្មើយនេនបារ្លានេ ឯ្នឝុំតារពុბលស្រ។ ស្រាត់ំតែរើងមើចឹពយ្រាត់លាម្រាម្រាម្រាម្រាម chapters Okay, we're going to get started here. I'm going to call to order the UCARB meeting for Wednesday, February 12th, 2020. And the first order of business is to review the November 13th, 2019 meeting summary and approve those minutes. So those are in the handout, and we'll take a second for that. Okay. I'd like to move to approve the minutes. Before you do that, I think Ed Mackey, I'm not sure which is the correct spelling of his name, but there's McKay on our board still, I guess, and Mackey, and I just didn't want there to be a confusion about who, which, which one that is. Okay. Okay. I'll second. Okay. There's no further discussion. Okay. Do we vote all in favor say aye? Aye. All opposed? No. All right. Minutes approved. Minutes approved. And we're going to move on to the being alive conceptual and final review. Is someone here to present that? Sure, to the podium. Thank you. Hi, there. I'm Christy Stambaugh. I'm the director of aging and disability services at the Lexington Senior Center. And I'm also an ex officio member of the Friends of the Lexington Senior Center. So the Friends is a nonprofit entity, and their intent is to create an art donation program for persons like Kirk, who is one of our participants, who intends to donate a new piece of art to honor the memory of his wife and to honor senior artists from the Lexington community. So the Friends of the Senior Center is largely fundraising, and their whole purpose is to support the operation of the Senior Center and the seniors who use it. And if you've ever been to the Lexington Senior Center, you will see that there's lots and lots of windows, and there's a lot of walls that don't have much of anything on them. And so the intention right from the start of construction was that we would try to have local artists' art on display at various times. So Being Alive was inspired by Kirk, and this is Kirk Klopitzky. Thank you. And he approached us and the Friends and said, I notice how bare the walls are here at the Lexington Center, and I love to come here to work out, and I sure would like to see some art on the walls. And I said, well, boy, do I have a deal for you. So he went out and sought out ten artists, nine of them from the Fayette County community, the tenth person from Scott County. We won't hold that against them. But all of them were over the age of 60 years old. And he looked at some art that already existed, and he asked two artists to potentially conceptualize a likeness of a woman who is active and a dog, and that is the picture that we selected. So Nathan was on our selection committee internally with the Friends of the Lexington Senior Center, myself representing the city, the Senior Center. Nathan, because he knows stuff. And he brought us ten samples. From the ten samples, we chose four. We took those four back to our donor, Kirk, and then he made the selection of the Being Alive. So, of course, Being Alive was one that we selected and thought that it resonated with what we're trying to do at the Senior Center, which is a really active, vibrant place that just because you reach a certain age doesn't mean that life stops being lived. And that's the essence of this piece of art. Great. Thank you. Sure. Well, any questions from members? I do have one question. How much will this weigh, approximately? He said 100 to 150 pounds, and it's steel beam on the wall. There's not a piece of wood or anything at the Senior Center. It's all steel beam construction. All the internal studs are steel. Okay. How will it be mounted to the wall? Nathan, you have any idea? I just do the feel-good stuff. I'm not the technical person. I have not seen the connection types yet, so I can't speak knowledgeably about that. But Gary Bibbs is the artist that's going to do the fabrication. He's, of course, the head of the U.K. Sculpture Department and has been there for many years. In reading through this and not seeing an exact connection type, I would suggest that there be a contingency that that connection type be looked at by an engineer. This is not a very heavy piece, 100 to 150 pounds. Some paintings will weigh that much. The scale of this piece and having steel beam construction as far as the studs gives you something solid to tap into. I think that could be a connection type that Gary could come up with a solution to that fits his piece, present that to an engineer that this body could probably approve it based on that being resolved and presented back to the city prior to installation. Sure. The picture looks like it's over the drywall on the landing. And steel stud structure, typically when there's something mounted, will have wood blocking placed in the wall before the drywall's put up because the steel stud itself is not solid enough. Screws can kind of loosen up in there. So that would just be a concern of mine to make sure that the wall blocking, in wall blocking, is proper and that it can't come loose over time. We can certainly look at the drawings from the construction to see what happened because when the building was first designed, it was supposed to be an artistic wall to begin with, with something mounted on it, and because of many things, one being budget, that kind of got cut out at the final thing. So I think, I don't know for certain, but I know that it was always intended for some kind of something to be up on that wall. Okay. Great. Thank you. Any other questions? I have a question about, does it float away from the wall? Does it float away from the wall, Nathan, do you think? I mean, does it sit tight or is it something that, Because it seems like on the edge there's a, the doorway, there's like a lip. So where this is, as you enter into the building, this is the main staircase, and I'm not sure, did you guys talk about how thick it would be? Yeah. From what I recall of our conversation, it's going to sit as much as eight inches high. Okay. But it's going to be above the pedestrian movement, so it's going to be out of the immediate traffic area, and the pedestrians coming down the stairs. I'm so glad I brought reinforcement. Yeah. Those are all good questions. I remember one of the things I talked to Gary about, is we don't know exactly what the fabrication is behind the wall, and I think, you know, I was kind of surprised that it was going to be 150 pounds, because I don't think that's too great a weight for a general man with a wall to accommodate, but Christian pointed out that we would have an engineer look at it and confirm that, you know, if it's going to be satisfactory. The reason I ask about if it comes away from the wall is, if someone's coming down the stairs and they slip, it could be the right height that someone might grab it. And if they grabbed it, then, you know, just make sure that whatever that anchoring is can hold the additional weight of someone grabbing it. Okay. Any further questions? And anyone want to make a motion, probably contingent upon the structural note? Motion to approve as a conceptual and final design contingent upon the structural backing of the sculpture be evaluated and brought into needed support to support the structure. I'll second. All right. All in favor? Aye. Aye. All opposed? All right. Motion's passed. Congratulations. We'll visit you often with the Prince of the Senior Center. Great. Thank you. Super. Okay. The next order item of business is the Breaking the Bronze Ceiling Artwork Conceptual Review. We have someone here for that. And, Jace, if I can give just a slight bit of background here. This currently what Lisa and friends, both Rob and Eve, their council members, are serving on the executive committee. What Lisa's going to present today is not currently government-owned land, but the intention is that the art will be gifted. The easement will be gifted to the city. The web companies will continue to own the land, but we will have an easement. So we sort of powwowed internally and decided that an art board review was necessary. And Lisa will give you the details. But if you're wondering when you see the location, that's why they're here today. So it's a really preempting installation. Great. Okay. Thanks. I'm Lisa Grover. I'm an architect. I work for LFUCG in the general services division. Eve and Rob are council aides for council members Jennifer Massotti and Kathy Plowman. Back in 2017, council member Massotti read a Time magazine article that described the underrepresentation of women in public art. It's something like 7% of the 5,193 monuments we have in the U.S. represent a female. And so their call to action at that time, in response to that, they created the Breaking the Bronze Ceiling. It's a nonprofit with a goal to bring the first monument that commemorates a woman to Lexington, Kentucky. And in this case, it's representing, it's going to commemorate the 100th anniversary of the 19th amendment, which gave women the right to vote. So there was a call for artists back in July of 2019, and RFQ went out nationally. And there was a great response. They shortlisted four artists. Barbara Grigudis of Tucson, Arizona was the artist who was selected. And as Jennifer mentioned, the site is a piece of property that the web companies, it's at the Lexington Financial Center at the corners of Mill and Vine Street at the backside of the Big Blue. And the web companies will continue to own that, but they've donated the rights for Breaking the Bronze Ceiling to install this monument in that location. And I'm going to just read from the artist's description of the intention of the monuments. So I'm going to take a minute for that. The sculpture is composed with five silhouettes of suffragists. The sculptures are purposefully not identifiable figures, as many, many women were involved in the suffrage movement. The sculpture celebrates the heroic effort by the women of Lexington and Fayette County, as well as the vastness of participation and the monumentality of the achievement on a national level. The silhouettes are recognizably women from the suffrage movement because of the dressing style, including the hat and shoes. The outlines of these figures are clearly from the Victorian era. They are images of the women that secured the right to vote for all of us. The figures are prodigious in size. They're 20 feet tall. This scale creates a monumentality which symbolizes the monumental effort made by women to obtain the right to vote. In this monument, the women are larger than life. The concept for the lineup is inspired by a famous photograph of suffragists in Lexington, Kentucky, to whom this monument is dedicated. The silhouettes of the women form an arc, creating movement and giving the monument momentum and a sense of movement. The three-dimensionality of the work creates a sense of the movement. As I mentioned, the statues stand 20 feet tall. It's an existing planter that they will be located in. Within that, they spread in an arc that takes up about 32 feet. Each one is maybe six feet or so at the bottom. They're a matte aluminum finish, which I brought a sample if anyone is interested in looking up close. This is a polished aluminum, which we went away from. It's going to be the matte finish aluminum. They'll be laser cut with openings that are representative of the lace that the suffragists wore. Then they have an aluminum frame, a tube aluminum frame, that will be anchored down to the concrete foundation. They'll sit on a 12-inch black granite riser. Then around that in the planter, we're working with Parks to define what the landscaping will be. Their initial thoughts were that it would be something no higher than 12 inches. There's no irrigation in the planter, so something that takes little irrigation. They're thinking possibly a carpet juniper will be what surrounds it. If there are any questions, then I'll field those, but that's as much as I have. Thank you for that. I'll open it up for the board with questions. I have a question about the holes that are laser cut in to represent the lace. Are the front and back of the figures like a pizza box and the holes are cut through? Meaning if I had a candy bar that I wanted to stick inside of there and store and come back later, I could do that? Or is there a tube? The size of the holes are not large at all. But yes, it is correct that you would be able to put something through there. There's nothing that prevents. It doesn't block anything from going in. It would fall down. It wouldn't go to the other side. It would not go through. At some of the locations, there's the frame. It could fall down to the frame inside, but that's every few feet. So, yes. I had a similar concern with the holes and birds nesting in the sculptures, if that was going to be a problem. That was something that I asked the artist during the design meetings, that specific question. And she said that her sculpture, she has never had anyone report that that's an issue. That was her response to me. Oh, yeah. There are LED lights that will internally make it glow at night. And I believe if you have the packet, then one of the renderings shows a day view versus a night view. So, is it anticipated that the public can go and walk through the figures? No. How does that... How are the public discouraged from doing that? There is no railing that prevents them, but it's currently a planter that no one walks in. So, there's no intended circulation path within that planter. So, hopefully the landscaping is what is going to prevent anyone from getting up close to it. In these renderings, there's foliage, there's trees in the background. Will that stay, or is that just part of the existing picture? Those trees are existing, and they are near the big blue building. So, yes, they will. And also, the town branch trail, the future town branch trail, runs immediately adjacent to this planter as well. So, there will be more landscaping adjacent to it. So, the trees that are in the planter will remain with the... No, in the existing photo, the trees are already gone because we had to have geotechnical services. So, those small red bloods... I'm sorry, I thought that you meant the trees beyond. Sort of in the background. The ones in the background are against the building. And that stays. And those stay. The ones that are in the existing photograph, those are already gone. Okay. So, the whole planter has a juniper base or some kind of low cover? Carpet, yeah, like a plant carpet. Okay. How much would each of these weigh approximately? I don't have the answer to that, but they are being engineered. And there are stamp drawings. There's a preliminary engineer set at the end of this, in your packet. But we're expecting to receive final stamp drawings at the end of this week. Okay. I tried to read those. They're a little blurry. So, maybe on the, when we go to final submittal, if a clean PDF legible set can be provided. I couldn't make out a lot of the numbers and words. What I can do, too, is provide you all. These act funny and you have to scan them in to make a big PDF. It's a long explanation, but I have in the file from Lisa the actual PDFs. And I'll share that link with the group after the meeting. And then Lisa will share again the final stamp drawings. But I'm happy to share that with you. Okay. And I really like the perforations and the LED potential. I think that could be a really nice effect. But I have a few concerns about if things get in there and how. There will be operable panels at the bottom because we'll have to, on the facilities management end, we're going to have to be able to get into those lamps. So, there are going to be. So, you can get in the cavity of each sculpture? Yes. Okay. So, I want to ask questions about differences in images. Do you have the same package that we have? I know what pages you're on. Okay. So, my first concern about the size of the holes was based on an image on page 47. Because those look much larger. But then if I go back to page 22, those are small. So, then I have no concern that someone's going to push something in there, birds are going to live in there. And that's the one on page 22 seems like a much more final version. Yes, because 47 was her proposal. Okay. Her proposal in the RFQ process. Okay. And that was included in the contract, which was requested as an attachment. But the rendering is much more current. Right. Okay. So, then the question I have. Okay. Yeah, I see Becky's pointing out the date there. The question I have about the rendering on 22, then, is I don't know. I know I've seen that planter. I've walked past it many times. I don't know how people interact with it or sit on the edge of it now. But on page 22, the way the text is put on, it seems like it's cast on pieces of metal and then the whole piece of metal is put in place. Versus in the initial proposal drawing on page 24, it looks like it might be etched in. Yeah, initially she talked about even having individual letters. But because there was a very extensive process in the steering committee to come up with the correct language for this that is appropriate to be inclusive and represent all of the things that the steering committee wanted to represent. And so it ended up being many more words than what she initially proposed. And so that's why it's now kind of more like a plaque, an applied plaque. You're correct. But we're still working with her for what that is going to look like in the final version. But to answer your question about where it is, that corner is probably more like chest height. Oh, good. Okay. Yeah. It's four feet at the largest elevation change, four feet. And then it varies a little bit as you go around. Okay. But, yeah, it's not at seat height. Is the language in the packet somewhere that's going to be on the. It is. Yeah. It's before you. It's after the site plan page. Twenty one. Twenty one. Yeah. Because the site plan does not have the current language. So I included that separate sheet. Thank you. In my understanding, this is for conceptual design only. I'm ready to make a motion. Okay. I'll move that we approve conceptual design for the. Yeah. Breaking the bronze ceiling. Breaking the bronze ceiling proposed sculptures. Very attractive. Thank you. Second. All in favor. Aye. Aye. All opposed. Motion passed. Congratulations. Thank you. Thank you. I am also presenting the next. Yeah. Okay. Lisa, do you quickly want to tell the art board your just remind them in that for the recording the timeline for installation? Yes. We're looking at the actual hundredth anniversary of the ratification of the 19th amendment is August 18th, 2020. So that's when we intend to have the public unveiling the installation. And we're hope her schedule is that it will be installed August 1st. And the timeline back from there is I have a contractor contractor coordination meeting beginning. March 11th is when we'll sit down with the contractors. They are actually all. We've gotten donated work on that end as well. So that's where we are schedule wise. Great. Thank you. Okay. So the next item is the victims of crime monument concept and final review. So. Yes. Is a project that came to our department because. This is an existing. Art that had previously been installed at the historic courthouse. And when that renovation was done, there was an agreement that it would be reinstalled in the future. And so the county attorney has come to our department to remind us that that needed to be reinstalled. And so we found a location at the circuit courthouse on limestone. And it's intended to be installed by April 22nd is crime victims week. And that week in April is crime victims week. And there's a luncheon that the attorney would like for this to be installed by. It's it's an existing concrete or granite. I'm sorry, a granite obelisk that is etched with. Dedicated to all innocent victims of crime. April 1991. We were hoping to have a site that was a little closer to the building because we recognize that that Plaza is used often for lots of functions. So I intended to have it tighter to the building. But the existing utilities there are really problematic. There are lots of sanitary lines that that spill out from the facade of there. So in order to to avoid the utilities, this is the location, the best location to do so. Okay. Just a note, there were multiple art pieces, monuments, sorts of things when we renovated the historic courthouse that were removed from the lawn and put in storage. Myself, a member of the mayor's office and parks and recreation have been working and facilities and fleet have been. They're all safely stored but have been working with various groups to get some of them reinstalled and appropriate locations around Fayette County. And this was one that very early on came through the CAO's office and had support. Went to general services and had support to be reinstalled at this location. This is probably the first of others that you will see that are going to come from storage and be replaced around Fayette County. So that's just an FYI, but the administration has looked at this and gave it its blessing. Is there the potential that other pieces will be in the same area or would that need to be coordinated? It would be coordinated if so and none of them come to mind. I think Heather's been in some of those conversations with me about this particular location. This was the one that was deemed most appropriate for this park. And I had an engineer design the foundation that it will be placed on. And that's page 78 of your packet if you'd like to look at that. And again, if that's too blurry in your packet, then we can get you an updated version because this is the final stamp drawing. Is that on page 78? Is that the engineered part entirely below grade? That gets below the ground? It is correct. Just it seems like a massive footer. It certainly it is a very deep footing. So that's how it's intended to remain. So it is a very deep foundation. It's a very deep footing, but it originally it didn't have any pins or anything or anchors. It's just epoxy set with gravity helping it stay. So that's how it's intended to remain. So it is a very deep foundation. Instead of pouring a separate slab and then having a separate foundation from it. Any further discussion? Questions from the board? Just a question. What is the purpose of this page 77 photo? Is that a perspective? That's before the. That's before. I think it will go right here. It's showing this spot right here. Thank you. Thank you. I'd like to move approval for conceptual and final review for the victims of crime monument. Thank you. All in favor. Aye. All opposed. Motion passed. Congratulations. Thank you. Okay. Which brings us to item six. I was here. Conceptual and final review. Hello, board members. I'm Quinn Welch. I work in the mayor's office and I am the applicant on the I was here project. A little background on. I was here and I'm joined, by the way, by Marjorie guy on right here. A little background on the project. I was here as a public art project. That features images of contemporary African American men. Women and children turned into ancestor spirit portraits. In a collaboration between between Marjorie guy on. And photographer Patrick J. Mitchell. With language from a poem by Nikki Finney interwoven into some of the pieces. These portraits acting as a living memorial to the enslaved persons bought and sold are installed on Roman blinds and windows of businesses across the country. Now a little bit about this particular project. It'll be located in the government center lobby. It'll be about six. It'll be six feet by six feet. The images will be printed on fabric panels hung by an extension rod. It'll take approximately three weeks for the panels to be made. The total cost of the project will be $1,600, which will be funded by a grant through Visit Lex. And maintenance staff will ensure that windows are clean and that the fabric is lightly dusted from regularly. Great, thank you for the description. I'll open it up for questions from the board discussion. Are these some that are created already moving here? Are they new ones? I wasn't sure. There's a set of 21 ancestor spirit portraits. And the original pieces don't travel. So this is actually what one of the tapestries looks like. And I think what we're going to do for you all is one window will be the boy and one window will be the girl. So it's just a set of iconic ancestor spirits. Thank you. Is this a temporary installation or permanent? Is there a timeline? We've talked about that some. I think the idea would be for there not to be any particular date in which it would come down. I think that could be revisited at a later date if we decided to do something else. With the horse being relocated, do we have a relocation of that? That horse is very personal to me. My landlord sponsored it, and it sat in front of my building for the duration of the event. I've always been glad to see it in the lobby. It will stay, if I can speak to that. It will stay in the lobby. We were thinking we'd move it to the opposite side of the lobby by the fireplace. And I'm just curious on the collaboration with Nikki. The language, the poem, are those the words that I'm seeing on the boy and girl fruit, for instance? What's the story there? I can tell you a tiny little bit about the project so you understand how she came into it. It's a nonpartisan, nonpolitical project, but it started the day after the election in 2016 when one of the models, who actually happens to be my friend, came up to my studio and just said, Oh, my God. And I just said, Let's shift the spirit of the country. And so she just kept coming up, and we just kept talking. And one day I was looking out the window of my studio, which overlooks Cheapside, and I said, Ashley, I just blinked, and I got this vision of mothers and children appearing and disappearing. And so she had a little boy, and she brought him up to the studio, and we did a photo shoot. And I'm friends with Nikki, and so I sent her these images, and I said, I'm doing this. And she said, I want to be part of it. And then she came here, and she said, It shouldn't only be mothers and children. It needs to be the scope of humanity. So that's when Patrick came into it, because I took the initial pictures with my cell phone of Ashley and her little boy. And so, anyway, that's how that all happened. Okay. It was completely organically. There was no plan for it at all. Okay. So has she written other poems, and you just took some of the words from that? She wrote a poem for this. For this, and that's where the words, okay. Yeah. Right. Well, there's actually two pieces of writing in this project, and one is Nikki's poem. And the other came much later, and it's a blessing that actually was written by one of the models in the project. So it just seemed like, eventually, like we need a blessing or a prayer to accompany the project. And so he wrote this prayer. It's so beautiful. And so parts of that prayer are also in some of the pieces. Okay. But your piece will have Nikki's poem. Okay. Great. Thank you. Any further questions, comments? All right. I want to make a motion. Do we have a second? I'll second. All those in favor say aye. Aye. All opposed? Motion passed. Congratulations. Thank you all. Appreciate it. Thank you. Okay. And Nathan is going to provide us with an update on the Southland Drive sculptures. Yes. I've already presented for a conceptual review for this project last time and two times ago. I was hoping to come with a final proposal this time. But we have just selected ten sculptures for the Southland Drive initiative. And this was a ten-piece sculpture exhibit along the new sidewalks that are just now finishing up. So we just selected the sculptures. Some of those sculptures were proposals that were selected. Our selection committee consisted of two members from the Southland Association, the engineer that's in charge of the project, Keith Loven, and Heather Lyons. And so we did select ten sculptures by eight artists. And some of those are yet to be produced. So that's why I'm going to have to hold off for another month until I can have renderings. And my goal by the next special session, if we're able to schedule that in March, is to have a connection type, a singular connection type that we would use across all of the sculptures approved by an engineer. And so that likely is going to be half-inch balloon anchors. And I've already presented to you what the concrete pads look like. They're precast from old castle concrete. And we do have those engineered as well. So these will be half-inch balloon anchors that are drilled, set into the concrete, and that we can then put a nut on the top of the – there would be a tab coming off of the sculpture. So they would each have between three and four of those anchors. And we will – the engineering, the way we'll approach it, my goal is to do a maximum height and weight of the sculpture to be connected to this block of concrete. The concrete weighs about – between 34 and 3,700 pounds. So they're quite substantial and can be a solid base. We've used these in the past. So I just wanted to provide an update this time that we have selected sculptures and sculptures, but some of the sculptures are in – just now starting to be produced. So it will be a little bit before I can present the rest of that information to you. Great. Thank you. So we move on to Item 8, the March 2020 special meeting scheduling. Jennifer, if you want to – Yes, so we have – thank you all so much for responding so quickly to my doodle poll. We have confirmed a quorum for March 18th at 3 o'clock, so right where we always meet, right here. And we've reserved the chamber, and LexTV will be here. Nathan, if anything changes, just let me know in terms of a deadline. But I will send that out to everybody. And like I said, we've got a quorum, so we'll meet. And unless I hear from anybody else, that will be the only agenda item. Great. Thank you. Any other business, new business need to be brought up? No? Well, we thank all the members here. And we miss Georgia, but a great bunch of art that came through this time. It was really a privilege to be here and review it. Meeting is adjourned. Thank you. Thank you.