HomeMy WebLinkAboutOV1801778oQ0gR'z0Z9 TOWN OF ORO VALLEY
DEVELOPMENT & INFRASTRUCTURE SERVICES DEPARTMENT
11000 N. LA CANADA DRIVE, ORO VALLEY, AZ. 85737
PHONE: (520) 229-4800 FAX: (520) 742-1022
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1.2 GENERAL APPLICATION FORM
An_plieation Tvne:
Major General Plan Amendment
Rezoning/PAD Amendment
Planned Area Development
Conditional Use Permit
Zoning Code Amendment
Conceptual Site Plan
Conceptual Public Art
Conceptual Architecture
Final Site Plan
Conceptual Landscape Plan
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Subdivision / Commercial Center Name: n
Book / Page or Sequence Number:
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Existing Land Use:
OV Case #:
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Final Plat D
Pre -Application APP 3 ® �
Zoning Verification
Sign Criteria 3A.
Sign - PAD Exemption
Master Sign Program
Communication Facility -Tier 1 and 2 Minor
Communication Facility Major
Revised Development Plan
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Annlicant Information:
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Property Owner(s) if different from Applicant *:
Name:
Address:
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Consultant*: iftN IAA Discipline) R �ry1pt
Name: now I�Y' Firm:
Address:
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Project Description/Narrative:
I hereby certify that I have read and examined this application and know the same to be true and correct. I am the
owner of the property or the Owner's authorized representative, and if not the owner, I have obtained the owner's
permission to perform stated work. All provisions of laws and ordinances governing this type of work will be complied
with whether specified herein or not. The approval of this application does not presume to give authority to violate or
cancel the provisions of any other federal, state or local law for which this project may be subject to.
Notice: It is the applicant/owner's responsibility to ensure all private rules and regulations (such as Covenants, Conditions
& Restrictions (CC&R's)) of the subdivision and/or commercial center are adhered to. Contact your Home Owners
Association or property management to determine applicable requirements.
It is also the applicant's responsibility to coordinate with all outside agencies to secure their acceptance or clearance.
Failure o do so may delay issuance of permits. See attached list of agencies.
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Applicant's Signature Print Name Date
Important Note: All submittals received after 4:00 p.m. will be processed the next day
Submittals will be rejected if:
Not folded using Pima County fold & collated;
• There are missing items on the checklist unless otherwise approved by Planning Division Manager or Town Engineer.
• Re -submittals cannot be accepted without a transmittal and a written narrative summary describing the purpose of
submittal.
7
2.1 CONCEPTUAL PUBLIC ART — PLAN CONTENT
1. Narrative description of the proposed art project including: intent and vision of the design,
placement of art, and the commissioning of a project artist, as well as how the
proposed artwork fits into the site plan and overall design theme of the project. Please
- note, conformance with the Oro Valley Zoning Code Revised definition of "public
artwork" must be achieved.
La Posada Life sought multiple artists or artist teams to create public art for Nakoma Sky, a
retirement community in Oro Valley, Arizona. Posada Life is creating Nakoma Sky to provide high -
quality, living well retirement for seniors. Nakoma Sky continues the mission of La Posada in Green
Valley to provide resort -style living with amenities that enhance seniors' well-being.
The Town of Oro Valley's goals for public art requires that artwork demonstrate originality, artistic
quality, and excellence in design and craftsmanship.
Proiect Description: Nakoma Sk
Nakoma Sky is in the early construction stages of an innovative senior community on 80 acres in
Oro Valley, Arizona. The project's location is within the property off North Oracle Road at the corner
of East Naranja Road and North 1st Avenue.
The artwork for Nakoma Sky will strongly contribute to the immediate community's sense of place.
The exterior artwork selected marks the arrival point of the main campus apartment building, the
entry to assisted living, and the beginning of the public trail head and walking path.
These free-standing sculptures, landform artworks, and/or ground plane features relate to each
specific location and are described more completely in answer to #3.
The character of the artwork does respond to the site(s) and community context in addition to being
made from materials appropriate to the specific placement. Exterior artworks are being created to
withstand the desert's summer temperatures and be readily maintained. Lighting integrated into the
artwork will conform to Oro Valley requirements. All three of our art pieces will be in exterior
locations.
The residents of Nakoma Sky will represent a diverse set of seniors from a variety of backgrounds
who will appreciate a diverse array of aesthetics and styles. The artwork will appeal to the
individuals who are choosing to make the attractive, welcoming, and supportive Nakoma Sky
campus their home, as well as visitors to our campus.
2.1 PLAN CONTENT
The Call For Artist Process
The Public Art Process began with the retention of Mary Ellen Wooten with the Tucson
Pima Arts Council as a consultant to guide us through the following steps:
A. Several planning meetings and phone calls led to the development of a call to the
Artists (request for qualifications). Which was issued on April 22, 2016.
B. Our community panel consisted of:
a. Mary Ellen Wooten, Convener
b. Lisa Israel, Nakoma Sky
c. Mark Dugan, Nakoma Sky
d. Roberta Zelikow, Oro Valley Resident and Ceramicist
e. JoAnne Kerrihard, Local Painter
f. Joe Hatton, Local Painter
These panelist were selected by our consultant based on several factors she states, "Roberta is on
our Public Art Committee and has been engaged with the Arts Council for many years. I believe
she is a retired art teacher (not positive) but she's certainly interested in the arts, and is a
ceramicist. She lives near the project site.
Both Joe Hatton and JoAnne Kerrihard are painters so I knew there would be no conflict with any
desire to apply for one of the commissions. They have both served on panels and are thoughtful
and have broad knowledge and experience."
C. The panel reviewed 102 applications and ranked them in a methodical manner to
achieve 12 finalists.
D. Twelve finalists were interviewed on 2/28/16 and asked to discuss concept materials,
maintenance etc.
E. The finalists were selected and contracts were completed with each by early 2017.
2.The location of public artwork shall be indicated on the Conceptual Site Plan (on 11 "x17" paper). If
the artwork is incorporated on or adjacent to an exterior building elevation, provide architecture
renderings. Copies of the applicable plan are required.
See attached site plan layout.
3. Identify typical art characteristics that illustrate the use and style of the art, including scale
drawing, dimension, height, materials and color palette, and if the art is to be freestanding,
integrated, and/or functional.
All three public art pieces will be freestanding. Descriptions of each follow below.
Ray King
EMBRACING THEARIZONASUN
CONCEPT
My design is inspired by the concept of a "beacon," from the old English verb "to beckon." The free-
standing sculpture will be strong and powerful visual landmark, as well as an iconographic symbol for
the community. I envision the beacon as representing a burst of energy -- a visual metaphor for
enlightenment and the burst of energy of a creative idea.
"NAKOMA BEACON"
Inspired by local Native American glyphs and iconography.
Designed to celebrate the Arizona sun.
FULLY WELDED STAINLESS STEEL
GEODESIC STRUCTURE MADE OF
1/2" DIA. TUBESAND 1.5 DIA S.S. BALLS
8' ,7" ,6'.5" DIA, GLASS DISCS
38 THICK LAMINATED SAFETY
GLASS WITH DICHROIC FILM
tNTERLAYER.
WELDED 1t8"THICKSTAINLESS
STEEL STAR ANCHOR STRUCTURE
312" DIA. STAINLESS STEEL CABLE
2" DIA STAINLESS STEEL TUBE
STRUCTURE
LIGHT FIXTURE
CAST CONCERETE FOUNDATION
MATERIALS
These laminated glass elements are coated with dichroic film -- a special thin-film coating developed
by NASA that projects one color and reflects its opposite compliment. The color changes dynamically
depending on the angle of the light source and the viewpoint of the spectator.
FABRICATION
All of the glass and metal components will be fabricated at Ray King Studio The glass will be hand -
cut, edge -sanded, laminated, drilled and polished. Each glass component is made from 1/2"
laminated (PVB) safety glass -- hand -cut, edge sanded, and drilled. They will be securely swagged to
the stainless steel cables that form the geometric skeleton of the structure. The stainless steel tubes
and cables will be measured, cut and welded. The components will be assembled in house to work
out any kinks. The sculpture will be disassembled, crated and transported to the site for installation.
John Davis
CONCEPT
Leaves define a sheltered space. Butterfly wind vane floats above the leaves.
�-'- NAKOMA SKY
JOHN DAVIS ARTWORKS
NAKOMA SKY
JOHN DAVIS ARTWORKS
MATERIALS
Rusted steel plate leaves, LED lighting in stems of leaves, and stainless steel wind
vane.
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---LED LIGHTING IN STEMS OF LEAVES
-- RUSTED STEEL PLATE LEAVES
, � f/0
STAINLESS STEEL WIND VANE
NAKOMA SKY
JOHN DAVIS ARTWORKS
ELEV I'MM
='----------- STAINLESS STEEL WIND VANE
STEEL PLATE LEAVES
fINO IN STEMS OF LEAVES
NAKOMA SKY
JOHN DAVIS ARTWORKS
4. Implementation timeline - Please note, art must be installed and certified as complete prior to
Certificate of Occupancy.
We estimate that the art will be installed 1 — 2 months prior to Certificate of Occupancy.
Madeline Wiener
MATERIALS
This sculpture is made from Indiana Limestone because of its integrity and innate beauty. This
stone is very durable and works beautifully with the surroundings. It is heavily used in
architecture for its ability to look new after a hundred years. The stone can be partially polished
and textured to create a beautiful contrast. It is very integral and durable for interactive, outdoor
sculpture.
FABRICATION
4. Implementation timeline — All art will be installed and certified prior to the certificate of
occupancy as requested.
7.Artist(s) Biography — Please note, conformance with the Oro Valley Zoning Code Revised,
definition of
Biography - Ray King ("The Beacon")
Ray King is an accomplished artist who uses the natural phenomena of light as it interacts with
glass and optics as an art medium. By creating dynamic interactions with the sun and refracting
light into colors -- rainbow like emanations that shift and change as the viewer moves or as the
light source changes -- King creates an environment that appeals to viewers' sense of
wonderment and delight.
King is particularly interested and inspired by how ancient cultures used light in their rituals and
monuments, and how they used mathematics in their artwork to understand planetary movement
and their relation to the universe. In his art, King strives to create high-tech structures that sculpt
light in a similar manner, to shine like beacons in the darkness (one of his areas of interest is
projecting light into shadow), in order to create a spark in the imagination of the viewer.
His artwork uses mathematics and sacred geometry, scaled to the golden mean, to add a
humanistic element and proportion to public art. Using advanced technology, King designs three-
dimensional shapes and patterns that are inspired by forms found in nature. These forms are
astoundingly complex, yet simple and elegant, primitive, yet futuristic.
Glass, King's primary medium, provides a durable, yet transparent, surface that can be laminated
with other materials to dynamically interact with light (and create safety glass as well). King
specializes in working with high-tech holographic and dichroic laminate films and coatings that
bend, or split, light wavelengths into a wide spectrum of brilliant colors. He also has vast
experience creating tectonic, tensile structures made of stainless steel cable and hardware that
articulate and give definition to the artwork.
King began working with stained glass in the early 1970s, and has exhibited his work
internationally since 1976, including exhibitions in Italy, Japan, England, Spain and France.
Major permanent installations of his work have been commissioned throughout the United States
and abroad. All are site -specific and inspired by the surrounding space and landscape to create
a unique sense of place and identity.
Biography — Madeline Wiener ("Embraced")
Madeline Wiener's sculptures are recognized for their superb craftsmanship, beauty, and love for
humanity. She explores the relationship between form and the emotion it projects. She searches
for a balance between abstract and figurative art, because "the human figure is a blend of
abstract shapes". She was educated at the New York School of Visual Arts and currently lives in
Denver, CO. Her public sculpture can be found throughout the United States, as well as in
Scotland and India. Madeline's artwork is also part of many private collections internationally.
Madeline's journey in the world of stone carving has been inspired by the many adventures and
cultures that she has experienced since 1971, when she began carving stone. Her abstract
figurative style suits the tactile material she carves. Presently she is focused on creating public
art. Her interactive sculpture is designed to engage and delight the viewer. Her popular 'Bench
People' are highly stylized, abstract figures carved in stone that welcome the viewer to interact
with the sculptures by providing seating. They can be found in public places from coast to coast,
throughout the US.
These days Madeline spends as much time as she can at her second home in Marble, Colorado,
where she creates sculpture in an outdoor mountain studio. The program she founded,
MARBLE/marble Symposium, has been hosting artists from around the world since 1989 and
continues to grow each year.
8.Provide a narrative depicting the installation of the artwork, how the artwork will be protected,
and provide for public safety. Please submit a graphic if necessary.
A discussion of safety & maintenance for each art piece is below. Nakoma Sky's maintenance
and grounds team will be responsible for on -going maintenance whenever needed.
%\ it
Ray King
SAFETY
My art is designed with the highest concern for public safety, made from durable materials (laminated
safety glass and stainless steel) and are generally maintenance -free and vandalism -proof. The
artwork will be un-climbable to all but the most determined. There are no sharp edges or points that
could present a hazard, as all glass edges will have been seamed (sanded to remove any
sharpness). All hardware will be locked to prevent vandalism.
MAINTENANCE
Stainless steel and laminated safety glass are extremely durable materials, impervious to the
elements, and well -suited to exterior artwork. Rain will wash off any dust and debris. Periodic power
cleaning with a power washer will remove any stubborn dirt. Solvent will remove any graffiti. Spare
glass elements will be provided for repair and /or replacement.
SCHEDULE
The time frame for purchase of raw materials is one to two months. The fabrication is approximately
three to four months. Installation will take a week.
Madeline Wiener CI`embrAced „)
FABRICATION, INSTALLATION, MAINTENANCE
All artwork is carved in Boulder, Colorado. The sculpture will be installed with a forklift. The
installation will be placed on quickset mortar -mix. I will then "tuck point" the bottom of the
sculpture to the foundation, giving the sculpture a professional, finished look, leaving the
installation neat and attractive. The sculpture will be sealed with a silicon impregnator, making it
easily restored from graffiti or stains. Often the sealer is reapplied after one year, then every five
years. If the reapplication is neglected, the stone would still remain beautiful; the reapplication
process simply makes removing any graffiti easier. Stone requires little to no maintenance and
holds up very well with seasonal temperature extremes, remaining comfortable to touch
throughout the year.
John Davis C'` s�r� ?c sSag�)
My scope of work will include the design and construction of the foundation. For lighting, power will
be stubbed up at the site. The sculpture requires just low voltage LED, so one 15A circuit is
needed. It will be good to coordinate with the landscape architect regarding the art site. And I would
love to see the list of plants the LA is planning to use in the art site area when it becomes available.
Stainless steel and laminated safety glass are extremely durable materials, impervious to the
elements, and well -suited to exterior artwork. Rain will wash off any dust and debris. Periodic power
cleaning with a power washer will remove any stubborn dirt. Solvent will remove any graffiti.
Biography — John Davis ("Desert Passage)
John Davis was born in 1956 in Detroit Michigan. His studies in the Pre -Architecture program at
Arizona State University were his introduction to Art which became his major at Northern Arizona
University where he completed a BFA in Sculpture in 1979. Later moving to Tucson, he
completed an MFA at the University of Arizona in 1987. His fondness for and familiarity with the
southwestern landscape has had a great influence and impact on his artwork. Activities
associated with connecting to the land inform his artistic exploration (such as surveying,
measuring, collecting materials, recording observations). John has been the subject of solo
shows at OK Harris Gallery in NYC, Davis Dominguez Gallery in Tucson and William Havu
Gallery in Denver. He has also exhibited in Washington, D.C., Scottsdale, Albuquerque, and
Solana Beach, CA. He has been twice included in the Arizona Biennial at the Tucson Museum of
Art. John has completed public artworks for an assortment of clients including the City of
Tucson, Chase Bank, City of Denver, Tucson Airport Authority, Washington State, and
University of West Florida.
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— — — — — — — — — — — — — — — — — — — — -----
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5. Preliminary estimate of public art commitment calculated with 1 % of the building permit
valuation (construction cost) for the total project, including all phases of a multi -phase project.
The building official shall review and approve all preliminary estimates for building permit
valuations used as the basis for determining the public are calculation. The final calculation shall
be reconciled at the time of building permit issuance and the art budget revised if there is a
differential of 10%, or more, between the preliminary estimate of public art commitment
calculated with 1 % of the building permit valuation (construction cost) and the final building
permit's construction cost valuation.
Following is our calculation of public art commitment and approval from OV Planning Manager,
which we expect to result in meeting the 1% requirement in the amount of $202,117.
Hi Keri,
Staff approves this approach and calc's for public art valuation. The dates below work for us —and will
accommodate as needed.
Looking forward,
Bayer Vella, AICP
OV Planning Manager
Town of Oro Valley
11000 N. La Canada Drive
Oro Valley, AZ 85737
www.orovalleyaz.gov
(520) 229-4810
From: Keri Silvyn [mailto:ksilvvn@lsblandlaw.com]
Sent: Friday, May 05, 2017 11:26 AM
To: Vella, Bayer <bvella@orovalleyaz.gov>; Spaeth, Michael <mspaeth@orovalleyaz.gov>
Cc: Robert Longaker <rlongaker@wlbgroup.com>; Keri Silvyn <ksilvyn@lsblandlaw.com>
Subject: FW: Nakoma Sky Art
Importance: High
Bayer: Per our conversation, attached is a slightly revised public art proposal that makes it clear in the South
building that the 38,021 square feet includes all of the dining and kitchen area. I have also included the
additional documents referenced in the proposal.
Per our phone call, the Town Council has not determined its summer schedule for July/August. Some options
for process timing are:
Ambitious:
Submit complete public art application to Staff by May 151h. This application must be complete and
not require any revisions.
o If complete, staff can schedule this for the June CDRB meeting
o If CDRB recommends approval, then this could move forward to the second Town Council
meeting in June.
If we cannot make the May 15th application deadline, then we can work with staff to try to meet the July
CDRB meeting (assuming there is quorum to hold this meeting), and then most likely an August Town Council
hearing (depending on Town Council summer schedule).
We could also time the application for an August CDRB and then an August/Sept. Town Council.
Thanks for working with us on thisH Let me know if you need anything further.
Keri Lazarus Silvyn, Esq.
Helping communities and developers grow responsibly.
Public Art Proposal for Nakoma Sky
(Based on Estimated Valuation for each Building)
Below is an analysis of the buildings/portions of building(s) associated with the Assisted
Living/Memory Care for Nakoma Sky. Based on our discussions in March with Town staff, we have attempted
to identify uses that are not typical in an apartment/multi-family setting and that would not be used by the
Assisted Living/Memory Care residents.
Assisted Living/Memory Care: This entire building will count toward public art.
• Total Estimated Valuation: $12,600,000. (Per estimated Plan Review Impact Fees for Nakoma Sky.)
• 1% for public art - $126,000.
South Independent Building: Most of this building is for the independent living residents. The kitchen area,
which is predominantly preparing means for the independent residents, will be preparing limited meals for
the Assisted Living/Memory Care. Any meals prepared in this building will be delivered and consumed within
the Assisted Living/Memory Care building and therefore the dining area in this building will not be used by
the Assisted Living/Memory Care residents. Instead of trying to figure out the percentage of space associated
with the Kitchen and the percentage of the kitchen used for the Assisted Living/Memory Care, the Town
provided us in March with an "Estimated Plan Review Impact Fees for Nakoma Sky" that calls out 38,021
square feet of Public/Institutional Land Use Type within the South Independent Building. This 38,021 square
feet includes all of the dining and kitchen area. Using the 38,021 square -foot building -code calculation, which
we believe is easiest and most consistent to calculate the public art, we suggest the following calculation for
public art:
The Public/Institutional Land Use Type is 15% of the total South Independent Building square footage
(247,178 square feet). (See attached Building Area Tabulation from architect wherein the South,
Southeast and Central I. Living together comprise the Town's South Independent Building.)
• Public/Institutional Land Use is therefore $6.6 million of the $43 million Estimated Valuation.
• 1% for public art for the Public/Institutional Land Use will be $66,142.
Wellness Buildings (Fitness and Pool Buildings: As discussed with Town staff, a pool and fitness building are
generally provided with other independent living/multi-family uses. For Nakoma Sky, these buildings also
include exam rooms (308 sf.), Prep room (89 sf.), Mediation Room (387 sf.), Nurse Practitioner (144 sf.),
Wellness Director (144 sf.), Social Worker (144 sf.), Case Manager office (233 sf.), salon (730 sf.) and therapy
space (1505 sf.). The spaces above will be shared with Assisted Living, but not Memory Care. As such, below
is the calculation for public art for these buildings:
• The above uses comprise 5% of the total square footage of the Wellness, Fitness and Pool buildings is
67,717. (See attached Building Area Tabulation.)
• These uses are $147,500 of the $2,950,000 total Estimated Valuation. (Per estimated Plan Review
Impact Fees for Nakoma Sky.)
• 1% for public art for the Yoga/Salon will be $1475.
Artisan Building: This building is provided only for the independent living residents, and is not different than
any other community spaces provided in a multi -family development for residents to congregate together
and do activities. While Nakoma Sky believes this building should not be included within the public art
calculation, the Town has asked that it be included.
• Total Estimated Valuation is $850,000.
0 1% for public art is $8500.
Buildings not included in Public Art Calculation:
• West Independent Living
Parking Structure (Assisted Living/Memory Care has its own parking on the east side of the building.
The proposed parking structure and the parking lot to the north will not be used for this use.)
TOTAL: Based on the above calculations, the total Public Art required for Nakoma Sky is $202,117.
Based upon artists' estimates these are costs of the art piece:
Beacon $ 90,000
Embraced $ 45,500
Desert Passage $ 72,800
Total: $ 208,300
6. A statement addressing compliance with each of the review criteria specified in the Oro
Valley Zoning Code Section 27.3.G (See Section 3.4, Design and
The public art in the Nakoma Sky project is in compliance with each of the review criteria
specified by the town as reflected below:
5.5 PUBLIC ART DESIGN PRINCIPLES
(Zoning Code Section 27.3.H) The Conceptual Design Review Board shall assess individual
applications based on conformance with the adopted design standards — Addendum "A" of the
Zoning Code and fulfillment of the following principles:
Quality: Artwork demonstrates originality, artistic quality, and excellence in design and
craftsmanship; to be demonstrated through renderings, explanation of construction,
materials, and artist resume.
The quality of the art pieces is original and of high quality design and craftmanship.
The artists have all sent renderings, explanation of construction, materials and their
backgrounds.
2. Response to Context: Artworks should be appropriate in scale, material, form and
content for the immediate and general social and physical environments with which
they are to relate.
All of the art pieces proposed are complementary, appropriate in scale, material, form
and content to the environment in which they each are located.
3. Durability: Consideration should be given to structural and surface integrity,
permanence, and protection against theft, vandalism, weathering, and excessive
maintenance and repair costs.
The issue of durability was addressed with each artist and each is being designed to
assure permanence, weathering, integrity and minimal issues of maintenance.
4. Integration: Where possible, in addition to meeting aesthetic requirements, artworks
should also serve to establish focal points, modify, enhance or define specific spaces
or establish identity.
The art pieces are all located with the idea of being focal points, as they are all in
central spots of visibility: two at entries and one at the public trailhead.
5. Safety: Artworks should not present a hazard or create unsafe conditions.
The art pieces are all being designed with safety in mind.
6. Diversity: Artworks should contribute to a diversity of style, scale, media, artists,
community values and forms of expression within the Town.
The art pieces are diverse in scale, media and forms of expression. One is in
sculptured marble, one in aluminum, and one in a rust -colored metal.
7. Visibility: Artworks should be visible and accessible for the purposes of public
enjoyment and security, considering pedestrian and vehicular traffic, lighting, active
hours on site and future development and vegetation growth.
All three art pieces are very visible for public enjoyment. All three will be lit at night for
continued enjoyment, and landscape is being designed around each to be
complimentary.
8. Feasibility: Consideration should be given to the likelihood of successful completion of
the artwork. Factors to be considered include but are not limited to: project budget,
timeline, artist's experience and soundness of materials.
We believe all art pieces are quite feasible. We are in regular contact with the artists.
All are very experienced artists and have worked with proposed materials in the past.
9. Public art shall not reflect or include advertising elements of a business or corporation
including colors, graphics, logos or other representations of corporate identity.
None of the public art pieces will be utilized for advertising or business purposes.
None of them include corporate logos.
5.7 DESIGN AND LOCATION REQUIREMENTS
Zoning Code Section 27.3.G
Public artwork shall be designed by an artist, as defined in Chapter 31. If a design
team is employed to create public artwork, at least one (1) team member shall be an
artist as defined in Chapter 31.
Our public art pieces were designed by artists as defined in Chapter 31. Our design
selection committee included three artists of the six members. Those creating the
artwork are qualified artists.
2. Public artwork shall not include any of the following unless specifically allowed by the
Conceptual Design Review Board and the item is designed by an artist: architectural
elements or structural parts of a building or other structure; fixtures or features such
as grates, shade screens, streetlights, benches, signs, and bike racks. Designs of
such items shall clearly result in artistic expression beyond the normally anticipated
functional appearance.
All of our public art pieces are strictly for artistic purposes and none are related to
functional or structural purposes of the building.
3. Public artwork shall be in an area easily accessible and clearly visible to the general
public. The location shall allow for unrestricted viewing from a variety of vantage
points.
Our public art pieces are in locations very accessible and usable to the public. One
piece is at entry circle to main apartment/common area; one is at public trailhead; and
the third one is at the entry door to the assisted living building.
4. Public artwork may be located on a publicly viewable building facade, provided such
location improves overall public accessibility to the artwork.
None of our public art is on a public facade.
5. Artwork may be located within a building subject to Conceptual Design Review Board
approval. The applicant shall demonstrate to the satisfaction of the Conceptual Design
Review Board that the interior location for artwork provides equal or superior public
access relative to outdoor locations. Indoor locations shall be readily accessible to the
public such as lobbies and entryways and shall be accessible to the public for a
minimum of forty (40) hours each week.
All of our public art is outdoors in public areas for easy access and visibility to all.
6. The location of public artwork shall be indicated on the landscape plan, development
plan, plat or other appropriate document as determined by the Planning and Zoning
Administrator.
The landscape plans reflect the locations of the public artwork.
7. Public artwork shall be permanent, and may be integrated with the work of other
design professionals.
All three of the public art pieces are either affixed to a foundation or too heavy to
move ("Embraced"), so that they shall be permanent.
8. Public artwork shall not be located in sight visibility triangles.
None of the public art pieces are located in sight visibility triangles as reflected in the
landscape plans.
9. Location of art in a proposed or existing Town right-of-way shall be approved by the
Town Engineer.
None of the proposed public art pieces will be located in a Town right of way.
10. Off -site locations within the Town for public artwork may be approved by the Town
Council, upon review and recommendation by the Conceptual Design Review Board.
Nakoma Sky public art will all be onsite and none will be located in an offsite location.
3.0 Final Public Art Submittal
1. Proof of Insurance:
a) La Posada's current insurance will be modified to include Nakoma Sky
property. La Posada / Nakoma Sky is in a purchase group for property
insurance. There is more than adequate coverage to repair or replace the
public art should an incident occur. The property binder for our coverage
through Travelers follows this page.
2. Each of the 3 public art pieces will have the required affixed to its foundational base for
best visibility. The plaques will read as below:
Piece #1 (located in front of main apartment entry):
"Nakoma Beacon"
by Ray King
Oro Valley 1% for Public Art Program
2020
Piece #2 (located at the main entry of Assisted Living):
"Embraced"
by Madeline Wiener
Oro Valley 1% for Public Art Program
2020
Piece #3 (located at the Trailhead):
"Desert Passage"
by John Davis
Oro Valley 1% for Public Art Program
2020
Plaque Size will be:
4X9