HomeMy WebLinkAbout6.29.17 PAB PacketIf unable to attend the meeting, PLEASE call the Planning Services Division at 236-5059 or email Alexa
Naudziunas at anaudziunas@ci.oshkosh.wi.us and let her know, so we are assured a quorum will be
present.
TO:Public Arts and Beautification Committee
FROM:Alexa Naudziunas, Assistant Planner
DATE:June 21, 2017
SUBJECT:Meeting Notice and Agenda for June 29, 2017
A meeting of the Public Arts and Beautification Committee will be held on Thursday June 29,
2017 at 3 p.m. in room 404, City Hall, 215 Church Avenue, Oshkosh, WI 54901.
The following items will be considered:
1.Call to Order
2.Approval of May 25,2017 Meeting Minutes
3.Committee Plan Development-Discussion
4.Adjournment
PUBLIC ARTS AND BEAUTIFICATION COMMITTEE
Minutes
May 25, 2017
PRESENT:Kit Pollaski; Leif Larson; Koby Schellenger;Carleen Christianson;Caroline Panske,
Shirley Brabender-Mattox; Vicky Redlin
STAFF:Alexa Naudziunas, Assistant Planner;Darryn Burich, Planning Services Director;Bill
Sturm,Landscape Operations Manager
1.Call to Order
Ms.Pollaski called the meeting to order at 3:01 p.m.
2.Approval of May 25th 2017 Meeting Minutes
Ms.Panske made a motion to approve the March 23rd 2017 meeting minutes and Mr. Schellenger
seconded the motion. Motion carried unanimously.
3.Chad Brady –Mural Discussion
Local muralist Chad Brady was in attendance at the meeting to discuss his experiences creating
murals and to answer questions. Mr. Brady reviewed a variety of projects that he has worked
including murals located in Appleton Wisconsin. He explained that he uses high quality paint that
has held up well in all climates. The committee express an interest in restoring the “ghost” murals
that are located on some historic buildings in downtown Oshkosh. Mr. Brady said that he has
worked on restoring old murals and in his experience they offer an opportunity to put a twist on the
original mural.
4.Committee Plan Development –Discussion
a.Micro Parks/Parklets –Discussion –Kit Pollaski
Ms. Pollaski presented to group on the concept of micro parks. The presentation had a
variety of examples where other municipalities have implemented the idea. Ms. Naudziunas
explained that is something that could be explored if we decide work on a committee plan.
Ms. Pollaski explained that she believes this is an important project that the committee
should focus on.
b.Painted Crosswalk –beautification project
Mr. Burich explained that this is a project that could be explored more once the committee
begins working on a plan. There was a guest in attendance from Storm Companies Inc, a
company that specializes in temporary traffic control projects. The guest explained that they
have worked on projects that involve removing old paint from road surfaces.Ms.
Naudziunas agreed to continue researching this project idea.
5.Alley Activation Plan –Great Neighborhoods Program –Action
Ms. Naudziunas explained that planning staff is requesting that the Public Arts and Beautification
Committee review and make a recommendation to Common Council on the Alley Activation Plan.
The Alley Activation Plan is being considered for funding through the Great Neighborhoods
Program. The plan will involve contracting with an urban design company to develop concept plans
for the public space.Ms. Redlin made a motion to approve the Alley Activation Plan application
and Ms. Panske seconded the motion. Motion carried unanimously.
6.Future Agenda Items
Ms. Naudziunas agreed to keep the crosswalk and plan development discussion for the next
meeting agenda.Ms. Naudziunas explained that any additional agenda items can be added to the
list if she is contacted.
7.Adjournment
Ms.Redlin made a motion to adjourn and Mr. Larson seconded the motion. Motion carried
unanimously at 4:40 p.m.
Respectfully submitted,
Alexa Naudziunas
Assistant Planner
Public Art Planning
Several Massachusetts communities have developed public art plans in order to address the growing collection of
public art in their city or town. Often these plans are the result of the town or city creating a coalition or citizen
advisory group with an economic development department or existing public art commission to analyze and convene
a public art plan in response to a particular need. Local Cultural Councils can be helpful local partners and advocates
for public art plans.
Public Art Planning Basics
Public art plans can include some of the following helpful information for your community:
An inventory of current works of art including information on year of commission, location, artist(s), composition
materials and a cleaning or maintenance schedule or a plan to create such an inventory. Some communities have
event developed public art maps.
A maintenance plan for current works —cleaning, repairs and de-accession of public art works.
A commission process for the creation of new works including calls to artists and selection processes.
Plans for funding public art such as a percent-for-art program or a public art fund that addresses public art needs.
Getting Started
An important first step to developing a public art plan is to research what the community already has. Establishing a
list of resources and opportunities that already exist can then help determine what might be missing. It is also
important to develop goals and community priorities using surveys or public meetings (consider incorporating into
your Council's required Community Input process.) Be sure to involve all the possible stakeholders —city
departments, art organizations, local businesses, and citizens.
Examples of Public Art Plans
City of Lowell —Hamilton Canal District
The City of Lowell and the Lowell National Historical Park jointly undertake the creation of this public art plan for the
Hamilton Canal District. This project builds on our ongoing efforts to revitalize the city with creative placemaking
elements that define points of interest, strengthen neighborhoods and enhance the vibrancy of the city.
City of Salem
In recognition of the value that public art can bring to the cultural, aesthetic, and economic vitality of the community,
the City of Salem, working in partnership with the Salem Partnership and the Peabody Essex Museum, successfully
sought a grant from the National Endowment for the Arts to support the development of a Public Art Master Plan.
Via Partnership was contracted to develop this master plan in collaboration with City staff and a Public Art Master
Plan Working Group comprised of citizens of Salem. The resulting plan outlines recommendations for a basic
administrative structure for Salem’s Public Art Initiative and potential public art opportunities.
City of Worcester
The City of Worcester's Executive Office of Economic Development is spearheading an effort to increase the
amount of publicly accessible art in Worcester. As part of these efforts, staff created a catalogue of existing public
art as well as a public art map. In an effort to identify locations and opportunities throughout the city for the
installation of additional permanent and/or temporary public art pieces, the Public Art Working Group (PAWG) was
established. PAWG advocates for the creation and installation of new publicly accessible art and is currently
working to identify possible sites for new public art.Dowload a copy of the Public Art Plan.
*The Worcester Arts Council is a member of the Worcester Public Art Working Group (PAWG)
Examples of Public Art Programs
Arlington Public Art
Arlington Public Art (APA) is a collaboration of the Arlington Center for the Arts (ACA) and Vision 2020. In addition
to these well-established organizations, its membership includes representatives of the K-12 visual arts program of
Arlington Public Schools, the Arlington Committee on Tourism and Economic Development (A-TED), the Arlington
Cultural Council, Sustainable Arlington, local business owners, the Town's Planning and Community Development
department, and resident art professionals.
Boston Art Commission
The Boston Art Commission, established in 1890, exercises legal authority to approve and site new public art on
property owned by the City of Boston. These artworks, both permanent and temporary, range from traditional and
new media public art pieces to municipal design elements, such as way-finding systems and artistic lighting. In
addition, the Art Commission has care and custody of all paintings, murals, statues, bas-reliefs, sculptures,
monuments, fountains, arches, and other permanent structures intended for ornament or commemoration on City
property.
Cambridge Arts
Cambridge Arts presents local, national, and international artists in exhibitions and educational programming that
engage residents and visitors throughout the City. Permanent Public Art is constructed through the City's 1% for Art
Ordinance. Ever-changing Temporary Public Art projects can be found throughout the year. Gallery 344 is located
in the City Hall Annex at 344 Broadway is programmed with projects and events that highlight and explore ideas
around art in the public realm. See below to find out what is currently happening in each of these areas.
Examples of Public Art Interactive Maps
Boston Art Commission Interactive Map
Cambridge Arts Council Public Art Map
Somerville Arts Council Art Map
Calls for Artists
Local Cultural Councils can fund public artworks through either the regular grant process, a council-initiated project,
or with their locally raised funds. If an LCC is leading the project for public art works, the LCC, as a public agency,
should vet candidates in a competitive fashion. The LCC should provide an open and fair process and follow
proper conflict of interest procedures. This is especially important in the case of any LCO project, in which the artist
would be receiving state funding. A call for artists is usually a formal document (either a RFQ or a RFP) that is
mailed, emailed or posted on an opportunities list announcing a project and requesting artists to apply for selection as
project artist.
Request for Qualifications (RFQ)
This is a call for qualified candidates to submit an application (including resume, statement of interest and images of
past work) for consideration by a selection panel. The RFQ outlines the project location, budget, scope, theme,
timeline, and other specifics relevant to the project, and offers applicants instructions for submitting. A selection
committee made up of key stakeholders is usually established to review submissions and narrow the pool of
applicants to a smaller number of finalists who are then contracted to produce proposals. Finalists are given
adequate time to develop proposals and then submit them for final review, often in an interview setting. An RFQ can
be widely distributed or sent to only a select number of artists, depending on restrictions that may be imposed by the
funding source, the budget and the administrative time available for the project. "Invitational RFQs" are RFQs that are
sent to a pre-selected, qualified pool of artists, and not broadcast to all artists.
See a Sample RFQ.
Request for Proposals (RFP)
This is a call for artists to submit a full project proposal for a specific project. The project is outlined and general
direction and client desires are included. There are two ways to conduct an RFP process: ask all applicants to include
their proposal in the application materials; or select finalists based on the application process and then pay each
finalists to develop proposals. An RFP might be issued in a limited invitational call. Proposals are usually requested
from finalists after the selection panel has met for the first time. This approach can work out well if you have a specific
project in mind and access to a small number of competent artists that you believe are qualified for the job.
See a Sample RFP.
Read More
Minding Your RFPs and Qs, by Elizabeth Keithline, ARTSblog
Artists Selection Guide, Americans for the Arts Public Art Network
Call for Artists Guidelines, Americans for the Arts Public Art Network
Best Practices in Public Art Project Selection, by Lester Burg, ARTSblogResources
Public art programs have unique challenges and requires distinctive support. This section addresses those needs
with best practices, readings, and sample information that you can utilize to develop and sustain a public art program.
Massachusetts Cultural Council: Funds collaborative community public art programs through the Adams Arts
Program as well as school artist residencies through the STARS Residency Program. Opportunities such as Calls
for Artists are published annually on the blog ArtSake.
Public Art Network at Americans for the Arts: Americans for the Arts Public Art Network (PAN) develops
professional services for the broad array of individuals and organizations engaged in the diverse field of public art.
PAN is the only professional network in the United States dedicated to advancing public art programs and projects
through advocacy, policy, and information resources to further art and design in our built environment.
New England Foundation for the Arts: Regional arts council that supports artists and communities through grants
and other opportunities in dance, music, theater, and public art.
Metropolitan Area Planning Council: Regional planning agency serving the people who live and work in the 101
cities and towns of Metro Boston.Designing Outdoor Sculpture Today for Tomorrow: A 16 page booklet published by Save Outdoor Sculpture!, a
program of Heritage Preservation and the Smithsonian American Art Museum. This booklet gives strategies for
incorporating plans for conservation and maintaining outdoor artwork in the planning process. The guide identifies
elements in the design process of outdoor sculpture that can result in less costly and more effective programs of
care after installation. This planning guide is aimed at those outdoor sculptures intended to endure for at least 20
years.The publication is free to download.
The American Institute for Conservation of Historic and Artistic Works (AIC): AIC exists to support the conservation
professionals who preserve our cultural heritage. As the only national membership organization in the United States
dedicated to the preservation of cultural material, the AIC plays a crucial role in establishing and upholding
professional standards, promoting research and publications, providing educational opportunities, and fostering the
exchange of knowledge among conservators, allied professionals, and the public.
Public Art • Public Places 4
THE VISION
Arlington County has long demonstrated leadership and innovation in its support for the arts.
In September, 2000, the County Board established a public art policy, which confirmed that public
art would be a vital tool for promoting design excellence and creating a high-quality public realm
— and, for the first time, dedicated funding from the County’s capital budget to public art. The Board
also directed that a public art master plan be developed, as well as specific guidelines for creating art
projects and an annual work plan of projects that public art staff would undertake.
This document, Public Art • Public Places, is Arlington’s first public art master plan. It enriches the
vision of the public art policy and establishes a strategy for selecting the art projects that will be
commissioned. It details the priorities, areas and themes that should be considered as public art
projects are developed, as well as a list of potential projects for the next five years.
Arlington’s vision is that public art should be a force for placemaking — for creating strong, mean-
ingful connections between people and places that are important to community and civic life. This
vision will continue Arlington’s tradition of innovation and leadership, and sets the stage for the cre-
ation of public places with civic distinction.
Executive Summary
Participants at Arlington’s public art master plan charrette explored how public art could be integrated into village centers, parks, and other key public places.
Public Art • Public Places 5
Velit num nit prat verosto eu facin ullan ex ex ero enis at. Duisismod lesequamet eum delisim nisl exeriureet acing ercilla alissed tat. Lor ad te mincillan hendre feu-giat praestio ea amet ip estrudt. Ut irit nit aci tiscin henit aliquip ea faccum in hent augait ullute dolorperi ismolum augiam doluptatuero dio et acilit diam del ex eut. Ut irit nit aci tiscin henit aliquip ea faccum in hent augait ullute dolorperi ismolum augiam doluptatuero dio et acilit diam del ex eu dit in hendignis enim delenim ver sit velisi bla feugue delesequipit ulluptat alis nostrud doluptat. Ut prat luptat alit vulputat. Ut irit nit aci tiscin henit aliquip ea faccum in hent augait ullute dolorperi ismolum augiam doluptatuero dio et acilit diam del ex euobo ercilla feugiat ullandre facil ut prat lutat ea facip-suscip eui tat. Ut utat. Ut nismodo esendrem velesse-quat. Duis etummolore facilla faci bla consenit, consed tion-sequissequis nulputpat. Duisim in velit vullum dunt init adigna conulla feuguer accumsan vulla faccumsan velit, commodolore magna faciliquisi tat. Ut autatue dolor irit lutpatie vent nim irilit vullandreetumsan hendreet la feugait lobor sum ipis a esendrem velessequat. Duis etummolore facilla faci bla consenit, consed tion-sequissequis nulputpat. Duisim in velit vullum dunt init adigna conulla feuguer accumsan vulla faccumsan velit, commodolore magna faciliquisi tat. Ut autatue dolor irit lutpatie vent nim irilit vullandreetumsan hendreet
la feugait lobor sliquisl dolore dunt dit vel do eugait lut delessi tat, si. Lorper sent inciliquam doloborpero ex exer-ate dolortie min etuerat ipis nim aliquat, quamet, sum quam, consectem veliquametue delenisis eu facidunt lut ullamcommolor sed molore dolore dolore tat, suscil dole-nim eugiam iusciliquis aute feugiametue feugait ero dit lore tatisl eraestis dionulla feugiamcon ullandre dolor-peraessecte dolum nim dip eu faciduisim vullaore et lore consequam secte dolum nim dip eu faciduisim vullaore et lore consequam onsectem il ipit wisim iuscipiscipisi.Tem el utet nullaortie tat adiatinim quisl exeril dio endre do odolor sit dolore te faccum nummolorero consecte magnisagnisit nostio ercinis nummod tissecte facip euguerat irit ulputat, volorem nonsequipit dolortie conulla corpero cor autat aut lamcommy nonsent wisi. Lor sumsan exerostiagnisit nostio ercinis nummod tis-secte facip euguerat irit ulputat, volorem nonsequipit dolortie conulla corpero cor autat aut lamcommy non-sent wisi. Lor sumsan exerostiit nostio ercinis nummod tissecte facip euguerat irit ulputat, volorem nonsequipit dolortie conulla corpero cor autat aut lamcommy non-sent wisi. Lor sumsan exerostisim onsectem il ipit wisim iuscipiscipisi tem el utet nullaortie tat adiatinim quisl exeril dio endre do odolor sit dolore te faccum nummol-orero consecte magnisit nostio ercinis nummod tissecte facip euguerat irit ulputat, volorem nonsequipit dolortie conulla corpero cor autat aut lamcommy non.
Public Art • Public Places 5
THE PLAN
Public Art • Public Places was adopted by the County Board in
December, 2004, as an element of the County’s Open Space
Master Plan. The process included extensive consultations with
County staff, civic organizations and commissions, as well as a
County Board work session, a public forum, and a public charrette.
The plan focuses on several opportunities and objectives for the
next five years:
• Integrating art with the architectural, landscape and infrastruc-
ture design of capital projects, allowing for creative collaborations
and strong aesthetic outcomes. This means working closely with
project managers and design team partners.
• Coordinating with County planning initiatives. This means work-
ing cooperatively with various County departments, commissions
and residents to cultivate strong working partnerships. Public art
staff should be involved in the CIP (Capital Improvement Program)
process, so that projects can be identified at the earliest stages.
• Encouraging excellence in the design of public buildings, parks,
streets and infrastructure. This means recognizing that public art —
along with high-quality architecture, landscape architecture, urban
design, graphic design and historic preservation — is an important
tool the County can use to accomplish design excellence.
• Focusing limited staff and financial resources on projects with
the strongest placemaking impact. This means being selective:
places where people gather — downtowns and neighborhood cen-
ters, parks and trails, bus stops, and Metro entrances – are priority
locations for public art.
Public Art • Public Spaces, Arlington’s public art master plan.
Public Art • Public Places 6
The plan also suggests three themes for projects that will be particularly reso-
nant with Arlington’s sense of place. Federal Arlington examines how the history,
culture, and economy of Arlington are intertwined with that of Washington, D.C.
Historic Arlington examines the layers of settlement and development that have
shaped the County. Global Arlington explores the widening web of relationships
between Arlington's diverse communities, its businesses, its government institu-
tions, and the rest of the world.
Each year staff will work with the Arts Commission to prepare an annual work
plan that will be approved by the County Manager. Staff will assess the County
capital projects that are likely to proceed that year and will recommend which
projects are priorities for public art.
In areas where developers provide public art through provisions related to site
plan negotiations, the plan proposes placing in-lieu contributions into special
“area funds” that would be used for special art projects in those areas. The Public
Art Master Plan details what projects these funds would support. However,
Arlington County recognizes that motivated, knowledgeable private develop-
ers can commission art projects of distinction, and they would always be able to
commission art projects on their own.
Most public art projects will involve a partnering agency or a private developer,
which will be expected to meet financial, planning, design, public access, and
maintenance requirements. Guidelines developed by the public art program set
out the necessary commitments in more detail.
Above: A recently completed project in Arlington that integrates public art with park design. Jann Rosen-Queralt, Cultivus Loci: Suckahanna (Children's Rain Garden), Powhatan Springs Park.
Public Art • Public Places 7
Velit num nit prat verosto eu facin ullan ex ex ero enis at. Duisismod lesequamet eum delisim nisl exeriureet acing ercilla alissed tat. Lor ad te mincillan hendre feu-giat praestio ea amet ip estrudt. Ut irit nit aci tiscin henit aliquip ea faccum in hent augait ullute dolorperi ismolum augiam doluptatuero dio et acilit diam del ex eut. Ut irit nit aci tiscin henit aliquip ea faccum in hent augait ullute dolorperi ismolum augiam doluptatuero dio et acilit diam del ex eu dit in hendignis enim delenim ver sit velisi bla feugue delesequipit ulluptat alis nostrud doluptat. Ut prat luptat alit vulputat. Ut irit nit aci tiscin henit aliquip ea faccum in hent augait ullute dolorperi ismolum augiam doluptatuero dio et acilit diam del ex euobo ercilla feugiat ullandre facil ut prat lutat ea facip-suscip eui tat. Ut utat. Ut nismodo esendrem velesse-quat. Duis etummolore facilla faci bla consenit, consed tion-sequissequis nulputpat. Duisim in velit vullum dunt init adigna conulla feuguer accumsan vulla faccumsan velit, commodolore magna faciliquisi tat. Ut autatue dolor irit lutpatie vent nim irilit vullandreetumsan hendreet la feugait lobor sum ipis a esendrem velessequat. Duis etummolore facilla faci bla consenit, consed tion-sequissequis nulputpat. Duisim in velit vullum dunt init adigna conulla feuguer accumsan vulla faccumsan velit, commodolore magna faciliquisi tat. Ut autatue dolor irit lutpatie vent nim irilit vullandreetumsan hendreet
la feugait lobor sliquisl dolore dunt dit vel do eugait lut delessi tat, si. Lorper sent inciliquam doloborpero ex exer-ate dolortie min etuerat ipis nim aliquat, quamet, sum quam, consectem veliquametue delenisis eu facidunt lut ullamcommolor sed molore dolore dolore tat, suscil dole-nim eugiam iusciliquis aute feugiametue feugait ero dit lore tatisl eraestis dionulla feugiamcon ullandre dolor-peraessecte dolum nim dip eu faciduisim vullaore et lore consequam secte dolum nim dip eu faciduisim vullaore et lore consequam onsectem il ipit wisim iuscipiscipisi.Tem el utet nullaortie tat adiatinim quisl exeril dio endre do odolor sit dolore te faccum nummolorero consecte magnisagnisit nostio ercinis nummod tissecte facip euguerat irit ulputat, volorem nonsequipit dolortie conulla corpero cor autat aut lamcommy nonsent wisi. Lor sumsan exerostiagnisit nostio ercinis nummod tis-secte facip euguerat irit ulputat, volorem nonsequipit dolortie conulla corpero cor autat aut lamcommy non-sent wisi. Lor sumsan exerostiit nostio ercinis nummod tissecte facip euguerat irit ulputat, volorem nonsequipit dolortie conulla corpero cor autat aut lamcommy non-sent wisi. Lor sumsan exerostisim onsectem il ipit wisim iuscipiscipisi tem el utet nullaortie tat adiatinim quisl exeril dio endre do odolor sit dolore te faccum nummol-orero consecte magnisit nostio ercinis nummod tissecte facip euguerat irit ulputat, volorem nonsequipit dolortie conulla corpero cor autat aut lamcommy non.
THE PROJECTS
Public Art • Public Places outlines several areas that should be a special focus for public art projects over the next five years: the Rosslyn–Ballston (R-B) Corridor, the Four-Mile Run Corridor, Columbia Pike, and the Jefferson Davis Corridor. These areas are important because they are central places for so many people in Arlington, and together they offer nearly limitless possibilities for creative excel-lence in public art.
In the R–B Corridor, public art can enhance urban spaces, such as the proposed Central Place in Rosslyn, and support street and pedestrian environments that the WALKArlington program is trying to create.
Along the Lower Reach of Four Mile Run, as development and water management improvements take place, artists could collaborate on the design of various proj-ects that give the public access to the water. Along the Upper Reach, art projects could relate to stormwater management programs already underway, or add identity to gardens and other natural areas of note.
Along Columbia Pike, which represents a true cross-section of Arlington, public art can emerge in concert with plans for new development, street improvements, public spaces, parking and transit. The focus should be on the creation of a new public realm.
A focal point for the Jefferson Davis Corridor will be the County’s recreation facilities at the North Tract; projects there should focus on the public gathering places and circulation areas. Potomac Yard already has a public space and public art master plan - representing an effective process of collaborating between the public art program, private development, and other County planning initiatives.
The plan identifies locations for public art projects to be undertaken in the next five years.
Public Art • Public Places 7
What is the Public Art Master Plan?
Public Art • Public Places, Arlington’s Public Art Master
Plan, is a tool for implementing the Public Art Policy that
the Arlington County Board adopted in September 2000.
The Public Art Policy reflects the County’s commitment
to encouraging excellence in the design of public build-
ings, parks, streets, and infrastructure, and it recognizes
that public art, along with architecture, landscape archi-
tecture, urban design, graphic design, and historic pres-
ervation—is one of several tools the County can use to
accommplish this.
Arlington is fortunate to have public art projects that
are commissioned by a variety of sponsors in a range of
locations. The County’s Public Art Policy (as well as this
plan) guides those art projects that require review by
the Public Art Committee and approval by the Arlington
Commission for the Arts—projects initiated by County
departments, by private developers under site plan
agreements and zoning requirements, and by commu-
nity organizations using certain County funds.
This plan is both an agenda for the community—a vision
for how public art can enhance Arlington’s architecture,
gathering places, and landscapes—and a set of processes
that County staff can use to put that agenda into action.
The Components of This Plan
The Public Art Policy (see appendix page 76) calls for the preparation of a master plan, operational guidelines for commissioning projects, and an annual work plan. This master plan is organized into several components, described in subsequent sections.
VISION. This plan sets out a vision for public art in Arlington, as well as basic principles for how public art can be integrated into Arlington’s architecture, gather-ing places, and natural landscapes. The vision, outlined on page 14, builds on ideas already embodied in the County’s vision statement and the direction established by the County’s Public Art Policy.
OPPORTUNITIES. The plan identifies opportunities for art projects that most strongly support this vision for public art. These opportunities are based on an analysis of:
• the visual characteristics, development and landscape patterns, gathering places, and narratives that contribute most strongly to Arlington’s character;
• near-term County capital projects that relate to public services, community facilities, and regional infrastructure;
Public Art • Public Places 9