HomeMy WebLinkAbout11-02-16 PRC Agenda PacketCity of San Luis Obispo, Agenda, Parks and Recreation Commission
Regular Meeting on Wednesday, November 2, 2016 @ 5:30p.m., Council Chambers
CALL TO ORDER: Chair Whitener
ROLL CALL: Commissioners Greg Avakian, Susan Olson, Keri Schwab, Douglas Single, Rodney Thurman,
Susan Updegrove and Jeff Whitener
Public Comment Period. At this time, you may address the Commission on items that are not on the agenda but are of interest to the
public and within the subject matter jurisdiction of the Parks and Recreation Commission. The Commission may not discuss or take
action on issues that are not on the agenda other than to briefly respond to statements made or questions raised, or to ask staff to follow
up on such issues.
PRC Meeting Agenda
1. Consideration of Minutes of Regular Meeting of October 5, 2016
2. Proposed Goals to Council for 2017-19 Financial Plan (Stanwyck –30 minutes)
3. Review and Recommend to Council Adoption of Proposed Public Art Master Plan
(Mudgett - 45 minutes).
4. Recommend Letter to Council in Support of Ordinance Modifying City’s Water Ordinance
(Stanwyck – 15 minutes)
5. Director’s Report (Stanwyck – 5 minutes)
6. Subcommittee Liaison Reports
Committee Liaison
Adult and Senior Programming Doug Single
Bicycle Advisory Susan Olson
City Facilities (Damon, golf, pool, joint use) Greg Avakian
Jack House Committee Susan Updegrove
Tree Committee Rodney Thurman
Youth Sports Association Keri Schwab
8. Communications
Adjourn to Regular Meeting of December 7, 2016
APPEALS: Administrative decisions by the Parks and Recreation Commission may be appealed to the City Council in
accordance with the appeal procedure set forth in Chapter 1.20 of the San Luis Obispo Municipal Code.
The City of San Luis Obispo is committed to including the disabled in all of its services, programs, and activities.
Please contact the Clerk or staff liaison prior to the meeting if you require assistance.
Minutes - DRAFT
PARKS AND RECREATION COMMISSION
5 October, 2016
Regular Meeting of the Advisory Body Committee Commission
CALL TO ORDER
A Regular Meeting of the Parks and Recreation Commission was called to order on the 5th day of
October, 2016 at 5:32 p.m. in the City Council Chambers located at 990 Palm Street, San Luis Obispo,
California, by Chair Whitener.
ROLL CALL
Present: Commissioners Greg Avakian, Susan Olson, Keri Schwab, Douglas Single, Rodney Thurman,
Vice Chair Susan Updegrove and Chair Jeff Whitener
Absent: Commissioner Keri Schwab.
Commissioner Douglas Single exited the meeting at 6:30pm.
Staff: Parks and Recreation Director Shelly Stanwyck, Recreation Manager Melissa Mudgett,
Recreation Supervisor Facilities, Devin Hyfield, Parks Maintenance Supervisor Jeff Hendricks
PUBLIC COMMENT ON ITEMS NOT ON THE AGENDA
Joel Orth, SLO Resident, expressed his concern about the significant waitlists for afterschool care.
Director Stanwyck shared information about State licensing requirements, School District space
limitations and budget restraints for the hiring and training of additional staff. She added that staff
continues to look at enrollment trends with the future closure of Diablo and the impacts to the School
District.
PRESENTATIONS, INTRODUCTIONS, APPOINTMENTS
None
CONSENT AGENDA AND CONSIDERATION OF MINUTES
ACTION: APPROVE THE MEETING MINUTES OF SEPTEMBER 7, 2016 AS AMENDED BY
VICE CHAIR UPDEGROVE, SECOND BY COMMISSIONER THURMAN.
1. Consideration of Minutes
CARRIED 6:0:0:1 to approve the minutes of the Parks and Recreation Advisory Body for the
meeting of 09/07/2016.
AYES: AVAKIAN, OLSON, SINGLE, THURMAN, UPDEGROVE, WHITENER
NOES: NONE
ABSTAIN: NONE
ABSENT: SCHWAB
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DRAFT Minutes – Parks and Recreation Commission Meeting of October 5, 2016 Page 2
PUBLIC HEARINGS AND BUSINESS ITEMS
2. Presentation: Impacts of the Drought on City Turf & 2016 Renovations
Parks Maintenance Supervisor Jeff Hendricks provided the Commission with a brief overview
of the Parks Maintenance activities, conditions of the drought via State water restriction
mandates on the City’s turf facilities as well as upcoming field renovations. Staff Hendricks
alerted the Commission on the severe impacts of the watering restricting and the inability to
renovate turf. He expressed strong concerns that the inability to restore turf during the 10-week
renovation period will significantly impact recreational play and future uses of the fields in
2017. He added that Parks Maintenance has two full-time staff dedicated to the Damon Garcia
Sports fields.
Public Comment
Steve Davis, SLO Resident and plays soccer at Damon Garcia said he felt the turf conditions at
Damon Garcia this year have been worse. He asked the Commission to consider this time of
severe degradation as an opportunity to rethink the turf fields. He also recommended putting
together a user’s group to facilitate communications and interactions between staff and users.
Commission Comments followed.
Commissioner Avakian asked if the City Staff has explored artificial turf. Staff Hendricks
responded that the only viable field for artificial turf is the upper field as the lower fields are
located in a flood zone. Director Stanwyck said artificial turf was last studied 8-10 years ago
and it would be timely to research this alternative again.
Commissioner Olson asked about limiting play in response to the safety concerns of play on
irregular surfaces. Director Stanwyck refreshed the Commission about the Departments’
Strategic Planning goals which included expansion of additional facilities for purchase and
development and an exploration of ways to convert fields to year-round artificial turf.
Commissioner Single asked if resources could be diverted to the Damon Garcia location.
Commissioner Thurman commented on potential health effects of artificial turf products. He
asked about replanting of parks with sustainable and drought tolerant plantings and trees. Staff
Hendricks responded affirmatively.
Chair Whitener asked about the average usage of Damon Garcia Sports fields. Staff Hyfield
said the annual average is approximately 35 hours/per field weekly. Chair Whitener asked
about flexibility of changing watering restrictions to allowing 3-days/week. Staff Hendricks
responded that City would be required to prove that it had 3-years’ in water reserves at the
current conditions before the State would consider lifting restrictions.
3. Review and Recommend to Council Adoption of Proposed 2016 Box Art Project
Recreation Manager Melissa Mudgett presented the proposed 2016 Box Art designs and traffic
locations for the Commission to consider. The Architectural Review Commission and Cultural
Heritage Committee have previously reviewed the proposed box art designs and concur with
the Art Jury’s recommendation for approval as the designs are consistent with Historical and
Public Art guidelines.
Commission Comments followed.
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DRAFT Minutes – Parks and Recreation Commission Meeting of October 5, 2016 Page 3
The Commission expressed its support of the proposed box art designs and the expansion of the
public art program.
ACTION: RECOMMEND TO THE CITY COUNCIL THAT IT APPROVE THE BOX ART
MURAL DESIGNS AND LOCATIONS, AS RECOMMENDED BY THE CULTURAL
HERITAGE COMMITTEE AND ARCHITECTURAL REVIEW COMMISSION, AS
MEETING HISTORICAL AND PUBLIC ART GUIDELINES FOR THE 2016 BOX ART
PROJECT, MOTION BY COMMISSIONER OLSON, SECOND BY COMMISSIONER
AVAKIAN.
CARRIED 5:0:0:2 to recommend Council approval of the 2016 Box Art Project designs and
locations.
AYES: AVAKIAN, OLSON, THURMAN, UPDEGROVE, WHITENER
NOES: NONE
ABSTAIN: NONE
ABSENT: SCHWAB, SINGLE
COMMITTEE COMMUNICATIONS
Director’s Report
Director Stanwyck provided a brief overview of current Parks and Recreation programming.
Reminder: Annual Parks Tour on Friday, October 14th at 8:15AM. Updated about the
schedule and Pickleball Court options.
A Big Thank you to Vice Chair Updegrove for speaking at the Volunteer Appreciation
Dinner at the Jack House.
The first ever September Scramble Kid Adventure obstacle course Golf Course was a
success!!! Almost 370 kids participated!
Bike Rodeo last Saturday was another smash hit!
City Council to review 2016 Box Art project on October 18, 2016
October 22nd “Make a Difference Day” – Laurel Lane Community Garden Clean-up
Boo Bash – Meadow Park – October 28th 5:00PM
Ranger trail construction on Cerro San Luis connect the M trail
Bishop Peak fuel reduction with con-crews; removed 12 beds of cut wood and 20 trailers.
11,000 hours of work.
No citations in open space this weekend; all dogs on leash and no after-hour violations
Next meeting consideration of Advisory Body goals as part of the 2-year Financial
Planning process.
Commission Communications
LIAISON REPORTS
Adult and Senior Programming: Commissioner Single was absent. No Report.
Bicycle Advisory Committee: Commissioner Olson said the BAC discussed improving
bollards and State Route 227 study, Edna Price Canyon Trail made a short-term top
priority. BAC working on developing City Budget goals.
City Facilities (Damon Garcia, Golf, Pool & Joint Use Facilities): Commissioner
Avakian said Cal poly has started classes at the Golf Course. Golf rounds stead in
September. Reminder that kids play free Saturday with a paying adult. Night Golf
offered again on October 15th. September Scramble was a huge success! Pink Charity
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DRAFT Minutes – Parks and Recreation Commission Meeting of October 5, 2016 Page 4
Tournament on October 29th. Re-Sodding of the putting greens to reopen in November.
SLO Swim Center performing live action trainings. Reported on Damon Garcia sports
use. The Ludwick Community Center will be used as a polling place. Meadow Park
lighting will be replaced in early October. The Sinsheimer Playground project will be re-
bid adding a slight delay to project construction. Field allocation requests will be
emailed to users this week.
Tree Committee: Commissioner Thurman shared that the Urban Forest division now has
a part-time staff position to help review urban forestry plans and tree removal
applications.
Jack House Committee: Vice Chair Updegrove reported that the Jack House Committee
is discussing limiting the use of the house and gardens for private weddings during public
hours. There are mold issues in some of the paperworks collections. The Committee will
be analyzing humidity in the house and discuss options. The Jack House will be hosting
the annual flower exhibits in May 2017. The Committee is working on developing a
deaccessioning plan.
Youth Sports: Commissioner Schwab was absent. No report.
ADJOURNMENT
The meeting was adjourned at 7:22 p.m. to the Special Meeting of the Annual Parks Tour on October 14,
2016 at 8:15AM.
The next Regular meeting of the Parks and Recreation Commission is scheduled for 02, November, 2016
at 5:30 p.m., in the City Council Chambers, 990 Palm Street, San Luis Obispo, California.
APPROVED BY THE PARKS AND RECREATION COMMISSION: 10/05/2016
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Goals for the 2015-17 Financial Plan
A. Proactively address the community’s current and future recreational needs. Accomplish
this by providing the sufficient resources to the Parks and Recreation Department to:
1.Complete a Parks and Recreation Needs Assessment.
2.Complete the evaluation and update the Parks and Recreation Element.
3.Complete a Parks and Recreation Master Plan for current and future
parks
and recreation and open space needs which could include new facilities,
parks and open space land acquisitions, trails, and amenities, as well as the
maintenance of the same
B. Support the ongoing maintenance of parks and recreation facilities and open
space through adequate staffing and funding for the same.
PRC Goals for the 2013-15 Financial Plan
Provide for Active and Healthy Lifestyles for our city residents through further investment
in plans, programs and facilities.
1.Commit financial support for recreational facilities, activities and programs
Increase Ranger Staffing to improve public safety and neighborhood wellness
Implement Sinsheimer Stadium Study Recommendations
Construct the Santa Rosa Skate Park
Construct lit tennis courts at Emerson Park
Fund an update of the Parks and Recreation Element
Complete the Railroad Safety Trail, Bob Jones multi-use trail, and bike boulevards
2.Expand recreational opportunities (for example):
Form community partnerships to increase sports programming
Build additional open space trails
Support Parkway development
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City of San Luis Obispo, Council Agenda Report, Meeting Date, Item Number
Parks and Recreation Commission
AGENDA REPORT
SUBJECT: ADOPTION OF PUBLIC ART MASTER PLAN
FROM: Shelly Stanwyck, Director of Parks and Recreation
Prepared by: Melissa C. Mudgett, Recreation and Public Art Manager
RECOMMENDATION
Recommend that the City Council adopt the City of San Luis Obispo Public Art Master Plan.
DISCUSSION
Background
In June 2015 the City of San Luis Obispo embarked on creating a Public Art Master Plan. It is a
typical best practice for the City to develop master plans that articulate how programs can grow
and continue to be responsive to the community’s needs, wants and desires. The Public Art
Master Plan is intended to focus upon building on the City’s existing public art program while
looking forward to its future.
How the Public Art Master Plan Was Developed
A review team consisting of City staff in the Parks and Recreation and Public Works
departments as well as the local non-profits art organization (Arts Obispo) was established over a
year ago to guide this planning process. The review team began with the selection of the
consultant, Designing Local, for the development of the community’s first Public Art Master
Plan. Designing Local’s expertise lay in the public engagement opportunities which were critical
in extracting the feedback needed in the development of this plan. To set the stage, the team
provided extensive data for the consultant, sharing current policy documents, discussing program
structures and existing partnerships, the process for
stakeholder engagement and current funding models.
The team has assisted the consultant in coordinating
multiple public engagement opportunities and
reviewing plan updates. The community’s feedback
has been collected along the way and incorporated
into the plan revisions to-date.
Public Engagement During Public Art Master
Development
In developing the Public Art Master Plan, an array of
input was gathered from July 2015 to May 2016 from
internal and external stakeholders. More than 400+
participated in the multiple public meetings,
interviews, online surveys and community
workshops on this topic.
Meeting Date: November 2, 2016
Item Number:__3_____
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Consideration of Public Art Master Plan Page 2
The outreach strategy for public input on this Plan has been a collaborative effort, offering
diverse public engagement opportunities to encourage participation for all ages and
demographics. The interactive process, summarized below, was used to encourage public input
through a variety of ways ranging from the City’s website survey (where comments could be
input) to several Community Engagement opportunities at Farmer’s Market and local schools,
and concluding with a public Community Workshop meeting of the Parks and Recreation
Commission on May 4, 2016. A summary of the public engagement opportunities initiated over
the past year as part of the Public Art Master Planning process is provided
below.
The final communit y workshop was an opportunity to review the draft recommendations, have
focused workshop discussions and provide the Commission with direct feedback. An “Open
City Hall” survey was also provided via the City’s website for those who were unable to attend
the workshop. Throughout the public engagement process several themes emerged and these
were reiterated by participants at the Commission’s workshop. These themes are listed below
and also provided in greater detail as Appendix D to the Master Plan, Community Workshop
Results.
Pride in SLO’s public art collection
Sustainability. a focus towards the maintenance of the maturing art collection
Ease of Process. helping developers incorporate art into their projects for a healthier
balance of private-public art
Careful Selection. residents would like to see new art types added to the collection
Integration. a greater involvement by the community in selecting future art types
Partnerships. expanding upon existing art-centric partnerships
Make Art a Priority. residents would like to see more resources dedicated towards
growing the public art program
The revised draft Master Plan, as attached, is reflective of community’s feedback from these
diverse public engagement opportunities. The Plan, as presented, is realistic, relevant, and
flexible with a focus on operational and programmatic priorities with goals and objectives that
will serve as an effective road map for the future of public art in our community.
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Consideration of Public Art Master Plan Page 3
Public Art Master Plan Highlights
The guiding core of the Master Plan is in its goals and objectives which lay the foundation for
future action. These five goals and their objectives have been identified as the best way to meet
the needs and expectations of the community through public art.
GOAL 1 – CELEBRATE PUBLIC ART
Creative public engagement and outreach strategies intended to engage a diverse community,
increase the visibility of the public art program and embellish the community’s sense of pride of
the public art shall be used.
1.1 Increase visibility of the City’s public art by maintaining a current and
comprehensive collection inventory and publicizing it through the City’s website
1.2 Maximize and expand upon existing arts-related partnerships including those with
Arts Obispo, SLO Museum of Art, Cuesta College Fine Arts and Cal Poly Arts Program
1.3 Maximize the use of public art volunteers in the celebration of the collection by
developing and sharing with the community, news outlets and publications, unique
stories about each art piece
1.4 Engage the community in annual celebration of public art events with a creative
and interactive public art experience such as a scavenger hunt or pop-up art event
1.5 Elevate Awareness of the program for residents and visitors through consistent and
strategic messaging about the program in conjunction with existing promotional
outlets of the TBID, Downtown Association and SLO Chamber of Commerce
1.6 Explore regional arts-collaboration opportunities with other cities to learn about
best practices, expand the role of education in the City’s public art program and
employ creative concepts for celebrating public art
GOAL 2 - ENSURE THE SUSTAINABILITY AND THE PRESERVATION OF THE
CURRENT AND FUTURE PUBLIC ART COLLECTION
The City’s public art collection is maintained and preserved in accordance with Best
Management Practices for public art. Funding and focus should annually include conservation
and maintenance as reflective of a mature public art collection.
2.1 Inspect art pieces within the current collection annually to identify immediate
maintenance and minor repair needs
2.2 Prioritize public art funding for the maintenance and immediate repairs of the
current collection
2.3 Develop and implement a longer-term maintenance plan to account of cyclical
maintenance needs and larger repairs in accordance with Best Management
Practices for the care of public art, including consultation with the artist for
significant repairs
2.4 Explore public-private sponsorships for maintenance through the establishment of a
sponsorship program of individual art pieces
2.5 Maximize the use of volunteers for routine maintenance needs as projects
considered for annual work days, such as LOVE SLO or Make-A-Difference days
2.6 Simplify the online reporting of damaged art pieces by the public to aid City staff
in identifying immediate repair needs
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Consideration of Public Art Master Plan Page 4
GOAL 3 – MAKE IT EASIER FOR PUBLIC ART TO BE INTEGRATED IN PRIVATE
DEVELOPMENT
Integration of public art into private development projects shall be encouraged by the
streamlining of the review and building permit process and practices.
3.1 Evaluate the development review and building permit process for public art.
Implement identified process improvements
3.2 Explore the need for a staff liaison in the Community Development Department to
assist developers in the public art process in the pre-planning pre-submittal phase
3.3 Create, and make available, an online catalog of pre-approved suitable art pieces and
artists from which the developers may select for typical development projects
3.4 Integrate the City’s purchase of previously constructed and completed public art pieces
and manage the installation in public art projects similar to that of private development
GOAL 4 - ENCOURAGE NEW ART FORMS AND FUNDING OPPORTUNITIES
The program should encourage more semi-permanent pieces (i.e. Box Art) as well as the addition
of modern art pieces and murals to the collection. New and different funding models and
opportunities should be evaluated on an ongoing basis.
4.1 Maximize each public art funding dollar by encouraging affordable temporary semi-
permanent art installations such as Box Art, construction site murals or weekly Farmer’s
Market pop-up art
4.2 Seek diversity in the public art inventory by adding new art types, styles and mediums not
currently represented in the collection
4.3 Prioritize future locations for new public art types using a public engagement process
4.4 Study public-private partnership opportunities such as citizen-driven funding, Federal and
State grants, and partnerships with existing arts and tourism groups such as Arts Obispo,
SLO Museum of Art and TBID to leverage funding opportunities for new art pieces
4.5 Evaluate increasing the percentage of the City’s general fund contribution from the
current 1% of eligible capital project costs
4.6 Evaluate increasing the maximum amount of the calculated development in-lieu fees
currently capped at a maximum payment of $50,000 per development project
GOAL 5 - EXPLORE DIFFERENT STAFFING AND COMMUNITY PARTNERSHIPS
MODELS
Different models to manage this program should be explored from staffing opportunities to
expanded community partnerships.
5.1 Study the need for a dedicated staffing resource for the public art program
5.2 Explore community partnerships for shred resources and programming
5.3 Expand partnerships to Cal Poly and Cuesta College to create public art opportunities for
their students
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Consideration of Public Art Master Plan Page 5
NEXT STEPS
The Parks and Recreation Commission will review and provide input on the revised draft Public
Art Master Plan at its November 2, 2016. Should the Commission have significant amendments
to the draft Plan it would return on December 7, 2016 for further review and consideration.
Should the PRC recommend adoption of the Public Art Master plan, it would be scheduled for
the City Council’s consideration at the meeting of December 6, 2016. Upon approval by Council,
staff will begin implementation of the immediate term action items with budget request as part of
the 2017-19 Financial Planning process. It is anticipated that Parks and Recreation staff would
return to the Commission and the City Council with annual Public Art Master Plan progress
reports.
ATTACHMENT
Revised Draft Public Art Master Plan
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SAN LUIS OBISPO
PUBLIC ART
MASTER PLAN
WHAT’S NEXT FOR
PUBLIC ART IN SLO?
ATTACHMENT 1
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Contents
CHAPTER 1 – INTRODUCTION ................................................................................................................... 3
1.WHAT IS PUBLIC ART ......................................................................................................................... 3
2.PURPOSE OF THIS PLAN .................................................................................................................... 3
3.EXECUTIVE SUMMARY ...................................................................................................................... 3
CHAPTER 2 - EXISTING CONDITIONS ............................................................................................................ 4
1.EXISTING FUNDING POLICIES ............................................................................................................ 4
2.EXISTING PUBLIC ART REVIEW PROCESS........................................................................................... 7
3.EXISTING MAINTENANCE PRACTICES .............................................................................................. 10
4.CURRENT PUBLIC ART INVENTORY ................................................................................................. 10
CHAPTER 3 – PUBLIC INPUT ....................................................................................................................... 14
1.NEEDS ANALYSIS AND OUTREACH .................................................................................................. 14
A. WHAT WAS ASKED .......................................................................................................................... 14
B. WHAT WAS HEARD ......................................................................................................................... 14
CHAPTER 4 - RECOMMENDATIONS ........................................................................................................... 16
1.SUMMARY OF RECOMMENDATIONS .............................................................................................. 16
2.PUBLIC ART GOALS AND OBJECTIVES ............................................................................................. 19
CHAPTER 5– IMPLEMENTATION STRATEGIES ........................................................................................... 22
1.WHO ................................................................................................................................................ 22
2.WHAT .............................................................................................................................................. 23
3.WHERE ............................................................................................................................................ 26
4.WHEN .............................................................................................................................................. 28
ACKNOWLEDGEMENTS ........................................................................................................................... 33
APPENDIX A: PUBLIC ART LOCATIONS MAP ........................................................................................... 34
APPENDIX B: ESSENCE OF SAN LUIS OBISPO .......................................................................................... 36
APPENDIX C: COMMUNITY-GENERATED PROJECT IDEAS ....................................................................... 48
APPENDIX D: COMMUNITY WORKSHOP RESULTS .................................................................................. 53
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CHAPTER 1 – INTRODUCTION
1. WHAT IS PUBLIC ART
Public art is more than just statues in public locations. Public art can and should be ingrained in the civic
imagination of a community. It can be on every street in every neighborhood; next to bike paths and along
hiking trails. Art can be participatory and interactive or contemplative and passive. Public art should
reflect a City’s culture and residents while being accessible to all. If schools teach, bridges traverse, and
streetlights brighten, then public art tells a community’s story to the world. Art is a tool to speak to
visitors, residents, and students seeking out a sense of community from across the state or across the
ocean. The San Luis Obispo Public Art Master Plan lays the foundation for the future of its public art
program and by extension prepares for the next chapter of its story.
2. PURPOSE OF THIS PLAN
The purpose of this Public Art Master Plan is to continue the legacy of the 20 year’s old City program. It
identifies where the Program has been, where it is today, and where it can go in the future. By having a
Public Art Master Plan, the City of San Luis Obispo will have a framework within which to continue to focus
on art as a character defining community value that supports the community’s sense of place and
livability. This Master Plan is the vision for the City of San Luis Obispo’s public art program for the next
decade. This ten-year plan is intended to serve as both a guiding document that evidences the City’s
commitment to public art, as well as an evolving document that is reviewed annually for progress and
relevancy.
3. EXECUTIVE SUMMARY
The recommendations within this Public Art Master Plan include goals and objectives to strengthen the
City of San Luis Obispo’s commitment to sustaining a vibrant community, rich in public art. For the next
ten years it guides San Luis Obispo in the strategic application of bigger-picture thinking through the
identification of resources and the nurturing of existing community partnerships. The Plan sets out tactical
strategies that will make the City’s public art program more successful. The Plan identifies building a
stronger network of partnerships with arts and cultural organizations, community groups, and business
organizations. The plan also establishes priorities for public art that should be commissioned in San Luis
Obispo and how the community’s shared resources (funding and professional expertise) should be
directed.
Implementation of the Plan is accomplished through achieving five goals and 25 objectives over a ten-
year period. The goals of the plan are generally as follows: creative public engagement and outreach
strategies; preservation of the existing public art collection; streamlining of the building review and
permitting processes; diversification of the Public art collection with new art types; and exploration of
new funding and community partnership models
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CHAPTER 2 - EXISTING CONDITIONS
For over twenty-five years the City of San Luis Obispo has made investment in the arts at a citywide level.
In 1990, the city of San Luis Obispo established and funded its first public art program. The program’s first
“investor” was the City. It derived funding from the self-assessment by the City of one percent (1%) of
the estimated construction costs of eligible capital improvement projects be set aside for public art.
Ten years later the City passed an ordinance (addressing funding for public art in private development).
This “public art” ordinance required private sector investment in the arts when developers and property
owners significantly improved private property or constructed new developments. Developers and
property owners could elect to either incorporate art into a project or pay to the City a public art in-lieu
fee
In addition to City funded public art and public art in private development, San Luis Obispo also allows the
donation of public art to the City as well as has a program for matching grants for public art. Staffing for
the public art program as always been an additional duty for a manager at the City. The Program was
initially managed in Community Development, then Administration, and today is managed by the Parks
and Recreation where the Recreation Manager adds this to her duties. Over time, as the City’s Public Art
Program grew, a “collection” arose to include today over seventy-eight pieces of public art- including
mosaics, oil and watercolor paintings, utility box art, stained glass, sculptures, benches, bridge railings and
much more.
1. EXISTING FUNDING POLICIES
A. CITY-FUNDED PUBLIC ART
In May 1990, the City Council established and funded a public art program (Resolution No. 6811
(1990 Series)). The Council adopted a “Visual Arts in Public Places” program which is often
referred to as the City’s public art program. It was determined by Resolution that one percent
(1%) of the estimated construction cost of eligible City projects in its Capital Improvement Plan
should be set aside in a public art fund for the design and installation of public art. Funding at less
than 1% policy level has been done in the past in response to budgetary constraints during time
of economic recession.
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Capital projects are evaluated during
the City’s budget process and includes
conformance with the City’s Public Art
Policy; which requires that 1% of an
eligible project’s construction costs be
set aside for public art. Excluded from
this requirement are underground
projects and utility infrastructure
products. The City’s contribution to its
Public Art Fund varies as it is
dependent upon the construction
costs associated with eligible projects
approved in the capital improvement
program. Currently Public Art Funding
by the City averages from $18,000 to
$35,000 annually. The City’s
contribution is made directly to the
Public Art Fund where it aggregates over time and is combined with other art funding (private in
lieu fee, grants, and donations) to support the installation of public art pieces within the City. An
example of aggregating funding for the sole purpose of supporting a significant public art
installation is SLO Skate Park Concrete Jungle public art project which had a total public art budget
of $250,000.
B. PUBLIC ART IN PRIVATE DEVELOPMENT
The City of San Luis Obispo seeks to enhance the cultural and aesthetic environment of the City
and to encourage creativity and an appreciation of the arts and cultural heritage. The Public Art
in Private Development Ordinance (Ordinance No. 1372 (2000 Series) requires private property
owners and developers to incorporate a piece(s) of art in new developments or substantially
improved developments in the City, or voluntarily elect to purchase a piece of art and donate it
to the City or pay a public art in-lieu fee.
While It is generally preferred that public art be incorporated directly into the project, this may
not always be practical or desirable. In that case, a public art in-lieu fee contribution to the public
art fund is made by the project applicant. The Public Art in Private Development program is
designed to allow applicants some flexibility in meeting its
requirements. If the applicant chooses to incorporate a
piece of public art into the project, s/he is required to
submit a public art application to the City for consideration
during the development review process. City staff in Parks
and Recreation assist by informing the applicant of the
process as well as options and opportunities (such as
connecting the applicant to a private, non-profit local arts
advocacy group (Arts Obispo)) to connect them with local
arts resources. Once an applicant submits a completed
public art application and all requirements have been met,
Parks and Recreation staff assemble an art jury to review
applicants’ proposal. Public Art proposals require all
Concrete Jungle, SLO Skate Park
DeVaul Ranch, Los Osos Valley Rd
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appropriate Advisory Body and City Council approvals as well as
engineered drawings and building permits.
If the payment of an art in-lieu fee is elected by the applicant, the
minimum cost of the public art, including installation, is
determined by the amount equal to one-half of one percent (.5%)
of that portion of the total construction costs in excess of
$100,000. The maximum amount an applicant can be charged for
an art in-lieu fee is $50,000 for each building permit. The art-in-
lieu fee is calculated and collected by the Community
Development Department during the permitting process. The art
in-lieu fees are then deposited into the City’s public art fund which
is aggregated for use by future public art projects city-wide. A few
examples of public art in private development can be seen at
Kennedy Club Fitness (Tank Farm Road at Long Street) and the
DeVaul Ranch Development (Los Osos Valley Road).
C. PRIVATELY FUNDED ART IN PUBLIC PLACES
Another important source of public art is that which is privately
funded, but located in a public place. Usually, such works are
commissioned by an individual, a group of individuals, a non-profit
organization or a business or corporation. Whatever may be the
reason for the offer of public art to be placed on City property, the
offer triggers a donation acceptance and public art review process.
An example of privately funding art in public places would be “Oh
Great Spirit”, a privately purchased art piece (Artist Nell Banister
Scruggs) is a 12-foot cast bronze sculpture of a Native American with
his hands reaching up to the sky. This art piece honors the sensitive
connection between the people, plants, medicine and health that
Native Americans first discovered. This private art piece was
donated to the City in 2009 for placement in a public trail entrance
at the intersection of South Higuera Street and Prado Road.
D. MATCHING GRANTS FOR PUBLIC ART
When the Visual Arts in Public Places program was adopted in 1990,
it included a section which established a matching grant fund to encourage the inclusion of public
art in private construction projects. The program was seldom used and in 2000, with the passage
of Ordinance No.1372 requiring public art in privately-funded, nonresidential projects, the
matching grant program was rescinded.
Oh Great Spirit, South
Higuera @ Prado Rd
Kennedy Club Fitness, Tank
Farm Rd
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In 2005, the Matching Grant Program was reinstated with receipt of the two requests for matching
funds, and recognizing the benefits of leveraging public and private dollars. The ordinance was
amended to allow for the expansion of public art opportunities within the City, especially during
a time of limited fiscal resources. Projects eligible for matching grant funds provide a clear public
benefit, remain accessible to the
public, meet the guidelines are
artistic excellence and advance the
City’s public art goals of
incorporating new art types into
the City’s current collection. Parks
and Recreation staff present
requests for matching grants to the
City Council for consideration. The
resolution (Resolution 9656 (2005
Series) requires that the City
Council determine the appropriate
level of matching funds up to a
dollar-for-dollar level for each
request. Examples of this type of
public art include the recent
Library Mural (Movimiento
Mundial by Artist Robert Maja)
which was made possible through a matching grant with the Friends of the Library. This mural is
located inside the City/County public library on Palm Street.
Another example is the Roots of
the Community marble sculpture
located at the Meadow Park
Community Garden. This public art
piece was supported in part by
generation donations from the
Cydney Holcomb Trust and three
local Rotary Clubs to honor a fellow
Rotarian for her commitment to
quality neighborhoods.
2. EXISTING PUBLIC ART REVIEW PROCESS
The current public art review process is lengthy with the steps needed to go from concept to
installation being extensive. It often takes several years for a public art project to go from start
to finish. The current process requires solicitation of public art project ideas and locations, Council
allocation of funding, solicitation of proposals through a “Call for Artists” as defined by the City’s
Roots of the Community, Meadow Park Community
Garden
Movimiento Mundial, City/County Library
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Request for Proposal (RFP) process, assembling an art jury review with diverse community
representation, multiple City advisory body reviews, Council approvals, contract award with the
selected artist(s), design, extensive permitting and engineering requirements, construction,
public art installment and inspections.
In addition to the current and extensive process, the public art program is absent a dedicated
staffing resource. As a result, this process must be overlaid with the day-to-day responsibilities of
the Parks and Recreation Department, competing with other City priorities for available staffing
resources and time.
Figure 1 below is a flow chart of the existing public art review process and estimated timeline.
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Figure 1: Public Art Process Flow Chart
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3. EXISTING MAINTENANCE PRACTICES
Like all City facilities, public art requires maintenance and occasional repairs. Although the City’s
guidelines encourage artworks requiring “little or no maintenance”, art pieces vary in the amount
of maintenance required, resistance to vandalism, and ease of repair. The Parks and Recreation
and the Public Works Departments share in the maintenance responsibilities of the City’s public
art collection. The Public Works Department is responsible for maintaining City facilities, which
includes all City-owned or City sponsored public art.
Consistent with the adopted public art policy, the Parks and Recreation Department staff ensures
that the artist has completed the required Maintenance Record Form prior to acceptance of the
artwork into the City’s collection. Once a public art piece is added to the City’s inventory, these
two departments utilize these maintenance guidelines to determine routine and cyclical
maintenance needs, Public Works staff are responsible for replacing light bulbs, electrical repairs,
city tree trimming, trash and graffiti removals. Parks and Recreation staff are responsible for
coordinating preventative maintenance activities such as cleaning, waxing and minor landscaping
and larger mechanical activities like tightening, adjusting, oiling, repainting/powder coating and
repairs.
Staff reviews the public art collection annually and seeks funding approval from the City Council
to allocate funding towards the routine and cyclical maintenance activities through the capital
improvement project process. Preventative maintenance is critical in preserving the appearance
and longevity of the artwork within the City’s collection. Improper maintenance and repair
methods can damage valuable artworks.
Temporary artworks owned by others but exhibited in City buildings or on City-owned land remain
the responsibility of the owner, unless other arrangements are made by prior agreement with the
City.
4. CURRENT PUBLIC ART INVENTORY
Over the past twenty years, the City of San Luis Obispo has been successful in adding both
permanent and temporary public art pieces into its collection. As of December 2016, there are a
total of seventy-six public art pieces in the City’s collection. Thirty-seven public art pieces are
considered permanent and thirty-nine are categorized as temporary box art murals. The majority
of the permanent public art pieces are sculptures located throughout the city. The tempo rary
public art pieces consist of smaller individual murals painted on the exterior of city-owned traffic
signal cabinets as part of the City’s adopted and ongoing public art program for Box Art.
The majority of the temporary public Box Art is located in the City’s downtown core as the project
originally began in 2010 as a temporary public art pilot program for various downtown
beautification efforts. Over the past six years, this exterior art display has increased in popularity.
In 2016, and in recognition of the benefits of this street art, the Box Art Policy was adopted by
City Council as a regular public art program consisting of temporary art murals with a defined
lifespan. The intent of the policy is to eventually expand the exterior box art murals to all of the
64 City traffic signal cabinet locations over the next five to seven years. In November 2016, the
Box Art Program was expanded to include eight new box art designs and three significant repairs
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of existing box art murals. To date, the City has commissioned box art murals for 39 of the total
64 city-owned traffic signal cabinets.
The majority of the permanent public art pieces are located in city parks and public right-of-way
throughout the city. A current public art inventory listing; including title, type, artist and date
accessioned into the collection is provided below as Table 1. Provided as Appendix A is a mapping
of public art piece and locations throughout the City of San Luis Obispo.
Table 1: SAN LUIS OBISPO PUBLIC ART COLLECTION
Map No. Permanent
Temporary
Public Art Piece Artist(s) Year Art Type
1 P Tequski Wa Suwa (Child & Bear),
Qiqsmu (Bear Cubs) & Yach Ka
(Steelhead Trout)
Paula Zima 1988, 2004,
2005
Sculpture
2 P Concrete Jungle Jed Joyce and John T.
Jones
2015 Sculpture
3 P Ironroad Pioneers Elizabeth McQueen 2002 Sculpture
4 P Perpetual Hope Allen Root 2007 Sculpture
5 P Chumash Pictographs Jim Jacobson 1999 Sculpture
6 P Metal Amphitheater Backdrop Jim Fickes 1980 Sculpture
7 P Movimiento Mundial Robert Maja 2013 Mural
8 P Love and Double Joy Peter Ladochy 1997 Tile
9 P Bee Works His Magic Carol Paulson, Stephen
Plowman
2008 Sculpture
10 P Magic Sister Carol Paulson, Stephen
Plowman
2002 Sculpture
11 P Bonding Dance Alan Riggle 2002 Sculpture
12 P Downtown Points of Interest Tres Feltman 2002 Sculpture
13 P Hey Diddle, Diddle Sandra Kay Johnson 2003 Sculpture
14 P Puck Elizabeth McQueen 2003 Sculpture
15 P Sycamore Theme Mark Jepson, Randy
Augsburger
2001 Sculpture
16 P Sycamore & Budding Thistle Jim Jacobson 1999 Sculpture
17 P Fish Life Jim Jacobson 1999 Sculpture
18 P Tankhead Fish (Replacement) Randy Augsburger 1996 Sculpture
19 P Garnet Kate Britton 2002 Sculpture
20 P Web of Life Sandra Kay Johnson 2000 Sculpture
21 P Flames of Knowledge Jim Jacobson 1998 Sculpture
22 P Tankhead Fish John Augsburger 1977 Sculpture
23 P Minoan Tribute Sandra Kay Johnson 2000 Stained
Glass
24 P Seven Sisters Railing Jim Jacobson 2000 Functional
Art
25 P Cheng Park Alice LohHang Zhou 2007 Pocket park
26 P Vehicle of SLO County Michelle Griffoul 1990 Sculpture
27 P The American Spirit Jim Jacobson, Will Carlton
& Erick Wand
2003 Sculpture
28 P Court of Historic Flags Bob Nichols 1997,
relocated in
2007
Tile
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Map No. Permanent
Temporary
Public Art Piece Artist(s) Year Art Type
29 P Community's Bridge Allen Root (Ferromobius) 2000,
relocated in
2007
Functional
Art
30 P Strong Play Ethic Carol Paulsen, Stephen
Plowman & Stephen Van
Stone
2005 Sculpture
31 P Roots and Wings Michael Laboon 2007 Sculpture
32 P Bequest Brian Chessmar 2010 Sculpture
33 P Icons of an Era Jim Trask 2006 Sculpture
34 P Reflections of Another Time Mark Jepson 2004 Sculpture
35 P Oh Great Spirit Nell Banister Scruggs 2011 Sculpture
36 P Roots of the Community Joshua Wiener 2013 Sculpture
37 P Standing Tall (WTC Memorial) Kathleen Caricof 2015 Sculpture
38 T Subaqueous Joe Bachelor 2010 Box Art
Mural
39 T Musical Eclecticism Joe Bachelor 2010 Box Art
Mural
40 T The Hummingbird Effect Joe Bachelor 2010 Box Art
Mural
41 T Birds of Whimsy Jeff Claassen 2012 Box Art
Mural
42 T Spooners Charlie Clingman 2012 Box Art
Mural
43 T There's No Place Like Home
Jacaranda Deco
Alister Dippner
Elizabeth Hudson
2012
(deaccessione
d in 2016)
2016
Box Art
Mural
44 T Secret Kelp Forest Colleen Gnos 2010 Box Art
Mural
45 T Seven Treasures Strata Marcie Harvey 2010 Box Art
Mural
46 T Hedge Marcie Harvey 2010 Box Art
Mural
47 T Trout Marcie Hawthorne 2010 Box Art
Mural
48 T Koi Joy Marcie Hawthorne 2010 Box Art
Mural
49 T Signature Birds of SLO Marcie Hawthorne 2012
2016 Repair
Box Art
Mural
50 T Dogs About Town Frankel and Hawthorne 2012 Box Art
Mural
51 T Mariachi SLO Frankel and Hawthorne 2012 Box Art
Mural
52 T The Flight of the Monarchs Lynn Hessler 2010 Box Art
Mural
53 T unnamed Justin Johnson 2010 Box Art
Mural
54 T Levitating Cube (of Swiss) Jed Joyce 2010 Box Art
Mural
55 T Sunset Rachel LaBonte 2012 Box Art
Mural
56 T Central Coast … Color & Culture Robert MAJA 2010 Box Art
Mural
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Map No. Permanent
Temporary
Public Art Piece Artist(s) Year Art Type
57 T Everyone Trying to Fit In STENZSKULL 2012 Box Art
Mural
58 T Unnamed Abbey Onikoyi 2012 Box Art
Mural
59 T Oso Libre (Free Bears) Carol Paulsen 2010 Box Art
Mural
60 T Pismo Chris Pedersen 2012
2016 Repair
Box Art
Mural
61 T Roots, Rocks, Right & Left Chris Pedersen 2012
2016 Repair
Box Art
Mural
62 T Stuck Samantha Pereira 2010 Box Art
Mural
63 T unnamed Jane Pomeroy 2012 Box Art
Mural
64 T Barn Owls Lena Rushing 2012 Box Art
Mural
65 T unnamed Blair Rusin 2010 Box Art
Mural
66 T Unnamed
Love of Color
Joey Salazar
Sara Burke
2010
(deaccessione
d in 2016)
2016
Box Art
Mural
67 T Bishop's Peak Ryan Williams 2010 Box Art
Mural
68 T A Joy II Ryan Williams 2012 Box Art
Mural
69 T Fence, Fields & Sky Amy McKay 2010 Box Art
Mural
70 T Farmer's Market Box Amy McKay 2012 Box Art
Mural
71 T Once Upon a Dream Alister Dippner 2016 Box Art
Mural
72 T Robot Heidi Kruger 2016 Box Art
Mural
73 T SLO Many Cows Elena Aker 2016 Box Art
Mural
74 T Sweet and Low Bret Brown 2016 Box Art
Mural
75 T Celebrate SLO Nate Erlin 2016 Box Art
Mural
76 T Naturally Beautiful Laura Lozingo 2016 Box Art
Mural
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CHAPTER 3 – PUBLIC INPUT
1. NEEDS ANALYSIS AND OUTREACH
In an effort to build upon the City’s strong legacy of public art and to look forward to the next decade of
expansion, City staff and a consultant intentionally sought extensive input from the community and local
arts advocates to find out what is next for the Public Art Program in San Luis Obispo.
A. WHAT WAS ASKED
To kick off the community engagement process, stakeholders were met with one on one and in
small groups and asked a series of questions about how public art relates to: their sense of place;
the overall identity of San Luis Obispo; business development; education; downtown the
environment; and the community. Each stakeholder was asked about their perception of the
City’s Program and how the work of the program impacted the City and their neighborhoods. They
were asked how they envisioned the growth of the program and what specifically the program
needed in order to reach the next level.
The stakeholders were diverse. They were artists, teachers, Council members, architects,
students, residents, current and past City staff, Cal Poly administration, Architecture Review
Commissioners, and local business owners. As a result, the input received was well-rounded and
informative and has helped to lay the foundation of public art program for the next ten years.
The City invited residents to participate in a week-long series of community engagement events
which included;
• Fountain-side Chat at Mission Plaza
• SLO Skate Park Community Workshop
• Farmer’s Market Informational Booth
• San Luis High School Art Class
• Laguna Middle School Teen Program
• Elementary after-school program (Hawthorne)
Participants were asked to consider where new pieces of public art should go and what types of
art they would like to see in their community. Attributes that make San Luis Obispo stand out
among other Central Coast communities, California communities, and the rest of the United
States were discussed. Participants were also invited to sketch their ideas for public art pieces,
and to share their ideas on themes for new art.
Last, two online surveys were also conducted (both privately and via the City’s website with “Open
City Hall”) to capture the ideas of those who were unable to attend any of the scheduled
community engagement opportunities and public workshops. A public workshop of the Parks and
Recreation Commission was also hosted following the conclusion of the community engagement
opportunities to review and provide feedback on the draft plan elements.
B. WHAT WAS HEARD
Throughout the public engagement process, several themes emerged. Those themes are as
follows:
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a. Pride. The public art collection of San Luis Obispo is a source of pride. When asked
what drew them to live in San Luis Obispo, overwhelmingly, residents responded
with three reasons: nature, the people, and the artsy and creative spirit of the
locals.
b. Sustainability. Civic leaders and residents share the same vision for the arts- one
rooted in strategic planning and policy. As a result of a maturing collection, few
new pieces have been added and focus has shifted more toward conservation
and maintenance. This Public Art Master Plan is positioned as a key first step to
achieving broader aspirations.
c. Ease of Process. Developers would prefer to incorporate public art into projects
rather than “just” pay the in-lieu fee. However, many cite the existing
development review process as being too cumbersome in addition to the building
and permitting process to create site-specific art.
d. Careful Selection. Residents would like to see more modern art added to the
collection as well as murals. However, there was a resounding preference for
making sure the art never upstages the natural beauty of San Luis Obispo.
e. Integration. The community would like for public art to be part of the broader
discussion about the future of the community, not just a discussion within the
arts community.
f. Solidify Partnerships. San Luis Obispo’s creative community boasts a range of
organizations with whom partnerships between the City and the organizations
themselves would be advantageous for the long term future of public art in the
City.
g. Make Public Art a Priority. Although the Parks and Recreation Department’s
Recreation Manager position helps to coordinate the public art program, there is
no staff person assigned solely to public art. Different models to develop this
focus should be explored.
Please see Appendix D for a complete copy of the public art master plan survey results.
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CHAPTER 4 - RECOMMENDATIONS
As a direct result of the San Luis Obispo Public Art Master planning process, several themes emerged from
making public art a priority, to sustainability and preservation of the public art collection, to streamlining
the process for ease and enhancing community partnerships. From those themes, five overarching
recommendations for the future of the City’s Public Art Program’s sustainability and evolution were
developed and are summarized as follows;
1. SUMMARY OF RECOMMENDATIONS
A. Celebrate Public Art
Creative public engagement and outreach strategies intended to engage a diverse community,
increase the visibility of the public art program and embellish the community’s sense of pride of
the public art shall be used.
Case Study: Portland, Oregon
Portland’s Regional Arts and Culture Council recently sponsored an event which utilize large numbers of
volunteers to help produce Portland’s first Disability Film Festival, and the 7th Disability Pride Art and
Culture Festival.
B. Ensure Sustainability and the Preservation of the Current and Future Collection
The City’s public art collection will be maintained
and preserved in accordance with Best
Management practices for public art. Funding and
focus should annually include conservation and
maintenance as reflective of a mature public art
collection
Case Study: City of St. Paul, Minnesota
The City of St. Paul’s highly regarded Public Art Maintenance
Program annually appropriate through the public art
Ordinance one-half of one percent of total Capital
Improvement budget to specifically fund maintenance
activities. Appropriations generally range between $6,800 -
7,800 annually.
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C. Make It Easier For Public Art to Be Integrated in Private Development
Integration of public art into private development projects shall be encouraged by the streamlining
of the review and building permit process and practices.
Case Study: Beverly Hills, California
In 2015, rather than commissioning a piece of public art for a
prominent location the Beverly Hills Fine Arts chose to
purchase an already fabricated piece from renowned South
African artist William Kentridge. The piece titled World On Its
Hind Legs touches on subjects that likely would have not be
delved into by a commissioned art pieces such as colonialism
and industrialization. The streamlined purchase brought a
piece of globally renowned work to Southern California.
D. Encourage New Art Forms and Funding Opportunities
The program should encourage more semi-permanent pieces (i.e. Box Art) as well as the addition
of modern art pieces and murals to the collection. New and different funding models and
opportunities should on an ongoing basis.
Case Study: City of Santa Monica, California
The City of Santa Monica’s cultural requirement for development is both innovative and flexible, calling
for developers to allot 2% of their building permit valuation to on-site arts and/or cultural uses or to
make a contribution of 1% of the project costs to a Cultural Arts Trust Fund. The Council’s goal is not only
to preserve but also to improve the quality of life within the City (Santa Monica Municipal Code:
9.04.10.20.010).
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D. Explore Different Staffing and Community Partnership Models
Different models to manage this program should be explored from staffing opportunities to
expanded community partnerships.
Case Study: Palo Alto, California
The City of Palo Alto Public Art Program is committed to
contributing to the intellectual, emotional, and creative life of
the Palo Alto community by creating engaging art experiences
and dynamic public spaces for Palo Alto residents and visitors.
The City collection of public art is comprised of approximately
100 permanently sited works and approximately 200 portable
works of art in a diverse range of media. All works are
commissioned and acquired through a public process. Palo
Alto’s Public Art Program is managed in the City’s Community
Services Department and has one full-time Public Art Program
Manager and one part-time Public Art Program Assistant
dedicated to the program. This staffing resource is
supplemented by the numerous volunteer hours needed to
help put on events annually and 6+ collaborative art-centric
community partnerships that help support the program,
leverage funding opportunities, and jointly seek grant monies
for special projects such as the “Gimme Graffiti”, a unique
mural program.
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2. PUBLIC ART GOALS AND OBJECTIVES
The guiding core of this Public Art Master Plan is its goals and objectives. There are five
overarching goals and twenty-five key objectives listed for the public art program. The goals and
objectives have been identified as the best way to meet the future needs and expectations of the
community using the plan as a roadmap for the next ten years. Because public art can be dynamic,
the plan is designed to be flexible in order to meet emerging community needs and/or respond
to fiscal or other changes.
Goals and Objectives of the City of San Luis Obispo’s Public Art Master Plan
GOALS OBJECTIVES
1. CELEBRATE PUBLIC ART
Creative public engagement and outreach strategies
intended to engage a diverse community, increase the
visibility of the public art program and embellish the
community’s sense of pride of the public art shall be used.
1.1. Increase visibility of the City’s public art by
maintaining a current and comprehensive
collection inventory and publicizing it through
the City’s website
1.2. Maximize and expand upon existing arts-related
partnerships including those with Arts Obispo,
SLO Museum of Art, Cuesta College Fine Arts
and Cal Poly Arts Program
1.3. Maximize the use of public art volunteers in the
celebration of the collection by developing and
sharing with the community, news outlets and
publications, unique stories about each art
piece
1.4. Engage the community in an annual celebration
of public art event with a creative and
interactive public art experience such as a
scavenger hunt or pop-up art event
1.5. Elevate awareness of the program for residents
and visitors through consistent and strategic
messaging about the public art program in
conjunction with existing promotional outlets of
the TBID, Downtown Association and SLO
Chamber of Commerce
1.6. Explore regional arts-collaboration
opportunities with other cities to learn about
best practices, expand the role of education in
the City’s public art program and employ
creative concepts for celebrating public art
2. ENSURE THE SUSTAINABILITY AND THE
PRESERVATION OF THE CURRENT AND FUTURE
PUBLIC ART COLLECTION
The City’s public art collection is maintained and preserved
in accordance with Best Management practices for public
art. Funding and focus should annually include conservation
and maintenance as reflective of a mature public art
collection
2.1 Inspect art pieces within the current collection
annually to identify immediate maintenance
and minor repair needs
2.2 Prioritize public art funding for the maintenance
and immediate repairs of the current collection
2.3 Develop and implement a longer-term
maintenance plan to account for cyclical
maintenance needs and larger repairs in
accordance with Best Management Practices for
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the care of public art, including consultation
with the artist for significant repairs
2.4 Explore public-private sponsorships for
maintenance through the establishment of a
sponsorship program of individual art pieces
2.5 Maximize the use of volunteers for routine
maintenance needs as projects considered for
annual work days, such as LOVE SLO or Make a
Difference Day
2.6 Simplify the online reporting of damaged art
pieces by the public to aid City staff in
identifying immediate repair needs
3. MAKE IT EASIER FOR PUBLIC ART TO BE
INTEGRATED IN PRIVATE DEVELOPMENT
Integration of public art into private development projects
shall be encouraged by the streamlining of the review and
building permit process and practices.
3.1 Evaluate the development review and building
permit process for public art. Implement
identified process improvements.
3.2 Explore the need for a staff liaison in the
Community Development Department to assist
developers in the public art process in the pre-
planning pre-submittal phase
3.3 Create, and make available, an online catalog of
pre-approved suitable art pieces and artists
from which developers may select for typical
development projects
3.4 Integrate the City’s purchase of previously
constructed and completed art pieces and
manage the installation in public art projects
similar to that of private development
4. ENCOURAGE NEW ART FORMS AND FUNDING
OPPORTUNITIES
The program should encourage more semi-permanent
pieces (i.e. Box Art) as well as the addition of modern art
pieces and murals to the collection. New and different
funding models and opportunities should be evaluated on an
ongoing basis.
4.1 Maximize each public art funding dollar by
encouraging affordable temporary semi-
permanent art installations such as Box Art,
construction site murals or weekly Farmer’s
Market pop-up art
4.2 Seek diversity in the public art inventory by
adding new art types, styles and mediums not
currently represented in the collection
4.3 Prioritize future locations for new public art
types using a public engagement process
4.4 Study public-private partnership opportunities
such as citizen-driven funding, Federal and State
grants, and partnerships with existing arts and
tourism groups such as Arts Obispo, SLO
Museum of Art and TBID to leverage funding
opportunities for new art pieces
4.5 Evaluate increasing the percentage of the City’s
general fund contribution from the current 1% of
eligible capital project costs
4.6 Evaluate increasing the maximum amount of the
calculated development in-lieu fees currently
capped at a maximum payment of $50,000 per
development project
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5. EXPLORE DIFFERENT STAFFING AND COMMUNITY
PARTNERSHIP MODELS
Different models to manage this program should be
explored from staffing opportunities to expanded
community partnerships.
5.1 Study the need for a dedicated staffing resource
for the public art program
5.2 Explore community partnerships for shared
resources and programming
5.3 Expand partnerships to Cal Poly and Cuesta
College to create public art opportunities for
their students
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CHAPTER 5– IMPLEMENTATION STRATEGIES
The success of this Plan will be determined by the ongoing efforts of those in the arts community, city
staff, and residents, to implement its goals and objectives.
The Who, What, Where & When Needed to Implement the Plan Goals and Objectives
The future of the City’s Public Art Program will be supported by the “Who”, “What”, “Where” and “When”
identified as critical components needed for the successful implementation of the Master Plan goals and
objectives.
1. WHO
The future roadmap of the City’s Public Art Program will be reinforced by the community
including Council, Advisory Bodies, Staff, Residents, Students, Volunteers and Community
Partners and maybe even other agencies. The community members identified in this
section, regardless of their affiliation, will fulfill a unique role in the creation of ideas,
selection of new and creative art, and the implementation of key Plan objectives.
A. CITY COUNCIL
The City Council’s foresight and leadership will continue to encourage the development
of public art in the City.
B. ADVISORY BODIES
The Architectural Review Commission, Cultural Heritage Committee and the Parks and
Recreation Commissions will provide the technical review and recommendations to the
City Council for acceptance of public art in the City. The purview of these three Advisory
Bodies may vary slightly but for the purpose of reviewing the proposed art designs and
locations for consistency with the City’s Guidelines for Public Art and conformance to the
Historic Preservation Program Guidelines the will individually and/or jointly make
recommendations for acceptance to the City Council.
C. CITY STAFF
The implementation of this Plan will be led by the Parks and Recreation Department
Recreation Manager who will continue to be committed to the curation and expansion of
public art in San Luis Obispo. The need for a dedicated staffing resource will be studied
by staff. Different operational models for managing a public art program will be explored.
Particular focus will be made as to community partnership based models where resources
are shared and educational partners are included. Until future staffing models are
identified and funded the Recreation Manager in Parks and Recreation will continue to
serve as the program manager for public art. This role of course will be balanced against
other competing management priorities associated with the Parks and Recreation
Department and is a secondary duty of this position.
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D. RESIDENTS/STUDENTS/VOLUNTEERS
The City of San Luis Obispo has an abundance of engaged residents, students and
volunteers who can help in the implementation of Master Plan goals and objectives. With
the community’s help, there are endless opportunities to inject youthful energy into San
Luis Obispo’s public art program in partnership with San Luis Coastal Unified School
District as well as with Cuesta and Cal Poly through developed art curriculum. When art
is created by San Luis Obispo’s young people it can embody the community. Young artists
must be encouraged to participate in public art projects.
As San Luis Obispo continues to be one of the most desired communities to live in on the
Central Coast, Residents will be encouraged to interact with “SLO-centric” elements into
their typical daily activities. This could be supported with the residents’ push for
functional art within the community, such as decorative bike racks or benches or even
murals painted up stair risers.
The public has a multitude of volunteer opportunities to give back through the City’s
Volunteer Program, Love SLO or Make-A-Difference Days. The Public Art program will
seek to maximize Volunteer resources and provide opportunities to celebrate public art,
help in providing routine cleaning of public art pieces or even volunteering as an Art Juror
participating in the selection of new public art.
E. COMMUNITY PARTNERS
The City has a long standing history with local arts-related community partners. In
partnering with Arts Obispo and the SLO Museum of Art, they often have the ability to do
what government affiliated groups may be unable to accomplish. Grant opportunities
may be available that necessitate private arts organizations as the driver of funding
awarded to non-profits. Programming and partnership options should also be considered
with the SLO Children’s Museum, San Luis Obispo History Center, Cuesta College of Fine
Arts and Cal Poly Art Program as this may be a key aspect of future Arts activities in San
Luis Obispo.
F. CORPORATE AND LOCAL BUSINESS COMMUNITY
Corporations have helped advance San Luis Obispo through the state’s sometimes
turbulent economy while small businesses are a part of the daily lives and help to fuel the
local economy. By partnering with San Luis Obispo’s corporations and small businesses,
the City can leverage funding for important programming or public art pieces that engage
those citizens who frequently interact with them. Many of these opportunities can be
small-scale projects that encourage interaction with the businesses and reorienting
participants’ thought processes around the arts and arts education. The San Luis Obispo
Chamber of Commerce, San Luis Obispo Tourism Program and the Downtown Association
have been identified as key partners in supporting this connection between the City public
art program and local businesses.
2. WHAT
Four types of art are proposed to be focused on by the Public Art Program in the Future.
The first is a very specific art form, the mural, that was the most requested by the public.
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The others present wider means of interpretation and creation of art ranging from
continued focus on temporary art, to the exploration of new media to address youth and
technology, to functional art that the City could pursue with increased frequency in its
infrastructure projects.
A. MURALS
When asked about preferences for new
types of public art, the public
overwhelmingly supported the
installation of murals. Murals can take
inactive space and transform it. Spaces
can be found throughout the City
begging for attention and imagination.
Mural opportunities are found in these
blank walls are between buildings, on
the ends of our blocks and on the backs
of our neighborhood stores. Murals can
provide an opportunity for semi-
frequent rotation, providing the exposure of a diversity of artists over a short period of
time rather than a few artists over the long term. Semi-permanence also allows for
integration of other mediums not typically included in mural installation, such as
photography.
B. TEMPORARY ART
Temporary, or semi-permanent art lives up to its name – it can last a little (such as a day,
week, month) or it can last a lot (such as the Box Art Murals that have a lifespan of 5-10
years). Though temporary art isn’t often long
lived, it can have a lasting impact. A
construction site may provoke grumbles, but
wrap it in art and the feelings change.
Temporary art can be a cheap and easy way
to inject art into the community. Temporary
pubic art can be modest or enthralling. Either
way, its short lifespan gives it energy and
drives excitement.
Murals
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C. CONTEMPORARY ART
In order to reach people, especially the younger
generations, public art should seek to use the
technology of today. Beyond just a contemporary
or modern form, art must engage meaningfully.
By using technology, it can channel the creativity
of a new generation to add to the future of art in
our city and beyond.
D. FUNCTIONAL ART
Because the city of San Luis Obispo is always
maintaining and improving the public realm with
infrastructure that citizens use daily, the city has a
unique opportunity – to implement “SLO specific”
designs in place of otherwise ordinary pieces of
infrastructure. Functional art may be as simple as
the creation and implementation of a “SLO
crosswalk” or as complex as the re-design and
replacement of all existing street lights to “SLO-
centric street lights.” A vast array of other options
for functional art installations exists, from bike
racks, trashcans and street furniture, to transit
stops, storm drains, manholes, and way-finding
signs.
By leading the effort to integrate San Luis Obispo designs into public projects, the City
incites developers and private property owners to also integrate “SLO Functional Art” into
their properties and developments.
Functional Art
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3. WHERE
Public art in San Luis Obispo should continue to be accessible to community members in
their daily lives. Taking public art to the people means integrating public art into daily
routines. From placing a mural near the grocery store to a creative bike rack by a
restaurant to an interactive art piece in the park- public art should come to the
community.
FUTURE LOCATIONS
Through this Plan’s public engagement process, potential locations were identified for
new public art. The locations were categorized into five different types explained in
greater detail below. It is recommended that a prioritized location list under the
categories of: well-travelled public right-of-way, Downtown, Parks, unexpected places,
and gateways be created during the span of this Plan using the City’s adopted Public
Engagement and Notification (PEN) manual process. The locations will focus on the
following areas:
A. WELL TRAVELED PUBLIC RIGHT-OF-WAYS
These are the places in the community that are highly visible where the day-to-day tasks of
life often take place. These are busy intersections, well-traveled corridors, bike paths, bridges
and overpasses. Public art at these locations will enhance the streetscape, adding vibrancy
to a well-traveled route. Public art in these urban spaces should offer a connect between
residents and their neighborhoods. It can be seating elements, art fences, decorative railings,
murals or unique objects of art. Public Art in these places should continue to tell the story of
San Luis Obispo in the tradition of building a vibrant, happy, active communities.
B. DOWNTOWN
If neighborhoods are the front porch for public art, Downtown is the gallery. The artwork in
Downtown should strengthen the pedestrian experience, should add interest on every corner
and should strive to be world-class. When visitors come to SLO, Downtown is their home
base. For residents it’s a meeting place, and the hub of activity. It is here that a majority of
the City’s public art collection exists. In Downtown, public art can tell people that they are
home or intrigue visitors to linger just a bit longer. It can be intimate, a small mural at eye
level, a little paint on the sidewalk.
C. PARKS
Parks are the corner stone of every community as these locations often provide residents with
a safe, pedestrian friendly space where the community can come together, raise families,
play, and recreate. Public Art in these locations can help create that attachment to one’s
community. Public Art in parks can add to the aesthetics of place and often serve as the focal
point for community gatherings.
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Art in parks can inspiring health and activity. Sustainability, ecology, flora, fauna, and geology
are all inspiring natural adornments. The cultures of those who came before us can come alive
through art here. Art in our parks can pose a challenge to the artist, but the reward of such a
momentous effort brings with it the opportunity to pause, meditate, and encourage us to
reflect on the splendor of the landscape.
D. IN UNEXPECTED PLACES
Residents of San Luis Obispo have come to expect the unexpected. As traffic signal boxes have
been a site for art murals for years, new art can continue to grow from that very same spirit.
In a crosswalk, at the base of a tree, in a back alley; public art belongs there. This type of public
art may last a day or even a few minutes. It is often added by community members expressing
their connection to the community. It is playful, fun, and brings a smile. Art in these
unexpected places should be encouraged. An example of such a
surprising art piece can be the “unexpected shadow” of a parking
meter. Don’t walk by too fast; you just might miss it!
E. GATEWAYS
The landscape and geography of San Luis Obispo are unparalleled.
The natural environment drives residents, businesses, and
tourists to the rolling hills of our community. Though this is a
powerful image, it does not alone communicate the story of San
Luis Obispo. To make San Luis Obispo’s culture and values known
to all those who enter our community, entry points to the City
should have pieces of art that reflect the civic identity.
The following Table is a list of future public art sites in public
places. These potential locations will undergo a prioritization
exercise.
Table 2: Future Public Art Locations
WELL TRAVELED PUBLIC RIGHT-OF-WAYS
1. South Higuera Street and Tank Farm Road
2. South Higuera Street between Margarita Avenue and Chumash Drive
3. Higuera Street between Walker Street and Pacific Street
4. High Street and Broad Street
5. South Street medians
6. Tank Farm Road and Broad Street
7. Foothill boulevard and California Boulevard
8. Overpass at Santa Rosa Street and Highway 101
9. Underpass at Chorro Street and Highway 101
10. Bridge on Johnson Avenue at Pismo Street
Unexpected Art on Carmel Street.
The shadow of a parking meter
painted on the sidewalk. Artist
Unknown.
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DOWNTOWN LOCATIONS
1. Broad Street and Pismo Street
2. Bike Boulevard Islands at Osos street and Pacific Street
3. Osos Triangle Park
4. Mission Plaza at Broad Street (Dog Leg)
5. San Luis Obispo City/County Public Library
6. Pismo Street and Chorro Street
7. Higuera Street and Osos Street
PARKS LOCATIONS
1. Laguna Lake Park
2. French Park
3. Islay Hill Park
4. Sinsheimer Park
5. Johnson Park
6. Throop Park
7. Anholm Park
8. Laguna Hills Park
9. Vista Lago Park
10. Laguna Lake Golf Course
UNEXPECTED LOCATIONS
1. Dog Park Areas
2. Community Gardens
3. New Housing Developments
GATEWAY LOCATIONS*
1. Marsh Street and Highway 101
2. California Boulevard and Highway 101
3. Higuera Street and Marsh Street
4. Highway 1 and Highland
5. Highway 101 South and Grand/ Monterey
* These gateways are local on County property and would require a partnership with San Luis Obispo
County for public art installations.
4. WHEN
The City’s Public Art Program will continue to evolve and develop through the implementation of
this Public Art Master Plan. Short-term, medium term, and long-term implementation dates of
the Master Plan goals and objectives are identified below covering the next ten years. It is
recommended that the shorter term goals focus primarily on the most immediate and pressing
needs of the public art program. As the public art collection is maturing, a focus on routine
maintenance and minor repairs is critical in the near term. Key objectives recommended in the
medium term of 3-5 years should focus on process improvements. New and creative funding
models intended to support the growth and enhancement of the City’s public art program should
be explored as a longer-term objective. A summary is the short, medium and longer term
objectives over the next ten years is provided below.
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A. SHORT TERM OBJECTIVES (YEARS 1-3)
The most immediate need of the public art program is the maintenance of the current collection.
Through annual inspections, several public art pieces are showing signs of extensive wear and tear
as well as the need for minor repairs. It is recommended that the short-term focus for public art
be shifted to that of maintenance of the existing 76 artworks within the collection. Public Art
minor capital projects addressing urgent repairs will be recommended in the 5-year capital
improvement program to resolve these immediate needs. In addition to the deferred
maintenance and repairs, annual funding in support of routine preventative maintenance
activities (such as cleanings) will be requested through the City’s financial planning process
towards routine and preventative needs of the artwork, in addition to larger significant repairs.
It is hoped that the attention to maintenance will reduce significant and costlier future repair
needs. The Public Art Program may wish to a sponsorship program or the use of volunteer with
its maintenance needs.
In addition to maintenance, the public art program can get a cheap and easy injection of energy
through the expansion of temporary public art projects such as expansion of the Box Art Program.
The Box Art Program is a popular public art program in San Luis Obispo as has recently expanded
to thirty-nine of the sixty-four city-owned traffic signal cabinets. It is recommended that a
shorter-term focus be on expanding the Box Art program over the next three years. Public Art
funding should be allocated toward expansion of this existing temporary public art program.
The Parks and Recreation Department should continue its public engagement efforts regarding
public art through the use of social media outlets. It is recommended that the Public Art program
focus in the short term on outreach strategies to increase awareness of the program. This can be
done through the use of marketing materials, enhancing partnerships and maximizing the use of
existing technology with minimal funding commitments.
B. MEDIUM TERM (YEARS 4-6)
In addition to continuing the immediate needs, actions for the medium-term priorities in years
four to six should include a complete evaluation of a dedicated public art staffing resource, a
streamlining and on-line reporting tools for maintenance needs, an evaluation of current public
art policies and development review processes and an exploration of arts collaboration
opportunities with other cities.
Currently the Public art program does not have a dedicated staffing resource for public art. To
accomplish these recommendations, sustain and elevate the public art program, a dedicated
resource is needed. It is recommended that a full study is completed to determine the appropriate
staffing resources to be dedicated towards this program.
The Public Art Program should continue to develop longer-term maintenance plans for
incorporation in the five-year Capital Improvement Program, it is recommended to maximize the
use of volunteers and explore a sponsorship program to help with routine maintenance needs as
a way to stretch maintenance funding.
A streamlining of current public art process to encourage participation from developers, artists,
designers and eliminate duplicative steps in the review process is recommended in the medium
term. It is recommended that a public art liaison in the community development department be
assigned to assist developers about their public art options early on in the process, to incorporate
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public art in the design. The creation of catalogs and artist directories could also assist in this
process.
C. LONG TERM (Years 6-10)
In addition to the priorities listed above, longer-term priorities for public art should explore
creative partnerships and unique way to increase of funding to the program and ensure the
financial stability of the public art program for the future. To grow the public art program and
ensure its financial sustainability, an evaluation of the current funding ordinances and exploration
of new and creative funding models is recommended.
Table 3 outlines the implementation schedule for the Public Art Master Plan objectives over the
next ten years is provided below.
Table 3: Implementation Schedule
Shorter Term
2017 2018 2019
OBJECTIVES Year 1 Year 2 Year 3 SHORTER TERM 1.1
Increase visibility of the City's public art by maintaining a current and
comprehensive collection inventory and publicizing it through the
City's website x
2.1
Inspect art pieces within the current collection annually to identify
immediate maintenance and minor repair needs x
2.2
Prioritize public art funding for the maintenance and immediate
repairs of the current collection x
4.1
Maximize each public art funding dollar by encouraging affordable
temporary semi-permanent art installations such as Box Art,
construction site murals or weekly Farmer's Market pop-up art x
1.2
Maximize and expand upon existing arts-related partnerships
including those with Arts Obispo, SLO Museum of Art, Cuesta College
Fine Arts and Cal Poly Arts Program x
1.3
Maximize the use of public art volunteers in the celebration of the
collection by developing and sharing with the community, news
outlets and publications, unique stories about each art piece x
2.3
Develop and implement a longer-term maintenance plan to account
for cyclical maintenance needs and larger repairs in accordance with
Best Management Practices for the care of public art, including
consultation with the artist for significant repairs x
2.5
Maximize the use of volunteers for routine maintenance needs as
projects considered for annual work days, such as LOVE SLO or Make
a Difference Day x
1.4
Engage the community in an annual celebration of public art event
with a creative and interactive public art experience such as a
scavenger hunt or pop-up art event x
1.5
Elevate awareness of the program for residents and visitors through
consistent and strategic messaging about the public art program in
conjunction with existing promotional outlets of the TBID,
Downtown Association and SLO Chamber of Commerce x
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Medium Term
2020 2021 2022
OBJECTIVES Year 4 Year 5 Year 6 MEDIUM TERM 2.6
Simplify the online reporting of damaged art pieces by the
public to aid City staff in identifying immediate repair needs
x
3.1
Evaluate the development review and building permit process
for public art. Implement identified process improvements.
x
4.2
Seek diversity in the public art inventory by adding new art
types, styles and mediums not currently represented in the
collection
x
4.3
Prioritize future locations for new public art types using a
public engagement process
x
5.1
Study the need for a dedicated staffing resource for the public
art program
x
2.4
Explore public-private sponsorships for maintenance through
the establishment of a sponsorship program of individual art
pieces
x
3.2
Explore the need for a staff liaison in the Community
Development Department to assist developers in the public
art process in the pre-planning pre-submittal phase
x
3.3
Create, and make available, an online catalog of pre-approved
suitable art pieces and artists from which developers may
select for typical development projects
x
1.6
Explore regional arts-collaboration opportunities with other
cities to learn about best practices and employ creative
concepts for celebrating the public art program
x
3.4
Integrate the City's purchase of previously constructed and
completed art pieces and manage the installation of the same
in both private development and public art projects
x
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Longer Term
2023 2024 2025 2026
OBJECTIVES Year 7 Year 8 Year 9 Year 10 LONGER TERM 4.4
Study public-private partnership opportunities such
as citizen-driven funding, Federal and State grants,
and partnerships with existing arts and tourism
groups such as Arts Obispo, SLO Museum of Art and
TBID to leverage funding opportunities for new art
pieces
x
5.2
Explore community partnerships for shared
resources and programming
x
4.5
Evaluate increasing the percentage of the City's
general fund contribution from the current 1% of
eligible capital project costs
x
4.6
Evaluate increasing the maximum amount of the
calculated development in-lieu fees currently
capped at a maximum payment of $50,000 per
development project
x
5.3
Expand partnerships to Cal Poly and Cuesta College
to create public art opportunities for their students
x
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ACKNOWLEDGEMENTS
With great appreciation we thank the City Council and the hundreds of community members
and City Staff that gave their time and input in helping to create the Public Art Program’s
roadmap for the future. We give special thanks to the following for their contributions in
crafting an exciting future of public art.
San Luis Obispo City Council for their continued support of the City’s public art program
City Manager Katie Lichtig, City Manager
The 2015-16 Parks and Recreation Commission
City Departments and especially our Public Works Department Partners for their input
Arts Obispo
Local Artists
And most importantly, the people of San Luis Obispo who allow public art to enrich their
lives and in turn make San Luis Obispo the place to be
Prepared by:
Designing Local Amanda Golden, Managing Principal, Designing Local
Kyle Ezell, AICP, Founding Principal, Designing Local
Joshua Lapp, Principal, Designing Local
www.designinglocal.com
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APPENDIX A: PUBLIC ART LOCATIONS MAP
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APPENDIX B: ESSENCE OF SAN LUIS OBISPO
ES SEN CE OF SAN LUIS OB I SPO
As a result of our extensive public engagement process, clear elements of what
makes San Luis Obispo unique emerged. A major goal of the Public Art Master
plan is to focus the program and inspire a new era using the spirit of San Luis
Obispo. We’ve come to understand that spirit by asking the people of San Luis
who we are and what is important to our community. This will facilitate a future of
public art that is meaningful, locally-based and will resonate with residents.
Whether a city-funded project, a new public art installation commissioned by the
city, a private donation of art, a developer who wants to invest in San Luis Obispo,
or a resident who wants to do something creative with their sidewalk, the following
framework becomes a family of components that speak to the core of who San Luis
Obispo is and who we want to be.
If you are considering making art for our community, you can use this document to
become inspired by the Community Character Framework of San Luis Obispo, and
add “us” into all of your ideas.
Any ideas for art- from traditional pieces placed in our historic neighborhoods to
the avant-garde- can be created using our defining characteristics. We want the
public art in our city to express the affection and pride we have for our community
and to stand out among other cities as a community full of art that is exclusively
San Luis Obispo. Art that speaks to us and art that tells our story to all those we
draw near.
These nine themes become a family of components that speak to the identity of
San Luis Obispo as defined by the locals. Mix and match these elements into
your designs. Choose to emphasize one element over another
to accentuate what is most important to you and how you see your community.
However creatively you interpret the components of the Community Character
Framework, allow it to serve as a reflection of San Luis and as an inspiration to your
creative process.
Creating locally- inspired art using the Community Character Framework is supported by the
Downtown Concept Plan: Draft Concept Design Principles
1.Strong Identity: Preserve and enhance downtown’s distinct sense of place and memorable Character.
6.Arts, Culture and History: Encourage artistic and cultural opportunities and celebrate downtown’s
unique history.
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7. Innovative and Human Scale: Embrace original and compatible design that supports connections to
the surrounding built environment, public realm and hillside views.
COMMU NIT Y CHARACTER FRAMEWORK
SAN LUIS OBISPO DEFINED:
WE ARE A COMMU NIT Y WITH THE HEAR T OF A
SMALL TOW N AND BRAIN OF A BIG CITY.
A cosmopolitan mindset gracefully collides with the tight-knit feel of the central
coast. Our vibrant but relaxed nature attracts newcomers from around the world.
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The wide variety of
SLOcals adds to a
diverse setting
that’s good for
everyone – from
students to
growing families and
everywhere in between.
We live the
good life.
WHAT ARE YOUR IDEAS?
WHAT DOES A LITTLE
COASTAL, A LITTLE
COUNTRY LOOK LIKE TO
YOU? WE CAN’T WAIT TO
SEE WHAT YOU COME UP
WITH!
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SAN LUIS OBISPO DEFINED:
WE ARE A PLACE WHERE THE GEOGRAPHY S TIR S THE
IMAGINATION.
Rolling hills, verdant pastures, and stunning views enliven the soul. In a place
encircled by majestic features, everyday lives are shaped by their connection to
nature. Each blade of grass or jagged stone is a reminder of the beauty that
surrounds our community.
WHAT ARE YOUR IDEAS?
HOW DO OUR SEVEN SISTERS INSPIRE YOU? LET YOUR CONNECTION TO NATURE INFLUENCE
YOUR NEXT PROJECT.
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WE ARE
OUR B OUNT Y
VI NEYARDS T RI -TIP
SUNN Y GENEROUS
ABU NDANCE RI PE
SAN LUIS OBISPO DEFINED:
WE ARE A REGIO N THAT CULTIVATES OUR HAR VEST
TO SHARE AROU ND THE GLOBE.
An idyllic climate allows a rich variety of agriculture to provide a taste of the central coast to the
nation and world. Whether taking a sip of our exquisite wine across town or across the country,
the yield of our soil rings through. The fruitfulness of our agriculture means farm to table is less
novel and more normal
WHAT ARE YOUR IDEAS?
WHAT DOES OUR BOUNTY LOOK AND FEEL LIKE TO YOU? WE LOOK FORWARD TO YOUR INTERPRETATION!
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W E A R E
WIL D
A N D F REE
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SAN LUIS OBISPO DEFINED:
WE ARE A CIT Y THAT LIVES AND BREATHES IN THE
FRESH AIR.
Another day, another audacious hike up a peaceful peak in our hometown. Here, we know life
is best lived outside. When we lace up our shoes or put a foot to the pedal, we’re improving our
world. We have what it takes.
WHAT ARE YOU R ID EAS?
THE PEOPLE OF SAN LUIS OBISPO ARE ONE-OF-A-KIND. YOUR ART SHOULD MAKE US SAY, “THAT IS
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SAN LUIS OBISPO DEFINED:
WE ARE COMFORTABLE , YET O PEN T O NEW IDEAS.
In our city, the energy of youth meets the passion of family and friends. You come as you are
and you can be who you want to be. Here, you relax knowing all is well and tomorrow will all
the magic of a new day.
WHAT ARE YOU R IDEAS?
HOW DOES OUR HOSPITALITY MAKE YOU FEEL? HOW CAN YOUR ART CONTINUE TO MAKE VISITORS FEEL
WELCOME?
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SAN LUIS OBISPO DEFINED:
WE ARE GUIDED BY OUR DIVER SE PAS T INTO OUR
COLLECTIVE FUTU RE.
Our history is as solid as the Spanish mission and as tightly woven as a Chumash basket.
Through many cultures and backgrounds we’ve come together as one city. We know our place
in the world. We celebrate who we are and where we come from.
WHAT ARE YOUR IDEAS?
HOW DO YOUR IDEAS ENCAPSULATE THE PAST BUT ALSO LOOK TOWARD THE FUTURE?
45
SAN LUIS OBISPO DEFINED:
WE ARE A PLACE THAT REEKS OF S OIL AND SKY.
Our colors are rich, deep, and full of life. They speak of crisp nights and breezy afternoons, and
fade from green to gold. They are of the solid earth, the ocean wave, and the vastness that
surrounds. They enliven our existence.
WHAT ARE YOUR IDEAS?
WE ARE EXCITED TO SEE WHAT INSPIRES YOU OUT OF OUR COLOR PALETTE. THE POINT IS NOT TO
BLEND IN, BUT TO ENHANCE.
SOPHIS TI CATED RESPON SIBLE
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SAN LUIS OBISPO DEFINED:
WE ARE A CIT Y WHERE ACTIO N HAS MEANING AND
MEANING HAS ACTION.
Here, intention is more than the goal of the day. We live focused lives that result in balance.
Health, well-being, and natural living go well past slogans. Our culture and environment make a
difference.
WHAT ARE YOUR IDEAS?
HOW DOES BEING CENTERED IMPACT YOUR WORK? WE CAN’T WAIT TO SEE WHAT YOU COME UP WITH!
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In this place, you re-evaluate your own existence. You think of what could be, who
you could be, the kind of life you want to live. The hills shake you back to life and fill
you with energy and a desire to do good in the world.
WHAT ARE YOUR IDEAS?
WE HOPE YOU’RE HEART RACES WHEN YOU ARE IN SAN LUIS OBISPO. USE THAT EMOTION TO
CREATE SOMETHING FOR US.
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APPENDIX C: COMMUNITY-GENERATED PROJECT IDEAS
WE ASKED THE COMMUNITY WHAT NEW IDEAS FOR PUBLIC ART THEY HAD.
HERE’S WHAT THEY CAME UP WITH.
• Interactive water, light sculptures that also teach about solar power, and recycling
water
• Kinetic art with recycled items, sculptures to reflect uniqueness of SLO
• Animals and kids in sculptures, on murals, and in crosswalks
• Giant chess game in Mission Plaza
• Let’s make all of our new art skateable
• Ocean murals to represent our coastal roots
• Local sights incorporated into all of our art.
• Art that embraces nature
• Abstract vehicles
• Light posts that shine words like love, move, live
• Crosswalks that are encouraging or have funny sayings or even make everything
mosaic
• Miniature statue of important / honorable people like 3D prints about 9 inches in
height distributed randomly around the town
• Interesting walkways and benches in downtown incorporating the mountains in art
• Art that people have to play on to make music
• More sculptures should be placed everywhere!
• Modern pieces with modern subjects
• Murals of flowers found in other coastal communities in other countries
• Pop-out sculptures or statues
• Walls painted by the whole community so we can all feel like family
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• Art that needs many participants at the same time to work fully
• Grown-up play grounds
• Obstacle courses that are made with art
• I think we should put life size statues of people all over town. There can be a
couple swinging their child or a man walking with a brief case
• I would want to see more sculptures representing SLO
• Abstract piece about the 7 sisters hills
• Interactive art museums that teens could enjoy
• Art for the homeless, made by them and made for them
• Murals on the sides of buildings downtown
• Mosaics in our wheelchair ramps in the sidewalks
• Climbing wall on the side of our garage
• Art kids can learn to climb on
• Art that incorporates pull-up rigs in our parks
• Sculpture that integrates music
• An iconic piece of art that we can say is exclusively San Luis.
• Statues of people that impacted San Luis.
• Light art on any columns on buildings
• Decorative walkways that are inviting for people to walk through
• Crosswalks that change color when it rains and are only visible when it rains
• Giant vibrant and colorful shapes to line our wider roads with large medians
• Waterfall structures that invite people to play in them
• Decorative doorways that open to our open spaces.
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• Pop-up art galleries in unexpected locations
• Stairs that a message is incorporated into
• Interactive water art that uses recycled water
• Graffiti art as community murals
• Participatory art that invites the community to answer a big question over a certain
period of time.
• Wayfinding signage that incorporate our healthy values and our love for art.
• Paint our bike lanes different colors or allow artists to design a certain portion of the
lane.
• Bike stations that are artfully designed and say to visitors that we care about bikers
and art.
• 3D murals that have whimsical stories and content
• Use the color green in our art so when we are in droughts, we remember our
surroundings
• Incorporate our industrial heritage into of our art
• More temporary art that is out of character for San Luis Obispo.
• Art on overpasses and any of our underpasses
• More art on our bridges. Even art that is incorporated into the concrete pour.
• Giant checkerboards in our parks
• American Indian Icons, sculptures and murals
• More interactive art in our skate park
• Art that is made for our pets. One that teaches them how to get treats or to get
water by interacting with the art
• Kinetic sculptures that remind us we are all part of the natural setting that
envelopes us
• Signs designed by artists that show us a walking route to and from destinations.
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These will encourage walking and biking
• A piece made with a bunch of skateboards
• A large sculpture made from a bunch of half pipes
• Gateways that let visitors know you have arrived in San Luis Obispo
• Bike Racks that are placed all over the city and are designed by artists that live in
that part of town
• Art in our parks that we have to be active to see
• A sculpture designed by students from the art department at S.L.O.H.S. and built
by students in the welding/wood departm ent.
• Develop an artist billboard program that is similar to the utility box program
• It would be really creative to incorporate almost an ever - lasting mural painting that
‘jumps from one building to the next all the way down the main street of downto wn. Even
if the paintings were swirling lines or quotes on the buildings lining the street it would
incorporate a very unique side of SLO
• Pictures of Sports
• Art in our sidewalks
• Art on our basketball rims and on our nets
• Murals or sculptures in parking lots or out side of our stores
• Tile murals around down town or just in the city
• Mosaics or murals that send a message
• Create something completely made out of vintage tin cans
• Create murals on trees
• Sculptures of garden gnomes and fairies
• Living flowers that are all blue and are shaped like a whale
• Art inspired by vintage dresses
• Create a piece at Bishop’s Peak that depicts a person having a hard time climbing.
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• Sculptures in all of the grocery parking lots of things you find in groceries
• Let each neighborhood choose a theme and develop art programming around the
community selected theme
• A walk-through photography exhibit that is placed throughout the town
• Art displayed on our buses in a gallery format
• Temporary art installation that allows visitors to have an understanding of the
culture and history of San Luis
• Paint the asphalt at Sunset Drive-in to have a movie theme that attendees would
enjoy.
• A glass shard sculpture that you could see a reflection of yourself would make a
statement.
• Put a slide down the mountains that we have to hike up to slide down.
• A larger than life troll with crazy hair at an intersection that waves its hand.
• Designate an empty wall or stretch of sidewalk for people to draw on with paint or
chalk.
• Place a cool antique lamp post that doesn’t work and serves no practical purpose
but looks really sick in a random neighborhood. Move it every 3 months to a different
neighborhood.
• Develop an art trail for pedestrians and cyclists
• Unstructured art playground for kids
• Create an art walk program with the collection
• Designate a district of container studios for artists, and host a studio tour quarterly.
• Create a San Luis Obispo Maker Space that is run by the city
• Invite national artists to display their work here for a specific amount of time. This
will bring people from all over the world.
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APPENDIX D: COMMUNITY WORKSHOP RESULTS
WHAT THE COMMUNITY THOUGHT ABOUT THE PUBLIC ART PROGRAM.
HERE’S WHAT THEY HAD TO SAY.
1. WHERE DO YOU TAKE VISITORS WHEN THEY COME TO TOWN?
55%:
DOWNTOWN (INCLUDES MISSION PLAZA, BUBBLEGUM ALLEY, FARMER’S
MARKET, CONCERTS AT THE PLAZA, THE ART MUSEUM AND THE CREEK
WALK)
39%:
ACTIVE OUTDOOR EXPERIENCES (INCLUDES HIKING, LOCAL BEACHES,
PARKS, SLO SKATEPARK)
2%:
SHOPPING
2%:
CAL POLY
1%:
VARIOUS ACTIVITIES INCLUDING SPORTS GAMES, AT -HOME ACTIVITIES, AND
CULTURAL EVENTS
2. MY FAVORITE ACTIVITY INVOLVING ARTS AND CULTURE IN SLO IS…
24%:
PUBLIC ART (INCLUDES UTILITY BOXES)
19%:
PROGRAMMED ARTS ACTIVITIES
19%:
CULINARY ARTS
16%:
MUSEUMS AND GALLERIES
12%:
PERFORMANCE ARTS ACTIVITIES
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8%:
ARTS OBISPO ACTIVITIES
2%:
VARIOUS ACTIVITIES INCLUDING PAINTING AND VISITING STUDIOS
3.GREAT IDEA FOR EXPANDING THE SLO PUBLIC ART PROGRAM IS…
31%:
EXPAND THE TYPES OF PUBLIC ART IN THE COLLECTION
27%:
ENGAGE THE COMMUNITY AT A HIGHER CAPACITY
16%:
INCREASE THE AMOUNT OF PIECES IN THE COLLECTION
10%:
INCREASE PROGRAMMING
8%:
PLACE MORE PUBLIC ART OUTSIDE OF DOWNTOWN
6%:
PLACE PUBLIC ART IN UNEXPECTED PLACES
4.THE SLO PUBLIC ART PROGRAM SHOULD FOCUS ITS GROWTH
THROUGH…
26%
STRENGTHENING PUBLIC ART DOWNTOWN
19%
INCORPORATING PUBLIC ART INTO OUR WALKING / BIKING TRAILS
19%
PLACING PUBLIC ART OUTSIDE OF DOWNTOWN
12%
INCORPORATING PUBLIC ART INTO OUR PUBLIC FACILITIES
10%
PLACING PUBLIC ART IN PARKS PLACING PUBLIC ART IN OUR SHOPPING
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CENTERS
7%
PLACING PUBLIC ART AT MAJOR INTERSECTIONS
7%
5.THE SLO PUBLIC ART PROGRAM SHOULD FOCUS ON:
39%
INCORPORATING NEW PUBLIC ART TYPES INTO THE COLLECTION
16%
STRATEGIC PLACEMENT OF ART INCORPORATION OF SLO’S IDENTITY
INTO OUR NEW ART
15%
ENGAGING THE COMMUNITY IN THE PUBLIC ART PROCESS
14%
EXPANDING THE PUBLIC ART COLLECTION
10%
SHOWCASING LOCAL ARTISTS
6.WHAT KIND OF PUBLIC ART DO YOU WANT TO SEE MORE OF IN SLO?
38%
MURALS, INCLUDING MOSAICS AND STREET ART
22%
MODERN ART INTERACTIVE ART 3D ART
17%
FUNCTIONAL ART, INCLUDING BENCHES, BIKE RACKS, TRASHCANS, LIGHT
POLES
14%
LOCAL ART SHOWCASING LOCAL ARTISTS
7.RANK TYPES IN ORDER OF PREFERENCE.
23%
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POP-UP AND TEMPORARY ART
19%
MURALS AND MOSAICS
16%
SITE SPECIFIC ART
15%
MODERN ART
14%
SCULPTURE ART
13%
GALLERIES AND MUSEUMS
PUBLIC ART LOCATIONS
THE FOLLOWING LOCATIONS ARE IN NO PARTICULAR ORDER AND ARE
SUGGESTIONS FOR FUTURE PLACEMENT OF ART.
WELL-TRAVELED PUBLIC RIGHT-OF-WAYS
1.SOUTH HIGUERA STRE ET AND TANK FARM ROAD
2.SOUTH HIGUERA STREET BETWEEN MARGARITA AVENUE AND
CHUMASH DRIVE
3.HIGUERA STREET BETWEEN WALKER STREET AND PACIFIC STREET
4.HIGH STREET AND BROAD STREET
5.SOUTH STREET MEDIANS
6.TANK FARM ROAD AND BROAD STREET
7.FOOTHILL BOULEVARD AND CALIFORNIA
BOULEVARD
8.OVERPASS AT SANTA ROSA STREET AND
HIGHWAY 101
9.UNDERPASS AT CHORRO STREET AND
HIGHWAY 101
10.BRIDGE ON JOHNSON AVENUE AT PISMO
STREET
PARKS
1.LAGUNA LAKE PARK
2.FRENCH PARK
3.ISLAY HILL PARK
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4.SINSHEIMER PARK
5.JOHNSON PARK
6.THROOP PARK
7.ANHOLM PARK
8.LAGUNA HILLS PARKS
9.VISTA LAGO PARK
10.LAGUNA LAKE GOLF COURSE
DOWNTOWN
1.BROAD STREET AND PISMO STREET
2.BIKE BOULEVARD ISLANDS AT OSOS STREET
AND PACIFIC STREET
3.OSOS TRIANGLE PARK
4.MISSION PLAZA AT BROAD STREET
5.SAN LUIS OBISPO PUBLIC LIBRARY
6.PISMO STREET AND CHORRO STREET
7.HIGUERA STREET AND OSOS STREET
UNEXPECTED LOCATIONS
1.DOG PARK AREAS
2.COMMUNITY GARDENS
3.NEW HOUSING DEVELOPMENTS
GATEWAYS
1.MADONNA ROAD AND HIGHWAY 101
2.CALIFORNIA BOULEVARD AND HIGHWAY 101
3.HIGUERA STREET AND MARSH
PARTNERSHIP OPPORTUNITIES
1.ARTS OBISPO
2.SAN LUIS OBISPO COUNTY UNIFIED SCHOOL DISTRICT
3.SAN LUIS OBISPO PUBLIC LIBRARY
4.SAN LUIS OBISPO CHAMBER OF COMMERCE
5.CAL POLY UNIVERSITY
6.CUESTA COLLEGE
7.CAL POLY CENTER FOR ENTREPRENEURSHIP AND INNOVATION
8.SAN LUIS OBISPO TOURISM BUSINESS IMPROVEMENT DISTRICT
9.SAN LUIS OBISPO MUSEUM OF ART
10.SAN LUIS OBISPO HISTORY CENTER
11.LOCALGALLERIES
12.SAN LUIS OBISPO COUNTY
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13.REGIONAL CITIES
14.CALIFORNIA ARTS COUNCIL
15.REGIONAL FESTIVALS
16.SAN LUIS OBISPO LAND CONSERVANCY
17.OPERA SLO
18.SAN LUIS OBISPO LITTLE THEATER
19.SAN LUIS OBISPO FILM FESTIVAL
20.SAN LUIS OBISPO SYMPHONY
21.LOCAL ARCHITECTS
City of San Luis Obispo, Council Agenda Report, Meeting Date, Item Number
Parks and Recreation Commission
Agenda Report
Date: November 2, 2016
SUBJECT: LETTER TO COUNCIL SUPPORTING WATER RESTRICTION
REVISIONS
Prepared by: Shelly Stanwyck, Parks and Recreation Director
RECOMMENDATION
Approve and authorize Chair Whitner’s signature on a letter written on behalf of the Parks and
Recreation Commission in support of an Ordinance to Amend Chapter 13.07 of the Municipal
Code to allow for the watering of designated City turf facilities during their annual renovations
and three times per week thereafter to sustain and provide safe public access to the same facilities.
DISCUSSION
Background
At the last meeting of the Parks and Recreation Commission, Public Work’s staff alerted the
Commission to the challenges of field renovation due to the prolonged drought. In compliance
with State Law, the City enacted an ordinance in June 2015 to reduce the use of water in our
community. As the drought continues and well over a year into the ordinance adoption public and
private properties continue to be impacted with the loss of turf, vegetation, and trees. However,
as a result of compliance with this ordinance the reductions in water usage in San Luis Obispo
meet and exceed the State mandated reductions.
Impacts of Drought Ordinance On Field Renovations
Many members of the community have removed turf from their yards and as a result are using the
City’s turf areas (parks and facilities) in increasing numbers. Unfortunately, 15 months into the
twice a week water restrictions, staff has found that the heavily used facilities (which provide the
greatest access to recreational activities for our users) are beginning to fail and will not be
sustainable without renovation and three times a week watering. Watering only two days per week,
even with normal weather conditions San Luis Obispo has during the turf growing season, is
unsustainable for the growth of the turf. The bare areas in the turf continue to increase in size due
to the daily use of the fields at each location. The irrigation for the bare areas has to be reduced to
keep the irrigation from causing a muddy condition which accelerates the growth in size of these
bare dirt areas. When the City was originally mandated to reduce irrigation, the restrictions were
Meeting Date: November 2, 2016
Item Number:_________
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Water Ordinance Letter Page 2
to three days per week maximum. At that time, staff found this restriction to be manageable (if
heavily used facilities were annually renovated). The application of irrigation was within the soil’s
percolation capabilities of most sites without water runoff being a problem.
Parks Maintenance Best Practice: Cycle and Soak
As a result of the current ordinance the effectiveness of the water application is critical. Parks
Maintenance staff are using what is called “cycle and soak”. The primary objective of any
irrigation system is to replace back to the soil what has been lost through evapotranspiration since
the last irrigation cycle. The longer time between cycles, the more water has to be replaced. Park
Maintenance uses a sophisticated program that measures the evapotranspiration (ET) and
automatically calculates the amount of water needed to be applied to replace the water lost since
the last irrigation cycle. This is done automatically and uploaded to all of our larger sites that have
the “Calsense” irrigation control system (37 sites).
The watering “window” for public parks and facilities is when they are closed 10:00 p.m. to 6:00
a.m. Knowing the soil percolation rates for each site is critical. Water stations are run at a
maximum “cycle” time (until runoff almost occurs) then the water stations are shut off allowing
the irrigation water to percolate into the ground or “soak”. The calculations for cycle and soak are
done automatically by the central irrigation control system and repeated as many times as possible
within the prescribed water window. Each station has a minimum run time requirement to replace
what has been lost through ET, but those minimum run time requirements can rarely be reached
due to water runoff, soil percolation, watering window and watering frequency constraints.
Water usage During Turf Renovation
The City’s heavily used fields must be renovated annually when the turf is still in a good condition
and watered daily during the renovation. Most facilities were not properly renovated last season.
This second year of water restrictions finds many facilities in such poor condition that without
renovation they will be closed to public access for safety reasons (uneven hard packed surfaces
result in limb and head injuries). The cycle time for turf irrigation valves during renovation
periods are greatly reduced such that water must be applied more frequently and daily so that the
seeds for new turf can be successfully germinated. The first seven to 10-days post reseeding for
turf renovation are the most critical time period for water application. The City’s irrigation
systems in its parks facilities sophisticated and allow for prioritized and focused watering for
renovation of turf.
Amendment Sought to Preserve Safe Public Access to 10 Turf Facilities
At this time, staff will be recommending an amendment to the existing drought ordinance so that
the public may still have safe access to a limited number of turf facilities and so that the same do
not have be closed and reconstructed in the future. The proposed amendment will be a balancing
of the need to conserve water resources with providing the public safe access to a limited number
(defined below) turf facilities.
Proposed Facilities Eligible for Renovation
Below are the eight facilities which are proposed to be allowed to be allowed to be annually
renovated and subsequently sustained with three-day a week watering thereafter in order to
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Water Ordinance Letter Page 3
preserve them. Existing facilities, Damon Garcia, Laguna Lake Golf Course, Islay and French
Parks may be renovated due their access to recycled water which is not subject to these restrictions.
These facilities receive the largest number of drop in uses throughout the year from Sunday pick
up soccer games to birthday party softball to catch between parent and child. They are subject to
all kinds of uses by high volumes of people. In addition to drop in play, they are all scheduled for
permitted uses/play throughout the year as described below.
Facility Permitted Uses
Emerson Field SLO Rugby Club, Junior Giants, City Contract Classes, Ultimate Frisbee, Eagles Soccer
Club, Workout groups; Drop-in Play
Meadow Park Field Mission Prep Softball, Eagles Soccer Club, SLO Soccer Club, Friday Night Lights, City
Contract Classes, Drop-in Play
Mission Plaza Turf Host 40-50 Events per Year ranging from 100-2,500 attendees per event. Concerts,
Festivals, Fundraisers, Weddings
Santa Rosa Park Center Field City Contract Classes, Eagles Soccer Club, SLO Soccer Club, Friday Night Lights, Special
Olympics, Drop-in Play
Santa Rosa Softball Field City Softball, Eagles Soccer Club, SLO Soccer Club, Friday Night Lights, Special Event
Fundraisers
Sinshiemer Stadium SLO Blues, SLO High School, SLO Men’s Baseball, SLO Triathlon, Cal Poly Baseball,
Central Coast Baseball, SLO Youth Baseball, Baseball Tournaments & Camps
Stockton Field SLO Youth Baseball, SLO Tigers Baseball; Baseball Tournaments, Fundraisers & Camps
Throop Field SLO Youth Baseball, SLO Tigers Baseball; Junior Giants, Baseball Tournaments & Camps
Ordinance Revision Proposed
The following language is proposed to be added to Section 13.07.030 of the City’s Municipal Code
governing restrictions on outdoor irrigation of ornamental landscapes or turf with potable water.
D. The following facilities and only these facilities may be allowed to be renovated on
an annual basis: Emerson Field, Meadow Park Field, Mission Plaza Turf, Santa
Rosa Center Field, Santa Rosa Softball Field, Sinsheimer Stadium, Stockton Field,
and Throop Field.
a. Annual Renovation shall include an initial germination period during which
daily watering at these ten facilities is allowed for a period of up to 12 weeks
at each site.
b. Following renovation these ten named facilities will be allowed to be watered
three days a week in order to sustain them.
Assuming the drought continues, and unfortunately there is no relief from it predicted, the fiscal
impact of not amending the ordinance governing outdoor irrigation of turf will result ultimately in
the closure of many facilities and long term need to reconstruct them. This would require a series
of new Capital Improvement Plan projects to rebuild these turf facilities. The alternative of
allowing annual renovation and one more day of watering represents a slight increase in the Parks
Maintenance irrigation costs but one that has been already budgeted and accounted for as that past
watering practices exceed this targeted and prioritized effort.
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Water Ordinance Letter Page 4
ATTACHMENTS
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City of San Luis Obispo, Council Agenda Report, Meeting Date, Item Number
Parks and Recreation Commission
November 2, 2016
Re: Revisions to City Water Ordinance to Support Focused Field Renovations
Dear Council:
This letter is written by the Parks and Recreation Commission in support of the proposed revisions
to City Ordinance 13.07.030 which currently governs outdoor irrigation of ornamental landscapes
and/or turf with potable water.
In preparation for your meeting of November 15th where you will consider a proposed amendment
to this ordinance our commission has made careful consideration and discussion of this ordinance.
The Parks and Recreation Commission supports revisions to the ordinance to allow for focused
irrigation of eight City facilities: Emerson Field, Meadow Park Field, Mission Plaza Turf, Santa
Rosa Park Center Field, Santa Rosa Softball Field, Sinshiemer Stadium, Stockton Field and
Throop Field.
While the Parks and Recreation Commission shares the Councils desire to be excellent stewards
of the City’s precious water resources during this time of drought the Commission respectfully
requests that there be an allowance made to retain designated City facilities for public use. Without
the renovation of these facilities we will surely lose them and will be forced to reconstruct them at
great cost in the future. To maintain them this year seems to be the best use of City resources at
this time. Should the drought continue we agree that further analysis and revision to the ordinance
would need to occur.
Thank you for considering our support during your November 15th deliberations.
Sincerely,
Jeff Whitener
Chair, Parks and Recreation Commission
Cc: Council All
ATTACHMENT 1
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