City Council - Special Meeting

good answers and in the end two teams stood out as being the best. These are two teams that are present today. They bring both real benefits and present differences. Local designing will go first, I will present them to you in a moment. They have a great experience and have accomplished exactly what we were looking for in our offer call. We also have Lang Studio and Arts, who are a little more local and who really know the community well. It is partly for this that the choice was very difficult to make for the administration regarding the team to be retained after consulting the mayor and discussing with the board of directors, since it was an initiative launched by the board. We wanted to give you the opportunity to talk to each of these teams, to listen to them, and this can, in the end, contribute to a collaborative decision-making between the two branches of the government. The intention today is therefore that you listen to about 10 minutes of presentations from each team, that you ask questions, that you hear the second team, and we will then be able to move forward with the hope of recruiting one of them during the next meeting of the Council. One way or another will do an excellent job. This is certainly our point of view on this subject.

What we do today is interviews. We don't make decisions.

Decisions today. Directly. And so I think that local designing goes first and Leslie will be our person to give the shot.

Thank you very much for having us.

While Leslie displays our presentation, I would like to inform you that my name is Amanda. I am the general director and co-founder of Designing Local and we are very happy to give you this presentation today.

We will give you some context on Designing Local.

Today, you are going to talk to me about your project manager and contact information. She has recently been the first person in charge of public language. We have not yet modified her title on this slide. And then, Matt Ledger, one of my co-hosts, urbanist and business manager here in Columbus. Eric, can we go through our slides? Yes, of course. Great, thank you. Can you tell us a little bit about the local design? It's short, because I know that you have consulted our proposal. Our office is based in Columbus. We are only two hours away from the south, but we bring a wide variety of experiences to the table. Our team includes art professionals, urban planners, urban planners, architects, landscape designers and conservators. Thus, when you work with us, you collaborate with a complete company that has contributed to the integration of art in many areas.

Our team has worked everywhere in the country.

And what we love and share with our clients is that it exposes us to the best practices in many areas, allowing us to bring what is best to our clients while highlighting the limits of some of these practices. We also have several projects in the Northeast of Ohio. It seems important to highlight and to highlight this presentation. This is where our team spent a lot of time, more specifically in the north-east of Ohio. We wrote their public art policy, created their public art programs, and developed their funding mechanisms, which are currently being deployed throughout the county today. We know that you are already a home for art in this region. We know that so much investment and so much care has gone into thinking about people as a protection, both for you and for the public, on how art integrates in these two major corridors. As our team is researching this project, we have a lot of questions for you on how Mephidro will become part of this vision and become a hub between the Taylor and Noble roads. So we're going to try to keep to the 10 minutes to quickly go through our proposal, but it is really important for you to understand that you are benefiting from a full-service business. Again, we are a group of diverse practitioners united to ensure that your project is carried out effectively while being attentive to all cultural aspects. I'm going to leave the floor to Anna to talk about the whole process.

Thank you Amanda. We are aware that this is a contract of 8 months. We will therefore move from the launch of the plan to a deliverable finalized in 8 months. I really like this graph because it shows our process on community engagement, on the discovery of the plan and on the identification of the needs thanks to our projects.

And this will truly become the basis of our recommendations and our financial results. I will move on to the next slide.

I leave the floor to Matt to talk about the public art plan, the city's borders, and how we can reuse this information to accomplish this mission.

Yes, thank you Eva.

We use the SIG as a tool for design and communication, and here are some examples of this.

So we can make an asset map, create a database, and then transform it into a very visual map like this one. We have made many simulation plans using this technique, which has become very useful for the end of the process. So we can integrate ourselves directly into your system here. You would really like to make renderings in the context of this process. It is essential that the public understands what we are doing and what we are producing thanks to this planning process. So here are a few examples of renderings of plans and perspectives as well as some of the diagrams made on your project. We then use a number of different visualization techniques to navigate the various phases of a plan and a construction of the livrable as we go along.

On the left is an example of a conceptual diagram.

In the middle is an example of an refined site plan that could take off from such a diagonal. We are a complete landscape architecture studio, so we can produce technical drawings for construction. We are not doing it for this project, but we can integrate part of this expertise into our practice to understand the right of passage, networks and accessibility of the PFR, as well as all the aspects that make it possible.

We like to consider public art as a way to integrate it into a concept of signage.

In this case, we consider public art, signage, and other orientation tools as a coherent tool to guide people through a park and create a unique experience. Here is a really interesting project. In this case, the concept of public art comes from the public consultation we gave for this project.

So the banners you see on this water tower are designed by high school students and were part of our public consultation process.

So we really wanted to create public art on the basis of this commitment. And finally, here, we will consider public art as small pebbles to guide people through a corridor and create a coherent experience. In this case, we helped high school students and a high school in Bruneau. I hope you can see what Sophie is going through in this corridor. and we're going to start listening to a little bit

Thank you, Anne. One of the things we care about the most at Design in Local is the community commitment. And everything you just saw would not be possible without the community's contribution. Our team considers a public as an opportunity for conversation. Even when you're in a corridor and you want to have a coherent experience, something that allows people to begin to understand each other as facilitators of space, to really try to create.

So this is in the community service on the new side of the peninsula.

Our team has developed a public art plan for them and has created 8 different works on the peninsula. This work on the right is a beautiful mural of squirrels on a public garage, located at the corner of ... The squirrels are beautiful birds.

Some people hate them and think they are music like pigeons but they are beautiful despite everything and their bodies look like galaxies.

So at night this work is beautifully backlit, very close to this wonderful parking lot. We love fun activities, we love that artists host these activities, and we make sure that people can access them in different ways, whether it's in an ephemeral event or online. But in the end, we make sure that all the content we generate produces defendable results, which you can all trust.

I know that our community is proud of what I can see, this footprint, in this thing or this idea. It is very important for us to ensure that our team, regardless of whether they are a collaborator on our projects, that we are not always the best placed to carry out these exchanges. So, almost all of our projects are in good hands. local artists and cultural actors to guarantee the authenticity of community conversations and to collect relevant information that will serve the artists to create new services. We are asking community leaders such as local art agencies, artists already working in your community and who are national facilitators

or companies. I know that trade associations are very active on these two axes.

We really want to make sure that they participate in the development and co-creation of this engagement experience and that they also contribute to the engagement experience.

Our team really strives to meet people where they are,

in Accra. This means working with the service agency for disabled people.

They have organized a certain number of discussions for us.

If you have any questions, you can reach out to me. You will know that this recommendation is very useful and very important.

We also make sure to go to places where people find themselves naturally, that we put ourselves in a nature center to ask questions about how people want to enjoy the parks, or that we participate in a July 4 event or a Zoom meeting on a Monday evening like Anna just did last week at IA. We really make sure to involve your community in a ludic and stimulating way so that people do not perceive the interaction with us as a burden.

One of the projects that we have always celebrated and put forward is the project on a new corridor that we are going to design in 2020 here in Columbus.

It is part of an urban renovation of $ 1 billion on an axis of 3 km in the western district of Columbus.

This intention of the city was twofold. It was during the COVID era. There was a desire to ensure that artists could earn a little money during this period, which I think we were all thinking about. And also, the city wanted to start thinking about creative work.

to show the community what new investments in transport would look like. Thus, in a community very attached to its four-wheeled road, the city asked what it would look like to have artists intervene to create sidewalks and bus spaces in order to promote pedestrian safety and reduce the distance they have to travel to cross these roads.

And so, Zimelda and Gigi made the choice to paint temporary frescoes so that these future sidewalks and bus areas would be furnished. We also made several poetic works along this corridor, as well as on technical cabinets, some temporary sculptures, and finally a permanent fresco.

We collaborated with Lodot to ensure that we respected all their demands and... ...sensations. One of the other things we did near you is located in Medina. The city center of Medina was very interested in integrating arts and culture into their European development strategy with their local core.

Our team therefore went through the city center of Medina and identified several locations of cultural art to be installed for a good place and to connect and connect some districts that disappear from the center.

During this period, you can see at the bottom right the rankings of what these different experiences could look like. What would be the priority of these projects, as well as the cost of each of them. The Centreville organization found this very useful to define their next steps and decide how the investments would follow.

I'll leave the floor to Donna to talk about the selection cards now.

Thank you, Amanda. I'll be brief because I know the time is running out. By thinking about the selection methodology of artists, we want the spirit of this process to be not only healthy and transparent, but also reflect the nature of the commitment that has just taken place. We want to be able to say, here's what we heard, that the work of the community and consequently this process must lead to this result or to this goal.

Thus, you have this transparency and this guiding thread throughout the process.

And this should be fun because art is fun, public art is really great and people should enjoy this experience throughout the journey.

Next slide, please.

This is just an example of one of our tools to get feedback and quantify the different ways to get feedback on artists and projects.

Here is an evaluation that I received for the project, located in Colorado.

One of the things you have asked for is the implementation of public works. This is not part of the initial perimeter. We want to present and share some of our work, in particular those carried out by Anna within our team.

We offer complete public works services from start to finish. We have carried out various projects, identifying enough, working with the artist to complicate and install the work. We ensure that the maintenance directives are directly integrated with the managers of the maintenance of the work in which we invest. This is a crucial step.

It happens everywhere in the country, people don't take care of the interview when they set up public works and two or three years later they do not do it. Because who wants to finance the interview? One of the other projects that we are very enthusiastic about at the moment is our public art project. The Brick Line in Saint-Louis is an incredible urban trail in the heart of the city, which is part of the Great Rivers Greenway, and for which we ensure the implementation and planning of public art on several of its segments.

We have just finished the selection of artists for 23 pieces, I believe, Anna. This goes from wall paintings to small investments along the trail, as well as three different sculptures. To conclude this part, I think it is very important to note that our region has facilitated the installation of more than 43 public works throughout the country. We have collaborated with almost 100 artists and have invested more than 4 million dollars in public art in the last 5 years.

We are happy to announce that by the end of 2027, we will reach 6 million dollars, which is very stimulating because these projects are currently in progress. To conclude, our team is really enthusiastic about this project.

It is located at the perfect intersection of the expertise of each member of our team. As I said at the beginning, we are urban planners, architects, designers, and public administrators, and this project is at the heart of all the work we are doing together.

Anna will be your guillotine to come out with any project you may have.

Yes, I lived in Cleveland. I've known Joe since I worked at Burnt. I've known him for a few years and then I went to the Cleveland Museum. So I love Cleveland. I'm very enthusiastic about working with Cleveland. It's a special neighborhood. It's a wonderful cultural place. I'm delighted to be able to host it thanks to our various services here in the city.

And thank you very much.

Well, thank you Amanda and the team. Advice, do you have any questions for local design?

I'm curious, you know, these neighborhoods and these corridors have very distinct cultural communities, quite different from each other. And I was wondering how you would imagine the participation and expression of these cultures side by side? It's an excellent question.

It's a question that we answer much more frequently in many of our interviews and processes, which I'm very happy to be part of. It wasn't the case five years ago. Our team, once again, as I said in our presentation, strives to ensure that every voice is heard.

And we're going to do it by different means.

People receive an invitation to participate. Some can receive an email and click on a link to answer a survey, but it's not enough for a lot of people.

I'm one of those people who don't do it. I have a lot of things to do.

The way I know I'm involved, as a mother of three children, is by talking to me at the grocery store or in a park where I go.

I have things to offer. You have to know how to approach me in the right way. This invitation must be thought of in the right way.

If we talk about going to meet the different cultural groups where they are, it could mean organizing conversations with different groups of affinity. We have just finished our project in Columbus, which benefited from a $ 2 million grant from the Mellon Foundation to rethink the status of Christophe Colomb and his context within our community.

To do this, we had a general call to discuss Christophe Colomb.

You can imagine that he would present himself at such a conversation. Our team divided these conversations by affinity and it was directly divided by price.

We invited people to participate in conversations and we had a member of the group to facilitate these exchanges. We organized a Latino discussion group in a gallery belonging to a Mexican American. We held a black discussion group at the Lincoln Theater in the nearby East District, led by a black facilitator and a black futurist. We had a discussion group, autochthonous online, through the local urban autochthonous cohort, which represents, in a way, the EU. As we don't have any federal tribunal, we have to talk about the importance of urban autochthonous in this conversation.

We also hired an indigenous animator to direct nature walks, which I found to be of surprising interest to the benefit of the participants. It was people who were interested both in nature and in the exchange with an indigenous person, as well as in the reflection on the importance of the mountains.

I could continue to talk about our commitment approach, but if I had to summarize, it's that our team is watching

that the invitation is adapted to each group.

Secondly, we offer multiple participation opportunities, including some passive experiences and others that are very intentional.

Fourthly, we ensure that the animators of the conversations feel more like the people we are looking for. And the fifth thing is that we design and co-create this engagement experience with you, the client, and we don't know all the details yet, but we will learn as we go.

You better know your community, we'll get to that.

Thank you for your presentation.

So, I wanted to ask what differences you see between the two corridors, because that's what we're talking about.

two business districts. But have you been there, or has someone been to see the districts and the specific sections on which this project will focus? Matt and Anna, do you want to answer these questions?

Yes, I haven't personally gone through the corridors yet, but this is part of our analysis process. the use of the soil, the sections of public wood, the state, the three regions, and so on. This is something that we are going to list with a new look to deepen and really understand the whole project. And we will work with the city, of course, to contain all the cartography.

And to rely on the very technical approach of math regarding the appearance of these corridors, their current role is what they could become and how they could function. It really sends them to community commitment. We must first work to determine what these corridors must be and how they can be reactive and useful for the community to turn towards its future. Thus, the result will be a nice hybrid between all the technical aspects, all the practical, security and tactical approaches, while creating this space that seems truly authentic for its users and its future needs.

Thank you.

Did you have someone who spent some time in Cleveland a while ago? Is it Anna or was it someone else?

It's me. I am a resident of Cleveland and I was at the Cleveland Museum of Art before joining the Night Blue.

And where did you live when you were here in Cleveland?

I lived in the west of the city. I was near Edgewater.

And what were you doing for the art museum?

I was the project manager for the exhibitions, so I worked on special exhibitions, more precisely those of the Galerie des Blois-Fayeurs, the exhibitions of the Ants and the special projects. I also supported the transfer of the transformation station to the art museum.

And I was working on the sculpture ordered by Rodney Zadigny for the firm before my departure.

Those were the strong moments of my time there.

Did you work with Dignodère?

I know Dean. He works in conservation. He is very competent. Do you know Dean?

I know Dean. So, I'm just going to... Anna, did you go to Cleveland Heights and did you visit the two neighborhoods in question when you lived in Cleveland?

Yes, of course. I went to Cleveland Heights when I was an intern. My Airbnb is at Cleveland Heights. I spent time in the neighborhood. I understand that it is a really wonderful convergence of many different communities. Obviously, you have students and the campus community in addition to families. And I understand that it serves many different people who live in Cleveland and that many people consider it as their home. But my knowledge obviously dates from several years.

So I can't wait to discover what Cleveland Heights is like today, at this very moment.

And what part of the commitment that you propose will be realized virtually in relation to real meetings in person with the stakeholders?

Another question Amanda, would you like to answer?

Thank you Anna. As I said, this project will be really concrete. I think that at the beginning, when we talked about starting this project, we thought we could take advantage of all the summer events that you organize. The summer is over, I don't understand the word, but the summer is over.

So I think we'll go to all the autumn events to participate in them.

Our team is used to managing the commitment and doing it everywhere, all the time. So, we will come in person for these big mobilization events, and I think, once again, it will probably be a mix. We will participate in events that already exist. I always like to organize meetings specifically related to the project, because I think it is important to have these in-depth conversations, while taking in these passive opportunities. But we will of course have a generic option. Nous constatons de plus en plus que les gens n'ont pas le temps et préfèrent participer numériquement même lorsque nous sommes en ville. Nous menons un certain nombre de projets en ville.

Vous avez gelé. Attendez. Should we leave Steve or... Steve and Steve should watch.

Oops, a bit of water. Hm... Amanda, we lost you at the last minute.

You were just talking about Columbus. Sorry. Oh, you're back?

We're back.

Eric, I think that could be your connection. Aaron, Aaron could hear us. Definitely.

It's definitely on our side, guys.

So if it happens again, it's me, it's your fault. So Amanda was telling you... This perfectly illustrates why personal engagement is always preferred, okay?

So we were wondering why you were going to talk about Columbus and what you find in virtual reality. You are like you are in the city itself.

Yes, I'm sorry. Can you hear me now? OK, great. I was just saying that we have another project in Columbus. The city hall is two blocks away from our office. We often offer meetings, but people tell us to just send me a link. Zoom.

Zoom is great. I don't have time.

I only have 15 minutes between two meetings to drive, walk or something like that.

So, all that to say that I hope you heard everything before I talk about Columbus, but we adopt a digital approach, both digital and face-to-face. But we remain convinced that face-to-face is always preferable, because we perceive things differently by being with people.

And then concerning, you know, if you are committed to helping the selection of local artists, what is your knowledge of local artists in Cleveland? And if not, what will you do to remedy it?

For me, I will take this question.

I can say that I live in Columbus and that I would never know my local artists if I lived in Columbus.

We really believe that for the right person on a public art project, we have to be flexible about who she is. It could be someone from France. It could be someone from Brazil.

It could be someone from the United States.

And that's really where it's important to have an excellent understanding of the parameters of your project. In terms of budget, what is the artist you are looking for? What is the desired longevity for the project? What are our welcomes? And that's where my expertise is. especially when we think about the location of the works on the public road and all these technical security conditions that we must be extremely aware of. To answer your question, do I know all the artists in the Grand Ice or even in the Grand Cleveland? But we know how we have worked with the community to collaborate with the right project managers and teams to ensure that we have the right person for your public art project.

And I'm sorry to monopolize this conversation. Could you send Eric a reference person for the project who, according to you, is closest to what Cleveland Heights expects from the person we choose for this work?

Of course.

Yes, that's what we could probably provide as a smaller version. We will therefore provide solid references and I also think that we would propose one of our other clients. We are currently making several works of art for roundabouts in Florida and Georgia. I think we will also provide these references because the Ministry of Transport is involved in these projects. I think it will be important for you to share them.

Okay, that's all for me. Thank you.

If I may, a remark. When we talk about gathering the direction or the stakeholders, I can tell you, and Todd Taylor, we are probably aware that there are a lot of people who do not use computers. So I would like you to think about how you are going to reach these people, because they are often neglected in this digital society and feel excluded. I really want to make sure that if your organization is selected for future projects, especially with Future Heights Art, you understand that we cannot ignore these non-digital people.

I would like to share an example of the way we have approached the past. In the city of Akron, we worked with Age-Friendly Akron, which is a discussion group. The Stan Eyewet Museum welcomed us and we decided to organize a tea for the seniors. We hired musicians for a treat and we knew, thanks to the friendly Akron team, that a large part of the people would not see the advertisements we had created.

And so instead of using a link for the registrations, we sent the customers by mail to the person at the base of the meeting, the Age-Friendly Account, and set up a phone number.

We asked people to call this number to leave a local message with their name, the number of people, and how many people you would like to contact. A member of our team listened to messages, wrote them down on a board, and the event turned out to be a big success. Not only did it turn out to be a big success, okay, I can hear people signing up. It was great. We had an incredible time.

The event was great.

Each seat was occupied. And H-Friendly Akron also collaborated with us to provide graphic means of transportation to people who needed it. So it was a really great way to make sure that this community was inclusive. I understand that people of a certain age are of course somewhat neglected and excluded from the digital world. I think that Matt, myself, and a large part of our team have parents who correspond to this demographic profile and we are always thinking about how to ensure that people like our parents are included in the work we are doing.

Could you summarize this for me because I can't yet visualize the result? What would be the delivery at the end of the eight months?

In our esprit, our deliveries are planned. Mad, don't you mind if I talk about it?

Do you want to show an example that you could show? One of the things we do, and you will see in our documents, is that we create plans in the form of PDFs of the elements to be adopted at the level of the council. This document would contain recommendations for street together,

that we would recommend for a new business model. So I'm going to make some general observations, while Matt displays the visual, you will understand what I mean. Each of the recommendations will be accompanied by a description of a budget and a prioritization schedule. They will also be accompanied by a description of challenges that may arise from an infrastructural point of view, but also budgetary and maintenance-oriented.

Perhaps the places we are considering and recommending are only private properties.

You should therefore go through the process of obtaining a certificate for this property. How would you take it? But our plans are very visual. Great, that's excellent. This is what we will provide you with. and we hope it will be submitted to the approval of the Council. We recommend the establishment of a consultative committee to guide our process, but these ideas are embedded in extremely graphic content, so that you can understand exactly the vision of the community, as well as ours, as designers and facilitators. And so that you can understand precisely what the different products and models will be.

I will let Matt add any additional questions.

Yes, it is a project that we have realized for a university district in the center of New Zealand. It contained all our summaries of consultations and various statements of objectives and goals. I leafed very quickly here, but you can see that it is 162 pages. So, a lot of content. I'm going to go to the end, where we created recommendations for specific projects. It's a slightly different type of plan, but you know, I just wanted to give an example of what we proposed. So we had various transformational projects that were part of it, as well as more general projects. And we had a whole strategy of implementation at the end of this document. Just a note, if you want to consult our plans, they are all on our dedicated page. You can put the link here, but we have many documents of planning. We have five pages, so you are invited to see the different types of plans.

Matt, is the implementation service part of this?

Why are we paying you?

Or is it something that goes beyond what you do with this contract?

The implementation strategy in the planning document is part of what you pay. It's the delivery. This is how everything is synthesized and returned to the decision-makers and the leaders of your community, as well as the public. They want to confirm what they say to the consultants in planning. You have asked for implementation services in your initial offer call. And I don't think that's included.

Eric, you should correct me if I'm wrong.

In the starting hypotheses, it's a separate section. I see in our initial proposal that we had additional services for $15,000. This is something that we provide to a certain number of clients. Once our plans are finished, they often say, we don't have the capacity to do this job. That's why we often go through contracts to implement these projects. I know that this is not something you were very interested in signing a contract for now, and that you would consider doing it in the future. I don't know if it's exact, we had it as an option on the... Matrix, and the plan is absolutely yours.

The implementation services were optional in the call because we know that we might need them later, but what you hear today from the two teams will only concern the plan. You know how to get things right.

Very well, anyone else for... No, I'm not sure we have time for that.

Is that the case? Is this the time for you to ask the question?

One of the things you started with was a visual showing Noble Road and Taylor Road, and the way they are linked by Mayfield Road. I'm going to bounce back a little on the question of the Councilor Stone. I mean, these are two really unique neighborhoods. Yes, we have the global brand Cleveland Heights Tous, are the welcome CK. and things that you could perhaps integrate into the project plan in terms of themes. Which implies that you may be wondering why Mayfield was not included in this? I'm just a little curious. I mean, it looks like a natural separation between two different neighborhoods. Are we neglecting something? Do you think we should examine Mayfield Row in addition to all this?

We don't know. When we look at a map and its two corridors, we understand that your trade associations are very active on both corridors. Our thought was, okay, what's the problem? Is there a polyvalent path that connects these two corridors?

Can we start attracting cyclists or pedestrians from different neighborhoods by using Maple Road as a connection opportunity?

And we don't have the answer to these questions.

It's just an idea that our team had when we started talking about this project. Okay, that's fair.

Yes, that's a good answer.

Thank you. Well, Amanda, Anna, Matt, thank you very much for your time. And now we move on to the presentation of Heights Arts and Land Studios. So, Rachel, Aaron and Cara, it's your turn.

Thank you very much. We can't wait to hear from you.

Thank you. We appreciate it.

Hello. Can you hear me?

Yes, we can hear you very well.

We should start... Well, I know most of you in this... My name is Rachel Bernstein. I am the executive director of Hightsa. And I should emphasize that our real name is Heights Arts Collaborative because we now have 25 years of collaboration history with other organizations in order to create a programming in all the artistic disciplines that our city proudly supports. And we are currently collaborating with the Land Studio of Cleveland. So I'm here. I'm from New Mexico, but I've been here for over 27 years.

So I feel like an honorary resident of Cleveland Knights at this point.

And we have Joe Lanziotta from India, Erin Guido from India, and of course, Cara Amano-Donnell, who most of you know thanks to her work in life. So we can start now. Joe, Erin and Cara, please introduce yourselves.

Of course, I want to start again. Hello everyone. My name is Erin Guidaud, I am the art director of special projects in London. I have a training in urbanism with a specialization in urban design and I am also an active mural artist in the public space.

I am therefore very happy to be here because it is really my passion.

And yes, I will present.

Bonjour à tous, ravi de vous rencontrer. Je m'appelle Jolant Zilota, je suis directeur du design et de la stratégie chez Land Studio. Je suis dans l'organisation depuis environ 13 ans maintenant.

Je viens d'un milieu lié au design urbain.

J'ai étudié le design graphique et le branding ainsi que les arts plastiques et je suis également un artiste actif avec de l'expérience dans la planification, la mise en œuvre et la création de mes propres œuvres d'art. So, once again, what would you like to do? I would be very happy to take part in this conversation.

Hello, I am Cara Manodonet.

I am in charge of the administration of Heights Arts.

I am also co-president of the public art project team.

There is a project team from Heights Arts.

I have been a resident of Cleveland Heights for 35 years. I lived in the Nobles district, the Cedar-Fairmount district and the Coventry district. I graduated in environmental design and historical preservation planning. I worked for the city of Cleveland Heights for 25 years. During this period, I was in a way the link between the city of Cleveland Heights and my role in the city. I was involved in many projects as a representative of the city for public art, as well as in the first public art project of Heights Arts, which is two steps away from my home. And I also, in the context of my work, participated in the creation of the plan, and I am also responsible for the implementation of public art projects.

Can everyone see my screen?

Yes. Okay, great.

So I'm just going to start, and I want to mention that, just because Cara and Rachel evoked me, I don't say it, But even outside of the work that we are currently doing, I spend a lot of time with Kevland Heights because my family is growing and living.

This summer, my daughter followed a vacation camp at Kevland Heights and I have a lot of affection for this city.

It is also for this that we are happy to be here. Nous sommes très enthousiastes à l'idée de collaborer avec Heights Arts. L'Anne Studio travaille depuis plus de 30 ans dans la région du nord-est de l'Ohio sur des projets d'art public et d'urbanisme. Nous menons des projets d'engagement communautaire et de design à travers toute la ville dès le début. We have even written the legislation for the city of Cleveland, thus creating the program Percent for Art Box. We therefore have a long experience in this region working in the fields of public art, design and urban planning. We are very happy to work more closely with the city of Cleveland Heights for a year or more, but we are already very anchored in the area. As for Heights Arts, as Rachel mentioned, we associate ourselves with them because they represent a link of trust with the community. They have been implanted in Cleveland Heights for more than 20 years and we greatly appreciate the value they bring to community engagement in our work in Coventry and Sedarly. Our organizations are very involved in this. They created a group on which we will return in more detail, the PAPT, the Public Art Project Team. It is a group of volunteers, of local actors and design experts who work alongside us on public art projects, while helping us to guide the planning. That was an essential part of our Swiss project so far, and it will be again if we have the opportunity to work together on the projects. And on the importance of public art, I think we were lucky enough to attend the presentation on local design, which I really appreciated. I don't want to repeat what has already been said, but as you all know, public art It is of great importance for community identity and narration. We do not see public art as a simple decoration, but as a way to make deliberate decisions on the image that a neighborhood wants to send back. I think it is particularly important in the context of Cleveland Heights and the neighborhoods of Noble and Taylor, which historically have not benefited from investment, especially in public art and design, unlike other neighborhoods. We are therefore very enthusiastic about the idea of taking this opportunity to bring investments and strengthen the identity of these neighborhoods that have been affected. We think that public art and a dedicated plan can contribute a lot to a better life. It's a vector of narrative and identity. It's a tool to present to the subsidizing organizations and to the food vendors for development. And it's really important.

Our team, I have the impression, will be friends with the team.

because we also have a team with a very varied background, including landscape architecture, graphic design, brand image, urbanism, art, but we also have a whole team dedicated to the collection.

It really influences our passion.

to think about how to present our plan and our budgets. We know how much it will cost to maintain all this, but the question is how to collect funds and how to realize this project. And finally, there is the aspect of implementation. It is therefore a question of creating a framework for sustainable investment and also of giving the community the means to make its voice heard in public spaces. I will leave the floor to Joe to talk a little bit more about our experience and our process in terms of planning public art.

Yes, as Erin said, we have more than 30 years of experience in public art in Cleveland and in the Northeast region of Ohio. We have worked on many public art plans for entities, both public and private, ranging from the GC-RTA to the cities of Kent and Greene, through NRP Development, RMS Development, as well as several neighborhoods of Cleveland itself, such as Gordon Square and Midtown. We also have a number of really diverse collaborators with varied paths, urbanism, landscape, community engagement, accessibility specialists. as well as graphic designers and image and brand experts and signage experts.

So I wanted to talk a little bit about our specific experience concerning the public art plan of Midtown. It's an excellent example of how we use our understanding of a region, a space and a client to develop an access plan

on the implementation, by really trying to understand the objectives of the client and what he hopes to achieve. In the context of our public art plan for me, it comes from years of relationship with this neighborhood and their difficulties not to be perceived as a simple They hoped to really change this identity within their neighborhood so that people start to understand what the composition of this neighborhood is, who is present here from a professional, recreational or residential point of view. and how can we put forward our rich culture and our history to serve us in order to tell stories and attract people to the military district. We therefore developed a very complete plan which included not only the history and the context of the space but also the expectations concerning the racial equity aspect of the plan and the way to use it. We have identified the strong points of the neighborhood based on their large-scale investments, on their historical and future themes that they wanted to highlight. We have also identified the challenges of the neighborhood It is very important for us to examine what the inhabitants and the people around us perceive as problems, in order to understand how to fill these gaps in the understanding of what this neighborhood has to offer.

To understand what the obstacles, the limits, as well as the stereotypes and general perceptions of the EU are, so that we can work together to help fight them.

And in this plan, we are really focused on a vision of the whole neighborhood to then define different areas and start to focus on the characteristics specific to each geographical sector. We therefore identified different areas within the neighborhood to highlight their opportunities and their respective challenges. innovative projects from this plan.

I will now briefly discuss the concrete results of this plan.

I think this really emphasizes our priority for implementation by thinking about how everyone can appropriate this plan to make it operational. We want to make sure that people understand how to take action. So, thanks to The Blanc, the Midtown neighborhood was able to host a large-scale mural fresco festival called Cleveland Works All At You, which brought together 23 artists who came to paint more than 20 frescoes in a week. It was a real effervescence of public art and animation in the neighborhood with 50% of local artists working alongside national and international artists for whom it is the job. This really allowed me to live an experience of cultural exchange Thanks to this public art plan, we were able to re-organize Penn Square, a very common intersection in Midtown, which presented challenges, in particular vacant land. to make it an attractive place thanks to art and the improvement of public space. This plan also allowed us to create the Greenway Home project, a way of connecting the Midtown neighborhood to its neighbors. as well as the amenities and assets existing in the Ette neighborhood of Cleveland. So, from this apparently small public art plan, great initiatives are born and a way of considering the geography and space that helps the owners and those in charge of the plan to have more space to think on a large scale. and to really connect to the different initiatives and investments that take place in the neighborhood and its surroundings.

Yes, I just want to say that this plan has really been, because we are not alone in these projects, an essential tool to raise funds by using it as a basis to say, here is our vision, here is how we can achieve it, we have a budget and two identified countries.

It's really a key aspect.

To know which funders could be interested, how we can implement what things cost. Really, with implementation budgets based on the experience of implementing many types of art projects. It was very useful to have many works. Of course, we have to mention... We have been hired by Aids Arts to work on the implementation of public art thanks to Aids Arts funding. And we were firmly convinced, even if the schedule was tight, that we needed a kind of planning plan. The plans that we developed, due to the time and budget, were limited, but the plans were essential to focus when we have a funding envelope on the best way to invest these funds to have the greatest impact, to meet the expectations of the stakeholders and residents, while allowing us to live a phase 2, 3 or 4 to better understand the long-term vision of the neighborhoods, And so we are very excited that the plan is in progress. We have launched a call for candidates for artists. I think that in the Nantes neighborhood, we have the chance to be able to reach a very large audience with our call for artists. So by setting up our selection process, we are very familiar with the management of this type of procedure.

As the local design team said, you know, we can have a selection process carried out in different ways according to the needs of the project.

For example, for the neighborhood of this avenue, we decided to make six mural frescoes and we called on candidates. It was very strategic because we not only wanted to involve the community from the beginning to determine which project made sense and how to spend the money, but also maintain this commitment to the industrial process. We used this call as a way to dialogue with local artists and tell them that the city of Cleveland Heights is ready for public art and really wants to collaborate with them. We received more than 200 applications, which was incredible. Is this perhaps the largest number of applications? And we asked all the artists to share their link with the city of Cleveland Heights. It was therefore very focused on the local, which corresponds to the mission of Heights Arts. We followed a selection process, including TV, local artists and other parties involved in the selection. Finally, we also found six or seven artists, or six artists with a team, who followed us through the whole process of selecting the walls. We worked closely together and I think we made Rachel grow up very naturally by providing her with models, protocols, agreements with the artists as well as agreements with the owners, We have a lot of expertise, so it is important to discuss these points, such as the VARA, the Visual Artist Rights Act. This knowledge of the work and the specific needs, both for an artist and for an owner, has been very useful.

to make this project move forward. The artists are working on it right now.

If you pass by these darlings, we are very enthusiastic about the idea that you see the progress. They are incredible. The artists are a simple work. I hope you will notice a little more colors.

And the projects are great. We are also very enthusiastic about this subject. Do you want me to give you another one?

I'm going to shake my hand.

I just want to add something.

By working on public art in Cleveland Heights, we had the advantage of being involved in public art during this period, almost like guinea pigs for the newly created Art Commission, which was very useful because, you know, even I worked in Cleveland for, I think now, more than 14 years. You know, I know myself very well in public art, in design and in the planning of public art, but each city has its own nuances. As long as we are not in a hurry to go to work, you know, it is difficult to make suggestions and changes. And so I am very enthusiastic about the idea of ​​going forward with the Noble Taylor plan. We have learned by following the process because we have a lot of suggestions in which we should proceed with approvals.

Is it the artistic community?

We have to intervene afterwards. You know, the ADR committee or before, probably before Nature. Some steps are things that we can really integrate into the toolbox, which would be part of the plan and the political recommendations, so that it is really specific to Cleveland Heights and that it does not contain to take the best practices from our experiences and that it is really adapted to the community in which we work.

Thank you, everyone.

I would simply say that Heights Arts and our 25 years at ICD-Lien have always relied on community engagement and we maintain this relationship of collaboration with so many different organisations. I would like to think that we have this conversation today thanks to the proposal I made three years ago. And I would also say that the fact that we are so local is the only reason why public art that we see today exists. Because I heard someone say the next day that the city was going to examine the proposals.

I stayed awake all night.

I thought about the neighbourhoods that needed it the most, and it was Noble and Taylor where we initially wanted to be present. Unfortunately, due to the length of the market transition process, and again, thanks to the expertise of our KPT Cara O'Donnell, who knows the functioning of the cities, he advised me not to carry out the type of community engagement that we really need for this long corridor. And I completely agree with local design to say that community engagement is really essential.

I would also add that community engagement is not limited to attending events.

I'm talking to Nick, the owner of Stonhoven, about public art today, while I was having my lunch, talking to him about stories, what's going on, and talking to him about what's happening.

And so, you know, these are things that we do every day at Aids Arts. We see the people in the community and we talk with them. And here is a picture of Cara taken when we were thinking about initially being in the noble neighborhood. We didn't wait.

We started working on a plan with our volunteers. All this work was done by our volunteer community team composed of experts in many different areas.

Cara is one of them.

We have an ex-employee from Land Studio and Spray. We have a landscape architect who lives near my house and who now devotes his free time to solving a problem with buoys in front of one of our wall paintings. These are incredibly devoted people who make this project so special. It's a recent event in Noble where we went to people, we didn't expect to know if we would get this project. We were there and we asked them, what do you want to see in your neighborhood?

Obviously, this project is important to me because that's where we wanted to be from the start, recognizing that these neighborhoods have traditionally been ignored.

So it's a very important project for me personally, for our organization. So when we were told, that we should reduce community engagement, I was concerned because I think that public art requires everyone to be involved. We discussed with the neighborhoods, the residents have already told us about some locations they have.

We have devoted all this work for three years, hoping that this will become a possibility for us.

And there's a lot of information that we already have and that we have now. And in terms of other opportunities for us, you know, public art is much more than a simple mural painting. We also want to continue to involve residents once the plan is established For example, during the next release of our frescoes, we will be associating ourselves with an organization from Cincinnati so that people with disabilities can also benefit from it. We will also call on our laureate poet, who holds the longest mandate of the state, even of the country, to maintain the commitment of residents towards art, not only by contemplating it, but also by creating new works from it. I think we've gone around the subject and Cara can now tell us a little bit about the project team that we trained just after my presentation of the proposal.

Cara is one of the members.

Thank you. I think it's something very special. I've never seen a team with such a level of expertise.

Ratchell mentioned the different profiles that we have, but we also have Erdre Macichan from the assembly for the arts, who grew up in Cleveland Heights and who also has a vast network. It is a real infrastructure that we bring to this project, the infrastructure of this team dedicated to public art, composed of people who work in the neighborhood, who know it well.

The picture at the bottom shows us the angle of Mayfield and Coventry in the context of our consultation approach around this point. We are planning numerous walks and discussions with the community of Noble and Taylor, organized by this team in front of you, but also by all of us, the volunteers. I am a volunteer in this team, I came, I settled in at Noble Fest and I proposed to have this kind of thing visited.

We are very enthusiastic and that's what we see at the top of the picture.

On the top there, that's Susan Hurtis, who is a member of our team, Projects d'Art Public, and has her studio at Art House. And so, this infrastructure dedicated to the commitment around public art is, in my opinion, essential and really special. I think we put our heart and soul into it.

We live here.

We know our neighbors in these communities mentioned by Bridget, and this team also includes a person who worked for Cleveland Heights for 15 years and who is sitting right next to me. and who also managed projects for them. So I think we are impatient to work with the community, very passionate about this project and enthusiastic about the idea of creating a plan as well as implementing the potential future of a plan that is, you know, for the neighbors, by the neighbors, by the neighbors. You know, we are the editors of this plan, but it is actually created with the help and advice of the neighbors and the team of the D'Argo project. with the team present here. If you could move on to the next slide. And once again, one of the things we did, we talked about our presence at Novel Fest, but also, as Michel said very early on, we were there to go through Nobles, to go through Tetons, when we thought about the project we were going to carry out, this recent project. And we had a landscape architect who was mapping and the team members were taking pictures of all the potential areas, at Noble and at Taylor, where art could settle. Public spaces, buildings with a beautiful wall that only asked to welcome a fresco.

It's a kind of state of affairs, a kind of quick observation of what we were going to examine. But once again, we didn't assume that we were designing this.

We were simply thinking of ideas that could be shared with the community in the broadest sense to gather their ideas and to bring the community to celebrate what is important to it. And we kind of started with some of these questions already in place. We are therefore enthusiastic about the idea of ​​being a local neighborhood plan that really engages the communities and the arches of these two neighborhoods.

I know that we have largely exceeded the time one by one. I will try to do my best, but to talk about our methodology, we have a community involvement from the start, which really informs each phase. This cannot be limited to the beginning, it informs the launch, but it must last throughout the process. And I think that's when it will really reflect someone from the neighborhood, that they are a tool. It's going to be, you know, similar. to designers. It will be a PDF composed of several pages. It is useful to redefine the vision and the way to implement it. What are the budgets? Here are the necessary tools and political recommendations, while taking care of what it represents faithfully, the community.

Thus, members of the community can consult it and feel that their contribution is really integrated.

Cultural assets cartography examines the whole area and identifies what is there, not only physically, but also which organizations and companies can be requested and put forward.

You know, we are actively working on the signal, by also examining how to orient ourselves in these neighborhoods.

So how can the Republic really complete the signal in this neighborhood as well?

And then there is the development of the vision.

You know what theme we want to bring out? What stories can we put on the line? This kind of element can be integrated throughout this plan to serve as a starting point for artists who could be hired later to produce works reflecting the neighborhood. And then we would have recommendations for specific sites, including both food and infrastructure improvements linked to public health or identity strengthening, but also a specific analysis of the site. What partners would be appropriate? What funding? What budget plans? And what type of work would be appropriate? And then the selection framework of artists. There are many ways to choose artists and a standardized method generally does not work. This must be specific to what you are really asking for, to the extent and type of project. And then we will always have an annex according to which we work and its needs.

At the end of our plans, which often includes different political and development examinations on the scale of life, which really influences the way someone can make his or her public art project.

And you know, an evaluation grid for the selection of artists, that kind of thing. We really, really like it. We have a lot of tools that we use all the time and we want it to be included in the plan so that, you know, anyone can use it at hand to make things move forward in an efficient way. I'm sorry. I spoke without thinking when I said that we didn't have any time problems.

So, I'm really sorry. I didn't mean to cut you off. I told you to keep going, but it wasn't up to me to... move on to the questions. I'm really sorry.

So the key months, you know, from the end of the summer to spring, we will end with a portfolio of small, medium and large-scale project recommendations, concrete projects where you can make progress, including phase recommendations, a selection framework for artists, cost estimates and advice on implementation, tools for fundraising and awareness for the city. And I would like to answer your question. Sorry. Yes, that's very good.

Very well. I would like to know your way of thinking and the best way to do it. It's because you are somehow paid for your judgment. So the best way for me to do it is the image that is behind HL. Explain this to me. you know you have questioned a large number of people you have examined you have conducted a community consultation and it is the wall painting that you have chosen you know I want to know how you got there and what did you reject I want to know why you said no to some people because it was not appropriate

Can you stop sharing the screen so they can see us? So for that, you see, it's so... This fresco has so many things to offer. So when we made a call to the artists, our simulation, we therefore made a call to open applications to the artists, we announced via Hikes Arts, via the IND Studio and even via certain national platforms to which we are connected thanks to the IND. Everyone could apply. There were specific requirements to reinforce the video, this kind of thing, and we had a ton of applications, much more, think about it. What we have done is that LandStudio organized them to carry out a first test. You know, to review all the letters of interest and everything else and to really restructure them so that it is much easier for the exam committee to go through them together and to quickly understand what their link was with Clean Land Act. If they only drove their cars, what would they do? Or if they live in the neighborhood? You know, really understand all the components. And we also had a bit like the evaluation grid, the local design used an evaluation grid, we too, which took into account aesthetics, skills, you know, the link with the community, all these factors that can play a role in the selection of an artist. So we went through all the artists one by one and we discussed it.

Who would know that they wouldn't know? There was a certain number of artists who didn't have much experience in frescoes, but who may have had a really incredible work, a great link with Key Bland.

It was important. One thing that we need to remember and examine all this is that it was not necessarily only about the individual artist, but also about the selection of artists with whom we were going to work together and therefore have a diversity of skills. So this artist, the artist of SEDARWI, has a lot of talent, He's a world-renowned artist. His name is Arne Gravel and he has worked everywhere.

He comes from Brazil, but he lives in Cleveland now. Landstudio was very enthusiastic and the group ended up selecting him.

But in short, the list was reduced to only Bob Mayer, then these 50 were brought back to 14 artists who had a very strong link with Cleveland Heights, a variety of aesthetic antecedents and a set of skills and a diversity. There was therefore a mixture of artists. And then, with our expertise, we have somehow associated these artists with the world according to their skills. This wall is very large, quite irregular, and it is one of the main entrances of the neighborhood. We did not want to entrust this project to an artist for whom it was the very first fresco, but we still wanted to include beginner artists to guarantee a certain diversity.

There was therefore a work of association.

There is also the builder of the building. The owner of the building also participated in the selection process.

Yes, in the past, the owner was part of the global selection committee.

But this can become delicate because they often have sharp eyes on who can weigh too much. You see, it's complicated. We therefore presented to the owners the small groups of artists who, according to us, contributed to the diversity of the whole and had the necessary skills to make a fresco on this wall. We presented them to the owner, who gave us his top three. Then we cut all the choices to select the artists, ensuring we have all the elements. Beginner artists, a diversity of races, styles, and that everything is closely linked to Wither High. It was a bit like a big puzzle to get a good mix.

Yes, I just wanted to mention that I was new in this process and that the thing that seemed important to me was the unity of the community and our project team. We are lucky to know so many wonderful people in the community to be able to bring this together.

But you know, for what we're talking about right now, the question you asked really concerns the implementation.

It's not so much about the plan, But what I would say is that the plans change. And that's what I learned from this project. You can have a plan, and it can change things. So the fact that we're here in the community, and if something happens like Aaron did, we had other options for the team, but we didn't manage to join the owner, despite our efforts, and we had to adapt. And we had the pictures to see how it would work, and to achieve our goals, while things didn't go as planned. We had wonderful plans, but we had to change them. And so, there is a change of plans that can happen during the implementation, and it is important to listen to the community and to maintain relationships in order to make it happen.

I have a question to answer, Rachel. This particularly concerns the Taylor Road corridor. You know, these two corridors have nascent trade associations that work to bring together very diverse stakeholders. I wonder, from your point of view as a planner, how would you use this energy or the beginning of this energy in this project to better represent all the different types of stakeholders that line up this corridor?

Yes, in fact, the way we would proceed would be to include members of these trade associations.

Are they both officially trade associations now?

I'm not sure, but the parties taking part in these communities must participate in our monthly meetings now. For casey voices in the chapter, this is added to the other external community commitments that we plan to carry out. We really think it's important that these voices are present when we discuss things. There are a lot of points that come out of these meetings and that would not be raised otherwise, simply by discussing problems with residents. because we have so many people in these teams who raise points. And you know, I'm a musician. What do I know? So I listen to what they say. And so far, I've received very good advice and good direction from the band. And it's kind of the heart of the way we're working on our programming at Heights Arts. Everything we do comes from a community volunteer team and it's been 25 years that volunteers give their time to ensure that our programming reflects our community and the arts that we support.

Heights Arts was created in collaboration with the city of Cleveland Heights in recognition of the fact that we have so many residents and professionals of the arts in our city. right next to the University Circus.

I would simply add that the public art project team does not only count 12 people. You know, it's not a fixed number of people like for a council or a commission. It's a rather amorphous structure. So when we work with a noble, there are members, as she said, of the group of merchants, but also of noble neighbors and maybe representatives of different groups of neighborhoods or of the library.

You see?

And is it the same thing for Taylor? You may even know that the promoter of the new buildings, Taylor Tuttor, is part of this group, just like the merchants and residents who, you know, go to the farm market. So it's not a fixed number of people at a given moment. As a project arrives, the representatives of the area involved are part of this public art project team. I would like to ask you, for those of you who know the corridor of Noble and the corridor of Taylor, if there is a unique challenge that each of you would pose separately as you start this process. I'm talking about structures, buildings and the way urban landscapes are arranged. Intersections that you avoid because they are simply too frequent. The kind of things you would look at first, with a challenge for each neighborhood that you can see. What do you anticipate as being a challenge? I would say, I gave it my name. I think noble represents a bigger challenge, because it's very long. You see, I mean, you have, in a way, the Mayfield section, and you have this little section that seems a little separated, near the noble school. Then you have all the apartment buildings, which are still part of the corridor, and there is no reason, no reason, for a strawberry not to be able to appear on an apartment building. Then you have, in a way, the noble section right there. So it's not... It's not as condensed as, you know, I guess Taylor. And that also extends, in a way, to Mayfield, right? As there is this kind of knot, which is like the Mayfield neighborhood you have in the center, when I lived there and worked there. And so there are just, there are like little islands of, you know, noble and small islands, there are these little scattered areas, but you also have to see it as a complete corridor, which I know the city does through its planning processes. Taylor, I think that, you know, you have a little, I don't know, it gives a little impression of stretching over King Park. And again, this is just my personal opinion, King Park gives the impression of having areas in the north and south of the park, and this park is like the ideal place to help connect them. But I know they had, I would say, when I was working for the city, we were working, they had a small business association, who seemed to be a little more active with the Contanas and Kevin Smith and that kind of person who was, you know, really active and they have their small farmer market. So they somehow have an integrated infrastructure on which they build, don't they? And I feel like for my segment it's a little easier, right? Because it's a little easier to apprehend. But hey, they are all a challenge and we will learn so much in the context of this process. You know, with whoever you work with, we will learn a lot about what people want. And in urban planning, I always ask people, what do you want? And I answer, well, what do I want? It's more like, what do you want? Our job is to realize what the community wants and where the community wants it. Or, you know, help guide this process.

Question. What work is Landstudio currently doing for the city?

We work with Heights Arts on the implementation of ARPA and ARPA and we also work as a consultant for the city of Cleveland Heights on the planning of the signage. In fact, we bridge the gap between the county plan with its recommendations and what the city really needs, that is to say an offer to implement a signage plan for the county. already talked about and that he decided. So we make the link and we have collected the opinions of each of the commercial neighborhoods on the county level. That's why I mentioned our certain familiarity with the ethical signal and the challenges encountered in the neighborhoods. It's thanks to this work.

Were there any difficulties in carrying out this work of ethical signals for the city?

I want to say no, we love working with the city. I didn't mean to say yes.

On your side, if you have encountered difficulties to respect, delays, demands or others?

I don't know. The difficulty is that the cities are the loudest and we are trying to balance this with the commercial districts not an infrastructure as organized to carry a voice and an opinion as strong. The challenge is not to work with the city on its development, I find the project really interesting. The challenge is to balance the feedback and the opinions of the CIDs, who have very sharp opinions on visual identity, because they have been thinking about their neighborhood for a long time, compared to the more recent commercial areas, which may not yet have an opinion on their identity, and it is understandable. It is therefore a question of making sure that all the voices are heard, even if the CIDs or others have very much stopped on the ethical signal and the identity of the BIA, without losing any advantage over certain other neighbourhoods with whom we have exchanged.

Because, and that's just what I heard indirectly, there would have been problems with the work done by LAND on this ethical signal. Est-ce que c'est ? Ce n'est pas exact.

Je sais qu'il y a eu des difficultés en général liées au fait que les dirigeants décident de mal interpréter le plan du comté, pensant qu'il s'agissait de conception finale alors qu'il ne s'agissait que de typologie. Il s'agit donc de mieux communiquer sur l'objectif réel du plan du comté. Et sur ce qu'il reste à faire, car je sais qu'un grand nombre de quartiers de la ville cherchent activement des financements pour leur propre image de marque. You know, the Sedari neighborhood has just adopted its own brand image for the entire sector. And I think there was an expectation that the city would finance its signage program as they wanted to design it. I think it's about balancing what the city is really going to put into practice and what it is capable of doing in the short term. Maybe in the long term, they could, but I think we must above all define the stages of the city's objectives and intentions for its signage program. That is to say, the city has a lot of basic elements to put in place in its signage program before being able to move on to this more specific signage or, for example, a signage related to public art within the framework of their budget. We are therefore trying to help the city determine what this phase would look like and how it would be with the feedback we have received from all the neighborhoods.

Was that my question or my questions?

I think it's a good presentation.

Thank you very much for this presentation. Thank you. Thank you.

For some reason, the software decided to display it upside down. I don't know why, but I thought it would be nice to see that.

And just a little parenthesis, behind Kara is the mural fresco of Ken Park's bikes.

We passed in front, in the car, thinking, oh my god, graffiti.

But in fact, it's a technique that artists use to find themselves when they install their work. I found it fascinating, and it will probably appear in the documentary once it's finished.

It's nice. And it's built.

I was asking myself different types of questions while being really sure about it. I said to myself, no, no, no, no, no, no, no.

Tony, let me introduce you to my apologies. I spoke without having the right to do so, telling you to go. It's not up to me to decide.

It's... No, I was just... No, you're welcome. So, Mr. President, of course, you don't vote for anything. Today, I don't think we should discuss collectively what you heard during the interviews, but I encourage you to share your thoughts individually. And then we hope to propose a...

From both teams, the 8th.

How do you want to proceed? Simply by meeting, phone call or email. Yes, I don't see any inconvenience to what the members of the council share individually their thoughts on what they have thought.

Uh, interviews? Yes, by what means? An email is fine too. I mean, in the end, it's a whole public file, isn't it? And we make a public decision in the end, so ... Very well. Does anyone else want to say something before we finish?

Very good. Thank you.