Art in Public Places Board - Regular Meeting

Thank you.

Good evening. It's Raymond Pareda, Office of the City Attorney. Any person who receives compensation or remuneration or expenses for conducting lobbying activities is required to register as a lobbyist with the city clerk prior to engaging in lobbying activities. before city staff, boards, committees, or the city commission. A copy of the applicable ordinance is available at the Office of the City Clerk, Miami City Hall, located at 3500 Pan American Drive, Miami, Florida, 33133. Thank you.

Thank you very much. Do we have a roll call, please?

Yes, Chair. Board Member Cristina Cuevo. Board Member Nelson Delgado. Board Member Maria Napolis.

Here.

Board Member Gary Feinberg.

Here.

Board Member Juan Valadez.

Here.

Board Member Jacqueline Roach. Here. Board Member Odalis Deyuri. Here. Chair Francisco Giritas. Here. Vice Chair Olga Grander. Here. We do have Chrome.

Thank you, Florence.

You're welcome, Chair.

Do we have absence waivers for today?

Yes, we do. We have one request for an absent waiver, and that is board member Christina Cuervo.

Thank you. Can you make a motion?

I make a motion to accept Christina Cuervo's absence waiver. I'll second.

Thank you. All those in favor say aye. Aye. Aye. Aye. Thank you. Do we have any minutes to approve?

No, we don't.

Thanks. Are we swearing in any public?

For all those who will be testifying, please rise and raise your right hand. Do you solemnly affirm the testimony you will be given today is the truth, the whole truth, and nothing but the truth? Thank you. Please be seated.

Thank you. Thank you. Are we changing the order of anything tonight?

No. No changes to the order of the items.

I'd like to ask to change one and two to the end, and then we'll discuss.

Okay. We are requesting to defer item number four, which is the ethics refresher.

OK. All righty. Any other deferrals?

No.

OK. Please, can someone make a motion to defer item number four?

Is there a reason we're deferring this out of curiosity?

Hello, this is Raymond Pineda, Office of the City Attorney. Just to prepare the presentation to have a more formal presentation for the board at the next meeting.

Okay, I make a motion to defer to the next meeting for the ethics refresher.

Thank you. Any second? Second. Thank you very much, Mr. Rodriguez.

And is this moved to the next meeting in March?

It is continued to the next meeting, yes, sorry.

Thank you.

All those in favor, say aye.

Aye.

Motion passes. So if there are no other deferrals and we're not changing order, please, can you continue with item number three?

Item number three, file ID 18740, a resolution of the Art and Public Places Board of the City of Miami, Florida pursuant to Chapter 62, Article 16 of the City Code of Miami, Florida as amended, accepting the art in public places and a report for the 2025 calendar year, making findings and providing for an effective date.

Thank you. Is there anything that you would like to discuss on the annual report? Any comments or any issues? Any items?

No.

I read it, I'm ready to sign it as the chair. Okay, does anyone have any comments on the annual report? No? Annual report in the agenda packet. Okay, if there are no comments, please, can someone please make a motion to accept? Sure. Approve, sorry.

So make a motion to approve AIPP resolution 18740. a resolution of the Art and Public Places Board of the City of Miami, Florida, pursuant to Chapter 62, Article 16 of the Code of the City of Miami, as amended, accepting the Art and Public Places Annual Report for the 2025 calendar year, making findings and providing for an effective date.

Thank you. Any second?

Second.

Second by Ms. Napoles. All those in favor say aye. Aye. Aye. Is it recorded, Florence?

Yes, motion passes, thank you.

Excellent, thank you. All right, I think we can continue with item number five.

Moving on to item number five, file ID 18184, a resolution of the Art and Public Places Board with attachments pursuant to Chapter 62, Article 16, entitled Art in Public Places of the Code of the City of Miami, Florida, as amended, approving the removal or modification of a public art piece by artist Carola Bravo at Antonio Maceo Park new field restrooms located at approximately 5135 Northwest 7th Street, making findings containing a severability clause and providing for an effective date. This item was deferred from the last meeting. As the board knows, it was presented to the board in January. The item requests to remove or modify the artwork by Carola Bravo. The artwork was finished in 2025. The mural cost $15,000. Here's an image of the mural as it stands. It's been completed. Following feedback from the community and requests from the District 1 Commission Office, we are requesting to remove the artwork, decommission the artwork from our collection. The artist has provided a letter regarding or intent and concept for the mural. This was read and presented to the board at the last meeting. Would the board like to read the letter again or is it okay to move on to the next slide?

What has changed since the last meeting?

So we were asked to get an estimate for the total to cover the artwork. We have estimated the artwork removal. at $3,000 for repainting the wall and around $2,600 for removing the anti-graffiti coating on the artwork. So the total estimate to remove it will be $5,600. We have reached out to District 1 office and I believe the intent is to move forward with the decommissioning of the mural.

So I did meet with Commissioner Gabella, as requested. I met with him a couple weeks ago. Concerning this item, we failed in a way that we try not to. He said he had no prior knowledge of this work before the work had started. And I know we always want to know from the districts. that they approve before we approve, and somehow this didn't happen.

The artwork went through the artist selection process. It went through the PAC and the board process. The district had an appointed PAC member who reviewed and recommended approval on the mural.

So the commissioner said he knew nothing about this, nothing. What they want to do is, this is only two walls of a four-walled structure. They would just like to go ahead and paint it out the same color as the other two walls. He said they could cover the cost, the district, to paint it out. As far as the replacement, they're not in favor of the mangoes. They don't feel that has any connection to Antonio Maceo. So to go forward, they would like to possibly consider another concept from the artist that does celebrate and commemorate the man.

Okay. The second proposal came about following a meeting with the commissioner's office and the artists and city staff. So the idea was contemplated at that meeting and that's how the concept came about.

The mangoes.

Yes. So we can go back to the artists and communicate this to her and perhaps she can propose a different concept.

It seems there's a miscommunication between the PAC member that is appointed by the commissioner and the commissioner's office. And so staff should clarify whatever miscommunication there is between them. Because if you're saying that the PAC knew, but the commissioner didn't know. So there needs to be a communication, not just for this example, but in the future for all projects, that the commissioner is at least aware the commissioner of the district is at least aware of all the items, all the public artworks.

Okay.

I have a question. Does the commissioner, wherever that work is, always have to sign off on the work? Or isn't that what we do? Like, I'm confused.

It goes before the professional advisory committee. The PAC makes a recommendation to the board, and the board provides final approval.

So the commissioner got involved because the people in that area didn't like the mural?

But we've always, can't we get some approval from the district before we approve?

That's, I believe that's the point of having that.

I mean, just to, I don't know if an approval from a city commissioner for an artwork. I think a heads up, like, okay, this project is happening in your district. It's a park that's in your district. The PAC that the commissioner appointed and staff, sorry, and the board appointed have, you know, decided on this art, and now it's going to go to the public art board for review and approval. That way, if the commissioner has any objections or anything that's really relevant, they can bring it up. I don't think that... I wouldn't think that the commissioner needs to approve each project before we do, though.

Well, there has to be some buy-in.

Heads up. Maybe a heads up, or at least some...

Just so we don't have this situation again.

I think that what's unique about this situation is that there's a political reference, right? So Antonio Maceo is a Cuban hero, and the park is named after him. The artist who we... commissioned to do this work is a Venezuelan artist, and she used as inspiration for the piece, she used a sculpture, a memorial that exists in Cuba, also honoring Antonio Maceo. When we reviewed it, that seemed logical to us, that there's a memorial that is to him, she used that as inspiration, and hence her artwork. What happened was that at the ribbon cutting, there were members of the community who were personally offended by the work because the memorial in Cuba was built post-revolution and therefore facilitated by the current regime in Cuba. And so they don't see that as an exemplary memorial that should be honored. So they do want to honor Antonio Maceo, but not the piece of artwork that was used as inspiration and is referenced in Carola's piece. And hence they requested that this be removed. And that is why the commissioner is now involved and asking us to decommission the piece. But yes, typically there is not an approval process or an approval that is required for the commissioner. But I do agree with my fellow board members that there should be a little bit more communication in the process to let the commissioners know, hey, this is happening in your district. And maybe the PAC member that was assigned didn't realize that that was part of their responsibility So I think we should know whether it's the PAC member's responsibility who's elected by the commission or whether it's staff's responsibility to make sure that every commissioner is aware of a new work being installed in their district.

Yeah, as PAC members are onboarded, they are notified that that is part of their responsibilities. But following this incident, we have now started to implement extra communication with commissioner's office prior to bringing items to the board, even if their PAC member makes a recommendation of approval.

I believe the gentleman is coming from the commissioner's office, correct?

I'm sorry, if you can come to the mic and speak into the mic and please say your address. Thank you. I'm sorry.

I just wanted to clarify that my name is Frank Castaneda. I'm Chief of Staff to Commissioner Miguel Angel Gabela. We're sorry that this happened, but basically the artist unknowingly selected something that was used by Fidel Castro to celebrate the revolution, and it was the first anniversary of the whole revolution was based on that piece of work, and it was used For this art, which it was, in our opinion, a very nice art, the problem was the initiating factor that created the artwork, and that created a whole lot of problems for us. And we're sorry about what happened, and we would want to participate more to make sure stuff like this doesn't happen. But that's basically what happened. Thank you.

Thank you for the clarification. Yes, I'm Jose Sanchez-Rollier, legal policy advisor.

Can you also state your name, sorry?

Jose Sanchez-Rollier, legal policy advisor in Commissioner Gabela's office. I just want to clarify the matter of the thing about the mangoes. The reason why the artist, because the artist doesn't know, I guess, Cuban history, came up with the thing, was in a conversation in our office, she was asking about events in Antonio Maceo's life. So I mentioned the Protesta de Baragua, which happened in a place that's called Mangos de Baragua. It's the name of the place. It has something to do with the fruit. I mean, it may have been like there were fruit trees in there, but that's not the essence, it's the mango. The essence was... Antonio Maceo protesting the end of the 10-year war against Spain and the people from the western part of Cuba that were, you know, like they wanted to make peace with the Spanish, and Maceo didn't want to do it, so he protested to the Spanish people. governor. That's the essence of the protest. It happened to be in a place called Mangos of Aragua. That's why there is really not a connection with the fruit to Maceo. The connection is with the name of the place where the protest took place. So that's why that's not also representative of Maceo. The first one It was that, how do they call it, a sculpture complex or whatever, was something that Fidel Castro created. He was the one that inaugurated the thing at the closing of a Communist Party Congress. So that was totally negative for the community.

Indra, my understanding of the Mangos de Paraguay is that it's a map.

I do want to clarify that Carola's concept was to, she uses the color of the fruit as an allegory correlation to the event, but she is highlighting the actual location where the protest happened. That was the concept for her modified mural.

Maybe she can put the famous, there is a famous picture of Maceo sitting in a hammock with the Spanish General Martinez Campo arguing about why the war should continue. And then you see the trees, you know, like where the mango, I mean, where the hammocks are hanging was probably the famous mango trees of the location. But if she could like make maybe like a, I don't know, a silhouette or something. The picture can be found in the internet, you know, like Maceo sitting in the hammock and the other guy sitting in the other hammock. Something that will relate to Maceo more than the map, which I don't know how many people would even know about or care about the map.

So you're asking for something more representative of action.

More representative of Maceo that has to do with Maceo and has nothing to do with... how do you say, like the Castro government taking over the legacy of the Cuban Mambisa freedom fighters, which is something that the Castro dictatorship loves to do. They call themselves like the successors of the Mambises and that the revolution started in 1868 and he finished the revolution in 1959. So he has, he tried to include Maceo, Marti, all these people into his dictatorship. And we need to separate and make sure the Mambises stand like Maceo, Marti, Gomez, that they stand in by themselves as, you know, people in the war of independence have absolutely nothing to do with the Castro dictatorship. And of course, we want to see the artwork before, and I think it would be good policy to have the district commissioner, whatever district it is, be the one that signs off and gives a final approval to the... to the art recommended by the board. So that if there is any issue, you got the signature of a commissioner there, and the commissioner and his staff review the art and can say, hey, this is good, no, this is not good. It would avoid extra expense, it would avoid extra problem. Because in any event, it is in the commissioner's district where it's gonna be placed. So it's rather better, I mean better policy, best practice to have the person in charge of the district be the one that signs off and approves the other thing.

In our meeting with the commissioner, Frank and staff, that was brought up and the commissioner said he is looking into replacing the PAC member to someone that can better represent the Cuban community and the community of his district in a more efficient way. So he is actively also looking to.

Yeah, that was discussed in that meeting. But the thing is, you can have somebody who doesn't know, like, everything. Maybe some people here don't know, maybe some people here do know, but I think that the decision should be at the commissioner level rather than at a board level. I think the board should, you know, provide the commissioner with our proposed artwork and the commissioner should be the one to make the final decision. That way we avoid the hassles that have come up in these things because you have one member. per district, you know, like recommended, and that person may or may not know. So having the commissioner and the staff in the commissioner's office review the whatever, the paperwork, the artwork that's being proposed, and making the final decision, will be better than having a board make the final decision and there may be a mistake by the person that the commissioner has. So it should be whatever, whoever happens to be the district commissioner of a district for the artwork is gonna be placed, review it and say yes or no.

So I think in general as a process rule, I think that that's problematic. I think that it is important for the board to have a certain independent authority to avoid censorship issues and other issues that could come up in other scenarios. I think that it's important that the commissioners have good relationships with who they appoint to this board, and that if they are very concerned about the artwork that's going to be installed in their districts, that they remain in contact with their voting representative.

definitely with all the sensitive issue with the Cuban community, we all work in this war without no compensation whatsoever. I think at the time of all of us, it's important. Following what Mrs. Cuervo actually, not was a proposal, but comment in our last meeting, where she said that Every single commissioner should be more interested in what we do here. I think at least, to avoid these mistakes, because it's nothing but a mistake, I think that we should suggest, that's the right word, I think, to the commissioners when a commission, a commissioner is involved within the public art cult, they have to, they should appoint someone that gets involved with us as a board. And then all this wasting time, it will not happen. My personal opinion.

But don't we already represent a commission district? Like, isn't that why we're here? So why would we add a person per project if that's already our role?

No, I'm not asking add anybody. I'm asking... that if the commissioner is involved in a particular artist's call, that it comes from the, not the board, but it comes from the Office of the Public Art, that commissioner office should have someone involved, I don't know with your manager office or with us in our meetings until, until the art is approved. Because evidently the PAC either is not capable of what they're choosing or they don't find out what exactly the commissioner office is looking for. I think the more communication we as a board has with the commissioner that is involved in an artist's call, it will avoid all of this.

Thank you. All of the public art process is in the Miami code. It's not really up to this board to transfer the power from this board to the commissioners. The commissioners decided in the Miami code to give the final approval of public art to this board. That was decided by the commissioners of the city of Miami. the code establishes that each commissioner shall nominate one member to this board. District 1, your member is not here today, for example. The commissioner of each district should work together with their board member on the public art board on the public art that's going to be installed in their district. In addition, separately we created, or after that, we created the professional advisory committee where we have public art experts and also one member appointed by the city commissioner so that that member may provide that direct input on a case-by-case basis. And the commissioner may decide, hey, for this project, I'm going to nominate this person to be my PAC member for this project because they're an expert in Cuban history like you are, for example. And so that way, the PAC member that's assigned to that specific project can inform the artist better of what the scope is and what's required and what to do or not to do. And even, you know, explain what the commissioner and what the commissioner feels it should be and what the commissioner is hearing also from the people who live in the district. So there's already a lot of places for the commissioner's office to participate in the selection of public art. I just think that there should be more communication. For this particular example, I mean, let's say there's two steps. Step one is removing what's currently there. That's fine. I think that we can all agree to that. We already agreed to that in the last meeting. The thing is that, you know, yeah, we can paint it white or gray or whatever color, but it's still a missed opportunity for public art and for beautification of an important part. And maybe an important message that this art piece can deliver. So, you know, what we should have done during this month, Indra, is we should have worked, staff should have worked with the PAC, with Carola Bravo, the artist, and with the commissioner's office, not wait until we're all here, but, you know, but actively work to resolve this. Because what I'm hearing from the gentleman is, is that there's just a miscommunication. And if we can get Carola Bravo and the PAC with clear instructions from the commissioner's office on what the direction should be, if we can get them all in a room, they could probably have an alternative. Hey, we can, you know, why don't we do this? And so, you know, I don't know why this has to wait an entire month to get here and for us to propose this. I mean, I think that we should be working more with the commissioner's office, We should be working more with the artists. Yeah, we can slap a coat of paint on this. We should. Let's approve that so that we can remove it and we avoid all the problems that it's causing. But it's going to be a blank wall. And so there's an opportunity here. That's my point of view.

But didn't the artists meet with the commissioner? Yes. And they discussed this latest concept.

Following that meeting with the artist, the commissioner, and city staff, the artist shared this second proposal with us and with the commissioner's office.

So this is the one, we've seen this second proposal.

Yes.

And when was the meeting with the commissioner prior to that? Yes. Okay, so there hasn't been a meeting since this proposal.

We have attempted to follow up.

That's my point, is that we're not, I mean... We're leaving it to, I don't know who to resolve these things. These are very, these are executive things. Somebody needs to take charge and pick up the phone and call Carola Bravo and get her to a meeting in the city's office and talk to the commissioner's office and coordinate one week, the following week, until it's done. Not bring the same exact thing. This is exactly the same that was before this board last month. We're going to make a decision right now to paint the walls white And that just means that we didn't do our job. One entire month lost.

Can we ask the commissioner's chief of staff if this could be possible?

Now that we have you here, maybe we can, you know, find a resolution.

What we want to do is paint that wall with beautiful art.

So how can we do that, you know, Okay, so far from what I understand that you have said here, you're approving the removal, that is, painting it white. Sure, sure, sure. So now we would need to come up with a replacement. I mean, speak for yourself. I'm sorry, I'm sorry. Okay. Sorry. Apologize. You're right. So that will be what's being done today is to remove the artwork, paint it white. And then we will need to come up with... the new art that's gonna be...

So our frustration is that this is what came before us a month ago and we did not vote to, we did not support as a board to remove it because we wanted an option of a replacement. And so our frustration is that a month came back and we still don't have a replacement.

And we still didn't get consultant and... on things. That's a problem with the miscommunication that has plagued these things from the very beginning. We need to have a meeting, everybody, and say, hey, we agree on this, we like this, you know, this is fine, this is bad, this is good.

So who will be responsible for meeting from your office with Carola Bravo to come up with a new proposal?

What you can do is contact our office, set up a meeting with our... receptionist so that the commissioner can be there, the chief of staff, myself, the people in the office can be there, and the artists can come in, and then we can discuss the different options.

So whose responsibility is it to make this meeting happen? It should not be our board. It needs to either be your staff or your staff. You know, either the commissioner's staff or the Art in Public Places staff.

So following the last meeting, I followed up with the commissioner's staff in email, saying that this board had deferred the item and had additional questions, such as would the commissioner just simply like it removed? Would they like to do a new call to artist? I then followed up with the commissioner's office again. And then again, the commissioner's office at that time, or the second time that I followed up, I was told by staff that they would just like to proceed with having it removed. And then that's when I brought it forward at the last meeting, we moved forward. I followed up again. I received a phone call back from a staffer, and I believe the commissioner was also on that as well. They talked about the email they had received from the board. And then we did our due diligence in trying to find an estimate of what it would cost just to replace it or to paint it white. And so I did make attempts to reach out to the commissioner's office, and we did speak with them.

I think the best thing is just to call our main line, 250-5430, and set up a meeting. So that, you know, like he'll be coordinated within the office, he'll be put on calendar, he'll show up in everybody's calendar, and everybody will attend. I think that's the easiest logistical way to get it done.

May I ask, replacing this is going to cost, give or take, between $15,000 and $20,000, what I see there, plus the removal if we do it in two steps.

The cost of removal is $5,600. The cost of modifying this, the cost of another artwork,

for this location would cost between $15,000 and $20,000. Is that something that the commissioner's office can contribute with?

That we have to discuss with the commissioner. What he wants to contribute.

That was also something that I asked staff to discuss with the commissioner's office regarding budget for this particular project.

That was part of our request to the commissioner's office as well. Who paid?

Sorry?

Who paid?

Sorry, just for the record, because the microphone picks it up for the record.

Frank Castaneda, the District 1 office will cover it. Thank you.

You'll cover the removal, or you'll cover also the replacement? Definitely.

Both.

Both, and the replacement.

Thank you very much. Thank you, sir. That really takes care of a lot of the complications. I think that now what's required is probably a few meetings with Carola Bravo and some direction.

Indra, based on the process, are you required to do another artist call, or can they continue working with Carola Bravo?

We can modify. Carola can submit a new modification to the artwork.

Did she get any feedback on the second concept?

She was not given any feedback on the second concept.

But actually, I wanted to make sure that we understand that I think we should look at a different way of managing this, dealing directly with the commissioner's office. Because some commissioners are very cooperative within our business, but some are not. They don't think it's important. We should make this happen a little bit more smoother. That's my personal opinion.

For the record, board members, board member Cristina Cueva is present. Thank you. Sorry, I'm late.

Thank you, Cristina. No, we had an absence waiver, and so we appreciate it for you coming.

You granted it so I can leave?

No, now you have to stay.

Now I have to stay?

Well, I did give up a seat for you to take off.

Thank you for giving me my absence waiver, but I tried my best.

That's okay. That's okay. Thank you very much. Go ahead.

Would the board like to have the PAC review Carola's new proposal, or would the board like to be the final deciding body after Carola and the commissioner's office?

I think this has to go through the... the same process and the PAC, and it just has to run through the process correctly. Please, yes, no additional comments.

I don't think we need to bring the pack into it. I would love Ms. Bravo to meet with these gentlemen directly and share with them directly her proposals. Like, maybe she could come up with two new proposals. I mean, these gentlemen are really knowledgeable, and I'm sure they could work with her to create a new one. So, yeah, so it wouldn't be erasing an artwork. It would be replacing the artwork by the same artist.

Can I make a motion?

Are there any other comments?

No?

So what I understand that we're going to do here is we're going to approve the removal and... And the next step. And the next step?

A modification of it.

The modification, okay.

Okay, so I would like to make a motion to pass that for... Sorry. AIPP resolution number 18184, which is a resolution of the Art in Public Places Board with attachments pursuant to chapter 62, article 16, entitled Art in Public Places of the Code of City of Miami, Florida, as amended, approving the modification of a public art piece by artist Carola Bravo at Antonio Maceo Park, Newfield Restrooms, located at approximately 5135 Northwest 7th Street. making findings containing severability clause and providing an effective date. And further specifying that the District 1 Commissioner's Office will pay for, will fund the modification of the new artwork and will work with Art Escarola Bravo on a new piece, which should come before this board for final approval.

Second.

Roll call. Board Member Olga Granda?

Yes.

I'm sorry, Vice Chair Olga Granda.

Thank you, yes.

Board Member Maria Napolis?

Yes.

Board Member Christina Cueva? Yes. Board Member Gary Feinberg?

Yes.

Board Member Juan Valadez? Yes. Board Member Jacqueline Roach? Yes. Board Member Odalis Daryuri?

Yes.

Chair Francisco G. Rites.

Yes. Chair, if I may, to clarify, that includes the removal of the artwork?

Yeah, I had that question too, I think. Can you repeat your question or clarify your question?

Me in the motion?

Does the motion include the removal of the artwork in addition to the new?

I think what's specific for Juan and I is that it is a modification, not a removal.

By the same artist. The artist is modifying the artwork. Right.

It cannot just be removed and left blank. So I guess my answer would be no. Simply a removal is not approved by this board. Only a replacement is approved by this board.

Got it. Thank you.

But there is the step to paint over.

Yes. She could just paint over it with the new paint.

We're just trying to avoid a prolonged period of time in which there is a blank wall.

Motion passes 8-0, and this decision is final unless the Division of Hearing Boards receives an appeal within 15 days. Thank you.

Thank you very much.

Item number six, file ID 18550, a resolution of the Art in Public Places.

Excuse me, apologies Indra. Since the gentlemen are here, and they're from District One as well, if possible, if we could move to item number eight, and then we can circle back in case we need any feedback from them.

Okay. I will read the item into the record. Item number eight, file ID 18869, a resolution of the Art in Public Places Board with attachments pursuant to chapter 62 and Article 16 entitled Art in Public Places of the Code of the City of Miami, Florida, as amended authorizing the city manager to negotiate and execute in a form acceptable to the city attorney an agreement between the City of Miami and Miami Freedom Park, LLC, to establish an Art in Public Places master plan for Miami Freedom Park. generally located at 4000 Northwest 14th Street and 1900-1950 Northwest 37th Avenue, making findings containing a severability clause and providing for an effective date.

Hi, Savannah Steiner, Assistant Director, Planning Department. Maybe my PowerPoint will come up in just a second, instead of having to look at my inbox.

Excuse me, Chair. I'm sorry. Do you have the annual report? I can go ahead and scan. Thank you. While we wait there.

So this is the Miami Freedom Park AIPP Master Plan. I think this is much anticipated. So this is a request to authorize the city manager to execute an agreement to establish a master plan specific to Miami Freedom Park, or more specifically, the special area plan for the whole park. So Miami AIPP Master Plan and your program guidelines specifically speak toward artwork at tourist-oriented locations. It specifically speaks to major facility sports venues and then outlines criteria where that artwork should anticipate its location. And that is major entry and exit points, visitor areas, plazas, principal facades, perimeter areas, and then areas visible to surrounding neighborhoods. The master plan and program guidelines for the board also specifically talk about parks. in list criteria for parks, and so our special area plan for Miami Freedom Park does also include a public park. The program, the AFP Master Plan and the program guidelines specifically speak to special area plans, and urban design framework for public art and special area plans. It specifically asks that all planning documents associated with an SAP should contain a set of prioritized public art goals and opportunities that include the following. Identifying and defining public art goals, guidelines, opportunities that include examination, character, connections, history, and culture. outline criteria for placement of public art, including appropriate materials and scales, classify and identify highly visible placement opportunities, and integration for public art that promote pedestrian interactions, incorporate works of art into architecture that activates facades and public realms, and describe programming ideas for temporary public art installation. SO ESSENTIALLY YOUR AIPP MASTER PLAN AND PROGRAM GUIDELINES FOR SAPS SPECIFICALLY CALL FOR US TO HAVE A MASTER PLAN FOR THOSE SAPS. The city, along with Miami Freedom Park LLC, have been working on a master plan agreement that would outline all of these criteria set forth in your program guidelines. The agreement specifically asks that there be a consultant paid for at the expense of Miami Freedom Park LLC. And that consultant shall have to demonstrate the following minimum criteria. And that is, of course, having previous experience, experience in public art, knowledge of municipal planning and development processes, the ability to work on budgets, experience working with artists and artist professionals, experience developing responsive and equitable public art. So these are the things that are listed in this agreement. So the consultant must be a qualified public art consultant. We also established a steering committee to provide strategic direction and accountability and stakeholder representation throughout the entire process. Their purpose and their duty is really to guide the project's vision and goals and to ensure alignment with adopted plans, such as your master plan and program guidelines, as well as the city code. They also provide oversight and decision support. They help resolve issues and manage risk as they arise. They support transparency by serving as a clear forum for any dialogue that happens. And then they help build consensus and then champion the implementation. So that helps to ensure that the likelihood of the site-specific or the special area plan master plan is actually successful and implemented. This year in committee is made up of the following representatives. So include somebody specifically appointed by district one then of course ownership representation some city Representation as well because this does incorporate the outside of the administration building as well as the public park a member from your board a PAC member and then a qualified art professional and art community representative So the idea is that we're balancing all the needs of the stakeholders within the steering committee. The steering committee would also have support from AIPP staff, as well as the consultant legal staff from the applicant, as well as any city legal staff, as we would need that. And then they have the ability to, if they need a technical working committee, to have one. On a project of this size, I probably don't foresee one, but who knows. Topics to be addressed within the master plan. So the master plan agreement specifically outlines the topics that the consultant will address. So in addition to the things that are outlined in your public art master plan and your program guidelines, it creates a public art project background, purpose, and vision. Curator framework. Mapping. so that we can understand the locations that art may go. We've also asked for them to include research So a summary of research conducted in connection with the development of the plan. So a series of case studies that would be similar to Miami Freedom Park and what other cities and what are best practices across the country. We've asked that they conduct stakeholder interviews. So these are three specific stakeholder groups. So the city of Miami District One office themselves. City staff, including any type of planning, dream, or anybody else the city manager would want to have in that, and then of course a specific stakeholder interview solely with the developer group. We've also included one community engagement outreach meeting, so this will be an opportunity to reach out to the community, have them come in and engage with them on what type of public art they would like to see in Miami Freedom Park. Additional topics to be addressed, we also have asked for them to incorporate a communication and educational plan. As you're aware, a portion of the 1.5% that is given to public art specifically goes toward education and supporting public art. So this would be a way to incorporate an advocacy plan and an educational plan for the greater public. a special area plan. Then also methodology, strategy, art typology. So they would be looking at what types of art are appropriate in different locations and setting forth criteria or making a recommendation on those types of criteria to follow for those things. And then usually there's an associated estimated budget that goes along with each types of those art in those locations. This is the timeline. Of course, the idea is to finalize the agreement sometime this month, and then to have a kickoff next month. Research, of course, stakeholder outreach would be in May, and then actually drafting and finalizing the plan. We hope to have it back in front of you in September for adoption. Of course, if there's anything at that time that you would like to change or make a recommendation, you can make that conditional announcement. or asked to be changed at that time. This would be the master plan and kind of the guiding documentation, or the guiding document and the implementation plan for public art in Miami Freedom Park. Do you have any additional questions?

Can you go back to the list of the membership of the steering committee? Sure. And my question is how will these people be selected in appointment, more specifically, you know, not the city people, right? So community representative, art community representative, qualified art professionals, how would those people be selected?

So currently we have asked that the city manager appoint those. Of course, the PAC member, we did include a PAC member, so you would be appointing that PAC member. I think you guys have permanent PAC members, and then one additional PAC member from District 1 already. So District 1 is already appointing somebody specific to the project. And this is a minimum, so I think that we can add at any time, or if there are people that any group thinks that is important to have at the table, I think that we can add that.

And it is the developer who chooses the consultant?

Yes.

And do we already have somebody they've proposed? They're here.

Hi, good evening, everyone. Iris Iscarron, Brian Dombrowski with offices at 333 Southeast 2nd Avenue. We have not yet selected the consultant because we wanted to make sure that this got adopted and what the scope would be. We have a few people we've interviewed that are waiting anxiously and probably watching this evening, but we needed to make sure that the scope was all-encompassing so that we have not yet finalized the selection.

My last question is do we have an idea of the value of the Art in Public Places contribution based on the value of the project?

We don't not yet know that number. Construction cost goes up every day. And since it's 1.5% relative to the cost of construction, it goes up momentarily. So we don't know yet that number. We do have a development that's proposed over the next 12 years. It's going to be coming in in various different phases, which is why the city and our team felt that a master plan kind of coordinating, looking at the big picture as opposed to coming in building by building, was a better avenue to be able to look at it, take a step back, and then focus in. Thank you. Thank you.

This master plan covers the soccer component as well? Yes. The entire parcel?

The entire leased premises, so it's 131 acres, 73 of it is the leased premises that Miami Freedom Park has, as well as the abutting public park. Since they're kind of both integrated into each other, the city asked that the public park would also be integrated into the master plan. The city is responsible for doing the art in public places selection of the actual art for the park, but it's part of the master plan. It'll all be incorporated holistically.

The master plan is the stadium, the administrative buildings for the city, and the public park.

Not the administrative building. The surroundings of the administrative building. The administrative building, I believe, already has a call to artists that's been issued by the city planning department, but the surrounding areas around it, the open spaces, yes. And it also includes the retail component, the office component, the hotel component. Since this is a large development, all those different components will also be a participant.

But is this board will be involved in the indoor public art as well? Like, for instance, a hotel, et cetera? No.

Well, the hotels do also have to satisfy AIPP compliance in relative to the construction cost of each hotel. So they are a component of the development and they are included in the master plan.

Why wouldn't the city administration building be part of the master plan?

So the inside of the... We've already... We've already done the call to artists for the inside of the building, and that is specifically because at this time, we're trying to make sure that art gets incorporated, or there's been a request to incorporate art as part of the architectural features of the building. And so in order to explore that, we needed to go ahead and release the call to artists.

You mentioned that the costs are going up constantly. Absolutely right. But what's the latest estimate?

The latest estimate based on the current building permits that we have. So right now, if anybody's driven up Lejeune or gone around 37th Avenue, you've seen the beautiful building. Currently right now, it's about, I would say almost 5 million in art. I don't remember right now off the top of my head. I know it's about 5 million in AIPP art. The cost of constructions, it's the garage, it's the stadium, it's the roads and so forth. So it's about, currently right now, it's at about 5 million with what you see out there. plus all the permits that are coming in in the near future.

When do you believe we could have some sort of estimate or like a planning for?

That's going to be in the master plan. So one of the things that the consultant is going to be doing is coming up with like a budget overall of the development. Now again, it'll be a budget. Some things may change between now and in seven years when we actually build the building, but it'll give you a budget going forward. That's one of the components that the city requested be included.

So when I've worked on these in the past, we've specifically, what's happened is the consultant has come back, they've said, okay, we think a piece of iconic art should go here, and an estimated budget for that should be between $3 million and $5 million. And so they're making that kind of recommendation, and so that's what we've asked to be incorporated into here, is that they would give an approximate estimated budget.

And can you go back to the very beginning when you described this whole master plan agreement and the SAP? So is this contemplated in a special area plan that you would do a master plan agreement? Or is this something, explain how we got here because maybe I missed that at the beginning.

Yes, so in your AIPP master plan and your program guidelines, so for example, the program guidelines say you know, you shall have a PAC, and this is how the PAC shall function. It also says that in SAPs, you should have a planning document that addresses these items, which is essentially a master plan. I mean, it doesn't call it a master plan, but I don't know what else you would call this criteria.

Okay, I think that's smart. So I think it's, this makes sense in that sense.

And is the city administration not considered part of the SAP? But it's just been the city's direction to pull it out of this.

So because of where we are in construction of that, we've been asked, or we are moving forward with the call to artists for the internal portion. We did pull out the external portion of it so that it could be included in the master plan.

And that direction comes from who? It comes from city administration.

Maybe your point, Olga, is like, how do you divvy up between the interior and the exterior? But I guess that's if the exterior would be part of this. Yes.

I mean, I think that part of my questions are because we've been asking, particularly the chair has been asking about this for over a year, kind of, you know, in anticipation of why aren't we getting more information? Why isn't this coming before us? And so already we're seeing this divvying up and things happening that we've been trying to get ahead of to understand. And I think it's hard for us to understand why things are happening in this order. I think it would have made sense to us for it all to have been part of one master plan. So I think precisely because we were trying to say, hey, why isn't this happening? We're all... driving by and seeing it going up, you know, why isn't it coming? Why isn't it coming? So I think there's a, at least for me, there's a bit of a frustration as to why isn't it all together? Why isn't this same process happening with the inside of the building. I mean, Indra knows because I sent an email in shock as to why the call to action came out last week when we specifically at the last board meeting said we want to see what, like we want to discuss what will happen with the city administration building.

That's what I don't understand.

Before a call to action. We specifically said that at the last meeting and then poof, Last week, we got an email that said, call to action has been sent out. And I understand that there was direction for it. But at the same time, like, we have to approve what, you know, what artists will be accepted and the next steps.

So it's like, so I think... Not only that, let me add to that. First of all, I think a master plan is a good idea. I think we should have started there.

I agree.

We put the cart before the horse, you know, whatever. But last meeting, it was discussed that there was a very high amount for the City of Miami building, and we were alarmed. And we were so alarmed that we requested, I don't know if that's the word, but we said, we gave a directive to staff that you were not to issue a call to artists until you had come before this board again and explained the amount, the reasoning, you know, everything and we could, you know, we could go back and forth. And to say now that, oh, you were in a hurry because it's last minute and so we had to get it done because of architectural things. I mean, you did exactly what the board asked you not to do. You went exactly against what we requested in the last meeting. So, So now what? So it's like, we ask you, please do not issue a call to artists, and you go and issue a call to artists. So what do we, I mean, are you the board of Art in Public Places? Is city staff the board of Art in Public Places? If we request that city staff not issue a call to artists, why did you issue a call to artists? Explain, really, why? If I may? No, sorry. Excuse me. Sorry. This was a question to city staff. Why issue a call to artists for the city of Miami building without coming back to this board if we had discussed?

So your program guidelines explain how call to artists are then released. It then goes through the PAC process and then comes to you. So within that framework, we released a call to artists. We tried to do it in a way that would both honor what the board asked for as well as what city administration was doing as well. So all we did at this stage was do a call to artists for artists that would be interested potentially in doing a project inside the administration building.

That's it. That's all we've done. You haven't even explained to us what the project was. That's the whole point. You can't be going out and doing call to artists if this board tells you expressly not to issue a call to artists. I mean, if we had not said anything, I understand. You're moving along. But we did. And so this is like on purpose. This is a willful disregard of what we requested at this board. I don't understand. That was the direction of this board.

And I understand that there's a framework. And so you can advance because that's your framework. But then then there becomes a point, a moment in that framework in which we have to approve. So we can stop it by not voting for it precisely because you have decided to disregard our request to to. modify that process just a little bit, you know, give us information. Like we want to be a part of it and you've decided, nope, we're going to keep going. It's like, well, we can just stop it in its tracks. Like that makes no sense.

So I think that all of the information that you guys want to see and the things that you want to do are still on the table and you're still able to do them.

But then it's, but the work that you're doing now could potentially be complete waste that gets thrown out. I disagree that doing a call to artists in a format that is not part of a bigger picture Honestly, that is not part of this AIP. I don't know if it's an option, but I'd like to know if it's an option that we require that the building be part of this master plan. Maybe you can answer that.

That's what I was trying to say. If it pleases the board, we're happy to incorporate it. And I think that that would kind of like hopefully resolve the issue. We can collaborate with whomever they select. We can talk to them. this is going to take us like six months this isn't like a easy thing to do so we're happy to collaborate with the planning department and whomever is selected or work with their architect also happens to be our architect so there's synergy there with some of that stuff and to the extent that we are happy to collaborate on that and kind of be able to advance on that thank you thank you so yeah that makes sense

Any other comments before, I'd like to make a final comment. Any other comments on this item? I think that the, personally in my opinion, I think that the master plan is a very good idea. I think that it's long overdue. Thank you very much. Thank you for coming today and for starting this process. I believe that if If that's the site plan, then it should include all the buildings in the site plan, etc. But really, with staff, we really have to think about this process because, I mean, you know, to disregard really what we've what we've asked you to do in this way. So you just disregarded it. We didn't even mention it at all. It complicates things.

It complicates things a lot.

It's very difficult for us to do our job when we have to constantly be working to clarify what you're doing. I just want to leave further record. This is not the way to go. You can see that the Council for Freedom Park, you know, it's a good suggestion to include the city building in the master plan. Why is that coming from council? Why is that not coming from our own city staff?

If I may again. Please. We were limiting it ourselves to just the park. So that was something that initially came from our end, not necessarily city staff, because city staff has a different timeline. Each building was going independently. So I don't want to say that, you know, we're happy to incorporate because we want to be collaborative, but initially it was not incorporated, right? Because we were only dealing with the open spaces. So I just want to be clear on that. It wasn't, it was our part too. I just want to be clear.

I have another question to city staff. Why is there a separation in the city administration building project between the interior and exterior, and how is that money being split and allocated? Again, there's still so many details that seem strange. My understanding is that the money is a percentage. There isn't a clarification in our rules that say that has to go inside. So where did that happen?

This master plan is for the project. What's the plan for the city building?

Right.

You guys already have a call to artists out. What's the plan? Well, if you have a call to artists, it means you already have a plan for what you're going to do. What is your plan? We don't know it yet. What's the plan for the city building?

We do have it as a discussion item, as a board request. So we have the call to artists with the locations that were selected by the administration.

So the master plan can set forth criteria for called artists. So I mean, typically when I've worked on public art master plans that incorporate that are large scale like this. They will have pieces that will say this is the criteria for this type. It should go back to your public art board. This is a temporary art installation. Here are the criteria. Once you approve that master plan, it usually says then that temporary installation can be run by staff. So you wouldn't see that again because all of that criteria is set out. And some will say just go back to the pack. Some will say this should only be local artists. Some parts will say this should be an international artist. So all of that kind of gets spelled out in the master plan.

Right. So the plan comes before the call to artists.

How logical. So the master plan could incorporate the call to artists that we've already done as a step one and then list out criteria for step two and then step three.

I think the challenge for us is we come back to that we feel that we have not approved the plans that are in your call to artists. So we, you know, yeah, that's our challenge.

Yeah, why weren't they reviewed here?

I mean, if... Had anybody asked me three years ago before I worked at the City of Miami... what we needed to do, I would have said, you need to do a master plan. And I would have asked that it be built into the SAP as per your program guidelines. That did not happen. So we are now here and we're doing the best that we can to ensure that we have a cohesive art program for the entire site that takes into consideration our developer, our city needs, as well as what our public wants. And so at this point, we're moving forward the best that we can do. I think that if you guys have conditions to the agreement, I think that you've already heard from the developer, and I think that as city staff, you can make that as part of your condition to the agreement.

It doesn't feel like a cohesive project if city staff has already decided to carve out a portion and do whatever they want with it without it being part of a plan or something that's come before this board.

I disagree that we're doing whatever we want with it. There have been areas identified for potential art. There has been no budget or anything... anything associated with that. I think that we also know that projects go to the PAC and the PAC say, oh, this is really interesting and this is really interesting, it might work better on this site, or if you both did smaller projects and we come up with a better we come up with a better project through that process. So we're so far early, I don't think that any of the things that you want to see or you want to happen or where you think there should be specifically items or areas that are specific inside the building for local artists or international artists or different types, I think that's all still relevant and feedback that can be incorporated into the next step. I don't think we're too far in that process at all.

We are so blind to the process. Like, we haven't seen one design, one...

I mean, I haven't seen any designs either. So that's where I was going to go. What's in the call to artists? I mean, what's in the call to artists? What plans are in there that they are actually bidding on without a dollar number?

There is a budget in the call to artists, and there are like five or six areas that are mentioned.

The budget is based on the cost of construction for those specific areas. That's an interior cost or the exterior cost?

You did exactly, exactly what we didn't want you to do. You can call it that you're trying to do your best, but you did the exact opposite of what we asked you not to do. That's all I can say. So for the record, very bad on city staff. I don't know how many times I have to now say it.

What a disappointment.

I don't have any further comments. I think that the master plan is a good idea. I would just add that we should include the entire site. That's my point of view. Does anybody else have any further comments?

I think that's a good idea as well. And I think that you can come back with whatever you've already put out. At least you can bring that back and incorporate it as part of this. And you're saying we're not too far along.

Would the board like to see the images? They were part of a discussion item presentation.

I mean, I think it should come back holistically. Yeah, let's come back. I don't want us approving something independently, but I think that this whole master plan makes sense. I like that. I like that it's holistic like that, but I think that this should be incorporated. Now, if you told us there was a critical path, And that's why you had to do what you had to do in terms of doing this, even though I know we did discuss this at our last meeting.

We are at a critical path because decisions are being made about the construction of the interior of the building. And because those decisions are being made, if there's a chance to incorporate art now at the time of construction, so we are at a critical path.

Well, how far along are those construction documents? I mean, are they...

I mean, the building's under construction.

So then, I mean, we are where we are.

Right.

I mean, I don't think that that's going to alter that plan, so I think it should become part of this whole...

I absolutely think it should become part of this. I understand that you're in it. If you want to bring anything to the board next month, and we can certainly discuss it, but, you know, for this item...

I do think that we should see what Indra prepared for this meeting. I think that's... Let me unplug. I don't know if you want to do it now or not, but I do think we should see what she prepared for this meeting.

Well, but what she prepared for this meeting is not relevant to item number eight, because item number eight, they carved it out. So let's decide on item number eight, and then we can leave Indra's presentation for last.

I think, as the chair indicated, that could be the condition of your motion, is that the entire building is incorporated into the master plan. If anything needs to proceed before that, it come back before you individually, which I think that it would anyways.

Thank you. I think that makes sense. Thank you. All righty. So I think we're ready to...

Okay, so I make a motion for AIPP resolution number 18869, a resolution of the Art and Public Places Board with attachments pursuant to chapter 62, article 16, entitled Art and Public Places of the Code of the City of Miami, Florida, as amended, authorizing the city manager to negotiate and execute in a form acceptable to the city attorney an agreement between the City of Miami and Miami Freedom Park LLC, the developer, to establish an Art in Public Places Master Plan for Miami Freedom Park, Miami Freedom Park Public Art Master Plan, generally located at 4000 Northwest 14th Street and 1900 slash 1950 Northwest 37th Avenue, and including comprehensively the interior and exterior of the city administration building. making findings and containing a severability clause and providing for an effective date.

I'll second it. Second by Ms. Cuervo. May we have a roll call vote, please?

Vice Chair Olga Granda?

Yes.

Board Member Christina Cuervo? Yes. Board Member Maria Napoles?

Yes.

Board Member Gary Feinberg?

Yes.

Board Member Juan Valadez.

Yes.

Board Member Jacqueline Roach. Yes. Board Member Odalis Erie.

Yes.

Chair Francisco Giritas.

Yes.

Thank you very much, everyone. We'll be back in the fall.

Thank you.

Motion passes 8-0, approved with modifications. And this decision is final unless the Hearing Boards Division receives an appeal within 15 days.

Thank you.

You're welcome.

Thank you.

Ms. Randa, if you don't mind, let's run through the resolution, and then we'll circle back, because I do want to circle back, I think. But let's run through the resolutions first. Please, Indra, can you continue with item number six?

Item number six, file ID 1A550, the acceptance of a donation of the artwork titled, sorry. A resolution of the Art in Public Places born with attachments pursuant to Chapter 62, Article 16, titled Art in Public Places of the Code of the City of Miami, Florida, as amended, approving a public art installation by Marvin Weeks, titled The Miller and Nancy Dawkins Mural, located at approximately 4800 Northwest 12th Avenue, Miami, Florida, 33127. also known as the Miller J. and Nancy S. Dawkins Olympic Pool Complex located within Charles Hadley Park, making findings and containing a severability clause and providing for an effective date.

Good evening, board members. This project is a proposed donation of a permanent public artwork titled the Miller and Nancy Dawkins mural. Next slide, please. The project is led by the Dawkins Mural Project Committee in collaboration with artist Marvin Weeks, who is present here today. It is intended to honor the lifelong civic, cultural, and community contributions of Miller and Nancy Dawkins, whose legacy is deeply tied to Liberty City and Charles Hadley Park. Next slide, please. Liberty City is one of Miami's most historically significant neighborhoods, shaped by generations of African American civic leadership, cultural production, and community organizing. Charles Hadley Park is a central civic anchor within Liberty City and has long functioned as more than a recreational space. It has served as a gathering place for community events, youth programs, cultural celebrations, and civic engagement. making it a meaningful site for public art that reflects neighborhood history, honors local leadership, and reinforces a sense of belonging for residents and visitors alike.

Next slide, please.

Miller and Nancy Dawkins are recognized for their longstanding contribution to Liberty City's civic, cultural, and social life through decades of service, advocacy, and leadership. Their work has emphasized community empowerment, youth development, and cultural pride. And they have played a visible role in shaping neighborhood institutions and community life. Beyond their individual accomplishments, the Dawkins are regarded as symbolic figures whose lives reflect enduring values of service and commitment to the place. This project originated as a resident-driven effort developed by the Dawkins Mural Project Committee as a form of civic activation. Through public art, the project celebrates Liberty City's history, reinforces cultural identity, and serves as a commemorative, educational, and unifying role as a shared community asset. The proposed artwork is a mosaic tile mural produced in studio conditions and installed on site. The imagery features portraits of Miller and Nancy Dockings, incorporating symbolic colors and elements reflecting their sorority and fraternity affiliations and broader community legacy. The mural is designed as a permanent installation with materials selected specifically for durability in an outdoor public settings. The mural is proposed to be installed for the exterior wall of the Miller and Nancy Dawkins Olympic Pool at Charles Hadley Park. The site was selected because of its direct connection to the Dawkins family, its visibility to park users, and its accessibility to the surrounding neighborhood. The placement reinforces the project intent to embed legacy directly within the active civic space. The dimensions of the murals are approximately 10 by 12 feet. The mural is designed with long-term durability in mind, as mentioned. Mosaic tail and water-resistant adhesives were selected specifically to perform in South Florida climate and in proximity to a pool facility. Maintenance requirements are minimal and consist of annual power washing. Community engagement is a defining feature of this project. The proposal emphasizes direct input from residents and from Ms. Nancy Dawkins herself. Educational activities, workshops, and related engagement components are anticipated pending coordination with District 5. The artist for this project is Marvin Weeks. He's an established public artist and arts advocate. His practice focuses on African American history, cultural memory, and social justice. His work is widely represented in Miami's public art collection and includes major murals in Overtown, Brownsville, and other heritage neighborhoods. Beyond his artistic creations, Swicks holds a significant leadership role as the chairman of the Miami Arts and Entertainment Council, where he actively works to elevate heritage neighborhoods and straighten the art ecosystem. He employs unique techniques. His work very often incorporates local materials, like tabi, to imbue his murals with profound cultural resonance. Next slide, please. KEYWORKS INCLUDE POWERFUL MURALS SUCH AS ODE TO OVERTOWN, THE PLANT LOVE MURAL ADDRESSING GUN VIOLENCE, THE MUSIC OF MIAMI AND THE AMBITIOUS AWAKEN MINDS SERIES ACROSS FLORIDA.

NEXT SLIDE, PLEASE. THANK YOU.

DISTRICT 5 OFFICE SUPPORTS THIS DONATION AND HAS BEEN CLOSELY COLLABORATED WITH AIPP STAFF AND THE COMMITTEE LEADING THE PROJECT FOR MONTHS. Four PAC members expressed support of the project during the meeting on December 15th. The project was also discussed during the meeting on November 24th, where a community representative who is a family member of the Dockings was speaking in support of the project and the initiative. The latest update is the project is now partially supported by the community group, the applicant, with the majority of funding coordination and allocation led by Chairwoman King, District 5, reflecting her support for the project and commitment for its implementation. Hence, we'd like to amend the resolution on the floor to memorialize the following clause. The funding source for the proposed artwork has been updated. The project is now partially supported by the applicant with the majority of funding coordination and allocation led by Chairwoman Kristin King, District 5, reflecting her support for the project and commitment to its implementation.

Very good.

Can I ask a question? Are you done? Done. Two slides ago, you said that the, go before that one. And the one before that, sorry. There, at the bottom, you had asterisk that the project's community engagement activities pending final approval and collaboration from the District 5 Commission Office. But then, in this last slide, you said that she had provided the majority of the funding that represented their approval. So, which...

So here we're talking, this slide is talking about community engagement. And that means that the artists and the district staff are still discussing what types of community engagement they would like to bring into the project. And then the latest update includes the information about the funding. And yes, the commissioners is now very actively supporting and addressing the funding part of it as well.

Okay, so is the community engagement done or that's still pending to be done?

Pending.

impact would that have on the project?

The project itself is created as a community activation. Nancy Dawkins and her family is very actively collaborative. She turned 102 years old this year. Yeah, I'm sure. But the family members, members of the sorority are the ones who initiated. So there is a community engagement component in the basis of this project. But I believe Artis is here and he can answer more about the engagement plans, but I believe more engagement is coming.

in order to finalize the project? Or it's part?

If it informs the artist's work, sure, but I believe there should be, there's probably what's in discussion is educational component with different target audiences, including younger audiences, so that might be done in continuation.

Okay, I'm just trying to understand how they're intertwined.

And again, we have the artist here, so he probably would have the most updated information.

I just wanted clarity on that specific issue.

Marvin, would you like to answer questions about the plans for community engagement?

Yes, please. I don't know if he was sworn in. Could you swear him in?

May you please raise your right hand? Do you solemnly affirm the testimony you will give is the truth, the whole truth, and nothing but the truth? Yes. Thank you. Please come to the podium. State your name.

Good afternoon, Chair and Board. What was the question?

I was asking the question that in one slide she had annotated that the community engagement activity is pending federal approval and collaboration by district five commission office. And then in the last slide she said that the district five commissioner had indicated their support by providing the majority of the funding for this project. So then I asked what's the difference and she pointed out that the community engagement is still ongoing. So she thought you could speak to us about the community engagement and its impact on the completion of this project, but she also indicated that might be an ongoing effort.

Right, because there's the visual aspect, which would be the project would be done within my studio and attached to the wall. We have a fabricator that's doing the final erection of the work. But there's an educational component. There's video being done. as a part of the educational component of Mrs. Dawkins and the project as a progress. So it's those aspects that is ongoing. And the community involvement is raising funds, which is a set budget and what have you. So that's the process. And the other component is the commissioner is coming in and being a part of the committee. I represent it. So I assume that's the different aspects of it.

Okay, thank you. My interest as a board member here is really knowing that the commission district supports it, and if there's something pending from their office, then I just want to make sure that we're addressing it.

It was a community-driven project, which I think is a part of the art itself to see that residents are getting involved with the project and making it happen. So to me, that's art in itself.

Thank you, and thank you for your work. Thank you, Andrea. I had another question. Is this the final art, this that we're seeing here? Yes? Could you talk to us a little bit about this image and why you selected this?

Well, the area that we're putting this up is actually named after the Dawkins. As you know, Mr. Dawkins was a former commissioner, city commissioner, and that area is very historic. It was a former railroad shop, but you also have the components of the fraternities and sororities which they are part of, who are really helping to push this and make it happen. So it's really illustrative of their involvement and the colors that they're using. If you know fraternities and sororities, they're particular about their colors. So we incorporated that into the project. And the location where it's taking place is historical. It was formerly called Railroad Shop. So it's very dear to that community and that aspect. We wanted to stay focused on Mrs. Dawkins and this as a celebration and honor to her with her age and time. So that's the expediency of the project. Any other questions?

Thank you very much.

Actually, I just want to say hello. I'm very happy to see you. Welcome back home.

Right. Thank you. I know her well.

Question for city we contributing to this as well At the time no we had conversations with a district 5 office So the project was initially brought to us as a donation and the community group would have covered the entire cost of the project I believe they ran into funding issues Since then, we have been coordinating with the District 5 office, and the commissioner, the chairwoman's office is now contributing financially to the project as well. Now, out of the AIPP fund, they're still identifying sources for funding, but they're actively working to identify those sources.

They're not asking anything from us.

No, this is a donation as is presented to us.

And where on the building is the mural going? Have we seen that?

I can go back to that slide.

This is not a requirement that this building has. This is something that the community wants to put there.

Yes, exactly. No, there is no, no, no.

Remember to turn on your microphone. No, no worries.

Actually, this particular commissioner is working so well within the neighborhood programs, not only related to the arts, but I think it's really worth it for us as a board to support this particular commissioner. Thank you, Maria. Thank you.

So this is the area where the artwork will be installed. Is that the entrance to the right? At the entrance of the pool. The pool is named after the Dawkins. Good place.

On this white wall.

Yes. They also are considering the wall on the other side of the entrance. So I believe the final selection of the wall hasn't happened.

So it's at the entrance. It's at the entrance. So it's the Hadley Pool. So what's the relationship between Hadley and Dawkins?

The house where Mrs. Dawkins has lived for many years and still lives is literally a block away. It's almost like the house is facing the park, and everything is named after her. So it's very near and dear to community members. Everyone knows and respects the family and their contributions.

So the park itself is Charles Hadley Park, but the pool complex is named after the Dawkins.

Named after Dawkins. How old is the pool complex?

I am not sure.

I guess I'm wondering why there wasn't, why there isn't any, if it's a city park, how come there's no art?

Because it predates our ordinance.

It predates 2017.

And who is Charles Hadley, please?

Good question.

I don't have my history book open, but he's somebody very important. There's a park made after him, and he was somebody very active in our city, but I can't remember right now.

I'd have to do...

The complex was built like 25 years ago, 25, 30 years ago.

So if we look at this project compared to the Antonio Maceo, they're entirely, so everything that this one has, the Maceo did not have in terms of buy-in support. Your presentation tonight, none of that happened with the other.

With the Maceo part?

Yes.

Well, I think it was a completely different process because it came through the call to artists and the PAC, but when we approved the actual work, there was a presentation about the work.

Right, and I think that the issue with the Maceo was the origins of the design and then...

But the community part was not there.

But it came after, and that's when they... So maybe what you're indicating is it should be in advance, obviously.

in advance of. I mean, this is 100% correct.

And that's why I think we wanted clarification because they asterisked that the community engagement had not been finalized. So that's why we were asking that question at the beginning. But I think your point is a good one, Gary.

Well, also, yeah, because we're putting a lot on Corolla Bravo right now to figure this thing out. And I think that's a lot to put on. Going back to them and say, oh, this is all great. But it's unfair.

To your point, there's lessons from this project to be learned for our other projects, right? The way we communicate with the commissioner, the way the commissioner communicates with their own PAC member and the information that they share, they have to have a communication as well. The PAC member isn't just appointed by the commissioner. It also needs to be in contact with the commissioner's office so that the PAC member can bring to the PAC you know, whatever the commissioner.

And the community engagement point. You know, the Antonio Maceo, there's a whole sort of education component that's gone. It's never been included in that.

Well, the education component for Antonio Maceo was supposed to be done at the senior center. If the board remembers, that was part of Carola's initial proposal. She would have an activity at the senior center once the mural was completed with the seniors. But then the community feedback wasn't quick. Never got there. We never got there.

Right. So that maybe should have happened first.

Activities with the seniors. Just in terms of.

The workshop. Yeah, just a workshop.

Well, the idea of the artist was to have the mural completed to then have some sort of artist talk and then incorporate a workshop with the seniors surrounding the artwork itself.

Is there a funding shortage for this project at this time?

We spoke with the District 5 office. We heard that they are still trying to allocate funding. At this point, it's not the commissioner's wish to reallocate funds from other parks within the district.

Do we have discretionary funds that we can contribute to this?

I think we may. I think the board may.

What is the cost?

So the cost has, the value of the project was $45,000 when it started. Right now, the number is not confirmed, but it might be more. So we're waiting to hear final information from the district.

$45,000. That seems very high compared to some of the other projects that we've done.

But the commissioner has approved these expenses? Yes. they're going to fund this from the commissioner of District 5's office? Is that correct?

The commissioners are working to partially fund the project. So the group that brought forward the project to us and the District 5 office initially was covering 100% of the cost.

It was supposed to be 100% donation.

Yes.

It changed in the last month.

So it's not 100% donation and the commissioner was stepping in. So we still don't have the funds for this project?

As of today, I had conversations with the District 5 office. They don't have a hard number that they have identified as a fund for the project. So they're still working on it.

So how are we going to approve a donation? What are we approving? I understand that Mr. Weeks is going to prepare the artwork, but If we still don't have any funds, what's the donation that we're approving?

You will be approving the actual artwork. I had a conversation with the District 5 office. They asked to move forward with presenting the items. They feel confident that they can identify the funds.

Out of curiosity, what's the size of that? 10 by 12 feet.

So we're approving the artwork, not the funding?

The artwork itself. Exactly.

And if we approve the artwork, the artwork is finished, correct? The artwork is finished? Is the artwork already finished? It's in process. Okay. So will it go up? Do you have an idea of when?

Sir, if you could speak into the microphone. Thank you.

Yes, the work is in process, currently in my studio now. But what they're doing, it's a working budget. I think it's fluctuating around 65 for all the education and all. But I'm just a selected artist, but I will make a request for this board to support it in any way you can. I mean, I can just say that verbally for the representative, but I'm selected for the project. But as an artist, I'm working with them. I'm quite sure any support coming from this board, I just want to say that verbally while I'm here, that they would be grateful for that. Because it is a community project, and this is what I think Miami is about, whatever neighborhood. My work centers around neighborhoods, and I see all the beautiful fabric in South Florida, and this project is one of those examples that set the tone for what this community is supposed to be about. If I can just advocate and say that. And yes, it's a working process. But it's closer to $65,000 for everything that we're doing. So I can speak for that. Yes.

Thank you. Just a comment. The resolution itself, the text, it says approving a public art installation by Marvin Weeks. So yes, it's the approval of the artwork. But in the purpose, it says... to approve the donation of a public art installation by artist Marvin Weeks. The difference is I don't think we can approve a donation yet. And whenever there is a budget or whenever this number comes back and where it's going to come from, I think that the item has to come back here so that we can approve that donation. We can approve the artwork right now so that everything gets moving. But whenever there's a budget and there's an actual dollar amount to it, then we have to approve that donation. Because we can't approve this blank as a donation, I mean. The art, yes, we can approve the artwork, and so everybody can get started. But what I'm saying is, technically, when there is a budget assigned to this, and let's say it costs $60,000, like the gentleman says, or $80,000, or whatever it is, the board has to approve the donation of that amount The donation of the artwork and for a specific amount so you know it's not the same thing a donation of a 60,000 and a 600,000 or you know whatever else it is so we. i'm just saying that the purpose here is not exactly what the what what the item is the item is just the approving the artwork like you said.

Sure, if I may, I believe that the shortfall wasn't identified at the time that this item was published and that's why that's not clear and so.

That's fine. I'm just saying that whenever there's a dollar, there will be one soon. Whenever there's a dollar amount and then we know this artwork is going to be estimated at $70,000, then we can accept the donation. That's what we're accepting, the value and everything else, right? But for now, the item, like Indra said, the item is just the approving of the artist.

Any other comments or no?

Please.

Understanding, so you're saying that we can continue the process of working on the project because the logistics of utilizing, the installation can be done and all can go forward. Is that what I'm saying? Yes. Okay.

What I'm saying is that the formality of the donation, when we know what the value of the art is, then The city accepts a donation, but right now we don't we don't know what the value is We don't know there's no you know, there's no donation to accept yet.

Okay, that's fair and last question. Mr. Chair can I Comment to the committee that there may be an interest that this board may can Make a donation to this project. Is that something it could be?

I Don't know if we have I mean we don't We haven't seen any budget allocations, so I'm not really sure what amounts are available.

I asked the question if that was a possibility, so we would have to get an answer from city staff, and we would have to see a budget in order to decide whether or not that was something we could do.

I just want to have a meeting of the mind so I can take that back to them and say thank you all very much.

Thank you.

Is there an amount the board feels comfortable allocating to the project, a specific range?

I think it depends on the budget of the work.

Yeah, and I'd like to hear from Commissioner King first.

That's what we were informed as well from the District 5 office.

I'm sure we'll figure it out. It seems as though the Commissioner's office is very active on this project, so. If there are no more comments, can you make the motion?

Sure. So I make a motion. AIPP Resolution 18550, Resolution of the Art and Public Places Board with attachments pursuant to Chapter 62, Article 16, titled Art and Public Places of the Code of the City of Miami, Florida, as amended. approving a public art installation by Marvin Weeks, the artist, titled The Miller and Nancy Dawkins Mural, located at approximately 4800 Northwest 12th Avenue, Miami, Florida, 33127, also known as the Miller J. and Nancy S. Dawkins Olympic Pool Complex, located within Charles Hadley Park, making findings containing a severability clause and providing for an effective date.

Second. Second.

Second by Ms. Napoles. May we have a roll call vote, please?

Yes. Vice Chair Olga Granda?

Yes.

Board Member Maria Napoles? Yes. Board Member Christina Cuervo? Board Member Gary Feinberg?

Yes.

Board Member Odalis Deyuri?

Yes.

Board Member Juan Valadez? Yes. Board Member Jacqueline Roach?

Yes.

Chair Francisco Herita. Yes. Motion passes eight to zero and this decision is final unless the division of hearing boards receives an appeal within 15 days. Thank you.

Through the chair, I just wanted to clarify that the board is okay with proceeding with the installation of the work once it's been completed before we formally bring in the donation as an item. If it happens to be completed before the...

Yes, you know, Technically, there will, you know, obviously we'll have a budget before then, but yes, yes, yes.

Installation of the, there were selection of the artists and the installation.

Okay.

Thank you, Mr. Weeks.

Thank you, Mr. Weeks.

Thank you.

Item number seven, file ID 18850, a resolution of the Art in Public Places Board with attachments. pursuant to Chapter 62, Article 16, entitled Art in Public Places of the Code of the City of Miami, Florida, as amended, approving the selection of the finalist artists in accordance with Section 62-658 of the City Code for the Integration of Public Art at the Dr. Armando Medea Senior Center, located at 25 Tamiami Boulevard, Miami, Florida, 33144.

This item is for the approval of the selection of finalist artists to create permanent public art installations at Dr. Armando Badia Center. Dr. Armando Badia Center is located at 25 Tamiami Boulevard. It's part of the Flagami neighborhood. The project consisted of expansion and renovation and aimed to activate the site with substantial improvements to the facilities. The City of Miami Parks and Recreation Department has redeveloped the site to accommodate improvements, including the expansion of green areas, new restrooms, classrooms, new gym, as well as community room and dining hall. This is a front view rendering, the renovation and expansion of Dr. Amanda Badia Senior Center also included expanding green areas. The new classrooms and new computer labs and a new gym, they all have been completed. The center is open and working now. The new square footage of the center is 8,367 square feet. This is aerial back view rendering. The confirmed areas for public art integration

If you could switch to the next slide. It's loading, it's a little slow.

The confirmed areas for public art integration include the wall at the front of the Badia Center, which was very visible at the front view rendering, adjacent to the front gate, and the recessed voids inside the columns trailers in the community gardening area, which we can see on this floor plan. And yes, we also have photos, and we can always go back to the renderings to see them closer. This confirmed area includes the wall at the front of the Badia Center adjacent to the gates, and then the trellis, the recessed voids inside the columns of the trellis in the community gardening area. During January 22nd, 2026 meeting, the PAC reviewed art proposals from five shortlisted artists for the Dr. Monta Badia Senior Center, Artists were invited to submit site-specific proposals, often including multiple design options or budget scenarios. Each proposal responded to the site, the senior community, Miami's cultural context, and the program's goals for durable, accessible, and meaningful public art. Two artists, Magnus Sodermann and Joyce Billet, were selected as finalists. Magnus Sadermann is a Miami-based artist with experience in mural, sculptural metal work, and large-scale public installations. His practice is very diverse. His work is deeply inspired by Florida ecosystems, especially the Everglades and Florida Bay. Through his paintings, murals, sculptures, and installations, Magnus invites viewers to contemplate their own connection to the ecosystems. This is one of his recent installations at Casa Faena. MAGNUS, FOR THIS PROJECT MAGNUS PROPOSED MULTIPLE MURALS AND SCULPTURAL OPTIONS OFFERING FLEXIBILITY ACROSS THREE DIFFERENT SITES AT THE BOUDIER CENTER IN HIS FINAL PROPOSAL. HIS VISUAL LANGUAGE FOCUSED ON NATIVE FLORA AND FAUNA, ORGANIC MOVEMENT AND ENVIRONMENTAL INTERCONNECTEDNESS. THIS SLIDE RIGHT HERE REPRESENTS VERSION TWO FOR SITE TWO THAT MAGNUS PROPOSED. THIS IS EXACTLY THE SITE AND THE VERSION THAT PACK MEMBERS SELECTED. But just for the reference, this is what he proposed for the boys within the trellis area in the gardening area. He called it Green Paradise. The budget, he was quoting the $20,000 for the site number one, which was the outside portion of the wall designated for art. The same quote was given for site two, which was selected by PAC members. And so updated budget since the two finalists were selected and they're splitting the budget, updated budget for his work is $20,000.

These are the actual proposals. That's not being selected.

This one hasn't been selected since the trailers were given to Joyce Billet.

Got it, okay.

We just wanted to show how he proposed his work, tying in and working together in conjunction, developing the same theme.

You don't have a picture of one, so you only have a picture of two and three?

Site one is the same site, just a different version of this mural.

Site one was the outside wall of this, I'm sorry, the exterior portion of this wall, but since it's facing basically not even the park, but the area that is not walkable, visible, then it wasn't selected.

But it looked like this.

But this one here, the site two? Site two, he called it site two. It looks like photo, it doesn't look like Magnus' work. Well, it's his rendering. But the other rendering was really his painting, right? So just to be clear, we're not doing like a photo mural, right?

No, he's going to paint. And all the designs are inspired by his work. It's just the different way he chose to do the rendering. He was also working on this proposal in between... two larger trips, so he'll also put it together within a few hours. Something that we also wanted to share is Magnus is, as I mentioned, he's working on one of the two approved sites, and each commissioned artist, both Magnus and Joyce, will receive $20,000 to create work in each location. So the PAC contemplated commissioning Magnus to create a unique painting for interior of the center using the remaining funds in the APP budget for this project, which is approximately $4,835. Following conversations with the artists, staff proposed that as part of the Public Art Commission, Magnus creates a painting that complements the exterior mural. The final content, scale, and execution will be coordinated with the city's public art staff and approved administratively by the public art manager. But Magnus is excited about the idea of having a painting at the Badia Center as the way to bring what's outside inside and visually tie the two works together. He is open to creating a new painting within the same thematic framework as the mural. And at the proposed price point, he's offering a painting approximately 30% larger than his usual painting for this budget would be, which if we switch to the next slide, we see how he calculates the price for his paintings when he exhibits at the galleries and sells out of a gallery. So we would get... approximately, well, I would say it's even more than 30 because he's proposing a three by five work. Here we see that he quotes 24 by 24 is at 4,800, and that's pretty much exactly the budget that we have, but he proposes to do a work of approximately three by five feet. So that's something to consider. And then Joyce. is a multidisciplinary artist known for community engaged participatory sculpture. The proposal for this site and location she called Bloom, but she also developed it within the established practice and the series that she was working on lately. She has a strong focus on human nature relationships and sensory experience. This is some of the elements of her proposal and this is her statement. The project proposes a multi-sensory participatory sculptural installation that integrates living orchids as a core material. The concept is being developed in collaboration with Fairchild Tropical Botanic Garden through their Million Orchid Project, bringing scientific expertise and long-term sustainability to the work. If we want to switch to the next slide, we'll see what she proposed. She's currently re-envisioning. Seniors and community members would actively participate in attaching and caring for the orchids, as well as in hands-on workshops, reinforcing stewardship, intergenerational engagement, and a sense of shared ownership over the artwork. The materials and form is painted laser-cut metal sculpture. structure, excuse me, leaving orchids integrated into the sculpture, vertical garden-like experience designed as a gathering and resting point. For the educational and community component, she's considering orchid propagation labs. community workshops ongoing engagement tied to fair child educational programming and Currently Joyce is working with stuff on updating her proposal to accommodate up to five trailers since there are two more trailers on the other side of Badia Center in the back and adjusting the scale of the artwork to reflect recommendations from PAC since original proposal as you can see it on the previous slide is is actually covering the seating area inside the trellis. The trellis are designed in a way where there is an area that could be utilized for art integration, and there's also a seating area. Her original proposal kind of covered it all and cut off the... seating arrangements. So she's revising, working with us to propose how it would look within the current site and with the designated budget of $20,000. And this is her original budget, but yes, updated budget is $20,000. And these are two of our finalists for Badia Senior Center.

On the ORCID project, is there a part of the budget that is then allocated to the maintenance of the live plants, or the expectation is that that's something that's going to be programming afterwards with Fairchild?

Programming afterwards, but we're still waiting for her updated proposal. And I can see how we could discuss that a certain allocation could be designated for the first couple of years for the work that she proposed with the Fairchild. She's currently working on seeing what she can fit within the budget that was designated to her.

Through the chair, also this question was brought up at the PAC meeting. The artist, so part of her workshop with the community and with the senior center is to teach them and instruct them on how to care for the orchids. So it's the idea of the artist to also have the The seniors, this is the gardening area, as Irina mentioned earlier. So the seniors would have been instructed and given instructions on how to care for the orchids and care for the garden itself. So that's part of her community engagement aspect.

But that has a limited time. So that would happen one or two times. And then the concern is, of course, three, four, five, ten years from now, then there are no orchids and it's a sculpture. And maybe that's okay. Maybe it's beautiful enough to be there. But I know we recently had another park that we had to fund the landscaping for, etc. So that's why that's a concern to me.

How are you going to get the orchids in there if somebody's sitting?

She's going to rearrange and hopefully utilize the area within the trellis that wouldn't block the sitting space.

So they would be scaled down to fit the voids in the trellises.

More like what Magnus... Yeah, more like this.

So we... I'm assuming we really don't have the final design for her, right? So we can't really... The final design. She's working on it. So she's been selected, but we don't have the design.

So, yeah, this will be the design. The design presented was the final concept and design. It would just be scaled down to fit within those voids.

But that really changes everything because the interior is a much smaller... thinner space, and you have to sit in that space as well, so where are you going to put your back if you've got an orchid?

You're going to kill it, right?

I'm just saying. I mean, I love it. It's beautiful, but until we see another design, I don't know.

I was asking, where do you sit if you have the orchids on your back? I mean, I understand she's going to read a mention, so it fits within the recess there, but not understanding the concept of the orchid then growing out if Somebody's going to be sitting there. I don't know if they'll fit. So we're asked to approve the selection of these artists that were already selected, correct?

Correct.

Why don't you explain a little bit about how that process went and where did we come from and how did we...

So there were five artists who submitted their proposals. Among them were Cydia Reyes, Carly Nassardi, and Jesse Knight. We can actually briefly show you the work that they submitted. But basically, there was a pretty lengthy discussion by PAC members. And since different PAC members had thoughts about different artists. That's how the two finalists were selected. But the engagement component and the fact that the living installation, Joy's proposed living installation was something that they decided to incorporate. However, there were concerns about the area as well.

So what happens? We went from five to two. And what's being, so now we approve these two and then?

These are the finalists. These two are the finalists.

Okay, then what? What's the next step?

Installation. well so this this project um to add to the to the selection process we've been working closely with district four the uh district four staff actually came um to our pac meeting they gave feedback there are staff members from the district that are going to the senior center weekly or almost daily. So they've been seeing how the seniors are interacting with the spaces. And this is like the designated garden area. The gym at the senior center looks out into this garden area. So those, I believe we have a picture of it. But the gym doors basically open to create this indoor-outdoor situation where it's like a flex space. that seniors can just use recreationally. So District 4 provided their feedback and they thought these two artists would be the best addition to these spaces by seeing the way that the seniors are interacting within the spaces.

It's also worth mentioning that we had a site visit with all five artists. We did. So the artists had not only a chance to see the center, walk around, take measurements, but hear feedback because the district representative was at a site visit as well as representatives of OCI. And so they interacted with the site and they actually could see really well the areas that were designated for art before they started working on their proposals.

So whose artwork goes into these recesses?

Joyce Billet.

And the other artist?

Magnus is going to work on the mural on the wall adjacent to the front gates.

Can we show the mural? So we're talking about here two different artists?

Two different artists, two finalists. We're going to be splitting the budget.

One will do the outside wall and the other one, the voice area inside.

It's actually the inside wall. This wall is facing the courtyard. For a moment, Magnus proposed that he could do something on the exterior side of this wall, but it faces basically the area that is non-inhabitant. Nobody would see it. The red squares, so you can see the wall. And then the back, the back is the trellis. And if you go to renderings, we can see those areas even better in relationship to the building. It almost, sorry. There you could see the back of the center. So those five trailers, we actually have three on one side, two on the other side. But those three, as Indra mentioned, the gym doors are opening and kind of extending the internal area outside. So it's nice because it's like a larger area for a communal space that could be, interchangeable. It's transformable in a way. And then there are two trailers on the other side. And then if we go to the front view of rendering, you can see that wall. It's right there.

I go back to, I love Joyce's work and I love the idea. I just, like Olga mentioned, there's maintenance involved and there's also As an educator, you have to have buy-in from your audience and from the staff. So when those orchids don't have those beautiful flowers on them anymore, you know, it's a completely different look. Number two, what I'm noticing is like it's in an overhang. I don't see any sunlight. I almost feel like it should have been reversed. Like that outside wall could be more of a living wall. And then, not to create a problem, but the inside, you know, is the inside and you're painting on the wall and you can still sit.

The sun is excruciating at that wall.

But then you have the proper plants. Do you know what I mean? You have no light to too much light and that's the... I don't know, I mean, as a gardener, I'm thinking about having a wall full of not thriving living plants, you know? It's something to think about.

Why is there no dollar amount here? Like, we're approving these two finalists, but no budget for this? I saw the numbers that they provided, but. Don't we have like a formal budget for this?

The expenditures were already approved for this project.

So the total budget for the project, I will pull it up, but I believe it's $44,835. So $20,000 and $20,000 is gone to each artist. So that's $40,000. And so what's left is about $4,835. And that's why the painting by Magnus was considered.

It's the square footage of the amount that each artist is going to paint. It makes sense with a split it in half.

That's one thing we're waiting to see how Joyce works with her budget since we're asking her to expand and embrace the other two trellis because we believe the area that she's going to be working with is significantly smaller than what she proposed. She can adjust and we're hoping there should be money left for maintenance and community engagement and development of that program or But we'll see what you propose. For Magnus, he proposed that that mural value is $20,000, so he fits well within the amount and he's happy with it?

Actually, the cost of the outside, definitely with the material, is more money than the inside. It's actually as well the quality of the paint is much expensive than one day outside.

Just to clarify, Joyce has not yet come back with her reduced proposal for the limited budget. Her original proposal was just for the full $48,000.

Her original proposal was $50,000 because she was also embracing that wall where Magnus proposed his mural. And she also didn't pay attention to the fact that the budget, the all-inclusive budget for the artwork was $44,000, as I communicated to all the artists in writing. And so she originally claimed that two of the artworks, the trellis that she covered completely, and the work on that wall would be worth $50,000. So we asked her to adjust that amount, and we asked her to take into account that the new area for the work is gonna be much smaller, and come back with revised numbers. And she asked for two weeks from last Tuesday, so she has about another week to work on that.

But you're confident that she, like she's open to having such a great reduction of the budget and still working?

She is, I made sure that she is. Okay.

How did we get to a place where there's two artists and not just one?

Repeat the question, please.

How come there's two artists involved in this and not just one?

That's the PAC member's choice and proposal and suggestion. There was a discussion about all the artists and they decided to go with two.

Do you know the reasoning?

One of the reasons was the sun exposure at the diagonal wall. It receives direct sunlight, so it was concluded at the PAC meeting by the PAC members, the artists, District 4, that the orcas would not survive that. We went during like at noon, and the sun was very intense. So that's why the diagonal wall was taken out of Joyce's proposal.

Since Magnus was slotted in then to do that diagonal wall.

Let's say their opinions separated. There were PAC members that were supporting Magnus and there were PAC members that truly advocated for the Orchid Project and they found a common ground.

But they're not collaborating. They're each doing their own separate project within this courtyard.

In their communication writing, they acknowledge the fact that they're happy that they both work on this project. They know each other. And in a way, the orchids are a featured element in the Magnus artwork as well.

It just seems we're trying to sort of put it square and around. I mean, this is a small space, and we're sort of making it really complicated.

I mean, I understand that the orchids would die with too much sunlight, but then why didn't she propose something else for that wall?

It looks like she's working on the development on a series of the artwork that keeps exploring the same theme. If we want to go back to the pictures of benches, this was largely exhibited all over Design Miami this year. She's proposed this piece and many other ones, and she's exploring that same theme of the participatory sculpture of the plants within the structure. And so it looks like she's continuing that here in this proposal.

And the PAC member from District 4, there was a designated commissioner representative, you said?

Yes. And the commissioner's chief of staff and other commissioner staff was present at the meeting as well.

So they're happy with these artists.

That's a good question. Okay.

Actually, I don't think that the Orchid Project is practical in a senior... place where they have to be maintenance and so on. And definitely the landscaping artists, both are very good, I think. My perception, and this is what I do for a living. And they look very, not only attractive, it feels very warmly for people contemplating and starting meditating, yoga, all that. That all people, we do.

So what do we want to do?

Are there any other comments? No? I don't have any other comments. The PAC has reviewed this. There's been communication with the commissioner's office. I'm not sure if this is what you mean, Gary, but I do like You know, why not have one artist and really think about this thing comprehensively, like the whole thing? Or at least have them both, I don't know if collaborate, but coordinate somehow? I don't know.

Can we wait and see what Joyce comes up with? And just wait till the next meeting?

What was the question?

Can we wait till we see Joyce's final design?

Well, the recommendation from the PAC was that she proceed with the concept provided in her proposal, and then that we could do administrative approval as long as the art was substantially in compliance with the concept that was approved by, or recommended approval by Joyce.

Yes, but to answer your question, yes, we can choose to defer this if we prefer to not approve it at this time.

We can also, the board can also move forward with Magnus's or one of the two proposals and defer.

I mean, I would like to see what Joyce comes up with because I think there's definitely some constraint there and challenge. So let's see what she comes up with before we, I would feel more comfortable. I mean, again, I think both of the artists selected, I love the work, I know them, but

I don't feel like I have a clear understanding of what the the orchid wall is gonna be like Move to approve Magnus and not choice Or defer the whole thing Anybody else have a thought I mean Is there anything we gain by approving part of it and not the other part?

Do we gain any time or anything?

Magnus works fast, so even if we wait to see what Joyce has to offer.

If we're confident we're going to have quorum. I support approving Magnus, but I'll go with what everybody else wants.

I don't know. Depends on the others. Any comments, any questions?

I like Magnus' mural. I'm not on board with the orchids, the live orchids in this concrete courtyard.

Would you support moving forward with Magnus only, or do you want to defer the whole thing?