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CONSIDERATION OF THE ARTS AB# I(, 92 0 TITLE:
MTG.m?. COMMISSION’S RECOMMENDATIONS REGARDING
DEPT.
RECOMMENDED ACTION:
CHANGES TO SPLIT PAVILION CITY ARTS
To consider adopting the Arts Commission’s recommendation regarding changes to
Pavilion in accordance with the findings of the Split Pavilion Committee and review
options.
ITEM EXPLANATION
During development of the Split Pavilion, an extensive public process was followed. I
meetings were held with the Housing and Redevelopment Adivsory Committel
Merchants Association, the Arts Commission and various reports and publication:
made available. The concerns expressed during this process were considered by tha
during development of the Split Pavilion design. After the Split Pavilion was constr
in response to public dissatisfaction expressed about Split Pavilion, the Arts Comrr
held two public meetings to receive public input. The Arts Commission devele
recommendation that went to the City Council. On March 17, 1992, the City C
considered the Arts Commission’s recommendation to appoint a committee to wo
artist Andrea Blum.
City Council appointed a fact finding committee with two Council representative
Larson and Margaret Stanton, two Arts Commissioners Laurie Batter and Gary Wren1
a community representative, David Sammons. The charge of the Committee was t
with the artist to 1) communicate response to the artwork; 2) seek a re-examination
artist and the subcommittee of the design and materials of the landscape plantin
other issues; and 3) seek the artist’s cooperation in defining artistically acceptable ct-
Council directed the Arts Commission to return to City Council with a recommend;
The Committee met with artist Andrea Blum on April 16, 1992, to examine at
acceptable changes. The artist agreed to change the landscaping and to !
consider removing the north rails. She was specifically asked and did not a
redesigning the artwork and did not agree to taking down or lowering the rails on C
Boulevard. This information is included in the April 16 transcript of the meeting
artist and the transcripts of the subsequent meetings of the Committee held April
May 4, 1992.
The Arts Commission reviewed the findings of the Committee before ma
recommendation (attached). This agenda bill has been prepared to convey Commission’s recommendation and to give options for City Council consideratioi
Options:
There is a range of options which City Council may wish to consider along with
Commission’s recommendation. The Council may also wish to consider variation$
options. The options are as follows:
e a! * Page 2 of Agenda Bill No. /{720
1. Make No Chanses
I -
The artist designed the project in accordance with the contract with the City.
rights and interest of the parties are defined in the contract. No property interesi
been given to the artist. The artist does have an interest in the preservation o
work as defined in state and federal law. This option can be implemented wil
further discussion between the artist and the City. The artist has fulfilled her pi
the contract to design the artwork which was approved by the City. The City ful
its part of the contract by paying the artist $20,000, plus $5,000 in reimbur:
expenses.
Adopt the Arts Commission Recommendations
The Arts Commission recommended the following: modifying the landsca
seeking the artist’s consent to remove the north-boundary rails once the landsci
is in place, addressing the artist’s concerns regarding workmanship and
declaring the project complete. This recommendation makes all the change
are artistically acceptable to the artist and requires minimal funding. Prior to m
this recommendation, the Arts Commission noted its considerations as listed
recommendations attached.
If Council wishes to adopt the Arts Commission’s recommendations, it may
staff to work with the artist and develop a landscaping plan. The Rotary CIL
offered to purchase and plant the landscape materials. Cost of removing the
end rails is estimated at under $2,000. It is estimated that these changes co
accomplished within 60 days.
It should also be noted that the Engineering Department is aware of the
concerns regarding the finish work. Her concerns related to the sealer coat
concrete and the exposed aggregate finish. The Engineering Department i
to have the problem areas resealed. The Engineering Department has sta
exposed aggregate will remain in its present state. Any changes needed to (
with applicable codes will be implemented by the Engineering Department.
If Council chooses this option it should also direct the City Attorney to formE
understanding between the City and the artist regarding the changes indict
the artist at the April 16, 1992 Split Pavilion Committee meeting.
Adopt the Arts Commission’s Recommendations and In Addition, Rev‘
Artwork in Five Years
In December 1991, the Arts Commission adopted a deaccessioning
(Deaccessioning is defined as the process by which the Arts Corn
recommends approval to oversee the disposal of a work of art from the
Carlsbad’s collection through sale, trade or other public means.) which st;
works of art should be reviewed every five years to determined the conditic
artwork and what artworks, if any, should be deaccessioned.
Additional changes would be considered at that time. Cost of future ch;
unknown.
2.
3.
m *
\ Page 3 of Agenda Bill No. 4 7dD
..
This option is the same as No. 2, but would require a review by the Arts Commi:
in five (5) years.
Modify Split Pavilion Without The Artist’s Consent
Prior to taking action under this option, the City should determine its legal ab?
make modifications without the artist’s consent. Implementing this option will
require legal proceedings to determine the City’s ability to modify the artwor
addition, if it is determined that the City has the ability to modify the artwc
process must be developed to determine what changes should be made. The
and the time to implement this option are unknown at this time.
Remove Split Pavilion Without The Artist’s Consent
Prior to taking action under this option, the City should determine its legal abi
remove the artwork without the artist’s consent. Implementing this option will
require legal proceedings to determine the City’s ability to remove the arl
Assuming the artwork is removed and replaced with sidewalk and gras
estimated cost is $95,000. The removal cost is estimated at $50,000. Constr of sidewalk, installation of anodized aluminum railings and planting of a grasm
is estimated to cost $45,000. The legal costs and time to implement this optic
unknown at this time.
4.
5.
Advisorv Vote
The City Council may desire an advisory vote of Carlsbad voters to ratify the option SE
by the City Council. The advisory vote could occur on the November ballot. The
putting this issue on the ballot is estimated between $2,000 - $2,500. The measurc
voted on would have to be be submitted to the Registrar of Voters by August 7
Arguments of proponents and opponents may be included in voter information as f
under election law. The advisory vote is not binding on the City Council. The (
would have to take additional action to implement the guidance of the voters. If
legally impossible or financially unfeasible to carry out the advisory vote, the Coun
not be able to fully implement the guidance of the voters.
FISCAL IMPACT
The fiscal impact varies with the option selected. Determining the City’s legal ability
unilateral action to modify or remove Split Pavilion is unknown at this time. If evc
went well, the City could expect legal fees of at least $50,000 plus costs. Cost fo
witnesses, travel expenses, reports and transcripts could approach or exceed the
legal fees. If determination of legal issues becomes more complex and extended, t
impact could be much greater. It is impossible to specifically determine ultimate
this time.
EXHIBITS
1. Agenda Bill creating committee
2.
3.
4.
5.
Transcript of April 16, 1992 Committee Meeting with Artist Andrea Blum
Transcript of April 22, 1992 Committee Meeting
Transcript of May 4, 1992 Committee Meeting
Motion adopted by Arts Commission
r
MTG.3/r7/92 - .. DEPT.Arts
1
CI'
PENDING PUBLIC ARTWORKS CI'
RECOMMENDATION REGARDING CHANGES TO
SPUT PAVILION AND REVIEW OF
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CITY OF CARLSBAD - AGEWA BILL
AB# I/,b 00 9TLecONsiDERATiON OF ARTS COMMiSSiON*S DE
RECOMMENDED ACTION:
Consider the recommendation of the Arts Commission to appoint a special subcomn
and accept staff's report of pending public artworks.
ITEM EXPLANATION
The public artwork "Split Pavilion" was completed in February. This piece was created
arts element in the Housing and Redevelopment Agency's Streetscape. Prior to construl
the artist was selected. She developed a design which was approved through a r(
process and the design was then approved for construction as a major component of F
IV of the Streetscape Program.
Dissatisfaction with "Split Pavilion," specifically the landscaping and rails, has been exprc
by a number of residents. It is in response to that dissatisfaction that the Arts Commi
has approved a recommendation, (Exhibit 1). The recommendation includes appoinl
special subcommittee made up of three (3) Arts Commissioners and two (2) addi
members appointed by the Mayor with advice and consultation from the Ctty Council,
subcommittee would communicate the community response to the artwork to the artis
seek a re-examination by the artist and the subcommittee of the design and materials (
landscape plantings and other issues. The subcommittee would seek the artist's coopei
in defining artistically acceptable changes. The recommendation also sugge:
recommended timeline, and recommends that City Council defer any other action on
Pavilion" pending a final report from the Arts Commission.
Additionally, at Council's request, staff has prepared a report of the artworks now in pro!
in the Art in Public Places Program, including projects which have funds appropriate(
have not yet begun (Exhibit 2). -
FISCAL IMPACT
The cost of the artist's expenses to come to Carlsbad and meet with the subcommitte
estimated at $1,000. Funds are available in Engineering Account #811-820-1880-334
changes are recommended, the cost will be determined at that time.
EXHl BITS
1. Recommendation of the Arts Commission dated March 5, 1992
2. Report on Public Art Projects March 1992
,@JT .E?
T- 3;. 5 p, - m
Hal r. Q f <9 & Exhibit No. 1 to Agenda Bill No.
0 0 -
TRANSCRIPT
c
Meeting with Artist Andrea Blum
April 16, 1992 - 9:00 AM
City Council Chamt
1200 Carlsbad Village Drive, Carls
The meeting convened at 9:12 a.m.
Present: Eric Larson, Margaret Stanton, David Sammons, Gary Wrench, Laurie Batter
Andrea Blum
1. Election of Chair
Margaret Stanton nominated Eric Larson as Chair. Gary Wrench seconded. It was appr)
unanimously.
Mr. Larson stated the charges of the Committee. Artist Andrea Blum will make a presenl
regarding her artwork here in the community. She has not seen it completed until April 15,
Then a discussion will commence relaying to her the response of the community to the art
"Our charges as a Committee are to seek a re-examination by the artist and the subcomr
of the design and the materials and the landscaping of the project and to seek the coopei
of the artist on what are artistically acceptable changes. We as a Committee are not ch-
with recommendations for change. We're a fact finding group to find out what the accel
artistic changes are to the artist. We will then give a report on those facts to thc
Commission which is meeting on May 7, 1992 to accept the Committee's report. Thc
Commission will discuss the issue and then make a recommendation to City Council on h
deal with the issue."
II. Presentation of Artwork bv Andrea Blum
The artist stated she felt badly because she worked on something for five years and now t
a lot of feelings of disgruntlement. "I feel its my job to take you through the process on
did what I did and how I feel about it - just so that it turns into some sort of educational
so that there is an understanding of the process which is very important to me.
"Originally when I was invited to do this project, the Commission [reference made to the d
meetings held] I went to asked me to include water in the design, to include an OV~
structure in the design, and to build some sort of barrier and I use that very freely betwc
Ocean Boulevard and the installation. I spent several days here and had a lot of meetins
and I went back and started thinking about what to do. My primary concern at that poi
how do you start designing a piece that's structurally this triangular shape that orien
towards the water. So i thought well if there's a pavilion structure, which would ]
protection from the sun for people who cannot be in the sun, that's a good way to star
determined the height, because one's body, 'the body' determines the height of any st
The height of the pavilion was the given, and how do you have some sort of visual sei
from the Ocean Boulevard which is going to get more and more busy as time goes on wi
Edited April
Exhibit No. 2 to Agenda Bill No.
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L - - April 16, 1992
Meeting with Artist Andrea Blum
Transcript
and exit from the City proper. So my limitations were, if 1 use wood, then the element of wc
is too big and it also rots. Wood is sort of canceled out immediately. So then metal took
place. How can I build a structure that is linear, that uses the smallest pole-like structure,
structure and still engineering wise is efficient? That determined the rail element. So its
cinematic, sense of the scrim, the difference between going by in a car, going by on foot, bc
inside the space. Those are the three primary considerations. I wanted a piece that was ac
by day and by night. I wanted the sense that the ocean reappear on this upper level in the R
so that there is some sort of connection between the street level and the level below and it
becomes this frame back to the ocean. I wanted a shifting of levels so that you do enter
space - it sort of is a gateway - some sort of frame back to the sea. There were a lot of th
I was thinking about, but its sort of difficult to run by them. And also, there is the discussic
what makes something a piece of art. If I could explain every moment of every thought - I (
think that's possible. I think its part of a creative process.
"By no intention did I mean to antagonize anyone here. In fact, I thought I was trying to adc
very directly some of the needs of this community in terms of pass through, in terms of ac
to the beach, in terms of protection, in terms of daylight and nightlife and obviously there's :
concern about that. I'm here just to talk about art. I'm not here to talk about politics, and I
feel I have to defend what I do, because I really believe in what I do. I have made a lot of
around the Country and in Europe and I think part of the notion of public art is you can r
reach consensus. If you try to get a consensus, then I think there's trouble. On the other t
I think its difficult to see something that you've never seen before and say, 'I love it, I wan1
mine, its great'. 1 think that everything is a process. I think that the way this whole prograr
been designed allowed for that process, allowed for that change in terms of all the meeting
we did have. Everyone is not going to be heard obviously if you're not present, so I did thc
I could do. I feel very badly that its problematic. I've thought for the last three months
different ways - what happens if this gets lowered, if that gets removed. The whole pi
designed as a puzzle, and if one thing is taken out then the whole thing goes away.
process of art which is different than any other process is the idea gets thought about, sc
a very logical way, some you think that way. I am who I am and I design things the wal
and I came with that before-hand. My sensibility was very known to the Commissioi
selected me beforehand. Its not that what I did was so different in some way than I've eve
work before."
Mr. Larson asked if there were questions from the Committee on Ms. Blum's commen'
continued, "You mentioned your thoughts and what went into this artwork. As we go o
probably be asking some specific things, about why certain things are exactly why they i
so don't feel badly that you're not giving us all your thoughts right now. It will be up tc
draw some of that out and find out. Gary Wrench is going to give a response regard
acceptance of the work here in the City and some observations that he has."
Mr. Wrench stated as follows: "I've been asked to summarize the community response
think is a formidable assignment. The community has been responding for a number of
now, and I can hardly remember any incident over the life of the City which has evoke
Edited Apri
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. Meeting with Artist Andrea Blum
April 16, 1992
Transcript
now, and I can hardly remember any incident over the life of the City which has evoked m
response, but I will try. I have gone through my files of the published materials, the letters, nc
I kept of the public hearings and I will try to digest the basic themes which have occurred ir
of those hearings for you. Many of the responses, let me say, involve the art and the artist,
many do not. There has been much response from the community that clearly has to do
feelings about the City's priorities, feelings about the process, feelings about responsivenes
City officials to citizen input, to alternative uses which should have been made or could t
been made for this site. The accuracy of communication has been brought under attack
cost, the appropriateness of the cost, [given other circumstances], interruptions to the bush
and on and on. I think that is not our purpose to get into those, and I will avoid comment a
those issues. If they are issues, I think they're properly to be addressed by the City Counc
other forums, But I think that's not the purpose of this Committee today. They don't involw
artist per se.
"In talking about the feelings about the art itself, it kind of spans an entire continuum. I1
plotted it, it would be a Gaussian distribution with some people way off on one end for and I
people way off on the other end hard against and it might be tilted, not the normal distrib
curve, but there is a continuum. It spans the range of love it, hate it and a lot of stuff in betv
With a lot of the citizen input I have been really impressed with how cogent and well reas
the arguments on both sides have been made. There are some wonderful extemporar
speakers in the City. There have been some humerous comments, a great deal of emo
comment and I think I would have to characterize a great deal of the comment as F
hysterical.
"Getting into the categories of reaction - there are people who unqualifiedly support the ar
love it just as it is - who think it's terrific and who either because of having tracked the pr
or without having tracked the process think its fine just the way it is. They look at it and tht
yes, she accomplished her purpose and the art is a good piece and I like it. There are
people that say that.
"There is another group that support it on principle. They say well, I'm not necessarily pass
about it, but I'm certainly opposed to censorship. I certainly respect the integrity of art a
artist's wishes, and so I support it on principle. And perhaps I will grow to love it. I dol
passionate about it now, but that's the history of art and artworks and over the years p
I will grow to like it or perhaps not. But at least I will keep an open mind.
"Then we move into a very sizeable category of support or comment which is kind of a ql
support. They say well, I generally like it, and it is generally okay except .... . They say,
for this and except for that. One of the most common objections by those who havc
degree of openness has to do with the landscaping. There are people who have said thl
it was grass - that is to say lawn. Some wish it were a little more bushy, a little more lu
Some wish it were higher, Some say the artist intended for it to be planar (it's a very pl
angular piece) and if it's to be a low, flat area then at least it should be some other mater
the iceplant that was selected, A very large group of the people who have particular o
Edited April
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- Meeting with Artist Andrea Blum
April 16, 1992
Transcript
to the landscaping have expressed the feeling that almost anything except the old style sea
or what some call ‘pickleweed’ would be better. People say that given the alternatives availa to landscape architects these days, almost no one knowledgeable in Southern California is rE
using that kind of landscape material any more. It’s a kind of archaic one and they point oui
being removed and discontinued from service by CALTRANS and people that are planting m
public parks. I think we have to note that the objection to the particular landscaping is a m
source of concern and I think there are many people who would give it a much stronger vot
confidence were that adjusted.
“There seems to be another category who are swayed by their feelings or whose feelings dt
from the fact that the project simply doesn’t match what they expected. It didn’t come out ir
way they had in their mind’s eye. This is a very difficult area to deal with, but it seems
mind’s eye view of what they thought might be there could have been influenced by some c
names given to the project in the early days. Early names used for it were Streetscar
sculpture park and I think people perhaps didn’t know what Streetscape meant. It sound!
landscape so is it to be a landscape project? If it was to be a sculpture park, where arc
picnic tables? If it was to have a sculoture element, where are the statues? If it was to be ai
where were the frescos, the murals or the mosaics? And somehow, if they had this mind -
seems to have been a disappointment or an upset to their mind’s eye view. So they say,
is it? Part of the problem seems to be that it doesn’t fit into a category that people unders
I feel that a fair amount of the reaction and negative response seems to flow from a la
understanding of whether this is art or architecture and, if it’s architecture is it a combinati
structure and landscape architecture or is it art and something different? I think we’re
awkward area for many of us who are not quite clear where that fits. That’s sort of movin
a large part of the middle ground - those who are still open to qualified support except fc
“Then we come to another design element which has attracted a great amount of objectior
bars. The single greatest rallying component probably, for the opponents of this project ?
bars. What is it that’s objectionable about the bars? One theme is that they block the L
think probably a theme that has been articulated very ably and very well and very persistc
that bars are negative. I found that in my notes on numerous occasions from s
spokesmen. That somehow people have negative associations with bars - associated wit
with cages, with crowd control, with the barriers at the Houston Street Subway Stop in Ne.
City or the upper West side, just West of Harlem. They say is this right for here? 1
associated with dangerous animals whether they‘re human or otherwise. They’re regarc
industrial material as executed. They’re thought of as unfriendly and perhaps somethin!
appropriate to big cities and not appropriate to a seaside village. The negativism
galvanized steel bars has been a substantial rallying point. The idea of a screen ’
galvanized steel bars has really gotten substantial negative reaction.
“On the other hand, are thoughts by some of the more moderate people who are
moderately opposed or qualified on support. Many people have expressed a surpri
pleasure at the feeling of separation which the fence provides when you’re on the oceaff
them. This is a surprisingly universal comment, You could almost think the opposition f
Edited April
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- Meeting with Artist Andrea Blum
April 16, 1992
Transcript
two camps - those who view it from the street side going by in their cars, walking by or jog!
by or whatever, and those who walk by on the ocean side of the project. It's a very unive reaction to say 'ah, its really quite different over here, I can't explain it clearly - it doesn'l
anything physical to impair the noise, dust or even the view, but there is a feeling'. This c
group of people in this middle ground say that well, we really kind of accept the idea of a scr
but does it have to be galvanized pipe? People have remarked favorably on the shadows. 1
like the idea of the shadows and the play of light that the screening provides, but does it t
to be galvanized pipe? Wood has been suggested. You've addressed that. What about c
metallic shapes? There are conventionally available shapes. There are T-bar sections, I-b
sections, extruded triangles. Extrusions can be had in virtually any shape. Those types of is
have come up with regard to the screen - with regard to alternatives to the bars."
"Some of the objections that people have in searching what it is that bothers them about
maybe its too tall. Can it be shorter? Can it be a different color? But I think the heart c
matter goes to the negativity and to the negative feelings that flow from the use of the galva
steel in such a large diameter. It sort of matches the cage syndrome. That's a very largc
of the middle ground.
"Way out on the extreme opposition side, there are those who perhaps have cultivated tas
art and who simply hate it as art. And that is a legitimate feeling and we've all seen art like
There are others who have been thoughtful enough to say that its simply inappropriate fl
site. A quote I wrote down from an early meeting, 'The artist really doesn't understand the 1
ambiance'. The sense is ...I It may be good art, but its all wrong for that site and its incomp
for its surroundings.'. As the weeks and the months go by we cycle through the continu
opposition."
Mr. Larson then asked members of the Committee if they had anything they wanted to st:
that same subject.
Ms. Stanton replied that based upon the letters that she has read that have come in
Council Office, she thought Mr. Wrench had articulated very well the concerns of the comn
"It might help me and maybe others that are present if you would talk a little bit about thc
as pieces of a puzzle, and how they fit together - as the benches opposed to the troi
opposed to the height of the bars and the height of the pavilion."
Ms. Blum responded that the given is the body. "Whatever structure that was there had ti
for the body to engage with. A bench height is a standard height - it's 18 inches ul
depressions in the troughs are the absence of the bench, so they're 18 inches deep.
have the positive/negative. The framing towards the ocean and along the pass througt
ocean where it wasn't too crimped or it wasn't too generalized determined the openings
the ocean of the paths. If for example, the pavilion, which had to be at the 8 foot height, (i
it was higher - but I lowered it), in order for it to visually make sense and conceptuall
sense, then the other elements that were above grade had to be that height which dett
the rail along the Ocean Boulevard. If lets say, the rail along the Ocean Boulevard were
Edited April
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- Meeting with Artist Andrea Blum
Transcript
high, then (1) it visually cuts your view because it's within your body range - it splits it, You (
see that along the lower rail further south along the highway when you're in a car. You can't !
the ocean as it blocks out that space. To simplify the structure, and when you simplify
structure you allow for other things to happen - natural things to happen - light, shadow. '
don't confuse the issue. By keeping the structure very minimal, then it was easier to read sc
of the things that come out of it. By shifting heights back and forth, it becomes a hodge poc
it doesn't visually hold together. In this piece, the dimensions of the bench - originally on
lower deck there were water troughs but there was some concern that people would walk
them when they rounded that corner so I made them into bench structures - so it was just lif
up what had been depressed initially. There is a scale relationship in relationship to the bc
Ms. Batter stated, "It would help also if you explain the relationship of the height of the scrim
the spacing of the bars, etc., and how that relates to the pavilion itself."
Ms. Blum stated the scrim was eight feet high along the street. "When it turns toward the 01
it flips. It's still vertical and then the top part of the pavilion is at an 8 foot elevation. So its
the same plane that goes in one direction and flips and goes into the other direction." She
responded to Mr. Wrench about the shape of the bar. "We used to my knowledge, I'm nc
engineer so this is sort of handed over to Engineering. We used the smallest bar possible
would physically and structurally be safe, be sound. In making it round, I wanted it round si
because it reflects the light more. If it's a shape like a square or an I-beam shape or a trian
shape, then there's always something in shadow which would also become more structura
the circular form was about reflection. The size was the minimum size we could use t
knowledge. I did not want a heavy bar. The distance between was the smallest distance \r
could provide this sequential cinematic effect, but also was safe so that your head cannc
caught in it and also be structural. I did not want a horizontal on the bottom, I wanted to gc
into the vertical wall. Because if it were horizontal, it becomes more of a block - a visual
even though it doesn't block anything it just stays in the mind more as a visual block. TI
the structural, the engineering, as well as the aesthetic. Things had to be shifted to be saf
my desire was to have the smallest dimension circular post possible."
Mr. Sammons stated that they talked at length about this issue and Ms. Blum's statement. I'
you tell us about this right before the fabrication this summer, that a sample of the bar ai
finish was brought to the site?"
Ms. Blum replied, "I think they had made the outside diameter [Richard Cook can confii
inch and a half possibly up to an inch and three quarters and it was horrible. It was reall)
and it was a painted finish and it looked like a painted finish. It looked tacky. It looked E
scrape off and easily chewed up and it was too bulky. I asked what was the smallest tl
could do? As I recall it was an inch and a quarter OD and they could work on the strer
the rail on the interior - its a thicker wall. That's what I recall. I've not been out with a I
did notice you [refering to Mr. Sammons] out there last night with a ruler. They [engi
understood what my concern was. And, also its about the distance between as well
diameter of the individual rail. That's also part of the puzzle. You design something - I
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you engineer it, and how do you do it so it stands? I have nothing invested in an inch and i
or an inch and a quarter. I just wanted the smallest."
Mr. Sammons replied, "But in your concept of this piece, you felt that an inch and a half, inct
five eighths was too bulky. And if I'm understanding this and you were told an inch and a qL
tubing would be structurally sound - that was what they were planning to go for and as
looked at the piece, you imagined it an inch and a quarter, because as you imagined it an
and five eighths or an inch and a half was too big and too bulky for these upright piec
tubing."
Ms. Blum stated what she imagined was smaller, was closer together and asked wh:
measurement was. "I came in and out about seven times during construction and aboi
times prior to construction. I know that when we met with Dick Cook, that it was, 'make
smallest you can make it that is structurally sound'."
Mr. Sammons replied that maybe this was where he did not quite understand. He stated h
a machinist and did things to a tolerance. "I deal within thousandths of an inch - tolera
deal with. As an artist looking at my design and my concept, I would have certain tolerancc
I would want also. Having stated you were worried about the bulkiness, you basically chalk
us last night in your comments that bar is an inch and a quarter and a few of us c
Committee looked at each other and said we don't think so. My curiosity was aroused
took my vernier calipers down there and measured it. And basically what the tubing is, is a
and five eighths plus forty thousandths for the galvanized coating. That doesn't sound likj
forty thousandths and inch and five eighths from an inch and a quarter, but what I'm drb
is the amount of tolerance in your mind as the artist that's allowable. Again, it doesn't sou
a lot, but that is a 25 percent tolerance on what you thought was acceptable and wh
thought is too bulky. In your mind then, is most of your creative work allowable to 25 pel
Ms. Blum stated she felt that was an unfair question. "I wanted the smallest they coi
That's all I wanted. As far as I know, they did the smallest they could do given the spacir
given the type of structure they had to do. This is a question for the engineers. My wor
not allow for 25 percent tolerance. But at a certain point, especially when working on a
site, you do have to consider the logistics of the engineering. So at a certain point
brought over into another realm that's beyond aesthetics. What they actually dic
conversation that should be held with Richard Cook. What I do understand is tha
importantly than the actual, fractional addition or subtraction on the rails, is a sense
hardness. This gets back to what Mr. Wrench was talking about earlier in terms
landscape. In terms of that being a concern."
At this point, Mr. Larson asked if Committee Members had any other questions regarding
of materials.
Ms. Stanton asked about all the materials, and how Ms. Blum feels since she is seeing it
its final form - about all the materials, the cement, the bars, the width of the bars.
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Ms. Blum responded that her sense of the piece yesterday, quite honestly she does lik
"Something happened in terms of the landscape where I tnink it needs a lot of work. The fii
work on the concrete in terms of sealers and stuff needs to be cleaned up. It's a little slol
I think that the landscaping in terms ... there used to be water and there used to be light on
lower deck. That had to be removed. And again it fits right into the puzzle. Because that
to be changed and the other elements hadn't been changed, it all needed adjustment. In sei
it yesterday, the landscaping doesn't work. In fact, the landscaping has to be much more
and more developed than it is now. What I envisioned in terms of that, I think it makes it a
too cool. There's a lot of flexibility. I was walking on the beach this morning and noticing
people had done things, and there's a sense of beauty and very impressive. Some of that
piece needs in terms of landscape which would then soften some of the other element
doesn't look quite finished, all the hardware's exposed. I think that would be a wond
addition. I think there are people who are out here and we could work together because
have knowledge, and I don't in that respect. I think that will sort of soften the whole sense c
entrance and soften the sense of the rail and compliment the concrete. It would be much I
lush, much more seductive. It would look better."
Ms. Stanton asked if Ms. Blum would be agreeable to having a landscape design that mig
different than what is there now. Ms. Blum replied she'd welcome it. Ms. Stanton also as1
it would be still a flat kind of landscaping or would it be low.
Ms. Blum replied, "You wouldn't want anything higher than two feet because then you gc
a blocking. I realize nature is not that uniform, so I would think there would be a range of
materials. The grasses here are beautiful, the succulents here are beautiful. I'm no
interested in flowers, I'm interested in plants. I think there is a range. You have those b
I think that within a low two foot there's a modulation that naturally, unfortunately will take
and things could pop up beyond that obviously, but it would be varied."
Mr. Larson asked what role Ms. Blum would want to play in the landscaping change. "D
want to take a look at a landscaping plan? What's your expertise in landscaping? Do yc
that the City perhaps can use its own landscape architect and kind of freehand do that
your parameters of two feet of high?"
Ms. Blum responded she has no expertise in landscape architecture. There's a certain
a certain feel and I would like to discuss with who's going to do it and I would like to look
plans and discuss it with whoever is going to do the design. I don't think I'm capable of
that design. I'm not a landscape architect. I'm sure there's someone from the City or SOI
else you know that would a much better job."
Chair Larson stated that the acceptable change to Ms. Blum would be to have a dialog1
the landscape architect to discuss materials, textures, height, placement of shrub
succulents in a generic sense. "Once a plan is done take a look at it and see the layout c
perhaps get some exposure to what those materials are as opposed to just a drawin
landscape architect's plan. You'd probably want to see the plant materials selected."
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Ms. Blum replied she'd like discuss it. "It's like everything else. The person who design
going to have a certain taste and I'm going to have a certain taste and maybe its very difl
from that person, and so there's a discussion."
Mr. Larson then stated, "You understand we'll have some limitations because we're bein<
specific that it be drought tolerant materials, perhaps some natives in that regard."
Mr. Wrench stated he thought the Committee understood, but just to make sure it's said c'
"to clarify your concept Andrea, you would permit a variety of plants. You're not lookii
u nif or m ity .I'
Ms. Blum stated that she wanted to make people happy. She wanted to feel good abo
piece in its entirety. "I designed it as a planar landscape theme and it doesn't work. Fortur
because its removable, a variate scheme can certainly be designed for this."
Mr. Larson asked for Committee comments or questions about the landscaping.
Ms. Stanton stated she would like to add that a change in the landscaping will certainly
the entire piece because as it is with planes, changing the plane in a more curvy, soft wi
different heights of landscaping will go along way to do that.
Ms. Blum stated what she thought would look nice is, ''that when you enter it, it then rein
the whole structure of the pavilion, because you're sort of walking through this area that i?
more natural. I viewed it differently, but I think this would be a nice addition to it."
Mr. Larson moved the issue back to the materials. There are a lot of questions asked ab
materials. He asked Ms. Blum if she was satisfied with the selection of materials even I
not completely satisfied with the workmanship - the coating on the concrete, the color
concrete, galvanized versus painted bars. Are the materials themselves as she expecte
Mr. Wrench asked that just in the interest of the full exploration of the possibilities, "I und
your point Andrea about the lack of shadow provided by a round shape as compared tc
an I-beam or T-bar shape. How bad would a T-bar shape or I-beam shape be? They'rl
apart, I don't think there's really any time of day, possibly one right overhead, but it woulc
be one part of a bar shadowing another part of a bar. It seems to me engineering wise
dimension of these things would probably exceed an inch and a quarter. Bars could bt
There's catalog stuff, but if necessary you could specify I-beam or T-beam sections with i
thickness in order to get the strength. It seems to me that an I-beam section or T-beam
put at alternating would have the possibility of preserving the scrim concept but avoic
negativity of the jail, the cage, the crowd control. I would be interested in your reaction
Ms. Blum stated that ultimately whatever shape the rail would have it's still is the same
terms of the whole piece. "Be it round or square, the issue is the rail - not the shape of
The circular is more reflective. It dissipates the structure more than something that has
a regulated shape."
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Mr. Larson stated that on the rails, he felt at a little bit of a loss and this was something t
were going to have to ask someone else regarding the rails and the diameter.
Ms. Stanton had a question about this issue. "Your intent was to have the smallest, thinnest
possible?" Ms. Slum replied her intent was to have the smallest diameter rail that woulc
galvanized with a distance that was small enough that would provide the sense of the scrim
be cinematic. Ms. Stanton further asked, "If in fact there could be rails that were smaller 1
one and five-eighths inch, would that be acceptable?"
Ms. Blum answered it would be something she would have to look at. "There's more invc
than just the vertical. There's the horizontal, there's also what holds the pavilion, what hold:
flat ends, the whole connecting mechanism. So I can't off the top of my head say yes. It
connected. It all would have to be looked at." Ms. Stanton asked if Ms. Blum would be w
to look at this if we [the City], could find rails that were smaller in diameter that would work.
Slum replied, "You would have to realize that the distance would also shift between them
not sure what you'd be gaining by that."
Mr. Larson stated that this was an engineering question. That what is there is a product c
Blum wanting the smallest diameter rail, not having them so close together that someone
get their head stuck and be structurally sound at that height. "Any changes in those is go1
be an engineering change. Someone other than the Committee is going to have to ask
questions."
Mr. Sammons asked about the eight foot level requirement in the pavilion area. "You state
whatever the body, the 'given body' height is what set the height of the pavilion area. Is
discretionary?"
Ms. Blum answered, "It's a displacement of the room. An eight foot high room is what i
used to in interior contacts. So by bringing it outdoors it's displacement of the room i
outdoor, public setting. Not like, a 6'6 clearance, it's an architectural/body relationship.
Mr. Sammons further stated, "So in your concept, this 8 foot level is what you were strivi
So the fact that it's ten feet in the pavilion area, explain this difference."
Mr. Wrench interjected that there is a scale consideration in effect when an area is meant
three people, ten people, crowds. The ceiling ascends in balance.
Ms. Blum stated, "When you move something outside, the scale has to shift." She cant-
recall the exact measurements done in 1987. The site has a shifting elevation, bench heis
height, to take the room outside and still make it airy enough.
Mr. Sammons stated that he is having difficulty understanding thatameasurements chan!
eight feet to ten feet. "Conceptual statements seem to apply to any situation. This is the
problem that the citizenry of Carlsbad has. We maybe don't understand the process of ai
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mind during design. In 1987 the details were: this will be a pavilion area, white enameled, I
and green. Going by comments you made last evening, I can only gather that as this proc
goes on, you're free to do with the piece what you think is appropriate as it is built. For exan
the color of the bars; you said, 'As it went up and began to go together, the white began to
cheap to me, so we went with the galvanized.'."
Ms. Blum replied, "On the drawings the bars were specified to be painted, and the color wi
be determined at the time of installation. We put in that as a parameter, because it's r
expensive to paint than to galvanize."
Mr. Sammons further stated that he didn't want to belabor that particular item. "But this w
relayed to the people of Carlsbad, they were told white enamel bars. We struggle witk
process and with your freedom to make these types of changes from concept to complf
Can you address that? You stated last night that you visited seven or eight times d
construction. When someone asked wasn't it hard not to be there for all the decisions, yo^
you were there for most of the on-site decisions, but with every piece that you build you likc
surprise when you see it completed."
Ms. Blum responded that he was confusing two issues. 'The element of surprise i
discovering that something planned at 60 feet has become 90 feet, but in noticing the elei
that are really appealing. In the process of design, thinking about a project and after it's
those can be really different things. In terms of any alterations that had to take place, loo
drawings were done seven years ago and during construction we found out that somethip
to be put over the water troughs because some people had become concerned over
issues. There was nothing in the design that had to be changed that was not brought I
the Arts Commission in terms of the color of the concrete, reduction of "designy" elements
piece. Nothing was done on the spur of the moment at my own whim."
Ms. Batter asked Ms. Blum to speak about why she felt it was necessary to make thc
changes. Ms. Blum answered, "There were patterns in the concrete and in the trellis whic
both curvilineal." As 1 looked at it I decided it looked decorative and lacking in substanl
could no longer defend it in my own mind. Between 1987 and 1990 all my work und
simplification. Part of that process was to think about the structure and its relationship,
changed the color because it didn't have much meaning for me.
Mr. Wrench asked for her thoughts on the difference between art and architectur
understood that architecture deals in dimensions and plans and specifications, while in
discuss matters of taste, style and artistic judgement. "How do you approach
Architecture?" Ms. Blum said her interest is in making work which "falls through the crac
is difficult to define if one understands art as the sculpture on the pedestal and architec
providing the places where we live and go to work, with certain functional, practical nee(
interest is in using the language of architecture, its materiality, its relationship to a huma
and moving the art context out from the institutional site to "the site of the street". "Wherc
in as an artist is in this mixing of terms. A personal belief is that once things are defined
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less room for movement. It's important in our culture to have art enter a community and infl
everyone, not just the art-privileged. So I try to use familiar materials within our architect
environment and just changing what it looks like so that art does not become somethinc
'placed on a pedestal' but is involved in the communication process for more people. It's
about not being definite. I'm very clear about what I'm doing. Within the different contc
makes someone think, 'Well this is not that, but it's like that.' Does that answer your questii
Mr. Wrench replied, "I think I conclude that we all have trouble defining the difference." Ms. E
pointed out she did not have to deal with the practical, physical needs an architect does.
Ms. Batter raised the issue expressed in the comment, 'Ithe artist didn't display a feel fo
beach ambiance" and asked the artist to explain how the piece relates to the beach ambiz
Ms. Blum stated she has lived at the beach during some of her adult life and recognize:
special beauty of this beach. 'The orientation of the project is towards the ocean. The wa
the project was designed to bring that connection to the ocean up to the blufftop level. I
look along the basin to the ocean, it's all on the same level. Also the light and shadow elerr
the changing patterns are meant to express the progression of the day, which has always
part of my work. The piece addresses the day life and the night life as well as being struct
designed to orient itself towards the ocean."
Mr. Sammons outlined past comments on the charge the artist was given to create the sepa
between the street and the useful part of the pavilion and the need for the height. He i
about the section of railing that angles off from the north toward the west. Ms. Blum respo
"Let's put it this way. I would like to develop the landscape scheme and I realize that ther
restaurant there and I realize that the way it looks now is terrible. And I would like to first F
landscaping in before that particular section is removed. I think it determines ... i mean, it':
for me to say that, because I designed it as a way to enclose the space but I also undei
that it's a problem for many of the people, and that's in fact where some of the argument
from. So I would like to have someone work on the landscape scheme. So the notion oft
on the Ocean Boulevard side as a facade gets worked into whatever happens with the land
scheme and I would be open to discuss having that section of it taken down."
Mr. Larson clarified, "So if one of the charges given the landscape architect is to attemp
something that makes that section unnecessary, you're open to that as a potential arti
acceptable change."
Ms. Blum responded, "I think so, yeah."
Chair Larson asked if there was any comment from the Committee on that particular aspe
Stanton said she understands the logic behind the abstract screen. "Would it work if y bars and the absence of bars, cut down the number and spaced them differently?" M(
said she had considered that over the last several months and she feels strongly 1
consistent rail draws less attention that if the rail was altered in that manner, where it bc
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more decorative and the decorative element heightens tension. And what would change il
engineering? As a design alteration it would become too self-conscious and she thinks it H
be worse. With a more fecund landscape scheme, a lot of the hardness of the project, v
seems to be the major concern, will get softened a lot.
Ms. Stanton asked even if was altered to one bar-no bar-one bar-no bar, evenly spaced.
artist replied, "But then you miss out on the whole notion of it, you're eliminating one part
I've changed this piece for structural reasons during the course of it. And the landscaping
is a good solution and considering the removal of that other section is a good solution. I
take the whole piece down, removing all of that, there's no piece left." "
Mr. Sammons asked if she felt the same way when they eliminated for practical reasons
of the initial things that were included.
Ms. Blum responded that the change of the troughs to benches was negligible "They ai
same thing to me; I know that sounds a little sick. The pavilion and the rail structure ar
middle section is really the structural core of the piece and the trough-to-bench is re
secondary design concern."
Mr. Sammons expressed that he has difficulty differentiating between primary and secc
concerns and so do the people of Carlsbad. Ms. Blum said she can understand that an
there are certain answers that make no sense, which might be her inability to communica
feelings and sense of logic in her relationship to the world as an artist. At a certain poi
becomes a personal conversation that doesn't make sense on paper.
Mr. Sammons asked her to explain the provision of her contract with the City which allor
changes in the piece as the project advanced. Ms. Blum asked for clarification: "You're
what is written in my contract that gives permission ta alter the design?
He said, "Yes, if you could just tell me exactly how that works as far as, as the piece goes (
you're allowed to make changes by how your overall work has changed."
Ms. Blum stated that the work had not changed that much. "The model of the piece
identically represents it, The architectural drawings didn't change. The only thing tl
change was the surface pouring of the concrete, which didn't need drawings. Nothin!
changed that's not on the drawings." Mr. Sammons asked if the City had the drawings B
Stanton said she was sure it did. He said the pavilion is ten feet tall in the drawings, thc
are gone in the drawings. Ms. Blum pointed out that the pavilion is dropped one foot fi
drawings, she doesn't know the exact inches, feet. Mr. Sammons asked if inches and fe
important to her and she responded, "Yes, it's very important to me, it's extremely impc
me, it's so important that in fact I thought, this is too high. It doesn't need to be that h
I would like to drop it one foot.' And I spoke to Connie and I don't know if it's on the d
or not."
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Chair Larson reminded the Committee of its charge to discuss artistically acceptable char
that's all that it has been charged. They have discussed the railings, which is the largesl
the community relates to. "We've reached some consensus on thinner rails, if engineering
it works and we've talked about the north end based on the landscaping. Absent thost
items, are there artistically acceptable changes to you in the current appearance of the ra
they are there today?"
Ms. Blum asked, "In other words, do I want to take the whole piece down?" (Applause).
Mr. Larson replied, "I wanted to make sure that we fulfill our charge and make a cc
response to the Arts Commission. That there is no question left unasked. And I just wan
ask that specifically."
Ms. Batter asked to add to that the possible painting of the railings. "Some people had ind
that if it was a different color it might seem less obstructive. Is that acceptable to you?"
Ms. Blum replied that part of the reason for not painting it is that paint can be scrap'
"There's a coating process and it looks tacky, because it makes it much more prominen
Mr. Larson returned to his question. "It's very obvious to you that the rails are what have bi
us together, not the diameter of the rails or the railing at the north end." The artist resp
that she thinks no matter what she had done or someone else had done, they would havt
here today.
Mr. Wrench asked for her answer to the question posed. Ms. Blum said, "Yes, I will char
landscaping. Is that the question posed?" She said she's not sure she understands.
Chair Larson itemized that they had discussed the height, the spacings, he was asking
precise answer for the Arts Commission. Ms. Blum asked, "Do you want me to say tl
removal of the rail and the pavilion is not acceptable to me as an artist? Is that what yo
me to answer?"
Mr. Larson said, "Yes, we need to ask you what the artistically acceptable changes are;
are none."
Ms. Blum stated, "The artistically acceptable changes are to change the landscaping an
the landscaping is changed, to look at the north end rails, which I would consider $
removing. Those are the artistic changes."
Chair Larson asked the Committee for questions or comments. He stated that he thir
have explored fairly well the subjects required. He had a couple of other questions and s
appreciated her bluntness concerning the artistically acceptable changes. He asked
would be any consideration on her part for a redesign of the project.
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Ms. Blum replied, "No. Part of the reason is that I spent many months working on this and
the course of five years have thought about it a great deal. And I must say that though I res
the input from the community, 1 have been harassed at my home at night. I have had rr really have been mistreated as a person, which is different in some ways than just the art.
I think it's really been unfortunate and part of my reason. I would not redesign somethin(
I've already designed."
Chair Larson replied, "I would like to apologize for the City of Carlsbad in the fact that
things have happened to you, because I think it's really a shame. It is really not typical
way the City of Carlsbad does business and it's really unfortunate that people felt compel
make those comments. It's very unfortunate that people felt compelled to pass around a pel
home phone number knowing full well that the only intention of that was harassment, whr
reality is we hired you to do a job. We gave you some criteria to perform that work ai
work was done. And if there is a problem with the work and acceptance in the community
something we have to deal with as a community, and we will. We'll work our way throu!
and we'll deal with it, and we're not too sure what the solution to that is. But I really feel b<
the personal portion of that took place and I hope you accept our apology and that the [
who did that would think better of such an activity the next time around, because the
nothing personal about it. It was a business contract between the City and yourself to F
the work. But the reason for the redesign question was, if you had the opportunity to sta
ground zero, if there was something else that you might have thought of in the time
passed, with that site, or any changes that might take place. You've explained how al
elements work together."
Ms. Blum said that there may be five or six different ideas at first, and the artist gradually f
on one. Regarding redesign, she just thinks she couldn't do that here.
Chair Larson noted that the work does have an architectural impact on the commur
invited other Committee comments.
Mr. Sammons stated that he appreciated the artist's time, interest and concern for the I
here. His own role on the Committee is representing the citizens of Carlsbad. In twc
years he's seen a lot of things change; this process is by no means over, and he ask
take back with her a consideration that Carlsbad is a way of life. 'There is a certain fee
reason why people come to Carlsbad. In North County we are the gem, the shining 5
other city can compete with the sense of community here. Secondly, remember how c
are to our coast. All of us who live here go to the beach. It's an important part of
Understand also that maybe you are in a unique situation with your piece in that you're
competition down there in art with probably the greatest artist this or any other world
known. As Carlsbad people, we're used to seeing that sunset on the ocean every n
saying, 'Look where I live. Look what I've got.' every night. People on the other coasi
midwest don't have that. These are some of the thinkings that gohto the mindset of (
people. I hope that as this process continues that you will keep that factor in mind.
lot of that thinking went into your thought process - in the design of it. But it's differ1
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you've lived here, and live here full time. Try and keep an open mind. We understand wha
were charged to do, we understand you did it. I hope that some sort of an equi
arrangement can be worked out."
Ms. Blum responded that she thinks she has kept an open mind about this situation. She tl
that "you still have your sunset, the whole piece is directed towards the ocean, the whole
is about framing the ocean, framing that vista, allowing a seating area for people to do wha
like there. I didn't take that away. One piece of art in a community is just one piece of art.
it can't solve all the problems your community has. I think there has been this overempha:
art. There are so many other issues. This is not a brick wall in front of your ocean."
Mr. Sammons replied, "If public art is put up and the public has a problem with it and then
some kind of dialogue between the public and the artist and some room to move eact
public art is going to go the way of the buggy whip. That would really be a shame. Yot
an opportunity to be on the cutting edge here. Everything we seem to read is 'the artist a
the public'. You have an opportunity here to try to work with us."
Ms. Blum responded that she is trying to work with them and maintain her own integrity
same time. The sixty-odd people here each have a different opinion about what they'd rea
to see there. "You can't please everyone, you can't get a consensus, especially with arl
Ms. Stanton stated that she admires Ms. Blum for coming out here to meet with the Corn
and for trying to work with the Committee. "You could have remained in New York City an
It's going to remain as it's designed and built. But you came out and you've been willing t
and to agree to some changes. I want you to know I appreciate that."
Mr. Wrench seconded that comment and stated that he found Andrea reasonable and art
He felt that she listened and thanked her for her openness and flexibility to the extent her
integrity permits.
Mr.Larson thanked the artist for her time and turned to the Committee business of the
Mr. Wrench said he wanted to think about the meeting and perhaps convene anotht
Larson said the Committee would need to make sure they all agreed on the content:
report and to select a spokesperson, The Arts Commission meets May 7. Discussion cor
Committee members' schedules and the meeting was scheduled for Wednesday, April
4:OO p.m. Chair Larson pointed out that since it is a public process he wanted interestec
to know when and where it would take place.
The Committee adjourned at 1050 am.
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Split Pavilion Committee Meeting
April 22,1992 - 4:OO PM City Council Cham
1200 Carlsbad Village Drive, Carl!
Meeting was convened at 4:09 p.m.
Present: Eric Larson, Margaret Stanton, Laurie Batter, Gary Wrench, David Sammon
Chair Eric Larson stated the first item on the agenda was approval of the minutes of Ap
He noted the Committee had received not only a copy of the minutes, but also a ver
transcript of the meeting. He informed the Committee it was the minutes that it was acct
and asked for comments, changes or discussion.
Laurie Batter suggested the Committee use the transcript as the minutes rather than the
version. Gary Wrench stated the transcript needed to be resubmitted if used as minutes be
of typos but, "I'm not going lo change anything it says,". He would provide staff with a cc
changes. Chair Larson asked for a motion to accept the transcript as submitted as the m
of the April 16 meeting. Laurie Batter motioned to accept the transcript. Margaret S
seconded. It was approved unanimously.
Chair Larson stated that the next item was a review of the April 16 meeting. He continuec
having read the agenda I'm not too sure what we're to accomplish under review, but ma
discuss how the meeting went or any observations you may have before we actually get in
No. 3. My vision of item No. 3, preparation of the report, will talk about the specific?
observations on the meeting before we actually get into what we need to do today? U
need to do is the preparation of the report. Does anyone have any suggestions or cc
about how you want the format of that report to be?. I thought what we might do is w
three objectives: One was giving the community response to the artwork - which we dic
thought Gary did that very well. And then, the re-examination by the artist and the subcor
of the design and materials, landscape planting and other issues, and that's the material!
and seeking the artist's cooperation in defining artistically acceptable changes. I think
just list those, pull out of the transcript. I'd like to pull out of the transcript her exact qu
when we posed precise questions to her on the acceptable changes, and then convey t
the Arts Commission."
Ms. Stanton asked if the Arts Commission was going to receive the entire transcript.
Chair Larson stated he was sure they'll want it. "At the same time we'll be giving a repc
Arts Commission with our observations on it. 1 guess as far as the report goes, we'll ji
on the community response to the artwork. Do we want something that reflects wha
comments were or do we want to just state that was done and took place?" Ms. Stantc
that it should be what was done and took place.
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Mr. Larson stated the second item was the re-examination by the artist and subcommittee
design and materials of the landscaping and other issues involving the materials. "So c
landscaping, what's stated in here, let me see if I can get the exact verbatim - I highligt
somewhere in the text, what I've got here as an' ... acceptable change to Ms. Blum would
have a dialogue with the landscape architect to discuss materials, textures, height, placem
shrubs, succulents in a generic sense. Once the plan is done, take a look at it and SE
layout of it and perhaps get some exposure on what these materials are as opposec
landscape architect's plan.' And she replied (This is on page 7, second paragraph up
highlighted items there...), the fact that she was willing for us to go out and seek out a land
architect. She would then like to have a conversation with that architect. The architect
then prepare a plan. She would like to take a look at the plan and she would like to have
input on the plant materials selected. Evidently she spent some time and I don't know i
confirm this or if anyone here can, that she spent some time looking at plant materials befo
left here that weekend; but nonetheless, getting some exposure to local natives and
drought resistant plantings. And then Mr. Wrench went on and questioned her and she
she would permit a variety of plants not looking for uniformity. Does anyone have any d
view of what it was that we accomplished on that?"
David Sammons asked what would be the process of selecting a landscape architect.
probably not for us to get into."
Mr. Larson agreed. "Anyone of a number of ways that can be done. It might even be
house landscape architect that might be able to do a job like that with the City."
Assistant City Manager Frank Mannen responded that, "we do have a park coordinator
a licensed landscape architect and we could coordinate it through that person whc
approach and consult with any experts in native plant materials or succulents or array a I
of options that would be possible for the landscaping. And that seemed to be what M:
was interested in. Reacting to some plans she didn't seem to indicate that she wanted tc
plan, but she had some parameters."
Ms. Batter asked if in this section the Committee needed to add the limitation of the heigt'
feet or did that belong in section three under the changes that are acceptable. Mr.
responded, "No, that's part of the landscaping, She did make that statement. I'm sorq
pick that up." Ms. Batter further stated it was in about the middle of the paragraph on
Mr. Wrench stated that the Committee had to make sure it put into the report exactly v
said. "The final analysis, I threw my notes away of the evening before because I
everything that was said got on the record. Of course, if we get a little time we could go
and identify and examine the plant materials, , characterization, lush,
thickened, height, variation, variety of plants
Mr. Larson stated that be thought there would be a certain give and take betweer
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perhaps and the landscape architect also. "And saying two feet, that's almost an impo:
criteria. Say plant materials can only be at this height because its not that exact a science
grow."
Ms. Stanton stated
Mr. Larson replied, "I think we agreed on the landscape changes and then the format tha
discussed. We select a landscape architect who has a discussion with her", Mr. Wrench cl
with "the process"; Mr. Larson continued, "the process that she agreed to which is here.
that ought to be what we report then to the Commission is the process. The real specifics
plant materials, who knows what that might ultimately be."
Ms. Stanton stated it was important she agreed to a variety and a height of two feet. Mr. 1
and Ms. Stanton discussed the term "lush". Mr. Larson asked, "What's lush? I think I
contradictory with drought-resistance sometimes. Lush tends to mean the tropicals. Lush
is a full planting."
Mr. Wrench stated, "To me, lush doesn't mean tropical. Although I acknowledge that is
to describe it -its the fullness of it - the abundance of it more than a lot of watering."
Mr. Larson replied, "We can go ahead and use lush then, 1'11 be happy to use lush if we
fact, that she said to be specific, it could be drought tolerant materials and perhaps
natives. So I think that we've got it covered in both regards. So whoever looks at it in
they can understand that lush then means the volume of plant materials and the thickness
plantings." Chair Larson then asked if there was anything else on the landscaping.
The next issue discussed was materials. Patra Straub a member of the audience, as
address the Committee. Mr. Larson replied, "If we start taking comments from the audienc
we'll be here all day because everyone will want to speak. I know so." Ms. Straub statt
she had some problem with the word "lush."
Mr. Wrench stated that he objected to input from the audience. "We had a lot of dialogue
this and the notes are really quite thorough. I am comfortable with
Chair Larson further clarified that they were setting up a situation where they were going t
the artist and a landscape architect. 'The landscape architect selected by the City will be
together and doing that and I don't think that lush or any of the other terms can really be 1
that well, I really don't think they can. That's something we'll see once we get thost
back." The Committee agreed that there are a lot of words in the transcript when it!
altogether.
Ms. Stanton stated, "It's important to do a little framework and extract certain words."
Ms. Batter stated "Maybe we could say that the artist's view of lush - its clear that wha
lush to the artist in working with the landscape architect."
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David Sammons stated "Which will probably change by the time this - anyway." Mr. Wrench replied that Mr. Sammons was a cynic - Mr. Sammons then sta
talked to her."
Mr. Mannen informed the audience of the opportunity for public comment when this is pre5
to the Arts Commission. Mr. Larson also stated "I have no doubt that a landscape plan
some point in time be on the agenda of either the Council or the Arts Commission anyway
will be part of the process. And then there will probably be great dialogue on what's lu:
what it turns out to be."
Mr. Larson continued, "Next we talked about materials. I'm talking about materials in te
what was physically on the site. The materials used. I think she generally stated sh
satisfied with the materials that were used."
Ms. Stanton interjected, "Not the finishing."
Mr. Larson replied "Not the finishing. That's fine. Let's make a note of that, that she thou
finishing could have been done better. There was a discussion about the shape of thc
what they would be. I think her basic comment was, that they needed to be round." Mr. I
stated that he pressed at that quite a lot and tried to get her to say something else, t
never would go off of that. Mr. Larson stated that the comment that she made is that ciri
more reflective. Ms. Batter stated it had to do with the lighting. Mr. Larson agreed, "It dis
the structure, it has a regulated shape. I guess we'll have to leave it at that. That she's
that on the rails that round is what she wants, not painted, but she did make statements 4
vision was it would be as small as possible to support its weight at that height."
Ms. Stanton commented. Mr. Larson replied, "The issue is the rails, not the shape of tt-
Mr. Larson stated that when Ms. Stanton asked her if there could be rails smaller than 1 -!
would that be acceptable, Ms. Blum replied that would be something she would look i
would consider as a potential artistically change a smaller rail.
Mr. Wrench stated it seemed to him her intent was clearly in the beginning that it shoi
been a little smaller than it ended up being. "I guess I would conclude that if the City wi
propose something smaller in diameter that she would almost have (I hate to use the WOI
she would almost have to agree or else be found to be pretty inconsistent."
Ms. Stanton stated
Mr. Wrench replied, "You may believe that but I don't. I frankly view that as a shortcomir
architecture and engineering process, rather than the artistic process. I think some ens
contractor took liberties with her instructions. That's my own view."
Mr. Sammons asked if there was a way the Committee could research any of this (
Wrench stated he thought there was but he didn't know if it was relevant at this point.
you've got to decide. It's done and I think we're alot better off to just sort of focus on re
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the options are than to go back and play who shot John and figure out how it came to be. I
that the lessons that could be learned have been learned about the future. A certain Assi
City Manager commented early last week that it's been a lesson learned about how plans
specs get written for art and I think he was right on."
Mr. Larson stated that the Committee should leave it at that. That there was an acceptanr
her part - an agreed acceptance that a smaller rail is acceptable if the engineering criterii
be met. If that's something that is of relevance in this whole process - in making them srr
Ms. Batter added, "She does indicate that she would have to look at the shifting of spacc
distance between the bars." Committee Members stated they didn't know the engineerin!
of it.
Chair Larson asked if there was anything else anyone had in mind and stated he didn'
anything else. 'There was nothing else on materials that we discussed other than the size
bars - you know materials."
Ms. Stanton wanted clarification on the bars or all the materials, meaning the finish.
continued, "Be sure to put that in because it sounded to me like it is important to correc
bring out finish and the contractor should make good on this
I1
Mr. Larson replied, "That's a problem with the contractor."
Mr. Wrench said "We did, as I recall, get into the question of wood versus various metalic:
expressed a clear opposition to wood screening." Ms. Stanton stated the Committee shou
mention when talking about the bars not only wood but painted bars were also examine
Mr. Larson stated, "Since the bars become the center of discussions, shall we just be real E
when we get to this part of our report and not just say what were the acceptable change:
but also the things that she specifically when we asked the point in question were absolui
acceptable?" The Committee agreed this should be included. Ms. Batter also mentioned
in the environmental restriction of the wood in the report.
Mr. Wrench stated, "I think the record makes a lot of that clear Laurie, and to keep reiteri
of that sort of almost risks making it worse rather than better. I think you've got one
document now which is the transcript of what she said verbatim rather than try to par:
that. In legal contracts, you make things worse when you try to paraphrase or characteri
was said. You might as well go back to the source document. I would think that if we nz
acceptable and the unacceptable from the transcript, but stayed away from characteriza
why, we might be better off."
Chair Larson explained, "Because in preparing this report, this is a report we're going to
give to the Arts Commission, they will spend alot of time reading that transcript."
Ms. Stanton agreed and stated,
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Chair Larson asked the Committee if they were ready to make the list of acceptabl
unacceptable.
Acceptable list:
smaller diameter bar (subject to her review again of the spacing - and what's acce
to her is round, galvanized bars. She likes galvanizing)
David Sammons commented
Unacceptable list:
anything painted
anything wood
anything not round
anything shorter
anything with a change in the scrim (the spacing of it - anything less regular in SF
Laurie Batter commented
deletion
Ms. Stanton wanted further clarification and Mr. Larson replied, "A complete deletion of thc
Ms. Stanton agreed. Mr. Larson stated, That would be under her unacceptable list when w
discussing the bars." Ms. Stanton further clarified complete or partial deletion of the bar
Batter asked a question regarding removal of bars at the north end. Mr. Larson stated tt-
another category for the Committee.
Ms. Batter further clarified her question as deletion of one or more of the bars; "In other
you had asked her a question of, could you have every other bar removed." Mr. Larson
that that was spacing. Chair Larson asked if there was anything else from the Committee
acceptable or unacceptable.
He then continued, "Let's go ahead and talk about that east/west section. She had some
involved in that and the criteria was, once the landscaping plan is done and installed a
seen again, then she would consider the removal of that east/west section."
Ms. Batter stated "North". Mr. Wrench stated he didn't think her criteria was clear yet.
He further asked if the Committee wanted to take her up on the idea of reviewing tht
deletion of the east/west section or change or deletion of it. "She suggested that she
consider either the removal or the modification of the east/west bars. The part that's alc
businesses there. But she said she would consider that after she saw how the landsca
She didn't tell us how it would have to look, she didn't tell us how she was going to 6
that." Ms. Stanton stated that she did at one point say she wanted to redesign the PE
somehow
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Mr. Larson stated, "That's right, I found it here. [referring to the transcript] She talked aboi
fact that, that could be a specific charge of the landscape architect -to create that perimete
make that section of the bars unnecessary. So that could be a specific charge of the land:
plan. To accomplish that so that it would create that barrier or whatever it is at that end.'
Ms. Stanton commented it should go in the report somehow
Chair Larson stated, "A final subject that we asked her was about a redesign of the projec
she said 'No.'. And then she went into some reasons why, but the answer was 'No.'. Ac
her final statement was, 'I would not redesign something that I've already designed.'. Ar
again is right out of the transcript. Any points we've missed?"
Mr. Sammons stated, "I just think we listed as possible alternatives we covered two of the
the second two we failed to discuss with her. And the way the tone of the meeting t
probably have an idea that probably wasn't the right time. Is there a way we could look ir
last two alternatives that we discussed trying to get to her with before we make this reF
not? The other two alternatives were to buy the artist's rights and consider the work tem
and allow it unchanged for a period of time and ask the artist to agree to waive her rights
end of that period of time. Is that something that maybe we should have tried to do
discussion and failed?"
Mr. Larson stated, "That definitely exists in the realm of possibilities as this goes on, but
know that our Committee was to do that."
Mr. Sammons replied, "It was listed on my sheet and I overlooked it maybe, because may
was a question we could have asked her - I don't know. But it seems as though we're
in the amount of options she gave us as far as what we've heard as public reaction - put
These were other points that were probably important and maybe should have asked t
I now question our inability to ask those bottom two points. It's a shame, maybe
something that should have been asked and obviously that might be something that w
to be asked in the future."
Mr. Larson replied that, "by the fact that we didn't ask them doesn't preclude that somec
ask those questions in the future if it comes down to that. But I don't know where tho!
fall under the artistically acceptable changes." Mr. Wrench stated those were noi
recommendation of the Arts Commission
-
. Mr. Larson asked if there was anything else to include in the reporl
see, the Arts Commission meeting that we have to bring the report is on May 7." Mr.
stated the Committee needed to see the draft and meet again. Mr. Larson asked if Cc
Members wanted to get together to discuss the draft or do they just want to take a loc
draft and if there are problems get together again, or set a specific time to get togethei
over it.
Mr. Wrench stated
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Mr. Larson then asked Mr. Mannen what would be involved in getting this done. Mr. Ma
stated staff would prepare a draft report based on minutes (transcript) of this meeting
present it to the Committee in a week. Mr. Larson asked if the group was comfortable in me
in a week. May 4 or 5 was suggested to hold the meeting. Consensus of the Committee
to meet on May 4 at 4 pm. Mr. Larson stated that any changes that had to be made wou
minor in nature and could be accomplished by the 7th.
The meeting adjourned at 4:45 pm
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TRANSCRIPT
Split Pavilion Committee Meeting
Monday, May 4 - 1992, 4:OO PM City Council Conference
1200 Carlsbad Village Drive, C:
Meeting was convened at 4:OO p.m.
Present: Eric Larson, Margaret Stanton, Laurie Batter, David Sammons, Gary Wren
Chair Larson asked Committee Members if they had an opportunity to look at the trans
April 22, 1992. 'There are some lines in the transcript that could not be deciphered from tt - what was actually said in those particular instances. Does anyone have a comment
transcript? I assume as we decided at our last meeting, that we would provide tt
Commission with a full transcript of our meeting with Andrea [April 16 transcript] and t
would also be providing the Commission with the transcript of the 22nd as well
Commission to use."
Mr. Larson the moved to next item on the agenda. Review and approval of the Comr
Report
Chair Larson briefly outlined the main sections in the report. "Do you have a copy of this
It's dated April 27."
Mr. Wrench replied that he did not have a copy of the report. Mr. Larson stated the Cor
would go through it item by item. Mr. Wrench responded, "Having not received one, 1 s
fair amount of time yesterday drafting one. Its kind of a waste of time, I guess."
Ms. Stanton asked if she could begin.
Mr. Larson stated, "We'll begin with the beginning, and its entitled 'Report of the Split
Committee'."
Ms. Stanton stated, "I should begin by saying I think it's very well laid out with the 'accc
and 'non acceptable', It's very easy to read this way. I would like to propose that the Coi
think about adding at the very beginning of the report, a restatement of the charge that wi
to this Committee by the Arts Commission.''
Ms. Larson replied, "Margaret has had copies of this prepared based on her suggestion."
were handed to Committee Members.
Ms. Stanton stated, "I think maybe it might go right after the first sentence. Where we st:
charge of the Committee was to 1) communicate community response to the artwork;
a re-examination by the artist and the subcommittee of the design and materials of the lar
plantings and other issues and; 3) seek the artist's cooperation in defining artistically acc
changes.'."
Mr. Larson asked, "So that would be pad of this paragraph then?"
Exhibit No. 4 to Agenda Bill No.
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Ms. Stanton responded, "I think that might follow the first sentence, 'The Committee, cons
of Chairperson Eric Larson and members Margaret Stanton, David Sammons, Laurie Batte
Gary Wrench met with artist Andrea Blum on April 16, 1992.' and then if you insert,
charge. ..'.'I
Chair Larson asked if there were any comments or additions to the first paragraph. "The
go into what's listed as acceptable changes. The first one is a change in the landscapi
What's listed here are willingness to change and what things can be done and then exc
from the transcript supporting what is there."
Ms. Stanton stated, "Which I think is good, 'cause then you don't just have our interpreta
Mr. Larson asked if this met everyone's expectations or concerns on the change Oi
landscaping. He stated the Committee would take more time if Mr. Wrench needed it.
Larson then moved to Section No. 2 of the report. 'Removal of the section of rails at the I
end of the artwork, running east to west'
Ms. Stanton stated, "I would like to delete the word 'Remove.' No. 1 talks about the IandscE
to be consistent. Maybe No. 1 should be 'Landscaping', No. 2 should be 'Section of ra
north end of artwork'; and that tells what you want to do with them and then the bottom o
'Rails' and tells what we can do with them. Not to make the decision - to make a statemei
what it is."
Mr. Larson clarified that Ms. Stanton's proposed changes on Section No. 2. "Let someone
draw the conclusion."
Ms. Stanton stated, "I think you want to do that with 'landscaping' as well."
Chair Larson replied, "So let's walk back to landscaping and just call it landscaping."
Ms. Stanton further stated she had another change within that section (referring to Section
2). "As I was reading this, I felt that the very last paragraph where it reads, 'Andrea Blum st
the artistically acceptable changes are to change the landscaping and, once the landscapir
changed to look at the north end north end rails...', applies to the rails. So it shauld real11
moved to the third category right up at the top right. That's what we're talking about here.
then the section that starts with, 'The artist agreed to look at a narrow diameter bar ...I ending
her second quote where it says, '...but was also safe so that your head cannot get caught
and also be structural.' That whole section I think should move."
Mr. Larson stated, "You've got this and then these two supporting paragraphs all go belo\
Ms. Stanton clarified, "I think they go under 'Rails', because it's the general rails not jusi
north end rails."
Mr. Larson asked, "Does everyone have that then? Under No. 2, we've got the first comn
and then we've got two quotes and then the second comment beginning with 'The artist...',
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then the next two supporting quotes underneath that all go down to under No. 3, under 'I
Because those talk to diameter in the structure."
Ms. Batter asked if those would be placed in the report. "Would you put them before or
Do we need an opening comment or statement about this section on the rails?"
Mr. Wrench replied, "I think just before the paragraph on 'Workmanship' begins.
The Committee agreed to place the section there.
Chair Larson asked if Committee Members had anything else to change under Section N
Mr. Wrench asked if it was clearly the intent of the artist that the rails be removed or mod "I could actually visualize cutting them down so they became a hand-hold rather than a..."
Mr. Larson responded, "It seems to me that all the discussion was removal. I have to refer
to the original transcript. But it seems to me that what we talked about was complete remc
Ms. Stanton asked, "For that one section?"
Mr. Larson answered, "For that one section. I don't' think there was a discussion
modification of those."
Ms. Batter agreed and the Committee talked about removal.
Mr. Sammons stated, "It says taken down. That means taken down." (referring to the transci
Mr. Wrench agreed. "I can imagine actually that it would be in everybody's interest to see i
down to 8 inches high and put a top rail on it. You take it down you have the problem of
you finish the concrete and how you implement the finish. You torch them all off right ai
concrete then you've got the problem of finishing. Whereas, if they're finished flat then yo
got skateboarding on the top of it. Whereas, if you torched it off at four inches above
rewelded a top rail it might actually be better for everybody."
Ms. Batter commented, "I thought maybe that was part of her consideration on the landscap
What was going to happen there before she decided how to handle that."
Mr. Larson stated, "She said removal is what she would consider. And her comments werc
strong about if there are rails there, eight foot rails, the height of the pavilion. But I underst
what you're talking about [referring to Mr. Wrench's comments] as far as the finish of
concrete."
Mr. Wrench stated, "It can say 'removed' as far as I'm concerned."
Mr. Larson also stated, "My preference would be to leave it because she used the word remoL
Ms. Stanton agreed.
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May 4, 1992
Mr. Larson continued, "If a landscape plan does get changed and installed, perhaps that
be a consideration then. Okay, under No. 3 'Rails' we wanted it set up as acceptable a
acceptable. Does everyone agree?"
Ms. Stanton replied, "The very last under 'Not Acceptable' is 'complete or partial deletior
bars', we might want to put in parenthesis 'with the exception of the section at the north
Mr. Wrench interjected, "It won't hurt to say, 'except as specified and to above'."
Ms. Stanton agreed and stated she liked that.
Mr. Larson asked for comments. "The next section would be what we moved down fro
No. 2 but we've already talked about that, and then we have 'Workmanship'. And her COI
on the workmanship which she said several times was on the finish work of the concrei
not to sure where that fits into all of this, but it was a comment she made and we'll inclui
the report."
Ms. Stanton felt that it should stay in the report.
Mr. Larson asked for comments under Section No. 4. "If not, Margaret you have anothi
you wanted to add."
Ms. Stanton stated, "I was thinking of closing with some words for the Arts Commission
rethought this. What you have here on No. 2 [referring to additional comments to the r
I would like to propose a change to."
Mr. Larson clarified, "A change to what you've already proposed."
Ms. Stanton replied, "What I've already proposed. My change would be, 'The Committt
appointed to fact find and determine artistically acceptable changes. The report
Committee in no way limits the Arts Commission in formulating its recommendations to tl
Council.' I think basically to let the Commission know that we did what we were asked to i
they take this as part of their discussions in formulating whatever recommendation they're
to make to the City Council and it doesn't have to be exactly what's in this report."
Mr. Larson asked Ms. Stanton to read the statement again. She did.
Mr. Larson stated, 'That's fine. I think the Arts Commission understands that, but at leas
be come a part of the written report. Is this acceptable? It would go in the report the
closing. This statement would replace where it currently states in the report 'The Cor
respectfully submits this rep0 rt...' That's going to go away and will be replaced by this
Are there any comments? Gary, in consideration of the work that you've already done an1
there, are there things, I know we've gone through this fairly quickly, but there may haw
something we've missed."
Mr. Wrench stated, "I said basically the same thing. I broke into acceptable and unaccel
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Mr. Wrench stated, "I said basically the same thing. I broke into acceptable and unacceptal And a point that I did add that was sort of in response to the question you had asked was, wc
she be willing to make other changes. And she in fact said "No.' And it seems like that wa
relevant thing to include."
Mr. Larson responded, "That was the definitive thing she said. Maybe we ought to pull that
of the transcript and put it under this acceptable and unacceptable changes section. Beca
actually the acceptable and unacceptable has no quotes per se as the others do. And I tl
what she said pretty well sums it up. I think in that same paragraph, and I don't have
transcript here, she says something to the fact, do you want me to say what's acceptabli
something like that, and she says 1'11 do this and do that."
Mr. Wrench stated it was on the top of page 15. The last line on page 14 and the last sent€
of the paragraph on page 15.
Mr. Larson read from the report, "'I would not redesign something that I've already designed.
to pull anything out of context, I think we take the whole paragraph leading with the ques
would there be any consideration on the part for redesign of the project."
The Committee agreed to place this under the acceptable/ unacceptable category.
Ms. Stanton asked Mr. Larson how he was going to structure this.
Mr. Wrench responded "Under the "on Acceptable' you could perhaps summarize by Si
that a summary statement is, a complete redesign as not acceptable.
Mr. Larson replied, "Yeah, we've got 'Not Acceptable' we've got the pieces here. And ther
comment is the full redesign."
Mr. Wrench further stated, "And then you could quote as substantiation of that as you ha\
the partial deletion or as it relates the smaller bars."
Ms. Stanton stated she was worried where that statement was going to go. Discussion cer
on where to place this item.
Mr. Larson commented, 'The first thing we moved goes under the 'Acceptable' under 'SI
diameter bar', That's an acceptable change, even though she does have some ne(
comments. Under the unacceptable, we state full redesign of the project with the sup^
comments underneath it.
Ms Batter asked if the Committee thought there would be any merit to footnoting whe
quotations are picked up from the transcript on the report so as the Arts Commission
through this they can pick it up.
The Committee agreed this would be helpful.
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.e Split Pavilion Committee
t Transcript
May 4, 1992
Chair Larson asked for further comments. "That will constitute our comments to the
Commission. Any comments or ideas on how we will make our Presentation to the
Commission. We have two Arts Commissioners who will be sitting as the Arts Commissic
it falls upon the three of us - one of the three to actually make the report to the Commissi
Ms. Stanton stated Mr. Larson should make the presentation. Mr. Larson agreed to makc
presentation.
Mr. Wrench stated, "This is in the Commission's hands before the meeting. It might be suffi
to simply ask if there are questions."
Chair Larson stated, "It's not my intent to go over this in the Commission report point by
at all. I'
Mr. Wrench further responded, "I'd let the written text stand on its own."
Mr. Larson stated, "I'd make some simple observations and just a reference to the fac
everyone's been provided with a full text of the transcript."
Ms. Stanton asked Mr. Larson if he would like all the Committee Members to be the
questions.
Discussion centered on the place and time of the Arts Commission meeting and what w
the agenda.
Mr. Wrench asked that an addition to the final statement of the report be added which !
"..April 16 meeting transcript, a copy of which is appended to and forms a part of this reF
A copy of the full transcript forms a part of the Committee's report.
Meeting adjourned at 4:30 p.m.
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.L MOTION ADOPTED BY ARTS COMMISSION I .
Q 5/7/
The Arts Codmission, having given consideration to . . .
- the process by which the project was conceived and
implemented;
the full range of community input, = and con;
the report of the ad & committee which has met with 1
artist;
-
-
- our understanding of the legal issues involved and the
of the project to date;
the artistic conscience and judgment of its individual
members .*.
-
... now recommends as follows:
1) That the City immediately proceed to modify the landsca
in accordance with the guidelines and procedures discus
by the ad & committee and the artist, and
that, following modification of the landscaping, the Ci
seek the artist's consent to remove the north-boundary
rails, and
2)
3) that the artist's concerns regarding workmanship on con1
sealers be addressed, and
that the City then declare the project complete and sub:
to the full protection of the law as provided for other
assets and capital facilities.
4)
Exhibit No. 5 to Agenda Bill No.
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June 2, 1992
To: The Honorable Mayor and City Council
As business leaders and citizens of the Carlsbad community, we look forward to fulfilling our responsibility to the enrich- ment of Carlsbad.
We offer the use of our collective resources, at no cost to
,he taxpayer, to bring aboiit change to the Split Pavilion
project. We look forward to accomplishing our civic duty in a safe and timely manner. We hope our stepping forward can bring harmony back to the Village of Carlsbad.
Sincerely,
Doherty/Allen Landscaping
Nick and Joy Vessey
Melinda Maltby
Jerry Brown Trucking
Craig Bauer
L
Briggs - * Ae Lo.
Arthur Brown Plumbing
Bruce Electric
Lefty Martin Painting
Fred Boodry
El Corral Pottery
Tamarack Unocal