signage program that we are implementing
incrementally as funding becomes ava [able. This kiosk, parking signs, and pedestrian way
finding signage are all part of the program. We are hoping to be able to fund the final phase of
the program within the next year. The Mayor convened a Downtown Signage Committee
comprised of key stakeholders (NPS, PEM, Chamber, SSC) to oversee the implementation of
the comprehensive signage program. A future challenge will be to take down the illegal signs.
In this park is something that has proven to be very popular—TV Land's statue of Elizabeth
Montgomery as Samantha Stevens. Tre statue was extremely controversial. The Salem
Redevelopment Authority has jurisdiction over the site and approved its use for the statue.
Some in the community felt it was an insult, others felt it was inappropriate to have a statue of
a fictitious character in a prominent public location, others thought it was fun and playful. It has
been in place for several years and nearly every day you can see people getting their photos
snapped next to it. The statue has helped draw people across the street to the rest of Essex
Street,
6. Court Complex/Judicial Center
Enter building. Patricia Zaldo and Richard Lheureux to speak as well.
6
The Court is a significant economic engine, bringing people to the downtown and sustaining
the large number of law offices within walking distance. It is also convenient for jurors and
employees within walking distance of the MBTA station. While it is finally under construction,
the location was debated for several years and there was a concern that it would not remain in
downtown Salem. The Salem Partnership, a non-profit business organization, and the City
advocated successfully to keep it downtown. The location is very creative, utilizing wasted land
that was part of a roadway overpass. In order to create the site, DCAM needed to acquire and
move the Baptist Church, eliminate a ramp and redesign the roadway interchange, and
demolish or transfer 3 historic structures in this national register district. While keeping the
Court downtown was supported, the roadway redesign, the demolition or transfer of the
structures, and vacating the existing, historic Superior Court and County Commissioner's
buildings were very controversial.
We worked through an extensive process during 2007 and 2008 with the public and with
Massachusetts Historical Commission on a Memorandum of Agreement regarding the historic
resources. The Baptist Church is being reused as part of the complex and will house the law
library. DCAM issued an RFP three times to solicit proposals to move the houses and included
funds to help with the actual relocation. The Planning Department, working with the Federal
Street Neighborhood Association and Historic Salem Inc., contacted a number of potentially
interested property owners. One owner moved forward and submitted a successful proposal to
the State for acquisition of the structure known as the Lydia Cook house. All that remained was
to get the necessary variance from the Board of Appeals for an undersized lot, which was
consistent with neighborhood lot sizes. The variance was approved; and it seemed that this
would be a success story. However, abutters in the neighborhood appealed the decision, citing
that the density would be inconsistent with their neighborhood character. The irony is that the
historic community has fought other decisions for this same reason.
The actual design of the complex has gone through significant review, and while some in the
historic community believe that the 190,000 square foot building is still too large, the design
was revised many times in response to specific community concerns and comments.
The concern now shifts to reuse and preservation of the Superior Court and County
Commissioners buildings located at the other end of the street, which currently house the
Court facility and will be vacated. Salem State University has expressed an interest for
possible administrative offices and graduate school classes. The City has been trying to get a
Salem State presence downtown and is extremely supportive of this reuse. However, it is too
early to tell whether this can be achieved, especially with the current budget climate.
7. MBTA Garage— In 2009, he MBTA announced that funding was committed for
development of a 1000-space parking garage at the station. We are still working with the
MBTA to move this project forward and are very pleased that last week the Board approved
moving forward with the 60 percent design. The size has been reduced to 800 spaces and it is
unclear if the project will include a secondary access point to this intersection.
While the City's initial goal was a mixed-use development, a market study determined that the
market would not currently support a private development. The City has been working with the
MBTA to ensure that the garage also includes pedestrian amenities, such as an indoor waiting
area and protected outdoor waiting area. In Salem we also are very concerned about the
7
design given its historic context. The City owns a parcel of land that is adjacent to the MBTA
lot and would like to develop it as some typo of TOD in the future.
Jefferson at Salem Station –This transit-oriented development was built on the site of the
former Parker Brothers manufacturing facility where the game Monopoly was made. There are
265 rental units.
8. Old Salem Jail
The historic Jail complex had been vacant, neglected, and deteriorating for nearly 20 years.
Consisting of the 1813/1884 granite Jail designed by Gridley J.F. Bryant, the circa 1813 Jail
Keeper's house designed by noted Salem architect Samuel McIntire, and the 19th century
barn, the Salem Jail complex is listed in the State and National Registers of Historic Places. It
was the oldest continuously operating jail in the country when it closed in 1991.
In 2005, through a competitive process, the Salem Redevelopment Authority selected New
Boston Venture's proposal for a mixed use development consisting of residential, restaurant,
artist studio, and jail exhibition space. The jail and jail keeper's house will be redeveloped into
22 rental units, a restaurant, affordable artist live-work space, and jail exhibit. The barn that
was on the site will be replicated and converted into one housing unit. A new architecturally
compatible building is also proposed to be built on the site, with 13 additional units.
The process began seven years ago when City Council voted to transfer the Jail complex to
the SRA for redevelopment. We established a working group to bring the historic community
into the process, so that we worked together on the project. We moved from debates about
whether the wall was protected by the Mass Historic Commission preservation restriction to
reaching a consensus on the fact that the original barn could not be preserved due to its
deteriorated condition.
The SRA hired the Cecil Group to analyze potential reuse options, including market conditions
and the economic feasibility of the various alternatives. We held two very well-attended public
meetings to discuss objectives for reuse of the site. Mixed use with the ability for public access
were important to the community. Restaurant menus were even discussed, with "Death by
Chocolate" suggested for dessert. The RFP was developed based on findings by the Cecil
Group and public input. A key component to attract a developer was the decision to rezone the
site prior to soliciting proposals. Zoned multi-family, the site was rezoned to our central
business district to enable mixed use.
This is a good example of a project that has re-invented itself in response to the changing
economy. Originally proposed as condominiums, the housing is now rental, which enabled the
developer to access state and federal historic preservation tax credits. The tax credits did
necessitate the preservation of additional jail cells and elimination of the Juliet balconies. It
also resulted in changes to the internal circulation which has impacted pedestrian access to
the restaurant. The project also became phased—the new building, which is not eligible for
preservation tax credits, is phase 2 and will be built when market conditions permit.
The units opened in June 2010 and were fully leased within a month. The restaurant opened in
the late summer. There is an elevation change from the courtyard level to the restaurant level.
With the changes required by NPS for the tax credits, the access to restaurant from the
8
courtyard was no longer possible. Since opening, the restaurant has been looking at ways to
improve the pedestrian access and will be installing a walkway at the ground floor level to lead
to the restaurant. (The developer also proposed a small parking area in the green space out
front, but there was not community support for it. We are looking at the possibility of having a
public art installation associated with Parker Brothers.)
9. Church Street Lot/Federal Street
There is only one remaining original house in this area of downtown (brick house down and to
the right—not visible from here). Everything else was demolished during the early urban
renewal era. The housing and offices at the erd of the block on the right left were constructed
on the vacant land.
This parking lot was once housing as well. By 1957, much of .t was a parking lot heavily
utilized by customers of a major downtown department store—Almy's. Salem was once the
retail center for the region; however, that center shifted to North Shore Mall. Almy's eventually
closed and the building was demolished. New housing was built on the site.
The City built the parking garage in the 1970s and the Museum Place Mall has direct access to
the garage. The mall is underutilized. A key challenge has been a property owner that has not
been interested in doing too much to improve the functionality, visibility, and tenant mix.
The Church Street lot is the City's next big downtown project. For many years, many people
thought a new parking garage should be built on the site. Last fall, the Urban Land Institute
conducted a technical assistance panel on the site. The panel's conclusion was that it didn't
make sense to built a parking garage across the street from a parking garage especially when
the one that already exists isn't at capacity. Their recommendation was that the City undertake
a comprehensive parking study to determine what, if any, additional parking capacity is
needed, and how the existing parking resources could be optimized. The panel also indicated
that residential development was the most feasible development use in the near term.
[Optional anecdote: At the end of the public meeting at the conclusion of the workshop, a long-
term City Councillor stood and stated that he had first been elected to public office in the late
1960s. And since the time he was first elected, he thought it always made sense to build a
parking garage on the Church Street lot. Until that night. Based on the presentation and
discussion, he concluded that a parking garage did not make sense.]
We took the ULI's recommendation and retained Nelson\Nygaard to conduct a comprehensive
parking study. Through rich data collection and analysis and extensive public engagement, the
consultant developed a series of recommendations to help us improve our system. The
conclusion was that Salem's issue is not one of supply, but rather, a lack of balanced
availability. We also have a complex regulatory system with 13 different types of on-street
regulation.
The report was first presented to the City Council in July 2010. In September, the Council
adopted a policy objective for the on-street system to operate at 15 percent availability per
block face. Since September. the staff-facilitated volunteer working group has developed
specific recommendations to achieve that objective. We presented those recommendations
last week and the Council was largely supportive of them. We will be coming back with some
9
small adjustments later this month and the Council anticipates voting it out of committee for
final action.
The recommendations include using relative pricing to incentivize long-term parkers to park in
lots and garages, thus freeing the on-street spaces up. Time limits would be extended,
enforcement fines would increase, and new low-cost monthly parking options would be created
for employees.
Other investment in the area is the 10 Federal Street building. It was formerly a two story
building, and a few years ago three floors were added on to the top. The building is used for
the District Attorney and other offices.
Downtown upper floor offices find rents in the $14-$16/s.f. range plus utilities. Vacancies could
be in the mid teens especially if you count Shetland. Without Shetland, perhaps 10%.
10. East India Square Fountain/Pedestrian Mall
We're on the Essex Street pedestrian mall. The street was closed off in the 1970s. While it is
potentially a lovely public space, its success has been mixed. The mall is heavily utilized
during festivals and for tourism, but is desolate in the winter months. While the dining scene is
booming, there are no restaurants on the mall open for dinner. First floor space is under-
utilized with seasonal businesses and offices.
Tonight we are holding the last of a series of 4 public forums to discuss how to make this
space a Great Urban Place. To date we have received significant input on what people like
about the mall, what they would like to change, and their vision for the future; we have
compared this pedestrian mall with the handful of successful pedestrian malls across the
country; looked at examples of great places; looked at various management options for
sharing the street; and reviewed alternative design scenarios. The options for sharing the
street range from the existing condition, which is predominantly pedestrian use with delivery
vehicles only to sharing the street with passenger vehicles on a daily basis (at night); or a
seasonal basis (during the winter); or on a weekly basis (during the week, but not on
weekends).
Public participation in these forums has been significant, with 150 people at the first forum and
over 100 people at the next two.
We have been invited by NEA to submit a grant application for design development plans,
including a master plan for public art. This initiative is a joint effort with The Salem Partnership
and PEM. We hired an urban design firm and a professional facilitator because the topic has
been controversial.
[Current ground floor retail rates run $15-$17/s.f. triple net, and vacancy is around 6%-8%.
(Some vacancies, like in Goldberg's 75 Washington Street were caused by the renovations
taking place but re-renting has been slower than expected.)]
Prior to this effort targeted at the pedestrian mall, the Salem Redevelopment Authority hired
Karl Seidman to conduct a retail market analysis and develop a strategy and action plan for the
downtown in 2007. The analysis revealed that trade area residents are the largest market
10
segment in restaurant and retail spending accounting for 88% of total spending ($1.3 billion),
with visitor accounting for 9% of total spending. Salem State University students and
downtown workers account for the remaining.
The analysis identified store types with unmet market demand and prioritized the types of
stores to recruit. The action plan presented three strategies—retail development, market
development, and experience enhancement—and specific tasks to support each strategy. A
key task was reestablishing the Salem Main Streets program which has been a key
implementer of the action plan. Other tasks include public process improvements, adding a
signature shoulder event in late May/early June, developing cross-store promotions, and
improved signage.
Implementation of the action plan has been very successful. The Arts Festival and Farmers'
Market are outcomes of the study, and the City's efforts at process improvement and
implementing the signage program were bolstered as a result of the report.
11. PEM
The Peabody Essex Museum is the oldest continually operating museum in the country and
one of the 25 largest. It was founded in 1799, nearly three-quarters of a century before the
founding of the Metropolitan Museum of Art and the Museum of Fine Arts, Boston. The
museum's founders were among America's first global entrepreneurs, traveling the world in
search of trade. The collections they amassed are exceptional for their provenance, age,
quality, and significance.
The museum's collections include 854,000 works of art and culture and encompass twenty-two
historic buildings, including four National Historic Landmarks, six National Register buildings,
and Yin Yu Tang, the only complete Cling Dynasty house located outside China.
In 2003, the $125 million expansion, designed by Moshe Safdie, opened.
Obviously, the PEM is a tremendous asset to downtown Salem. When the museum
determined the need to expand, it was important to figure out how it could stay downtown. Just
as the new judicial center required a creative approach, the creative solution for the PEM
expansion was to build the addition on a street. New Liberty Street used to run through here.
Closing the street was very controversial. A lovely pedestrian walk was constructed
immediately east of the building. Public access through the atrium between Essex Street and
Charter Street was originally envisioned; however, it was determined not to be possible.
Anyone can come into the atrium for free.
Note the NPS Regional Visitor Center -
12. Common
This is a beautiful historic space and is a local as well as National Register District. The ornate
cast iron fence was originally built in 1850. [The fence has been rebuilt consistent with the
historic process, which is very expensive.] The space is well-used by residents surrounding
the Commons, but residents of the adjacent Bridge Street neighborhood also consider it a
neighborhood open space asset. [Optional: We just completed a neighborhood plan for the
Bridge Street neighborhood, which is located between the Beverly-Salem bridge and the
11
downtown. Now that the Bypass Road has been constructed about 1/2 the traffic has been
diverted and it is a good opportunity to establish a vision and plan for the neighborhood, which
is a mix of residences and businesses. We learned that people are passionate about this area
when over 100 people attended the first planning meeting.]
12
ATTACHMENT C
FEE PROPOSAL FORM
The undersigned herby submits a price proposal to perform the services outlined in the
Request for Proposals for the Public Art Master Plan.
Consultant/
�Firm: \/ IGS Vq, �'�Y� C; , 'P ( C PAddress: _"� O hoX Z3 (p �t • (oma is AAO (p
The CONSULTANT hereby pledges to deliver the complete scope of services required,
for the rates and charges shown below:
Cost to complete the project shall not exceed:
Task 1:
Task 2:
Task 3:
Task 4:
TOTAL COST:
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Consultant signature Date
19
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ESTIMATED HOURS � ��� - - .w-_ $125 $125
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Phase Title E a E A A
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1 Getting Started -mJ > 2
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2Information Gathering: Establishing a Context for Salem's Public Art Program 10 5 15 $ 1,875
3 Information Gathering:Community and Stakeholder Input 20 5 25 S 3,125
4 Development of Public Art Master Plan 35 20 55 $ 6,875
5 Full Draft and Final Master Plan 45 20 65 $ 8,125
x 25 10 35 $ 4,375
. . ., ..
n
Expenses
Unit Air/Train Hotel Car stimated
Inc.nc. Costs
Blumenfeld Trips Rrr 2 nt 3 dy 3 dy
McKinley 5 110 250 175 150 $ 3,425
Final Master Plan Design and Print 2 325 250 150
$ 1,450
$750
Total estimated cost for expenses
ESTIMATED TOTALS(FEE+EXPENSES)
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CITY OF SALEM
Purchasing Department
Contract Number 0-18
1. THIS AGREEMENT made and concluded this 21 day of 6f-C in the year
Two Thousand Twelve by and between Via Partnership, LLP, P.O. Box 23167, St. Louis,
MO 63156,hereinafter referred to as the(Vendor) and the City of Salem, 93 Washington
Street, Salem, MA 01970, a municipal corporation established under the laws of the
Commonwealth of Massachusetts, acting by and through its Mayor, Kimberley Driscoll;
its Purchasing Agent, Whitney Haskell; and its Director of Planning and Community
Development, Lynn Duncan, thereto duly authorized,hereinafter referred to as the(City).
2. WITNESSETH, that the said Vendor has agreed and by these presents does agree,
for the consideration hereinafter contained to provide consulting services for a public art
master plan per the scope of services included in Request for Proposals 0-18 Conditions,
Requirements and Specifications.
In case of any alteration of this contract, so much thereof as is not necessarily affected by
the change, shall remain in force upon all parties hereto; and no payment for the
provision of consulting services for a public art master plan furnished under such
alteration shall be made until the completion of the whole contract, and the adjustment
and payment of the bill when rendered for same shall release and discharge the said City
from any and all claims or liability on account of any consulting services for a public art
master plan furnished under this contract, or any alteration therecf.
3. Performance Period: Services shall commence upon execution of this
contract and be completed by May 31,2013.
4. The Vendor shall not assign or transfer this contract,or any part thereof without the
prior written consent of the Purchasing Agent of said City.
5. And the said Vendor further agrees to indemnify and save harmless the said City of
Salem, its officers and agents from all claims and actions of every name and description
brought against the said City, or its officers and agents, for or on account of any injury or
damage received or sustained by any person, structure or property, by or from the said
Vendor, servants or agents, or by, or on account of, any act or omission of the said
Vendor, or servants or agents, in the performance of this contract; and the Vendor hereby
agrees that so much of the money due to under, and by virtue of, this agreement, as shall
be considered necessary by said Purchasing Agent, may be retained by the City until all
such suits or claims for damages as aforesaid, shall have been settled, and evidence
furnished to the satisfaction of said Purchasing Agent,provided, however, that notice of
such claims, in writing and signed by the claimants, shall be previously filed in the
offices of the City Clerk of said City.
6. It is furthermore agreed by the Vendor that the performance of this contract shall
be strictly in accordance with its proposal now on file at the Office of the City Purchasing
Agent of Salem, Massachusetts, which is hereby made a part of this contract by
reference.
7. IN CONSIDERATION WHEREOF, the City agrees to pay to the Vendor Thirty
Thousand Dollars ($30,000.00), said payment to be made within thirty days from receipt
an acceptance of a reasonable detailed invoice. THE ABOVE CONTRACT NUMBER
MUST BE REFERENCED ON ALL INVOICES IN ORDER FOR THE VENDOR
TO BE PAID.
8. INSURANCE COVERAGE:
General - The Vendor shall before commencing performance of the Contract be
responsible for providing and maintaining insurance coverage in force for the life
of the Contract of the kind and in adequate amounts to secure all of the
obligations under the Contract and with insurance companies licensed to write
insurance in the Commonwealth of Massachusetts. All such insurance carried
shall not be less than the kinds and amounts designated herein, and the Vendor
agrees that the stipulation herein of the kinds and limits of coverage shall in no
way limit the liability of the Vendor to any such kinds and amounts of insurance
coverage. All policies issued shall indemnify and save harmless the City of
Salem, its agents and employees from any and all claims for damages to persons
or property as may rise out of the performance of this Contract.
Vendor's Comprehensive General Public Liability and Property Damage
Liability Insurance- The Vendor shall cant'Comprehensive General Liability
Insurance providing for a limit of not less than Five Hundred Thousand Dollars
($500,000.00) for all damages arising out of bodily injury to or death of one
person, and subject to that limit for each person, a total limit of not less than One
Million Dollars ($1,000,000.00)for all damages arising out of bodily injuries or
death of two or more persons in any one accident; and Vendor's Comprehensive
Property Damage Liability Insurance providing for a limit of not less than Five
Hundred Thousand Dollars ($500,000.00) for all damages arising out of injury to
or destruction of property in any one accident, and subject to that limit per
accident, a total (or aggregate) limit or not less than One Million Dollars
($1,000,000.00) for all damages arising out of injury to or destruction of property
during the policy period.
Comprehensive Automotive and Property Damage Insurance-The Vendor
shall cant' Automobile Insurance covering all owned vehicles, hired vehicles or
non-owned vehicles under the control of the Vendor while performing work under
the Contract in the amount of not less than Five Hundred Thousand Dollars
($500,000.00) for all damages arising out of bodily injuries to or death of one
person and subject to that limit for each person, a total of not less than One
Million Dollars ($1,000,000.00)for all damages arising out of bodily injuries to
or death of two or more persons in any one accident; and Property Damage
coverage in the amount of not less than Five Hundred Thousand Dollars
($500,000.00) for all damages to or destruction of property.
The Vendor must cavy Workman's Compensation Insurance in the amounts
prescribed under Massachusetts State Law and meet all other City and State Laws
and Regulations.
No cancellation(s) of such insurance, whether by the insurer or by the insured
party shall be valid unless written notice thereof is given by the parties proposing
cancellation to the other party and to the City of Salem at least fifteen(15) days
prior to the intended effective date thereof, which date shall be expressed in said
notice, which shall be sent by registered mail,return receipt requested. These
provisions shall apply to the legal representative(s), trustee in bankruptcy,
receiver, assignee, trustee, and successors) in interest of the Vendor.
All insurance coverage shall be at the sole expense of the Vendor and shall be
placed with such company as may be acceptable to the City of Salem and shall
constitute a material part of the contract documents.
Failure to provide written proof to City and continue in farce such insurance as
aforesaid shall be deemed a material breach of the contract, and may constitute
sufficient grounds for immediate termination of the same.
9. This Agreement may be terminated upon Thirty-(30) days prior written notice for
failure of Vendor to provide adequate service as determined by the Purchasing Agent.
10. This Agreement will be governed by and construed in accordance with the laws of
the Commonwealth of Massachusetts. This Agreement is subject to the provisions of
Massachusetts's law, and to all lawful implememing regulations, as amended from time
to time.
11. IN WITNESS WHEREOF the said; (Via Partnership, LLP, P.O. Box 23167, St.
Louis, MO 63156); Vendor hath caused these presents and an instrument of like tenor to
be executed in its name and behalf by a properly authorized officer of said company.
An instrument of like tenor to be executed by the City in its name and behalf by its
Mayor; its Purchasing Agent, and its Director of Planning and Community Development.
All duly authorized as aforesaid, and its corporate seal to be hereto affixed.
Via Partnership,LLP CITY OF SALEM
By: By:
KkAA,r WmL,�- —& -P A!�
u horized Signature Kimberley Driscoll,
(�' II Mayor
I A k Atte
Au horized Officer (print)
Richard V y,
Finance rdrjAor
n Duncan,
Director,DPCD
`V
Whitney ftaskell,
Purchasing Agent
Approved as to form by:. Elizabeth Rennard,Esq.,
City Solicitor
1
PURCHASE ORDER
Fiscal Year 2013 Fono PLANNING DEPARTMENT
Purchase (978) 745-9595 EXT 5692
Order # 00904826-00 120 WASHINGTON STREET 3RD FL
SALEM, MA 01970
VIA PARTNERSHIP LLP PLANNING DEPARTMENT
PO BOX 23167 (978)745-9595 EXT 5692
120 WASHINGTON STREET 3RD FL
ST LOUIS, MO 63156 SALEM, MA
01970
Vendor Phone Number lVenclor Fax NumherT Re uisition Number Delivery Reference
00005474
Date Ordered Vendor Number Date Required Freight Method/Terms De artment/Location
01/17/13 027792 01/16/13 PLANNING
Item# Descri tion/Part No. Unit/O Cost Each Extended Price
001 public master plan - NEA Grant 1.00 30000.00000 30,000.00
Each
24323-5713 5,000.00
25413-5713 25,000.00
PO 'Total 30, 000.00
CITY OF SALEM CITY RECORDS INDICATE SUFFICIENT UNENCUMBERED FUNDS
PURCHASING DEPARTMENT
ARE PRESENT IN THE BUDGET ACCOUNT.
Washington Street APPROVED BY Jyfpr�i r//�IC�rs-..�✓"V l
SALEM, MASSACHUSETTS
TEL 19761 745-9595 FAX (9781781 744-5918 Whitney C. Haskell
SALES TAX EXEMPTION#E-046-001-413Purchasing Agent
(NOT VALID WITHOUT CITY PURCHASING AGENT'S SIGNATURE)
Michael L. Lash
28 Balcomb St Salem MA 01979, 978-594-1127
Mikesmuseuma,Mail.com
Education
1983-1985 Northern Illinois University DeKalb, II, Masters of Arts Degree
1979-1983 Bradley University Peoria, IL Bachelors of Fine Arts Degree
Professional Ea erience
Owner and Director
2009—present Mike's Museum, LLC. New York,NY. Salem, MA
Institutional Arts Consultant
2004-2009
Selected projects:
• Sculpture installation consultant for the City of Rockford, Illinois.
• Project consultant for the Mexican Embassy, Ottawa, Canada
• Project consultant for the City of Rockford, Illinois
• Sculpture installation consultant for Sunroad Enterprises, San Diego CA
• Sculpture installation consultant for the University of Michigan,Anne Arbor,
Michigan.
• Sculpture installation and consultant for three years of the biannual Sarasota
Season of Sculpture, Sarasota, FL
Director
1997-2004 City of Chicago Public Art Program Chicago, IL
• Duties of the Curator of Public Art plus the following duties: Hired and scheduled
public art staff including temporary staff for special projects and satellite galleries.
• Implementation and management of the City's satellite arts program sites
including, City Galley in the Historic Water Tower and the Open Studios program
including fundraising for building renovations and implementation of exhibition
schedules.
• Began the City of Chicago's Public Art Endowment and wrote and implemented
a comprehensive conservation program.
• Established, initiated, and implemented the Public Art budget worked closely with
the City of Chicago's Budget Office developing initiatives and protocol for budget
tracking. Integrated the City's fiscal budget with the Public Art Program's project
based budget.
• Wrote and implemented long-range plans for the City of Chicago Public Arts
Program. During tenure helped lead fundraising efforts through private/public
partnerships in excess of 100 million dollars.
• Researched and developed changes to the City of Chicago's Public Art Ordinance
and drafted Intergovernmental Agreements between the City and other
Governmental and pseudo governmental agencies. Worked closely with the
City's Corporation Council and City Council to help pass new agreements and
laws that affect the City's art policies.
• Negotiated the purchase of the Time Museum, Rockford Illinois. Lead a capitol
campaign for $25 million. Supervised the construction of the National Time
Museum's exhibition space in conjunction with the Museum of Science and
Industry. Managed collection of over 1,500 timepieces.
Curator
1996-1997 City of Chicago Public Art Program Chicago, IL
• Duties of Public Art Coordinator,including the following: Administrator of
Special Exhibitions. Researched and developed exhibition concepts and budgets;
Raised funds; coordinated and supervised all aspects of exhibitions;liaison for
foreign consulates, city and state agencies, artists,benefactors, media.; supervised
installations; host artist receptions; create educational programs; write or edit
catalogues; conduct tours.
• Administrator of Donations. Uaised between donors of artwork and the City of
Chicago. Prepared and presented donation proposals, negotiated contributions to
the City of Chicago Public Art Endowment Fund.
• Drafted responses to public art inquiries on behalf of the Mayor's Correspondence
Unit office.
• Hired, coordinated and supervised student interns for*-e Public Art program and
wrote performance reviews and letters of reference.
Public Art Coordinator
1990-1996 City of Chicago Public Art Program Chicago, IL
• Maintained and Conserved of the City of Chicago Public Art Collection, an
international collection of 400+ original works of art; reported to Public Art
Committee; provided technical and research assistance to the public; conducted
tours of collection.
• Administrator of Percent for Art projects. Served as chairman of art selection
committees; established budgets;wrote contracts;worked as liaison for artists, city
agencies, Public Art Committee, community, and media; supervised installations,
wrote site guides, and hosted artist receptions.
Preparator
1989-1990 Donald Young Gallery Chicago, IL
• Responsible for installation of exhibitions, including scheduling temporary staff
and hiring equipment. Coordinated shipping and receiving. Manager of art
storage for gallery.
Interim Building Operations Manager
1988-1989 Museum of Contemporary Art Chicago,IL
• Assisted in installation of exhibitions. Performed building operations functions.
Director
1986-1988 Northern Illinois University Art Gallery in Chicago, Chicago, IL
• Directed day to day activities at the gallery, including oversight of Public
Relations, curation of exhibitions, prepared exhibitions,crated and transported
art, scheduled staff, and acted as liaison to Northern Illinois University.
Director
1984-1985 Freeport Art Museum Freeport, IL
• Directed day to day activities of 30,000 square foot museum,including oversight
of Marketing and Public Relations, curated exhibitions, transported, hung, and
registered all exhibitions,worked with board members on special projects, and
coordinated volunteer activities.
• Worked with architect to design and build new exhibition spaces doubling the size
of the museum.
• Oversaw the museum's first major fundraiser of$250,000.
• Initiated and coordinated the acquisition of five million dollars in art donations.
Selected Awards, Articles & TV Shows
Work of Art: Chicago, IL Fries Frame Productions, Selected programs;
Chihuly in the Park November 2001,Suite Home Chicago October 2001,NASCAR July
2001, City Galley 2000,Mexico November 2000, Cows on Parade February 2000,
Episode 1-Public Art 1999
Hitting the Big Time, Rockford Register Star May 2001 -Rockford, IL
Lost&Found in the Chicago Public Art Program May 2001 Chicago Artists' News
Visionary Shapes Chicago's Public Art Scene Rockford IL Register Star May 2001
Northern Illinois University Alumni Association's Outstanding College
Alumni Award April 2001 De Kalb, IL
2001 Thirteenth Annual Mayor's Arts Awards, Rockford, IL
Frontlines Buried Treasures Chicago Magazine February 1995 -Chicago, IL
Perplexing Picasso August 1992 Chicago Tribune
20th Century Chicago 100 Years 100 Voices Chicago Sun Times 1974
Selected Lectures Pa "h Out Reach and Consulting
2012 Sarasota Season of Sculpture, Ringling Museum, Sarasots., FL
2004 International Center of Cultures,Advisory Board, Mexicc City, Mexico
2003 Featured lecturer and consultant of Taipei City,Taiwan's Public Art Conference
2003 Project consultant for Mexican Fine Arts Center Chicago,Vera Cruz exhibition
2001 Spirit of Enterprise Rebuilding the City Center Visit Beloit, Beloit,WI
2001 Urban Renaissance Series, San Antonio Texas
2000 Percent for Art consulting for The Cultural Council of Lexington&Richland
Counties, SC
2000 The Charleston Art Council, Charleston,SC
2000 Beaufort Art Council, Beaufort, SC
1999 Advisory Board for Millennium Park, Chicago, IL
1999 Conference on Downtown: Celebrating Successes, Birmingham, AL
1999 Presented over 100 lectures featuring Cows on Parade project
1997 Bradley University, Peoria, IL
1994 Illinois State University, Bloomington, IL
1993 Northern Illinois University, De Kalb, IL
1993 Indiana University, Gary, IN
1992 Bradley University, Peoria, IL
Professional Activities
International Center of Cultures, Director of North American Operations, Mexico City,
Mexico
Former Advisory Board Member Chicago Artists' Coalition, Chicago, IL
Former Advisory Board Member, Millennium Park Committee, Chicago IL
Former President,People for WPA Art, Chicago, IL
Former National Time Museum, Director, Chicago IL
Former Hyde Park Center Board Member, Chicago, IL
Former White Walls Magazine Board Member, Chicago, IL
Artist
Mike Lash is a professional artist with over 25 years exhibition experience with one-
person exhibitions in the United States, France, Switzerland,Yugoslavia, Hong Kong
and Japan. He received his MA in painting from Northern Illinois University in DeKalb,
Illinois,where he later was honored by being awarded the outstanding College Alumni in
2001 for the College of Visual&Performing Arts. His artwork is represented by,
Gardenfresh in Chicago, and Gallerie du Jour in Paris, France. Some of the major public
collections that include his work are:
Bradley University, University Galleries, Peoria, IL
Centre d'Art Contemporain, Geneva, Switzerland
The Daum Museum of Contemporary Art, Seldalia, MO
The Dorothy and Herbert Vogel Collection, New York, NY
Freeport Art Museum, Freeport, IL
Frederick R. Weisman Art Museum, Minneapolis, MN
Illinois State University,University Galleries, Normal, IL
Institutio Mexican Del Serguro Social. Mexico City, Mexico.
Joslyn Art Museum, Omaha,NE
The Mississippi Museum of Art,Jackson, MS
Museum of Contemporary Art, Chicago, IL
Museum of Contemporary Art,Artist's Book Collection; Chicago, IL
Musee d'art Modern et Contemporain, Geneva, Switzerland
National Museum of Contemporary Art, Belgrade,Yugoslavia
National Museum of Art,Washington, DC
Northern Illinois University, DeKalb, IL
Rockford Art Museum, Rockford, IL
University of Wisconsin, Crossman Gallery, Whitewater,WI
Michael L. Lash
28 Balcomb St. Salem, MA 01979, 978-594-1127
Mikesmuseumi tftmail,com
Education
1983-1985 Northern Illinois University DeKalb, IL, Masters of Arts Degree
1979-1983 Bradley University Peoria, IL Bachelors of Fine Arts Degree
Professional Experience
Owner and Director
2009—present Mike's Museum, LLC. New York, NY. Salem, MA
Institutional Arts Consultant
2004-2009
Selected projects:
• Sculpture installation consultant for the City of Rockford, Illinois.
• Project consultant for the Mexican Embassy, Ottawa, Canada
• Project consultant for the City of Rockford, Illinois
• Sculpture installation consultant for Sunroad Enterprises, San Diego CA
• Sculpture installation consultant for the University of Michigan,Anne Arbor,
Michigan.
Sculpture installation and consultant for three years of the biannual Sarasota
Season of Sculpture, Sarasota, FL
Director
1997-2004 City of Chicago Public Art Program Chicago, IL
• Duties of the Curator of Public.Art plus the following duties: Hired and scheduled
public art staff including temporary staff for special projects and satellite galleries.
• Implementation and management of the City's satellite arts program sites
including, City Gallery m the Historic Water Tower and the Oilers Studios program
including fundraising for building renovations and implementation of exhibition
schedules.
• Began the City of Chicago's Public Art Endowment and wrote and implemented
a comprehensive conservation program.
• Established,initiated, and implemented the Public Art budget worked closely with
the City of Chicago's Budget Office developing initiatives and protocol for budget
tracking. Integrated the City's fiscal budget with the Public Art Program's project
based budget.
• Wrote and implemented long-range plans for the City of Chicago Public Arts
Program. During tenure helped lead fundraising efforts through private/public
partnerships in excess of 100 million dollars.
• Researched and developed changes to the City of Chicago's Public Art Ordinance
and drafted Intergovernmental Agreements between the City and other
Governmental and pseudo governmental agencies. Worked closely with the
City's Corporation Council and City Council to help pass new agreements and
laws that affect the City's art policies.
• Negotiated the purchase of the Time Museum, Rockford Illinois. Lead a capitol
campaign for $25 million. Supervised the construction of the National Time
Museum's exhibition space in conjunction with the Museum of Science and
Industry. Managed collection of over 1,500 timepieces.
Curator
1996-1997 City of Chicago Public Art Program Chicago, IL
• Duties of Public Art Coordinator,including the following: Administrator of
Special Exhibitions. Researched and developed exhibition concepts and budgets;
Raised funds; coordinated and supervised all aspects of exhibitions; liaison for
foreign consulates, city and state agencies, artists,benefactors,media; supervised
installations; host artist receptions; create educational programs;write or edit
catalogues; conduct tours.
• Administrator of Donations. Liaised between donors of artwork and the City of
Chicago. Prepared and presented donation proposals, negotiated contributions to
the City of Chicago Public Art Endowment Fund.
• Drafted responses to public art inquiries on behalf of the Mayor's Correspondence
Unit office.
• Hired, coordinated and supervised student interns for the Public Art program and
wrote performance reviews and letters of reference.
Public Art Coordinator
1990-1996 City of Chicago Public Art Program Chicago, IL
• Maintained and Conserved of the City of Chicago Public Art Collection, an
international collection of 400+ original works of art;reported to Public Art
Committee;provided technical and research assistance to the public; conducted
tours of collection.
• Administrator of Percent for Art projects. Served as chairman of art selection
committees; established budgets; wrote contracts; worked as liaison for artists, city
agencies, Public Art Committee, community, and media; supervised installations,
wrote site guides, and hosted artist receptions.
Preparator
1989-1990 Donald Young Gallery Chicago, IL
• Responsible for installation of exhibitions, including scheduling temporary staff
and hiring equipment. Coordinated shipping and receiving. Manager of art
storage for gallery.
Interim Building Operations Manager
1988-1989 Museum of Contemporary Art Chicago, IL
• Assisted in installation of exhibitions. Performed building operations functions.
Director
1986-1988 Northern Illinois University Art Gallery in Chicago, Chicago, IL
• Directed day to day activities at the gallery, including oversight of Public
Relations, curation of exhibitions,prepared exhibitions, crated and transported
art, scheduled staff, and acted as liaison to Northern Illinois University.
Director
1984-1985 Freeport Art Museum Freeport, IL
• Directed day to day activities of 30,000 square foot museum, including oversight
of Marketing and Public Relations, curated exhibitions, transported, hung, and
registered all exhibitions,worked with board members on special projects, and
coordinated volunteer activities.
• Worked with architect to design and build new exhibiton spaces doubling the size
of the museum.
• Oversaw the museum's first major fundraiser of$250,C00.
• Initiated and coordinated the acquisition of five million dollars in art donations.
Selected Awards, Articles & TV Shows
Work of Art: Chicago, IL Fries Frame Productions, Selected programs;
Chihuly in the Park November 2001,Suite Home Chicago October 2001,NASCARJuly
2001, City Calley 2000,Mexim November 2000, Cows on Parade February 2000,
Episode 1-Public Art 1999
Hitting the Big Time, Rockford Register Star May 2001 - Rockford, IL
Lost&Found in the Chicago Public Art Program May 2001 Chicago Artists' News
Visionary Shapes Chicago's Public Art Scene Rockford IL Register Star May 2001
Northern Illinois University Alumni Association's Outstanding College
Alumni Award April 2001 De Kalb, IL
2001 Thirteenth Annual Mayor's Arts Awards, Rockford, IL
Frontlines Buried Treasures Chicago Magazine February 1995 -Chicago, IL
Perplexing Picasso August 1992 Chicago Tribune
20th Century Chicago 100 Years 100 Voices Chicago Sun Times 1974
Selected Lectures, Public Out Reach and Consulting
2012 Sarasota Season of Sculpture, Ringling Museum, Sarasota, FL
2004 International Center of Cultures,Advisory Board, Mexico City, Mexico
2003 Featured lecturer and consultant of Taipei City,Taiwan's Public Art Conference
2003 Project consultant for Mexican Fine Arts Center Chicago,Vera Cruz exhibition
2001 Spirit of Enterprise Rebuilding the City Center Visit Beloit, Beloit, WI
2001 Urban Renaissance Series, San Antonio Texas
2000 Percent for Art consulting for The Cultural Council of Lexington&Richland
Counties, SC
2000 The Charleston Art Council, Charleston, SC
2000 Beaufort Art Council, Beaufort, SC
1999 Advisory Board for Millennium Park, Chicago, IL
1999 Conference on Downtown: Celebrating Successes, Birmingham,AL
1999 Presented over 100 lectures featuring Cows on Parade project
1997 Bradley University, Peoria, IL
1994 Illinois State University, Bloomington, IL
1993 Northern Illinois University, De Kalb, IL
1993 Indiana University, Gary, IN
1992 Bradley University, Peoria, IL
• Professional Activities
International Center of Cultures,Director of North American Operations, Mexico City,
Mexico
Former Advisory Board Member Chicago Artists' Coalition, Chicago, IL
Former Advisory Board Member, Millennium Park Committee, Chicago IL
Former President, People for WPA Art, Chicago, IL
Former National Time Museum, Director, Chicago IL
Former Hyde Park Center Board Member, Chicago, IL
Former White Walls Magazine Board Member, Chicago, IL
Artist
Mike Lash is a professional artist with over 25 years exhibition experience with one-
person exhibitions in the United States, France, Switzerland, Yugoslavia, Hong Kong
and Japan. He received his MA in painting from Northern Illinois University in DeKalb,
Illinois,where he later was honored by being awarded the outstanding College Alumni in
2001 for the College of Visual &Performing Arts. His artwork is represented by,
Gardenfresh in Chicago, and Gallerie du Jour in Paris, France. Some of the major public
collections that include his work are:
Bradley University,University Galleries, Peoria, IL
Centre d'Art Contemporain, Geneva, Switzerland
The Datura Museum of Contemporary Art, Seldalia, MO
The Dorothy and Herbert Vogel Collection, New York, NY
Freeport Art Museum, Freeport, IL
Frederick R. Weisman Art Museum, Minneapolis, MN
Illinois State University, University Galleries, Normal, IL
Institutio Mexican Del Serguro Social. Mexico City, Mexico.
Joslyn Art Museum, Omaha, NE
The Mississippi Museum of Art,Jackson, MS
Museum of Contemporary Art, Chicago, IL
Museum of Contemporary Art, Artist's Book Collection, Chicago, IL
Musee d'art Modern et Contemporain, Geneva, Switzerland
National Museum of Contemporary Art, Belgrade, Yugoslavia
National Museum of Art, Washington, DC
Northern Illinois University, DeKalb, IL
Rockford Art Museum, Rockford, IL
University of Wisconsin, Crossman Gallery, Whitewater, WI
Jessica Powell
3 Pickman Street#13
Salem,MA oig7o
T 978 998 067L
gr4nisglogirahotm�om
PROFILE
Administrative professional with experience in project management and business practice.
Background in urban development strategies, including legal aspects of planning and implementing
projects.
EXPERIENCE
Legal Assistant,CAC Lawgroup:Salem,MA—2011-Present
• Research current federal and slate legislation with a focus on tax and business law.
• Manage timely shipments of legal files to clients, including bank and closing documents.
• Ensure all government forms, including documentation for IRS and statewide government
agencies,are property completed and filed according to deadline.
• File client information according to business practice, meeting all legal and confidentiality
standards.
• Assist in the practice's current investigation to possible criminal misconduct by state forensic
laboratory.
EDUCATION
University of Massachusetts Boston—Environmental, Earth,&Ocean Sciences(BS) 2012
North Shore Community College—liberal Arts(Associates Degree),2009
COMPUTER SKILLS
• Microsoft Office,particularly Word,Excel,and Powerpoint
• ArcGIS mapping software
PROFESSIONAL DEVELOPMENT
• Participated in a semester long project in which my group and I had the opportunity to do an
environmental assessment of an assigned site within the Mystic Watershed, meet with members of
various town and state agencies,and provide suggestions for improving the water quality of the
area.
ATTACHMENT A
CERTIFICATE OF NON-COLLUSION AND TAXATION ATTESTATION CLAUSE
As required under Chapter 233 and 701 of the Mass. Acts and Resolves of
1983, all bidders must certify to the following, by signing this page in the space
indicated below.
1. The undersigned certifies under penalties of perjury that this bid or proposal
has been made and submitted in good faith and without collusion of fraud with
any other person. As used in this certification, the word "person" shall mean any
natural person, business, partnership, corporation, union committee, club, or
other organization, unity or group or individuals.
2. 'Pursuant to M.G.L. Ch 62C, sec. 49A, 1 certify under the penalties of perjury that
I, to my best knowledge and belief, have filed all state tax returns and paid all
state taxes required under law".
2 I Lasa
Authorized / r(Print
G
Signatu//re of Authorized Officer
���'Ces �kseU�1 , I.LL
Name of Business
3/q- 6LI-3I152
Social Security Number or Federal Identification Number
'Approval of a contract or other agreement will not be granted unless the applicant
signs this certification clause.
This does not constitute the legal signature required for the " - proposal.
17
ATTACHMENT
Proposal Cover Sheet
RFP#0-18
City of Salem, Massachusetts
Purchasing Department
The City of Salem reserves the right to reject any or all Proposals, to omit any item or
items called for, or to accept the Proposal deemed in the best interest of the City. One
(1) original and seven (7) copies of the proposal should be delivered no later than 10:00
am on Monday, November 5, 2012 to:
Whitney Haskell, Purchasing Agent
Purchasing Department
Salem City Hall Annex
120 Washington Street
Salem, Massachusetts 01970
Proposals must be submitted in a sealed envelope. The envelope containing the
Proposal must be marked with Proposer's name, title of proposal, RFP number (0-18),
and date of opening. The Proposer must sign all required signature pages in order for
the proposal to be considered.
The City of Salem reserves the right to reject any and all proposals, or to waive any
informalities in the proposal process, if deemed in the City's best interest.
The Proposer acknowledges receipt of the following/ADDENDA#
/
BUSINESS NAME I ' ike5 I � L`L
BUSINESS ADDRESS 2� Con � SfVtw-k
CITY, STATE & ZIP CODE Sa�em < I 0170
TELEPHONE & FAX NUMBER 30�
AUTHORIZED OFFICER SIGNATURE
AUTHORIZED OFFICER NAME (print)
DATE V v �� -3 , ) OIL
18
ATTACHMENT
CERTIFICATE OF NON-COLLUSION AND TAXATION ATTESTATION CLAUSE
As required under Chapter 233 and 701 of the Massachusetts Acts and Resolves
of 1983, all bidders must certify to the following, by signing this page in the space
indicated below.
1. The undersigned certifies under penalties of perjury that this bid or proposal has been
made and submitted in good faith and without collusion of fra.id with any other person.
As used in this certification, the word "person" shall mean any natural person, business,
partnership, corporation, union committee, club, or other organization, unity or group or
individuals.
2. "Pursuant to M.G.L. Ch 62C, sec. 49A, I certify under the penalties of perjury that I,
to my best knowledge and belief, have filed all state tax returns and paid all state taxes
required under law".
M n
NAME OF BUSINESS:
SOCIAL SECURITY # OR FEDERAL ID#: =2el
�AUTHORIZED OFFICER (PRINT): PI,
AUTHORIZED SIGNATURE:
19
Michael L. Lash
Michael L. Lash, LLC
28 Balccmb St. Salem, MA 01970
Mikesmuseum,&mmail.com
November 2, 2012
Whitney Haskell, Purchasing Agent
Purchasing Department
Salem City Hall Annex
120 Washington Street
Salem, MA 01970
Dear Mr. Haskell:
I would like the following documents to be considered for the completion of the Public
Master Plan RFP#0-18.
Please accept this as the Cover Letter portion of said document.
I am the primary contact for this document and all correspondence with Mike's Museum,
LLC.
If Mike's Museum, LLC, is selected to perform the duties of RFP#0-18 I will provide
proof of insurance as per Contract Terms and Conditions, sub, Insurance, as written in
RFP#0-18 within three days.
If you have any questions or would like to meet with me formally or informally please feel
free to contact me.
I appreciate your consideration.
Sincerely, A
Michael Lash
Owner
Mike's Museum, LLC
Salem, MA 01970
2. Qualifications and Experience
A, My name is Michael Lash and I am the sole proprietor of Nike's Museum, LLC. I am
a Salem resident,working currently from home at 28 Balcomb Street, Salem, MA 01970.
B, C, D, The firm has been in existence since June of 2010. I am the sole employee of
Mike's Museum, LLC
E, I have a comprehensive knowledge of traditional public art systems as well as some
new public art templates that are being used with success throughout the world. I
generally like to work planning medium to large projects for municipalities such as Salem,
I however,have done several smaller projects for universities and museums during the
economic slowdown. I have over 30 years working in the arts with 16 years of it working
in the public art arena. Most importantly, as an Assistant Commissioner for the
Department of Cultural Affairs, City of Chicago where I oversaw the Percent for Art and
special public art programs. During that time I was able to build the public art staff from
3 full time employees to an internationally renowned program with a staff of 10. During
my tenure I oversaw the implementation and installation of hundreds of artworks in all
media and in every neighborhood of Chicago. Each project was chosen within each
community with local involvement in all aspects of its development regardless of the scale
or budget of the project.
I have written Public Art Master Plans for other municipalities including Columbia,
South Carolina.
F, You may contact Dot Ryall from Columbia, South Carolina. She was the Director of
the Cultural Council of Richland and Lexington Counties during the period of time
Public Art Master Plan was compiled. Her Phone number is(803) 518-7242.
G, I will also upon signing of the Contract, hire as a contractor, Salem resident,Jessica
Powell to assist me with setting up meetings with individuals and group meeting setup.
Note taking and Data compilation. She will be able to observe all aspects of the
processes. She will do research as needed and will act at times as the interface between
myself and the City of Salem's employees. She will assist me in data analysis and may
create support materials for the final Master Plan.
Please see attached resumes.
H, Mike's Museum, LLC has not been nor plans to enter into any form of litigation.
I, If Mike's Museum LLC is selected to perform the duties of RFP#0-18 I will provide
proof of insurance as per Contract Terms and Conditions, sub, Insurance, as written in
RFP#0-18 within three days.
Document 3. Approach:
The creation of the Public Art Master Plan will undergo four distinct phases:
1. Public announcement and Placement of Advertisements about the plan, and Meetings
with City and Institutional individuals
2. Public Meetings, Group Meetings,with survey forms
3. Data compilation and analysis
4. Master Plan compellation with revisions and edits
1. Public announcement and Placement of Advertisements about the plan, and Meetings
with City and Institutional individuals:
This phase allows the public to begin to think about public art in the within the City
advertisements will get them aware of public meetings and forums. Individuals can
express what their ideals and ideas to me directly prior to the public meetings. During
this time a Public Art Survey will be developed and finalized. The survey will be
distributed in person and on the Internet during phase two.
At this time a local assistant will be hired to assist me with meeting planning and data
entry.
I will begin to examine any City documents associated with past public art proposals and
plans.
I will contact Salem State's public art instructor to find possible student interns to assist
and learn from this art process firsthand.
During this phase I would undertake the Tasks sub I. outlined in RFP. #0-18
2. Public Meetings, Group Meetings,with survey forms:
A series of public meetings and meetings with area arts groups, clubs, cooperatives and
community members will meet in a series of small focus groups. Each meeting will be
open, but each meeting may have a theme or agenda as a marketing survey.
During the meetings I hope to gain insight into the needs of specific groups and
subgroups of the Salem community as concerning public art. I will also be distributing
the Public Art Surveys.
3. Data compilation and analysis:
Data compilation and analysis is self-explanatory. However during this period I may
contact groups or individuals to clarify or discuss items that came up after my initial
inquiries.
4. Master Plan compellation with revisions and edits:
The Public Art Master Plan will address the following:
A comprehensive Public Art Master Plan for the City of Salem,which will give step by
step instructions explaining what roles the City needs to take on to grow a strong and
healthy Public Art Program. This guide will offer options on common ways that can be
implemented to acquire the best possible public art for the City. It will also evaluate City
preparedness to implement these steps and offer ideas on how the City may be better
suited to run an organized program. Essex Street and the surrounding areas will be
assessed and discussed at length in the plan. The integration of the Historic Salem with its
modern day persona will be addressed as well as recommendations for the placement of
art for both aesthetic and economic reasons.
These steps will be listed linear in nature helping outline an aclieve long term goals.
Maintenance and landscaping plans will also be discussed at length, as will education
which is a large part of the well being for any piece of public ar-L.
Ending observations and insights within the City of Salem's will also be noted however
these comments are subjective. As outlined under Tasks: sub 2. in the REP#0-18
The Final Master Plan will be presented as outlined under Tasks sub 3,4,5 as written in
the RFP#0-18.
4. Timeline/Work Hours
Phase one will begin immediately upon signing and payment cf the first installment of this
RFP.
Jessica will be hired.
Then a press release and a meeting with the Mayor and other 2ity employees are the first
items on the agenda. Meetings with this group hopefully will go without lengthy
scheduling conflicts.
Press is key to a favorable turnout at later public meetings. Advertisements will be taken
out in the local area newspapers, art blogs, art magazines, and television to get people
aware of the Public Art Master Plan and the up coming meetings, once those locations
have been secured.
Local organizations are contacted as well as scheduling meetings with individuals.
Locations for community meetings will be found and secured for necessary dates.
A survey will be written to not only ask questions but be informative as well. This
document will be approved by the City before distribution.
These Items should take about 4 weeks.
Phase two is the longest task,as I will meet with both the general public and community
arts organizations as well as civic leaders. I expect as many as 20 meetings with Salem
organizations and 50 meetings with individuals
These Items will take about 10 weeks.
Phase three is compilation of the raw data and the beginning of analyzing the results.
Further meetings will be necessary during this phase to clarify questions or points made
earlier.
This phase takes about 4 weeks.
The final phase is the Draft Public Art Master Plan Meeting and the finalization of the
Plan and recommendations for the City of Salem. Maps, and potos will be used during
the Public unveiling of this plan at both public meetings.The Downtown area including
Essex Street will be discussed as well as the rest of the City in terns of beautification, City
layout,tourism, consistency of respected artists and good examples of their artwork, and
urban gateways and visual corridors.
The final phase takes about 7 weeks.
Via Partnership,LLP P.O.Box 231675t.Louis,MO 63156 tel:314-664-5902 email:art@viapartnership.com
To: Tom Daniel, Economic Development Manager,City of Salem
From: Emily Blumenfeld and Meridith McKinley
Re: Salem Public Art Master Plan,Trip 1 Memo
Date: January 4,2013
It was a pleasure meeting you and starting the Public Art Master Planning process.The first working
group meeting went well.We were impressed by the knowledge, expertise, diversity and enthusiasm of
the group and know that each member will contribute strongly to the success of the planning process.
Attached please find our notes from the first meeting on December 11.
Thank you,also,for setting up the numerous other meetings during our visit. We learned a great deal
from each individual we spoke with and plan to continue discussions with individuals, stakeholder
groups and the community at-large through the Imagine Art Here workshop.
The following outlines initial observations and thoughts egarding next steps as they relate to crafting a
statement of values,a vision statement, and exploring implementation issues.We look forward to
discussing these with you on Monday.
OBSERVATIONS
From our initial visit we have some observations that may impact how public art is approached in Salem
and would like to share them with you to further and deepen the discussions we've started.
A. Salem's identity in the region is shifting.Salem has long been known for its history and its industry.
In recent years,Salem's identity as the urban and cultural center of the North Shore has grown.The
city is developing as a year-round destinat on for boutique shopping and dining.And it has the
opportunity to further define itself as a hub for arts and culture.With the PEM and Salem State
Performing Arts Center, high-quality public art can positively impact Salem's status and draw as a
nexus for cultural activity and art-making.Through the public art initiative, it will be important not
just to commission or place art, but to program and promote it so that it doesn't become one of
Salem's"well kept secrets".
B. The potential audience for public art is broad,and includes citizens,workers, and the wide range of
visitors to the city.When considering the locations for art, as well as the type or art or artists,
consideration should be given to the people who live and work in Salem, not just the visitors.
Consideration should be given to locations outsice of downtown and to artwork that is accessible to
a wide-ranging audience.
C. Major capital and private development projects in the near future will be impacting important
gateways into the city. MBTA's station improvements and parking garage will drastically change how
people arrive via commuter rail, as well as impacting the view corridors along Bridge Street and
Washington Street.The new wharf will be a point of entry and departure for tourists and
commuters.And private development at Washington and Mill Streets could create a new gateway
experience into downtown.These gateways could be potential sites for public art.
D. Salem's public art initiative should focus on both permanent and temporary artwork commissions
and installations.Temporary projects, particu.arly on Essex Street, seem to be garnering interest
because they have the potential to provide reasons for repeat and continued visits to the Mall.
Temporary projects also allow for innovation and risk-taking as they are only in place for a specified
period of time. Permanent artwork in the right locations can help build identity for place and
demonstrates to the community a long-term inves-ment.
E. In the near term, public art approaches in Essex Street should allow for flexible use. During peak
times in the summer and fall, space is at a premium and a large-scale, permanent installation could
detract from the needs of event planning.Also, it seems as though discussions around vehicular
traffic on the Mall have not been finalized making it essential to keep the possibilities open.
F. Partnerships may be a key resource for implementilg projects in Salem and can enrich the outcome.
Different partners may bring different resources, i.e.: access to sites,funds, audiences, curatorial or
other expertise. Partnerships with PEM,Salem State, Montserrat College of Art, MBTA, private
developers,and others should be explored.The administrative framework for the initiative should
take into account the role that partners may play in projects.
VALUES
The following is a beginning attempt to articulate the values that will underpin Salem's public art
initiative.
1. Public art commissions will grow out of the richness of the Salem community, its culture and
heritage.Artist's may find that the stories of Salem's past still have important resonance today and
can be explored through contemporary works of art. And the issues, ideas and cultures'that are alive
in Salem today have the potential to provide fertile ground for artists to create new work and
generate vital community conversations.
2. Public art in Salem will be of high artistic quality and integrity to support the strong cultural
institutions, public and private, already in place.The public art initiative will create mechanisms to
select great artists and support them in creating their best work. It will follow professional standards
in the field.
3. Public art will, in most cases, be commissioned specifically for Salem.Artists will be invited to work
in the community and with the community to ensure that the work has meaning and resonance.
4. Public art will be for everyone.The people who live and work in Salem;the people who visit for
entertainment, culture, shopping and dining,and even, in some cases,the people who are just
passing through will all have an opportunity to experience art in public places.Art should invite
interaction,contemplation and discussion.
PUBLIC ART VISION
In addition to a statement of values,the starting place for Salem's public art initiative should be a vision:
a big-picture view of what the initiative will contribute to the city.
Instead of a single vision,we have outlined three different approaches,one that focuses on the cultural
identity of Salem,another that focuses on art as a component of community bui'ding and a third that
expresses public art's role as an element of good urban design.These ideas are certainly not mutually
exclusive,and Salem's public art initiative could embrace all three. Or there could be other ideas that
surface through additional conversation and input.
The following outlines these three components of a possible vision and how a public art initiative might
be structured to support each component.
Culture: Public art draws people to Salem anc contributes to its identity as a cultral destination and
center for creativity.
How:
• Creating innovative and distinctive art experiences that draw upon Salem's unique character
and history.
• Creating landmark artworks that become part of the City's cultural landscape.
• Creating changing art experiences that encourage return visits.
• Siting art in areas that are frequented by visitors.
• Siting artworks in such a way as to encourage exploration.
• Creating opportunities for artists to create new work and explore new ideas.
Community: Public art fosters community pride,ownership and a sense of belonging.
How:
• Creating opportunities for artists to work collaboratively with community in the creation of
public art.
• Creating works that encourage participation and/or social interaction.
• Commissioning works that create opportunities for connection between different groups within
Salem.
• Creating moments of whimsy and delight in the everyday spaces of Salem.
Design: Public art contributes to the quality of Salem's built environment.
How:
• Elevating the quality and creativity of design of public spaces.
• Siting artwork to mark important community gateways and thresholds.
• Siting artwork to anchor important gathering places.
• Creating opportunities for artists to collaborate in the design of civic infrastructure.
IMPLEMENTATION ISSUES
There are a number of implementation issues that we will be exploring through our next set of meetings
and interviews,as well as conversations with you and the Working Group.
Decision-making
Who decides:
• The policies and procedures that govern the public art program?
• Which projects to pursue and when?
• Resources and how to allocate resources?
• How to approach the commissioning of individual projects?
• What artists to select?
• What design concepts to approve?
• When to accept a gift or loan of artwork?
• When an artwork should be de-accessioned or relocated?
Resources
• What are possible funding sources?
• How should funds be accounted for?
• What types of staffing resources are needed?Available?What types of expertise are needed?
• What role can/should partnerships play in providing necessary resources?
Developers
• How should developers participate in supporting the public art initiative?
• Are there mechanisms that can be developed to incentivize or require participation?Or should it
just be encouraged?
• If developers are commissioning or placing public art, how can the initiative encourage(support,
require,enforce)doing so in a way that supports the vision, goals and objectives of the
initiative?
Ownership and Stewardship
• Who owns the art?
• Who keeps track of the art?
• Who is responsible for maintenance and conservation? How is this funded?
Partnerships
• What are possible partnership opportunities?
• What roles might partners play?
• How do partnerships impact some of the above issues related to decision-making, resources,
ownership, etc.?
City of Salem
Imagine Art Here Workshop DRAFT
1) Proposed Workshop Outcomes
The purpose of Imagine Art Here workshop will be to:
■ To provide information about the public art master planning process.
• To provide participants with a better understanding of the breadth and depth of public art, a
familiarity with different types of public art, aid exposure to projects commissioned in other
communities.
• To generate discussion on public art values,vision and goals
• To generate discussion and ideas regarding potential public art approaches, sites,objectives, project
types, partnerships and additional insights.
2)Workshop Format
• Stations
As people arrive,they will be allowed to browse stations that allow them to provide input in
different ways.Some possibilities include:
• A map that invites people to place a dot wiere they live.
• A map that invites people to place a dot where at their favorite place in Salem
• Write on a board or card one thing they would want an artist creating an artwork for the City to
know about the community.
• A map that shows where public art can already be found in Salem (and a way to make
comments about the art?).
• Welcome and Introduction—Tom?-10 minutes
Thank you for participating, etc.
Purpose of the Master Plan.
Other relevant information to set the context(i.e.: Essex Street improvements)
• Introduction—Via-10 minutes
Thank you for participating, etc.
Who we are
The planning process
What we have done to date
The workshop format
• Public art introduction—Via-30 minutes
We will present an introduction to public art that demonstrates different approaches to public art
(styles, media, levels of integration,function, etc.), with a focus on the impact public art can have in
Salem.
This could also be an opportunity to share some of the preliminary public places that we have been
exploring as locations for art.
• Breakouts—60-90 minutes
For the remainder of the workshop, participants will break into diffe ent groups.There a few
options for breaking down groups.
• Break down the city by type of place. i.e.: a tab a for Essex Street, a table for Downtown,a table
for gateways, a table for parks and trails,etc.We would present a list of specific sites for
consideration, but allow the tables to suggest other places.
• Break down the city geographically(NE, NW,SE,SW, Downtown) and have a table for each area.
We would present a list of specific sites for consideration, but allow the tables to suggest other
places.
• Narrow down on a few specific sites and have a table for each sit=. Each table would focus in-
depth on that site and provide ideas about approaches for public art at each site.This format
could allow for participants to rotate amorg different tables, if there is time.
Each table would have a facilitator.We will either bring in regional colleagues to assist with
facilitation,or we would "deputize" members of the Advisory Committee to serve as a facilitators.
We will make sure they are prepared for their role.
The breakouts would start with a group discussion and an exercise.This step allows us to get some
specific input on the type of artwork that people would like to see in_he City.
• Introductions.
• Participants would be asked to think of a word that they would want to use to describe the
Salem's public art collection in five years. Each person should tell the group, and explain why.
• Pick out pictures of art projects(images provided on the table)that capture the spirit of
artworks that could be commissioned for Salem.
Then, using maps and the public art cards and other materials(markers,tape, etc.), participants will
discuss specific opportunities and sites, approaches and goals for public art at those sites, possible
project partners, and other ideas. Ideas will be recorded on the maps and in writing.
• Report Back-20 minutes
Each breakout group will have '5 minutes' to share their ideas back to the full group.
• Recap, thank you, next steps—Tom and Vla-5 minutes
31 Maps and Plans
Each table would have a large-scale, black and white map or maps depicting the areas/sites the table is
focusing on.The size should be approximately 24" x 36".a make it easy for each group to use.We would
also share any applicable plans or aerial photographs of specific sites we would like the table to
consider.
In addition, we should print 1-2 City maps.These can be used for stations that people can browse and
interact with when they arrive.
4) Invitations/Participants
This will be an open meeting, where anyone who is interested can participate. Ideally we will have a mix
of perspectives: residents of all ages, people involved with the arts, civic leaders, business leaders,
property owners and developers, etc. We would hope to have at least 30 and could accommodate as
many as 100, with enough advance planning. For the breakouts, we wou d want to limit the tables to 8-
10 participants.
Via will develop an evite copy and image that can be used to promote the workshop.
IL
Working Group Meeting#1
December 11
Minutes
In attendance(favorite public art):
Tom Daniel,Tom Otterness at Minnesota Federal Courhouse
Rosario Ubiera-Minaya, Mural in Point neighborhood
Karen Gahegan,William Cochran murals in Frederick,MD
Bob Mitnick,Anish Kapoor's Cloud Gate
Helen Sides,likes how public art enlivens a space
Kate Leavy, Portsmouth, NH street artists,graffit.
Sandy Heaphy,wants more art galleries and a lively arts culture
John Clark, Claes Oldenburg and sculpture of Edgar Allen Poe in Boston
Jonathan Parker,LOVE sculpture in Philadelphia, art car supplement parks
Patricia Zaido
Danielle McKnight, Fountain in Geneva,Switzerland
Ron Malionek,the buildings in Salem
Ellen Hardy,Jardin de Luxembourg, Paris, DeCordova and Salem Common is a great space
Mike Lash,St. Louis Arch and House of Seven Gables
Trevor Smith
Emily Blumenfeld
Meridith McKinley
Review of planning process to date:Several NEA grants have been written to accommodate planning on Essex
Street Pedestrian Mall.This year,one was awarded for this public art master planning process.The goal is to
develop a plan that will serve as a framework that supports public art projects city-wide,with a special focus on
Essex Street Pedestrian Mall.The plan will include:
• Values to guide the City's public art program;
• Opportunities for public art projects city-wide and the Pedestrian Mall;
• Policies and procedures to guide implemeltation of the City's public art program.
The plan will build off of the urban design process that has already taken place throughout 2011 focusing on the
Essex Street Pedestrian Mall.This planning process is being supported in a partnership between the City of Salem,
the Salem Partnership and the Peabody Essex Museum.
The plan will be designed to be used.Tom commented that the Mayor likes plans that ascribe to the following:
Plan the work,then work the plan. Economic development is a key driver for build ng the cultural health of Salem.
Trevor commented that Salem should use creativity to negotiate social change.
Discussion: Meridith and Emily shared a set of images to explore the different ways that public art can impact daily
life in a city. Public art can:
• Transform a place into a destination.
• Visually draw visitors into a space.
• Anchor a gathering place.
• Encourage and support flexible and
year-round use.
• Foster environmental stewardship.
• Create innovative art experiences that draw people to a place and contribute to its cultural identity.
• Express aspects of a community's character and heritage.
• Highlight important civic buildings and destinations.
• Reinforce the quality of the community's bui't environment.
• Faster community pride,ownership
and a sense of belonging.
• Involve the community and visitors socially and edicationally with works of art.
• Create moments of whimsy and delight in the everyday spaces of the community.
The group responded to a number of images through discussion.Jeppe Hein's Disappearing Rooms Fountain
resonated for a number of reasons. It is temporary and would create a reason to visit Salem.It was flexible in its
use,it creates a destination.The Cao/Perrot Willow Tree,struck a chord as well.
Group discussion continued around the following questions.
• When you think about the city of Salem in general,what image or identity comes to mind? How is Salem
different from neighboring communities?
• What are the most important public spaces in Salem?
• What word would you use to describe Salem's cultural scene?Who is the art audience in Salem?
• What impact can public art have in Salem?
• What words would you want to use to describe Salem's public art collection?
• Where can public art have the greatest impact in Salem?
Perception of Salem
Silly—Can this history be serious?
On the Verge—year round livability
Reaching a balance
Front Street is active
Perceived Salem v. Living in Salem
walkable
Maritime History is getting better play
Museum is world class
Regaining its place as the city of the North Shore
Was perceived as scary and dangerous. PEM has changed this.
Need Interactive and playful artwork to draw kids/school groups
Was heavy industrial and the place to shop on the North Shore
Now people live downtown in condos and go the PEM.
New Destination Salem tag line is Salem:Still Making History
Impact of public art
Must be year round
Innovative and unexpected
Visually encouraging exploration
Temporary/changing
Literary
Light
Vibrant—light and color
Create a sense of belonging
Enhance gathering places
10,000 students at Salem State—draw them in—create a bike connector
Important Issues
Salem Common—now a pass through
Salem Willows—under utilized
Winter Island
Dialogue between the two Salems—Latino community and other.
Encourage exploration
Peabody Street Park
Forest River Park
Artist Row
Need for an outdoor classroom/performance space on Essex Street Pedestrian Mall
Pagel of 3
Toni Daniel
From: Emily Blumenfeld [blumenfelc@viapartnership.com]
Sent: Thursday, January 03, 2013 4:24 PM
To: Tom Daniel
Cc: mckinley@viapartnership.corr
Subject: RE: Checking In
Attachments: image001.jpg
Tom.
Can we talk on Monday at 2:00?This way we =an send you the documents we are currently working on
and we can include them in the discussion.
We have a little flexibility in our travel schedules. We would like to come for two nights. We could arrive
Sunday evening allowing for a full working day on Monday and much of the day on Tuesday. Or, we
could arrive on Monday by 1:30ish and could stay until Wednesday midday. If you want to see when
meetings are possible,we could schedule accordingly.
Also would it be possible for you to send us the NEA grants that you have written—both the successful
Brant and the unsuccessful ones? Reviewing there may help us to provide information that will prepare
,, iiia lulun Pvtr. �)i affil .:���ivi iw iuc�
Thanks,
Emily
From: Tom Daniel [mailto:tdaniel@Salem.com]
Sent:Thursday, January 03, 2013 3:07 PM
To: Emily Blumenfeld
Cc: mckinley@viapartnership.com
Subject: RE: Checking In
Looks like a good list! I'm open tomorrow 10:00 -11:00, Monday 11:30-1:00 and 2:00-4:00, and Tuesday
8:30-11:00. Let me know what works best for you.
Do you know your arrive/departure schedule yet{Le.,will you be available to meet Monday afternoon or
Wednesday morning?)The Mayor and PEM are tough to schedule so I'd like to jump on those right away.
Tom
From: Emily Blumenfeld [mailto:blumenfeldCaviaoartnership.com]
Sent: Thursday, January 03, 2013 2:43 PM
To: Tom Daniel
Cc: mckinley5viapartnership.com
Subject: Checking In
Tom,
Thanks for your email and Happy New Year. We were sad to hear of Danielle's departure as well, but
wish her the best.
1/7/2013
Page 2 of 3
On our next visit at the end of January, we would like to meet with the following individuals and/or
representatives from these institutions:
Finance department to discuss the mechanism to allow for contributions and donations
Y/PEM administration to discuss a vision for art in Salem, particularly focused on Essex Street, and the
possible role PEM could have in supporting public art-
X-1, Kate Fox to discuss tourism in Salem
Helen Sides offered to tour around with us. We'd also like to get a better understanding of the Design
/Review process from her.
/ Rosario to discuss the role of the Latino commun ty in the public art program (tour)
!� Mayor to talk about public art and her vision for its role in Salem
• Jane Guy to discuss the role of the historic comm ssion relating to public art
s^ Parks planner/ parks director
0 Would it be best to speak with George Doherty from MBTA on the phone or in person?
Upon reviewing this list, if there are other people you thin<we should be talking with in person, or on the
phone, please let us know. We hope to continue discussions with the Working Group not listed above, by phone.
We would also like to continue touring some sites that were discussed but we have not had a chance to see yet.
Perhaps we can see these sites with Helen Sides, or we could hire a Zip Car.
• See murals in the Point neighborhood
• Winter Island
• Forest River Park
• Marblehead (to gain a sense of the difference)
• Mack Park
In regards to an agenda for the next meeting, we would like to continue the discussion regarding the vision for
the program. We are in the process of drafting some value statements,overarching goals and delineating the
administrative issues that we think need to be addressed. We will forward these draft items to you in the next
few days and this may well form the agenda for the meeting.
In regards to the Imagine Art Here Workshop, we have some questions about what you hope to achieve with
community involvement. We could organize the event in a variety of ways—each producing varying outcomes.
We believe that all would achieve an overarching goal of raising awareness of public art and its many forms in
addition to building excitement for the program.
As for dates for the workshop, we still think the end of February or early March would work well.The format we
select for the workshop may help to determine whether it cccurs on a Saturday, weeknight evening, or during
the regular workday.
Can we schedule a time for a call with you to review these items? Meridith is not available January 9—11, but
1 i7/2U 13
Page 3 of 3
otherwise we are flexible. Please let us know wha: is convenient.
Best,
Emily and Meridith
From: Tom Daniel fmailto:tdaniel@Salem.com]
Sent: Wednesday, January 02, 2013 3:04 PM
To: Emily Blumenfeld; mckinley@viapartnership.corn
Subject: Checking In
Hello Emily and Meredith,
I hope you both have enjoyed the holidays.
We're saddened that Danielle is no longer here but happy she has a great new opportunity.
I wanted to see what you want to accomplish curing your visit at the end of the month and see how I can help.
One meeting we weren't able to arrange last month was with Josh Basseches from at the PEM. Other folks we've
talked about meeting with are the Mayor and new State Senator Joan Lovely (former City Council President). Let
me know if you concur on trying to have these meetings this month and if there are others you'd like to set up. Let
me know your availability, and we can see what I can pull together.
I think it would be good to connect with the META about the station design. The project manager is George
Doherty, adohertv(a mbta.com, (617)222-3081 I'm not optimistic about them incorporating any changes, but
we've talked with them about preserving opportunities.
If you could pull together the agenda for the working group meeting, I will send it out in advance (probably on the
22nd or 231d). I'd also like to look at the timeline and get future meeting penciled in—especially the public
meetings.
Tom
Tom Daniel, AICP
Economic Development Manager
City of Salem
Department of Planning and Community Development
120 Washington Street
Salem, MA 01970
J-1—
(6ePn
w . makinghistory
1/7/2013